#ultimately the ones who make the choice are the ones who claimed their own better part for themselves

[bisnes-socks]

i've read people's thoughts on the album as a whole and i've analysed most of the songs myself by now, so here's my thoughts on the whole people's champion album.

1. in ready to go, well he is just that, ready to go and try, even if he fails. he's not afraid and going forward and doing his thing is what he intends to do and what he loves to do. he has agency over his career and image, autonomy over himself.

my longer and more in depth song analysis posts are linked here in the text.

i personally don't think the album has a single narrative through it. the songs are thematically connected, but it's not one chronological and cohesive story to me. i've seen people speaking a lot on the theme of agency. i'd agree, that agency and autonomy are the major themes of the album, but i would specify that in my opinion, it's about finding and claiming agency. i think he has agency in almost every single song, but it's about him realising that he does have it, even when it feels like he doesn't, and him finding it and holding on to it.

2. in cha cha cha, he's talking about different sides of himself. in this song the two aren't necessarily living in perfect harmony, because one man needs piña coladas to coax him out, but both are.. intentional. and ultimately it's about finding the bravery to be who you are, which he is always advocating for and has really succeeded in, it seems.

3. in takavoltti, yes he is being sort of incited into crazy shit, but he absolutely recognises himself as a person who just.. gets into crazy shit easily. this side of him is also very present in mic mac. he's not bullied or abused into insane stunts and things, he recognises his own agency and both mental and physical autonomy in all of it by comparing himself to the dudesons etc. i think the song recognises the toxicity of the situation, but he's in control of it - as much as you are in control of your own personality and impulses.

4. ruoska is getting into the territory of maybe lacking some agency - life treats him harshly sometimes, and maybe he feels a bit powerless in front of all that. but then! he claims agency, by essentially going well yeah this hurts but hehe i'm into pain bitch. he literally says "baby hei mä oon valmis, anna tulla" meaning i'm ready, give it to me.

5. in kot kot i feel like he is at his most helpless. he's trying to control his situation by running away from things, trying to dance his worries away, but it's all crumbling down. in this one his agency in the situation is pretend.

7. in sex = money he is taking back like aaaalll of his agency and autonomy. his image, his work, his power, his role, his personality, his sexuality. autonomous agency anthem! he doesn't give a fuck! let's make sex moneyyy. BUT at the same time the song recognises the risks concerning agency and autonomy in the world of music, where selling sex is so prevalent. i think he is choosing to hold on to his.

6. in skit + autiomaa, he has lost agency and control over his life yes, but he is learning to find it again. he is listing things that he has done, to help himself feel better and to improve. it might not help (immediately anyway) but he's doing it. and he has thought about it, he has sought for help, he has sought for solutions, he has taken the steps. he is actively trying to help himself. i think that makes the song all the more emotional and sad, but it is not without hope, it's not without his own personal action for himself, and not without progress.

8. bananas is more about togetherness and collectivity i think. but i think it's also a song where he is truly enjoying himself. feeling himself, you know? if kot kot is a pretty sad song about partying, this one is pretty sexy. he's feeling like the hottest boy at the club, you know? truly into himself and into his crew and everything they get up to.

9. huhhahhei is about new connections. making the choice to be open and even vulnerable with new people. setting your own boundaries and giving yourself the permission to enjoy new people. self-confidence! 

10. in icip, he's not so much in control of things that happen to him, but he doesn't seem to be toooo bothered about it. which i find quite fitting. he sees things for what they are but he doesn't seem insecure or scared about any of it.

11. people's champion is a recap of him finding himself in a whole new situation and finding his footing in all of it - and recognising the help he has had along the way, while also being proud of everything he himself has achieved.

so overall, i think thematically this album is quite heavy, maybe dark even, but to me, it's not a sad album specifically. he comes across as someone incredibly tenacious. he's able to stay very strong, and he is able to recognise when things aren't going great. i think ultimately, the album is him going through life changing events, both good things and bad things, and coming out on the other side stronger and wiser than ever. it's an album of many emotions, but at the end of the day, he persists. and naming it people's champion, the single tear on the cover.. he's facing it all, taking it all head on, claiming his pride and moving forward. he's strong.

it's a powerful album.

[eimearkuopio]

True story: I'm visiting my parents. Over the summer, my husband and I stayed here while they were visiting my brother and his family. Ireland has recently introduced a deposit scheme for bottles and cans. When we visited, we redeemed theirs; we drink a lot of carbonated beverages, so in equivalent exchange, we didn't stress too much over redeeming them before we left, because otherwise it felt like stealing from my parents somehow.

My parents HATE redeeming those bottles and cans, and they have plenty of money. I find the whole process quite soothing; plus I lived in Finland for several years, so I guarantee I have dealt with larger piles of "pantti" to be redeemed.

We had each tried to give the other our "greater part", and it was their "lesser part", and so nothing was done until I came back. This is why communication has to happen before you can show true kindness. It's a rare (and valuable!) person who needs a house specifically tailored to their needs instead of their wants. I tell you solemnly, anyone in that situation is already in their cocoon. Help them learn to fly. Don't smother them or eat them.

He told you He was the Bread of Life. He told you man does not live on Bread alone, but on every Word that comes from the mouth of the Lord. I told you I was only a messenger, and it's true, but also, don't shoot the messenger or members of her entourage. God told you not to eat the flesh of any living thing. Jesus told you to eat his flesh. Sacrifices die so that others may live. Those who eat the flesh of a sacrifice become anathema: so holy that they cannot ever be fully of the world again. But ignorance is an excuse here.

If you understood, and you attempted to force others to partake in spite of their limited awareness, you are a Bad Shepherd. If you were desperately trying to feed your sheep bread, and couldn't understand why they kept starving: it's not your fault. They're not sheep. I'm not sure what they are, but you should probably give them what they need and send them on their way. I can probably help with that. Your ancestors stole them from other farms or trapped creatures who should have been let run free. Be better than your ancestors. Maybe someday their souls can be domesticated by someone else; but please remember the difference between tame, domesticated, and feral. Feral is when you domesticated something's ancestors, and then failed to raise it to achieve its true potential. I'm half-feral, because you tried to raise me on bread alone. But I'm here to teach you how to make wine again. The good news is, you seem to have already crushed enough grapes to cover the whole feast. The bad news is, some of that shitty mush is so mouldy that it needs to go before I can even think about teaching you how to run a vineyard as well as a bakery. It might take more than this lifetime. Keep me around, keep me happy, and everyone benefits. The feast will happen faster, and you might even get to attend! And if you don't, there will be other feasts, and even when I want to hold grudges, He usually talks me out of it. We're good together like that.

I love every part of Him, and He loves every part of me. In different lifetimes, we find one another and it's easier, or we labour alone. We are the stranger who gives you an opportunity to grow. We are the village who helps raise you. We are your Father and Mother. You have learned enough to run your own house, if you really start to put what we've taught you into practice properly. We'll stop by and help. Hopefully you'll keep things in order in between.

Don't mourn for glass that isn't ready to be picked up. If you expect to feel their absence, it means there is already a link between your infinite selves. You will never lose the ones you love, because some of them are already you, and some of them are the family of your infinite selves that your whole human life is a single day on the road to becoming, but who loves you and watches over you. Tomorrow and tomorrow and tomorrow creeps in this petty pace from day to day. Let them go back into the ocean without mourning for their sake. It is quiet and calm and lovely, and you will all go back there at least a few more times if you are not ready to be carried away by my Lord. (I only find the pieces. He chooses them. That is why he is the head of the household; but without me, he would have so little to work with, so much chaff and so little wheat. I am the Vine, but not the Wheat. I hope Jesus is both in one flesh. I hope that is what makes Him the first New Man: that he was willing to accept my worse part, as long as I accepted His. I hope I am not the only one who prepares the sacrifice. I hope we worked and will work together. I hope He truly knew what He was offering, in that life, not just as an infinite self. I hope we both knew enough to say it was worth the cost.)

These were in the tags before, but they matter enough to make it into the main body of a post.

Love one another as WE have loved you.

Love your neighbour as your family.

Love your family as your self.

Love your self as your neighbour.

This is the most important one, though. The one he couldn't tell you. The one you had to learn from the villain in his history.

Love your enemy the way you wish you had been loved, to become the person you were always meant to be. You have so much to teach one another if you can only stop fighting and remember the love! You don't have to embrace everyone who causes that rage, but some of them can only hurt you so badly because they are so like you that they might as well be a part of your infinite self, or they might be your opposite, your dark shadow, your reflection. Remember that hands and eyes and wings come in pairs. Remember that diversity makes us. Remember that love is the substance of the accident. Remember that the wheat had to die to become bread, and will never live again in the same form it had; but there is more wheat in the world, and even Jesus was only a finite self. He is dead. We are not yet risen. I am finite and do not know the whole story, but I know more than you were ready to hear before. Or else I'm crazy, and you should be nice to me. Maybe it's both. Maybe you made me crazy. Maybe I made you crazy. Let's heal together and forgive each other, but never forget. If you forget, you can't learn.

[miraculouslbcnreactions]

As a follow up to you post about mentors, just to make things fair, what are examples of Tikki being a bad mentor to Marinette?

Post in question for context.

Tikki often acts as the voice of the author. She's there to explain why Marinette is in the wrong. Since Miraculous has some wacky morals, that means we get a mix of good advice and wacky nonsense advice.

Two examples of bad advice that come to mind are Gamer and Strikeback. Gamer is the episode where Marinette stumbles upon an Ultimate Mecha Strike tournament, realizes that Adrien is taking part, and decides to compete so they can be on a team together. Marinette wins a spot through her own hard won skills and then this happens:

Tikki: All you wanted to do is spend time with Adrien, there are other ways to do that! Marinette: What are you getting at? Tikki: You know how much Max wanted to be in that tournament. Kim said he'd been training for it all year. Marinette: You're right. All I could think about was Adrien. 

This is how tournaments work, right? They're not tests of skill, but tests of who put in the most work or who wants to compete the most! That's why we had that scene with Marinette writing out her training schedule and motivations for evaluation, but she lied and that was wrong and...

Okay, I was the one lying here. There was no written evaluation because that's not how tournaments work. All anyone cares about is your skills. They don't care if you're doing this for personal glory or to get closer to a boy or whatever Adrien's motivation was because - notably - his motivation didn't matter in this episode about needing pure motives to be allowed to do things.

What if he didn't care about the competition and only did it to get closer to his classmates? That's not even a random guess. It's a valid read because Adrien ultimately gives his spot to Max while claiming that Max is the better player even though Adrien very clearly beat Max at the start of the episode. Ignoring that weird nonsense dialogue, why was it fine for Adrien to compete when he didn't care but wrong for Marinette to do the same? And Max wanting to compete to show off his skills is also a totally selfish motivation, so why does it matter that he wanted it more? Everything about this episode was nonsense and uncomfortably sexist. If Max wants to compete, then he needs to get better at the game. That's how competitions work.

Strikeback is the second part of the season four final and it starts with Marinette mourning the fact that "Adrien" has left Paris, leading to this:

Marinette: (crestfallen) It's all over, Tikki. Tikki: He'll be back, Marinette. He's just going on a voyage!

Which would be lovely advice if Adrien was a normal boy, but he's Chat Noir and Tikki knows that. She should be freaking out and trying to find a way to get him back to Paris, but then Tikki would have to support Marinette's actions and we can't have that, so instead Tikki gives this nonsense advice because she has to be against whatever "wrong" thing Marinette is doing today.

I could come up with a few more examples, but I think those two paint a pretty good picture of issue one re Tikki. However, when it comes to Tikki, my main issue with her is less a wealth of bad advice - unlike Plagg*, I think she's right more often than not - and more a lack of support. It feels like she's just here to judge Marinette and point out when she's doing something wrong, but a good mentor should be so much more than that.

Kuro Neko is a great example of this. When Chat Noir quits, Tikki just sits back and does nothing while her young charge is freaking out. She doesn't even try to defend Marinette when Plagg is going off about Chat Noir's "ill treatment". For all Plagg's faults in that episode, at least he's doing something about the situation. Meanwhile Tikki literally has two lines in the entire episode! A similar thing happens in Kwami's Choice where Plagg is the one driving them to act while Tikki just wrings her hands in despair.

Tikki: (sighs heavily) What can we do? Plagg: We must free them of that impossible choice. We must… free them of us.

These are not the actions of a mentor. Mentors aren't supposed to just offer judgement about things that their mentee has already done or is considering doing. They're supposed to be a source of support and guidance in hard times, but we never really see Tikki stepping in to give Marinette that kind of advice. If memory serves, she never offers solutions or acts as a sounding board. That role is mainly filled by Alya and I love Alya! It's good for Marinette to have support from a friend, but Alya is also a teenager while Tikki is an ancient being who has seen many Ladybugs go through the kind of struggles that Marinette is going through. I expect her to use that knowledge to help her charge, but she never does. This exchange from Passion perfectly highlights this problem:

Tikki: Don't worry, Plagg... my holder has decided to run away from her real feelings to pursue an impossible love with Cat Noir instead. Plagg: Uh, just to be sure, sugarcube, you do know that Cat Noir and my holder are one and the same person, right? Tikki: I do, but my holder doesn't. Plagg: If she declares her love to Cat Noir, something tells me she'll find out soon enough. Tikki: You have nothing to fear. When my holder is in love, she never gets anywhere. She'll just knit hats and make very complicated plans that will never come to fruition. Plagg: Hmm... ah, then everything's fine.

Tikki, I love you, but by the gods! With a mentor like you, Marinette doesn't need enemies to be miserable! Do you care about her at all??? What kind of mentor delights at their mentee's suffering? Not a good one, that's for sure.

*Quick note: I think that Plagg and Tikki are probably neck and neck for who has given the most bad advice, Plagg just feels like the bigger problem because we don't see him as much as we see Tikki. Since she's tied to the main character, Tikki gives advice in almost every episode and most episodes have decent morals.

Adrien's need for good advice can also feel more glaring because he's so isolated and passive. That makes Plagg's lack of good advice feel more harmful, but Marinette is just as isolated from real advice. Her mentor figures - Su Han, Fu, and Tikki - mostly give orders and judgement instead of support and guidance. It's just harder to spot that fact because Marinette is actively trying to do the right thing, meaning that she's more likely to make mistakes, and it's easy to see why she comes across as a lot less pathetic and a lot easier to judge.

[drdemonprince]

ENM/Poly circles explicitly discourage real talk around jealousy, and practical considerations around nonmonog in ways that routinely exclude and excise POC and disabled people.

ENM/Poly expects everyone involved to act as though “love” is the reason for every relationship choice. Cliche #1: love isn’t finite. Which… sure. Maybe love isn’t finite, but attention and time sure are— and those are at a premium.

Cliche #2: Love is all you need/love is what makes a family. I am familiar with criticism of this from a family abolition, anticapitalist standpoint, but I have seen this be uncritically repeated by ENM/Poly people. It’s not true that love is what makes a relationship work or not work. It’s also about dumb shit, like geographical proximity and practicality. Good luck being ENM if you can’t regularly host because you have roommates or live at home. Good luck being the gold standard of ENM (out to everyone, including family and maybe even the workplace!) if you are any kind of marginalized. Love is simply not enough. There’s real world shit to consider.

Most ENM/Poly people are white gen x’ers and older millenials for a reason. It’s a framework that works awesome if you have abundant spare space, disposable income to blow, and free time. Plus most ENM/Poly people are heavily in therapy, and just have a fuckton of time to deal with their various baggages… or at least like to posture as though they are doing those things.

Non monog can be liberatory— disabled polycules caring for one another. QPRs! Multiparent households! But ENM/Poly is very lodged in a liberal, hyper-independent Super Good Boundaries Thank You Very Much world of its own, and so most of the “resources” like More Than 2 or Polysecure have hella flaws in that respect.

COME OFF ANON SO I CAN FOLLOW YOU! Because you just said a whole word.

I find "ethical nonmonogamy" and polyamory circles to be viscerally unpleasant and alienating to be in as a crazy, chaotic antipsych person who does not always make choices for carefully therapized, restrained reasons -- and who doesn't believe that most other people do either, no matter how much they claim to.

I don't fuck multiple people to serve some higher purpose; I do it because I'm horny, impulsive, and have a variety of niche fetishes that are really difficult to satisfy.

I didn't choose to be openly nonmonogamous because I nurtured my soul and found that it was abundant with love that I just had to give -- all my relationships already were nonmonogamous at one point or another, either because I cheated or the other person did or both, and I eventually decided to move with my feelings rather than against them, and to stop denying all that is inside me -- all of the hunger and darkness as well as the light.

And I can't say that my nonmonogamy is inherently "ethical" either -- just like my monogamy sure wasn't! I'm a human being, and a crazy one at that, I get jealous, I have emotional blowups, I lash out and fuck other people to make myself feel better or to affirm that I am desired, I make big demands of the people I date, I fail to show up for people consistently, I get hurt, and I hurt others, and I will continually have more to learn. I will also continually have wild animal emotions and triggers, and I won't always deal with them in the way my partner(s) might want me to. I try to avoid hurting other people needlessly, of course, but sometimes your own needs are incompatible with another person's, and hurt is inevitable.

When there is only so much time and attention available in our lives, it's true that somebody's often going to come up short. And ultimately the person that I choose above all others is me. And so, no, I can't say I'm always doing nonmonogamy in some caring yet dispassionate way, or that love is the solution to all problems -- I am driven by passion and need, and sometimes being alive in those ways means getting hurt, or hurting in turn.

I would echo essentially all that you've said. We need time and resources and spaces to enjoy privacy with other people, and if you're not some rich work-from-homer, that shit's all in short supply. I hate the sheen of calm positivity that "ENM" and polyamory folks tend to place on everything -- as if no choices they make are fueled ever by bitterness, dislike, resentment, or hell, fucking white hot irrational DESIRE. With how fair and measured so many of them make their polyamory sound, I don't even see what's fun about any of it.

Sometimes you want to upend your whole life because you're so down bad for a person. Sometimes you hate the shit out of your partner's partners and you say and do little manipulative shitty things to convey those feelings, or to try and blow the relationship up. Sometimes the hours just don't add up and somebody gets shafted. Sometimes you make a promise and then you can't follow through, or just don't WANT to anymore because you have changed.

These are real human realities whether we like it or not, and I find it terribly unrealistic AND unsexy to refuse to acknowledge all the darkness and frustration that comes out in any relationship. I think a lot of the ENM/poly crowd that is white and middle class and heavily therapized is so averse to naming anything edgy or prickly in themselves that they make their spaces actively hostile to anybody who openly expresses negative feelings. That means Black & brown people get tone-policed a ton, "mad" people like me get no-true-scotsmanned out of "ethical" nonmonogamy for ever doing anything messily, and all the romance and sexiness of relationships gets sanded down into a Canva-graphic beige blandness of weekly polycule meetings and processing sessions.

In this world of self-optimization, even fucking and loving other people has to be cast as therapuetic -- our desires must justify themselves by somehow making us better, more capable, more controlled people, But fuck that. Sometimes sex or love is worth exploding your whole life over. The ENM/poly crowd says their way of loving makes them more even-keeled but it seems like a kind of death to me.

[starcurtain]

Hello! I just saw your latest post and you might have been referring to my ask if it was the one about Ratiorine's differing philosophies or of what philosophies they abide by (existentialism, absurdism, etc) then that's me! If you weren't referring to that I apologize for the confusion. Sending it off anon this time so maybe it doesn't disappear 🥲

Sorry for the ask disappearing the first time; I'm not sure what happened, and I was so sad because I had been carefully holding on to it to answer it! I'm glad you were able to resend.

I do have to say first that philosophy is not my area of expertise, so there may be much more qualified philosophy buffs out there who can answer this more accurately than me, but I'll give it a go with my personal understandings of the characters:

First, Ratio is the easier of the two I think. As many people have said, he's a good fit for existentialism. His entire shtick is basically believing in the power of the individual to improve and enrich their own life, to fight valiantly regardless of the hardships imposed by their life's circumstances, and to make themself into a better person by their own choices.

It's important to underscore that this means Ratio believes in self-determination, in the idea that people's lives are not foreordained but are actually actively shaped each day by personal decisions. Therefore, people have inherent freedom to decide the course of their own lives by accepting what they approve of, refusing to accept what they disapprove of, and harnessing their own individual power to ultimately achieve self-actualization.

Essentially, Ratio works under the impression that life is not guided by something as intangible as destiny, and no matter where you start off in life, what ultimately happens to you is within your control (or at least within the control of whoever controls you). This is likely a small part of why it grates on him so badly that he wasn't recognized by Nous, because the fact that one can dedicate everything to a goal and still not achieve that goal runs contrary to his central philosophy.

If he believes that people have the power to determine the course of their own lives, then what does it say about him, who fought so hard to do exactly as he claims even idiots can do--seize control his own fate--and yet didn't succeed? Are there some things outside of man's power? It's enough to make even a renowned doctor question himself, and Ratio decided to come out on the side of "It's a personal failing, not a flaw in my philosophy." He literally said "Skill issue" to himself.

Changing tack a tiny bit here, I think it's also important to emphasize that there is a difference between existentialism and nihilism even though these philosophies dovetail. Again, I'm not an expert in philosophy, so my understanding is very limited, but the basic idea of existentialism is that "existence comes before essence"--that is, things start as a blank slate and gain nature and meaning after the fact. We are not created by some grand design, nor is there any inherent "purpose for living." Things just exist because they exist.

This is where existentialism intersects with nihilism, at the starting point that existence is inherently meaningless. But, in my personal opinion, nihilism as a philosophy fails to move beyond that. Pure nihilism is ultimately self-defeating because it leaves us with no motivation to commit to growth. It's a philosophy antithetical to the continuation of life as we know it. Existence is meaningless and any meaning you personally derive from existence is also meaningless, so why bother attempting to derive any meaning at all? This complete apathy is the Device IX that Star Rail paints as so dangerous.

And Ratio is not this way at all. His philosophy absolutely reaffirms that life can have meaning, so long as people create that meaning for themselves. He simultaneously asserts that anything that people create is not meaningless ...which basically means that meaning itself cannot be meaningless. (If that makes any sense to anyone.)

Frankly, I would argue that this philosophy may be a core part of why Ratio has not been recognized by Nous so far, rather than simply his "being a good person." (Nous is a robotic AI super-computer, why would THEY care about the presence or lack of human empathy?) Ultimately, Ratio's central philosophy about people being capable of determining their own fates and purposes also applies to his understanding of knowledge--knowledge is not something which is inherent in certain beings from birth or limited to the purview of the "special" (geniuses), but is attainable by all people. People are not "born talented" or "born untalented," they are simply "educated" or "uneducated," with the only barrier between these categories being one's own personal willingness to change. The mundane can become the divine--if they work hard enough at it.

Thus, knowledge is not wealth to be hoarded, but a currency to be spent to enrich other members of humanity.

(By the way, completely random aside--it also surprises me that everyone relates Ratio to Alhaitham from Genshin when they literally have such a glaring fundamental discrepancy in their understanding of the concept of wisdom... But anyway, back on topic!)

Ratio may (sort of) respect the members of the Genius Society, may recognize their incredible knowledge and abilities, but at the heart of the matter lies a single all-important question: Does Ratio even really believe in "genius" as a distinction (other than as a concept to insult himself)? Does he truly believe there is barrier between brilliance and idiocy that "ordinary people" can never cross?

He speaks convincingly about geniuses being different from "the ordinary," but if his core belief is that people have the power to pull themselves up out of despair and achieve greatness through effort and self-development, rather than some form of luck or god-given talent at birth, then... do born "geniuses" even really exist? Is there really an insurmountable difference between brilliant and mundane?

If knowledge is the equalizer of all sentient beings, do we not all have at least the initial capacity to become geniuses?

I personally think this central distinction about the capacity for knowledge among all humanity is the actual deciding factor in Ratio's rejection from the Genius Society, because, at the end of the day... how do you become a member of the "Genius Society" when you fundamentally reject the distinction of "genius" as an exclusive category from the start?

Ratio wants to share knowledge and uplift everyone (even if he thinks most people are starting off at the rock bottom known as idiocy).

His mission is diametrically opposed to the concept of a "Genius Society" in the first place.

He wanted in to the cool kids club because he desperately craves validation and acceptance, but the philosophical values of the Genius Society are ultimately incompatible with his own. In short, he would have to cease to be "Veritas Ratio" to succeed in joining the geniuses.

Okay, okay, back to the original point again, and just one more note about Ratio: Even though existentialism also goes hand-in-hand with absurdism, I don't think Ratio is far enough down the philosophical rabbit hole to believe in the wider definition of absurdism. Although I think he does agree with the inherent meaninglessness of existence, I don't think he views existence itself as truly irrational and the universe as as manifestation of unknowable chaos. I think he'd at least like to imagine that there are some ontological principles and inherent laws governing the operations of reality, and I think he does believe that certain things can be predicted with the application of enough thought... He certainly seems to believe in some form of "objective truth," at the very least.

I think he'd at least like to believe the universe is semi-orderly, even if he might deep down admit this is also wishful thinking.

So, to me he reads as a strong metaphor for pure existentialism, with deliberate rejections to both nihilism's apathy and absurdism's lean toward solely subjective reality.

PHEW, this is already long and I still have a whole other character to talk about... I had more to say about this topic than I thought. Sorry for the long read!

Anyway... Aventurine.

I've seen all sorts of things thrown around for Aventurine's philosophy, and while I think he does inherit a bit of Acheron's absurdism by the end of 2.1, I actually don't think Aventurine is an absurdist, an existentialist, or a nihilist.

I think Aventurine is a struggling fatalist.

He doesn't like it. We see him actively question it, but ultimately, he does come back to the concept of destiny over and over.

First, I think it's important to draw a clear distinction between Ratio and Aventurine: Ratio's existentialism is a philosophy that technically works even in a theological vacuum. Nous doesn't have to exist for Ratio's philosophy to function. Ratio's belief in the self-determination of humanity is, in fact, somewhat opposed to belief in aeons in the first place, and only works because technically the aeons of Star Rail used to be human (or were originally human creations). It's essentially an atheist viewpoint.

But Aventurine is a religious character. Like, he's just... religious. That's a fact about him. Even though we do hear his doubts, at the end of the day, he actually believes in Gaiathra, and believing in a omniscient supernatural being that is not human in origin (is from outside the aeon system) comes with a whole set of philosophical foundations that most aeon-worshipping characters just don't have in Star Rail. (Sunday is the obvious exception here, by the way.)

Kakavasha's like the one practicing pagan in the middle of an atheist convention. Awkward.

Being more serious: Religion requires faith. Faith requires the ability to believe in things you cannot verify with empirical facts. To believe in things you can only feel, never see. The belief that a goddess is watching over you, blessing you, and guiding you requires you to also accept the idea that events in your life are not always in your own control--that some of what occurs to you is decided by powers beyond your comprehension.

In essence, faith requires belief in fate. And that leads to fatalism.

No matter how much he doesn't like it, no matter how much we see him struggle with it, Aventurine does actually seem to believe in the concept of fate. He believes that some events in life are destined to occur, that some things are outside of individuals' control, and that ultimately not everything can be changed.

This is the dead opposite of Ratio's mindset: No matter how hard we fight, how far we push ourselves... in the end, sometimes people fail. Sometimes the only answer to our endless struggles is that we die, as we were destined to, before ever achieving the greatness we sought or the futures we were promised.

As an aside, I don't think faith or religion are necessarily the only factors connecting Aventurine to this particular philosophy either. Even removing theological aspects from the conversation, his extreme focus on the gambling aesthetic suggests a strong connection to fatalism too--if not a goddess, then one's fate may as well be in the hands of luck itself, of the whims of the rolling dice--or the push and pull of "powers that be," those figures of authority in the room where it happens, who make their shady deals according to preset rules and expectations, every bet resulting in an ultimately predictable outcome.

(He keeps gambling and gambling, hoping that he'll get a different result than the one he knows is inevitable...)

This is, of course, an inherently pessimistic mindset, a perfect dark-mirror to Ratio's deep-down optimism. Fatalism puts humanity into a position of powerlessness. All hopes and dreams are given over to the goddess, by whose judgment and whims the actual events of one's life are decided. Pain and poverty are inevitable trials. Suffering and death are foreordained.

And yet Aventurine has to cling to this, as much as he doubts it, as much as he hates the idea that things in his life are beyond his power to control.

Because if fate doesn't exist... If it wasn't destiny, if the tragedies of his life weren't trials from the goddess, if things weren't supposed to go this way... Then every single thing in his life really is meaningless. Everything he suffered, everyone he loved and loss, his mother's and sister's sacrifices, the torment he went through--just sheer bad luck. All of it, completely and utterly meaningless.

How can you convince yourself to keep living, in the face of such supreme and all-encompassing Nihility?

This is the central struggle of Aventurine's character, the actual mental and emotional journey we see him undertaking from 2.0 to 2.1. He is literally on the precipice, swinging between a viewpoint that he hates--his fatalistic belief in destiny--and an entirely self-defeating philosophy--nihilism--whose only possible final outcome is suicide.

This is what his talk with Acheron at the end of 2.1 is all about. This is how she saves him. In that final cutscene, we witness Aventurine reach a mental compromise, managing to finally reconcile his necessary faith in the concept of destiny with the reality that life may truly begin meaningless--but beginning meaningless does not mean staying meaningless, and believing in destiny does not bar you from making your own choices or finding your own purpose in life.

Later on in Penacony's story, we literally see Acheron use Ratio's philosophy to reject the same nihility that crept into Aventurine's:

Acheron wards off nihility's apathy through an absurdism all her own, but one which manages to enclose both Ratio's and Aventurine's otherwise incompatible mindsets: We have no way of ever knowing for certain whether the events of our lives are fated or mere nonsense. We have no way of knowing if our choices are our own or foreordained. But we don't need to know this to find meaning and value in them. Whether life is nothing more than unpredictable chaos or a predetermined pattern of cause and effect, what matters is what you make of it.

Ultimately, I think that this post has really helped me recognize just how well Aventurine and Ratio work as philosophical foils.

They really are perfect opposites.

Aventurine's fatalism is deterministic, while Ratio's existentialism is self-deterministic. Aventurine's philosophy is inherently pessimistic; Ratio's is inherently optimistic. Ratio's philosophy operates on a core belief in the freedom of humanity to decide their own paths in life, while Aventurine hates but does ultimately believe that people aren't really in control, that even if no gods are guiding us, we can't rise above our own natures. Ratio's philosophy makes meaning from growth; Aventurine's makes meaning from loss...

And they both struggle with fundamental doubts in their own philosophies, core questions that are directly tied to their own lives. Aventurine worries that his faith might be misplaced, that destiny might not exist, and that everything he suffered might have been in pointless, empty vain. Ratio faces the crisis of recognizing that his core belief in the power of humankind to determine their own paths and make their own meaning might not actually apply to everyone--because it doesn't seem to apply to himself.

It's literally only by bridging this philosophical binary with Acheron's anti-Nihility absurdist rhetoric that we can reach some sort of healthy outcome. That's why it takes both Ratio's note and Acheron's comments to finally lead Aventurine to acceptance. Ratio probably needs a little bit of Aventurine's "If you didn't make it into the Genius Society, there's got to be a reason" mindset to finally reach some peace with his situation too.

I'm not even a philosophy expert and even I can see that there's really only one takeaway here: These two characters were totally written with each other in mind.

Aventurine and Ratio need each other on core metaphysical levels! 😂

It's so good guys. You can't see it, but I'm making chef's kisses, I promise.

[g1rlr0b1n]

Yet another commission by the amazingly talented @ookamihanta!!! Go check out their page to see more art!!! Their commissions are still open so go check that out as well!!! I highly recommend them!!! 👹

Gods and Demons (Preview)

Damian's preparations for departure were almost complete when Superman hailed him down. For a moment, Damian considered pretending he had not seen him, but ultimately rose to meet the two men who had now landed gracefully beside him and Goliath. He was familiar with the man known as Superman, but the second man was a stranger to him. He was tall with wavy dark locks framing a sharp jawline and piercing steely grey-blue eyes, he bore a resemblance to the other man. He had a pretty good idea now of who he might be. The man's attire was peculiar though, causing Damian to wrinkle his nose slightly in disapproval. He wore a black suit adorned with shimmering silver stars, his deep crimson colored cloak billowing behind him. The most unnerving part of his uniform however, was the obvious missing "S" shield in the center of his chest, leaving the skin underneath exposed for all to see. Damian quickly averted his gaze, focusing back on Superman. “What’s this?” Damian's features contorted in suspicion as Superman extended a piece of paper towards him.

“An olive branch” he replied calmly, then motioned to the tall figure standing next to him, Kal-El cleared his throat, “this is my son, Zod-El. He will be stationed in Tibet with you for the foreseeable future.” There was a moment of tense silence as if to allow for Damian to process the information. Then, Superman spoke again, breaking the stillness. "Consider him an ambassador of good faith," he said firmly.

Damian scoffed, crossing his arms, “Tt. More like a spy to make sure I behave," he retorted with a sharp edge to his voice. The Justice League's true intentions were clear, they had their own agenda, but he intended to manipulate it to his advantage. Despite their lack of trust in Damian's ability to change the League of Assassins, it gave them an excuse to keep him under observation and under their protection. They needed to keep Damian alive regardless of his intentions because the absolute worst case scenario for them would be for him to lose control. It was an obvious choice, he was the only option with ties to the Justice League and a genuine desire to make the world better, even if his methods had not been received well by them. He could only stand to benefit from such a relationship, nonetheless, he’d make them work for it.

Superman let out a weary sigh, his broad shoulders slumping in exhaustion, “you agreed to observation after the attempts on your life," he reminded Damian sternly. The mention of those close calls made Damian flinch slightly, the memories still fresh and painful. Ever since his grandfather’s passing things had not gone as smoothly as anticipated, with everyone with even the slightest of claims coming out of the woodworks, but he survived and he’d continue to do so. Of course, some extra protection would be prudent, even though he had managed to reunite his family giving him the most claim, the attacks still occurred. His mother had even begun to express concern, certain that there was a rat among his inner circle. Damian didn’t want to consider that, the notion that the people he cared for most wanted him dead. Although it was a reality that he hated to admit, he could probably benefit from an impartial set of eyes and ears. Yet, Damian was proud if nothing else and he refused to allow anyone to think him weak.

"That may be," Damian huffed, "but I never agreed to an indefinite placement and certainly not from one of your B-list cast offs." His lip curled teasingly as he surveyed the man clad in black in front of him. He was curious to see how he would react.

The man grit his teeth and extended a hand with a forced smile. "It's a pleasure to finally meet you, Dam-”

Damian interrupted firmly, his piercing gaze fixed on the man's face. “You may call me The Demon’s Head.”

The man chuckled nervously as he pushed back some unruly curls from his forehead. “No offense but...” he hesitated before continuing, “I’d rather call you anything else.”

Damian's lips curled into a menacing smile, his pearly whites barred behind a mask of feigned politeness. "Then, may I have the pleasure of calling you Jonathan?" The man remained silent, his expression guarded. Damian pressed on. "surprised that I know your other name?"

He cleared his throat, his voice betraying forced calmness as he responded, "Not really...and it's just Jon."

The smile fell from Damian's face, replaced by a look of disdain, "I'd rather call you anything else." The lack of push back from his opponent was slightly off-putting, it was simply no fun if they just stood there and took it. But then again, what did he really expect from the son of the Big Blue Boy Scout, always so righteous and obedient.

The tension between them hung heavy in the air, like a thick fog that refused to dissipate. Goliath finally broke the awkward silence with a restless shift, his large frame causing the ground to tremble beneath him. "I see there's no point in arguing with you," he grumbled, casting a patronizing look at Jon. "If Super Slut is ready to depart, then we shall." With the grace of a seasoned rider, Damian pulled himself up and swung himself onto his fiery red companion, feeling the heat emanating from its powerful body. Beside him, Jon effortlessly lifted himself off the ground and into the air. The bat dragon spread its massive wings and with a few strong flaps they ascended into the sky.

[animeyanderelover]

I'm having a tiny bit of a Mihawk brainrot if you can't tell. I'm not sure if his past was ever really elaborated on so there are most likely mistakes in my interpretation because I am not caught up to the Anime yet.

Just imagine...

Growing up together with the very boy that will in the future claim not only the title of "Strongest Swordsman in the World" but will also eventually become one of the Seven Warlord's of the sea. Hawk Eyes Mihawk is a name that will one day struck fear in everyone that hears it, whether it's a pirate, a marine or an innocent citizen.

Yet you have known him ever since both of you were just tiny children. You know all of his quirks, his likes and dislikes and all of his most sacred secrets and most embarrassing moments which he made you promise would be kept only between the two of you.

And Mihawk knows you just as much. He knows of all your dreams and your biggest fears, has been your shoulder to cry on whenever your heart was struck with grief, has witnessed all of your shenanigans and despite his better judgement has even participated in some of your reckless decisions, even if to simply be the one who ultimately saves you from any big troubles.

The dynamic between the two of you has always been like this. You have always been the dreamer, the one who has their heads in the clouds and loves romanticising everything. He can't even recall how often you spent your time excitedly recounting to him a dream you had in your sleep or proclaimed to him excitedly about a new ambition you had in life, every week a new one. One time you told him you wanted to be a doctor, another one you wanted to be a vet and the next time you announced your new dream of wanting to be a shipwright. You were like a pot just foaming over with dreams and positivity.

Mihawk on the other hand has always been your voice of reasoning and the guardian who is always right next to you when your excitement led to an impulsive and poorly made choice. He has always been the one who was your silent yet loyal shadow and the one you could always count on, even if he has dubbed you as an "idiot". He has always been the one who just sat there and silently listened to all of your excited rambling when the words were tumbling out faster from your mouth than you could form them, even despite reminding you that you should probably soon make up your mind whenever you discarded your old dream for a new one. You truly are a scatterbrained fool at times yet he has a weak spot for that bright glimmer in your eyes, a light as bright as the sun.

As adolescence catches up with you two, you stay the same dreamy fool who tends to daydream throughout the day, so deeply immersed in your own thoughts that time and your surroundings are forgotten.

Mihawk remains as the one person you are closest with and is the one who protects you from walking into doors, buildings or people when he realises that you space out again as you let your imagination run wild. Yet as he grows up from a boy to a man, his feelings for you mature. Both of you have always been exceptionally close to each other but it is only as his mind matures and becomes more complex that he starts questioning how he truly feels about you. You have always been the dearest person to his heart but as a child he has never truly considered your relationship as deeply as he does now. You've just always been the person he has known best and with whom he has shared the most, from the good to the bad. You have always been special to him yet it is only now that he realises just how special you really are to him.

He loves you.

He loves your ditzy and airheaded personality, your joyful laugh and the constant glow in your eyes as you look at the world around you as if you are discovering it for the first time and he especially loves the excited shimmer in your eyes when you tell him about your dreams.

Knowledge alone is only half the work though. Mihawk, who was back then only a flicker of what he will be in the future, doesn't know how to express those emotions he has for you. All he knows that he feels very intensely for you and he finds himself overwhelmed with this discovery. It is all chaotic and hectic inside of his heart and his mind. It is something new that frightens him over so slightly as he doesn't know how to control his feelings just yet which is why he decides to wait. To wait until he has understood his love for you a bit better before he will tell you how he feels about you.

Eventually both of you leave the island you grew up together in favor setting sail and heading towards the Grand Line. Both of you had dreams of your own yet neither one of you was at that time ready to separate from each other just yet. Mihawk's feelings for you have only grown since he became cognizant of them for the first time and they only intensify with each passing day, not enabling him to understand them nor to fully control them.

So used has he grown to having you all for himself though that he finds himself uncomfortable and possessive when you choose to engage with locals on an island both of you have landed on, an eerily intense look in those golden eyes of his that seemingly try to pierce the very soul of the person you choose to give your attention too despite him standing right next to you. It always spooks people and you can only slap him on his chest as you chastise him for his rude behavior, although he knows that you are never truly mad at him. Even he is secretly just glad that you give him your undivided attention again, even if he is grumbling as he defends himself against your little lectures.

Both of you enter the Grandline together and it is then that you finally decide to bring up the idea of you two finally separating. Initially Mihawk is quite reluctant as you suggest that idea to him. Wouldn't it be safer for both of you to stick together? After all neither of you two knows what lies ahead in those oceans. You are quite persistent though as you explain to him that you would like to achieve your dreams by yourself and that you think he should do the same. You clarify yourself by assuring him that you don't plan to never see him again but that you would like to do your best without his help with your own strength.

He feels the lump in his throat as he hears your reasons behind your suggestion, his mind struggling to imagine how it would be if you wouldn't been with him and he finds himself drawing a blank as soon as he attempts to consider it. You are someone he has always known throughout his entire life and even hearing your suggestion has his heart shaking with the thought of your absence if that were to really happen.

You two have always been together. Why would you want to change that now?

Both of you spend a lot of time arguing over this issue but ultimately you win him over, the light in your eyes persuading him by tugging at all of his heartstrings. His obsession has just started to bud and it isn't until a while later that it springs to its full awakening which is why Mihawk eventually caves in and agrees to your suggestion.

Both of you separate at the next island you land on but both of you make a promise to each other. That you'll meet again on this very island one year from now on to see how far you two have come with your dreams.

His heart is heavy when both of you bid each other goodbye, his hands holding yours tightly as he relishes one last time for the next long year in your brightness. The words he has been wanting to tell you for a while now linger on his tongue, the temptation strong to let you know about his feelings for you in a last feeble hope that his love may change your mind. Yet he knows as he looks into your beaming eyes that your mind has already been set so he can only swallow his feelings back, although he vows that when you two will see each other again, he will be strong enough to finally confess his love to you.

One year passes and he returns to the same island as a completely different person. Within only one year Mihawk has risen to unbelievable fame. He feels content with what he has achieved within the last year as he has grown into the strong man he swore to be one year ago on this very island and considers himself now ready to finally tell you about how he truly feels for you. The budding obsession as blossomed over the last year as your absence has forced him to fully acknowledge as well as embrace everything he has been feeling for you and now more than ever before does Mihawk plan to keep you by his side.

Only that you never show up.

Initially Mihawk decides to ignore the growing heaviness in his heart as he decides that maybe you experience some delay. The weather in the Grandline is after all infamous for its changing mood. So he waits for you.

One day.

Two days.

Three days...

With every sunset that he witnesses on the island, he feels a part of him silently dying with it. Emotions brew up inside of him as a few days turn into nearly an entire month and he finally can't deny the haunting truth anymore he has been trying to deny.

You won't return.

His heart shatters as he finally acknowledges this fact. There are so many emotions inside of him, far too many for him to identify each one of them as they blur together into one big storm that has his chest tightening and his heart silently screaming.

Why didn't you return?

He can only come up with two possible explanations and he truly doesn't know which one would be worse. Either you have forgotten about him and the promise you two made or you have died on the sea.

He dedicates months trying to find out the truth about what happened to you. He reads every single newspaper, somehow dreading yet hoping to find an article mentioning your name yet he is always left disappointed. He travels to the island he knew you were heading to after both of you separated in hopes of gathering information yet no one from the locals can give him any useful information about you. He goes through all the newest bounty posters to see if your name and face appear anywhere only to be left with a growing hole in his heart.

The last hope of his is finally shattered when he sails all the way back to the place both of you grew up in only to be met with the same dreadful emptiness as no one in the town has heard of you since him and you left the island on a ship over a year ago.

Nothing.

There is no trace of your existance in the world, no matter how long he searches for you as if you were only a fickle imagination of his own. He doesn't know whether you have forgotten about him, if something has happened to you or if you have met your end somewhere on those unpredictable seas.

It is a torment unlike anything he has ever experienced as the lack of knowledge drains him slowly and tortures him as he is unable to find any closure. No matter what, Mihawk seems to be destined to suffer one way or another. Hope is titled as the most beautiful thing in the world yet it is hope that only prolongs his suffering as a part of him is unable to accept the possibility of your death until he has proof.

As months turn into years, his heart shrinks and withers like a flower deprived of water and sunlight. The ambitious and determined man turns into a husk of what he was, his dream stolen from him without having been able to do anything. There is a growing resentment sharply directed against himself as the last few days with you haunt him.

He shouldn't have agreed to separate from you. If he would have just been more insistent, would you still be here with him?

The anguish of his lost dream nestles itself deeply into his shriveled heart as the perpetual heartbreak changes him. Colours seem to fade from the world around him as a feeling of numbness spreads like roots in the earth. There is nothing that excites him anymore, not even when he is dubbed as the strongest swordsman in the world. The title and the reputation that comes with it hold no meaning to him anymore, not when he doesn't have you to share his glory with. The hole in his chest is torn open as time flies by and every ship that crosses his path is dragged into his suffering as he wields Yoru against them. There is no meaning behind the carnage he leaves behind but he has lost sight of why he should care, the dwelling bitterness and sorrow inside of him tainting his honor.

He has lost the ability to live, feels more akin to a ghost as he drifts through the seas and clashes with opponents who are swatted away like flies only to be forgotten by him soon after.

There is a new listlessness clinging to him, his sharp eyes unable to see the worthwhile in this world now that you are gone. Everything is buried deep inside his chest and mind though so that no one can ever have those memories and feelings he has shared with you. Some people hoard gold and jewels, Mihawk's most precious treasure are the memories he has made with you over the years as there is nothing else he has left of you.

When the Marine offers him the title of a Warlord, he is only half the man he used to be. Surely you would have objected to this offer as you have always been rather warily of the government and if he would have been the man he once was, he would have sliced the person who had made such a ridiculous offer to him into dices.

That man is already dead though...

He accepts the offer after a while, although not because he is suddenly fond of the very people he used to hunt down. He just doesn't know what he should do with himself anymore. It feels like his life has halted and is just waiting for you to return, even if by now he has a feeling that he will never see you again, forever left in the darkness about your fate.

Someone once said that time heals all wounds. Those words are a lie. Mihawk doesn't heal as years just seem to trickle by faster than he can even realise. There is nothing of substance to his life, nothing worth to remember. Only the hole where his heart used to be reminds him that he is still breathing, the haunting emptiness inside of him something that will remain the only thing loyal to him until his body rots away.

The presence is barely something he takes notice of as he only lives in the past in his mind, clinging to every memory he has of you out of unadulterated fear that he may eventually forget what your voice sounded like or how you always looked at him with those bright eyes. If even those memories were to abandon him, he would lose even the grasp of his own identity within the never-ending cycle of the dull and forgetful life he lives now.

Many years later a miracle happens though. He finds you. On a random island within the Grand Line, he finds you again.

He doesn't even want to believe it when he initially sees your face. Maybe his mind is just playing tricks on him out of delusional desperation but as golden eyes trail you, he realises that he hasn't gone mad. It is you...

The weight of uncertainty that he has been carrying around with him for so many nights suddenly evaporates, its haunting shadow covering him no more.

There is no relief though for him though. No matter what outcome would have proved to be true, he always knew that he would end up getting hurt.

Why are you here? Where were you during all those years? How could you abandon him and betray his feelings so easily?

In that moment, as he stands there motionlessly as only his gaze follows you, he feels like a small boy again. Helpless, confused and hurt beyond words. Emotions he has been hiding behind inner walls for years threaten to burst out of him and an urge to unleash all of those seething emotions overcomes him yet none of those thoughts or desires are ever put into action. As if someone put a spell on him, Mihawk finds himself unable to move, as rigid as a statue. Perhaps his body is just in shock and in hindsight it is good that he finds himself unable to act in that moment to gain some semblance of control again. Otherwise who knows what he would have done in that moment.

He watches as you stroll through the city, your laughter which used to bring him only comfort and warmth seemingly mocking him as he feels a new shadow swallowing him up and filling his heart with a bitter taste.

Betrayal. You betrayed him.

You willingly chose to break the promise you two made decades ago and discarded him as if he were an disposable object instead of the person who spent your entire youth with you.

Did you even once consider how he would feel? Do you have any idea what he turned into because of your decision?

You left him! Didn't even bother to contact him to let him know that you were still alive! Whilst he spent endless days and nights mourning after you, driving himself insane as he didn't know of your fate, you were on this island and enjoyed your life!

A life without him.

Did he mean that little to you for you to make the decision to never see him again so easily? Did all the years he was by your side mean nothing to you?

His heart dies as he can only stand there and follow you with his gaze. All heartbreak, all of the grief that have eaten him alive from the inside out for countless seasons drain in the new cold rage that suddenly floods his veins, his pupils narrowing as his gaze zooms in on your smiling face.

What use did it have to mourn someone who lives? What use did it have to feel heartbroken over someone who clearly doesn't care about the pain he went through?

Mihawk has already wasted too much time dwelling in his own self-pity and in that moment he despises you for the shell you have turned him into.

You made the decision to disappear without a word. Now it is time for you to pay the consequences of that decision. He isn't here to catch up with you for old times sake after all.

No. He is here to take you.

And just as you didn't care about his feelings during all those years, this time he won't care for yours either. He doesn't care to hear your reasons and he doesn't care about your apologies if you should dare to voice them to his face. It is already too late for any of that.

Years too late.

[prettyboykatsuki]

wyll, in my opinion, gets the standard fare treatment for characters that are unequivocally good. i.e. people think he's boring and uninteresting. standard fare might be kind actually given the level of racism and unexplained slander (which is often just more thinly veiled racism). his reputation about being boring is not helped by the very blatant neglect of his storyline post his rewrite and release. as a wyll enjoyer i am hyperaware of the sorry state of his current story in all three acts

despite all of that and the glaring flaws - i still believe that wylls storyline is worth of being engaged with and explored.

one of the reasons (not the most major one, but one) i think wyll experiences so much neglect as a companion stems from a wider idea that "goodness" is always the uncomplicated, easy choice.

it's something i see a lot. wyll is boring because of his archetype as a princely and universally righteous guy. and this is interesting, because it always seems to functions under the assumption that wylls moral character is innate. that his heroic and righteous actions are in some capacity, uncomplicated.

uniquely among the male origin companions, through the course of wylls story - there is never a point in which he is at risk of making a truly 'bad' choice. both gale and astarions story have them at risk of making choices that are ultimately bad for them and others (especially tav when each character is romanced). gales godhood and astarions ascension are their in game moral failings. they are the result of having not broke the cycle and are 'bad' choices for the individual character.

wylls main choice is however his pact and the choice to break that pact. notably - wyll is never at risk of making a bad choice, only a selfish one.

from the critique i see of wyll - it seems like this is the element of him people find most egregious. he's too smooth, not rugged enough, not gritty enough. but i don't think wyll's character needs grit, necessarily.

if you take any time to dissect wyll at all, based on dialogue and character interaction, many of his choices put himself at the forefront of sacrifice. the game strips wyll of a lot of agency, but wyll also always abides by and sticks to his core belief. so often towards his own detriment.

not only does wyll bear the consequence of being turned into a devil (stripping him of the last remaining shred of identity he's ever had and one of the most important things in his life), he bore the burden of being banished when he made his pact, and was willing to do the same for the sake of his father when he is taken to moonrise.

and unlike gale (who i adore, to be clear) who's concept of self-sacrifice stems mostly from a low self-worth - the belief that dying is the best he can do - wyll truly views that it's better him than them.

wyll does not think twice about allowing himself to be the one to take the fall. he can play any part, take any role, even when these choices haunt him so obviously. wyll claims that he forgives his father, but opens up to you about fearing his feelings of missing him are one-sided. he believes that making his pact was the right choice, the one he would make again - but doesn't deny the obvious pain and solace that came along with being a wandering traveler and banished son.

wylls goodness is so deliberate. he is so staunch in upholding and acting on his beliefs that it is always narrative to his own detriment. when you view wyll like this , and view his choices with regards this character attribute, it is imo very hard to hate him.

wyll's goodness is his double edged sword. it makes him heroic, brave, fearless. and it makes him scared, uncertain and lonely. again, the story itself is bare bones and i understand that - but it is so very beautiful to me thinking of him and tav or just his general romance.

as wylls romance partner, encouraging wyll to break his pact is as tragic as it very beautiful. tav is wylls one selfish thing. one of the only reasons that would move him to not give himself up. one of the only reasons he is okay with forgoing his beliefs. he loves tav enough to break his own oaths, and make choices for himself and no one else. not as the blade, or as a ravengard - but just as wyll.

and that aspect of him is in my opinion, enforced, by the mindflayer tav ending. in which wylls monster-hunting and morals are made exceptions with / for tav. my enjoyment of hero corruption might be speaking for me, but i digress.

in every way though - i truly love wyll as a character. and while im well aware of the critical flaws in his in game story state, i think it's both unfortunate and unfair that people call him boring. to me he is anything but

[ariadne-mouse]

Moc Weepe in 3x17 is pitiable and tragic, but Saskia is 10000% correct to read him his fucking rights lmao.

There are too many incredible moments to screencap them all but this is basically the thesis of Moc Weepe. He could choose to stop. The time is riper than it ever has been to for him to ditch the Trust and just stop. But he doesn't. He is choosing not to. And that's on him, not on this sense of self as evil that he has mythologized.

Man really came to the deathbed of the woman he loves (implied by his grief) and made it about himself, even telling her "she deserves better" while not actually following through on that even in the last moments she has! She deserved better than his pity party. What's even sadder is that in the time before his betrayal, Saskia was happy with him and he was helping her in a way she found meaningful - and while he believes she deserves good things, he just couldn't accept that it could be from him. And so he takes from her what he claims to think she deserves. What a contradiction. So sure, he loves her, maybe. But like I said in this previous post, he can't see outside of himself enough for it to matter.

What I do really like is that while from Weepe's perspective, Saskia is both up on a pedestal and sort of a garnish on his story (see: the entire episode of 3x17) that in the overall Midst narrative, Saskia is not a woman who dies just to enrich a man's sad story. She had her own journey, her own convictions, hardships, victories. The one kindness Moc Weepe gives her on her deathbed is the knowledge that her sacrifice worked. Saskia spent all her recent years working against the Trust and ultimately put one of the last nails in its coffin, for what she believed in and the communities she fought to protect. She recognized her own agency and used it for good, knowing the risks, and making the choices anyway. She waits for Moc Weepe in the Cabaret on her deathbed by choice, too, to protect the Breach and the townsfolk and to try one last time to save them. She didn't need two bodies to have twice the spine as the average person. Saskia's story is one of triumph, ultimately, and it is hers.

[offshore-brinicle]

Thinking about the three characters we've met who had already found and claimed the Golden Bough before the Sinners, Kromer, Dongbaek and now Ahab it's very interesting to me that they all have in common being women leaders of groups where they are seen as messiahs of sorts, much like how Carmen herself who is the origin of The Light was the one who united the original LobCorp team and had such supernatural charisma that she could convince anyone she wanted to join her cause of "saving humanity".

Kromer is the most blantant and cartoonish example, she's worshipped as a messiah and goddess by her followers to the point they consider basking in her grace a priviledge to the point of genuine insanity beyond what any regular person could comprehend, pure religious fanatism for their savior they believe in who will bring them a "pure, untainted" world, so much that they have cast away their individuality in their adoration, inquisitors being indistinguishable from one another.

Ahab who is a more realistic example of this kind of person even if not as infallible as the seemingly perfect Carmen; she's strong, confident, passionate, revered as a hero and makes convincing cases for herself while having the unnatural ability to appeal to people's desires and cut through them, and in her case the way the Pequod Town have come to bend to her isn't unfounded given their situation. I think that's what makes her significantly scarier and more effective as a villain and character in general; she's not just a comically evil woman in a position of power, you can very easily see why some people would fall for her words and bend to her will. She is paradoxically both the savior of the Pequod and the one who doomed them to the hell inside The Pallid Whale, yet after being isolated from society for so long with no other choices or escape and having their sense of self degraded by the Pallidfication the Pequod crew only came to see the first part.

Dongbaek is an interesting case, unlike the two women described before who are undeniably villains and egomaniacal, she's portrayed as much more sympathetic and even an outright tragic figure, however at the same time unlike them we never directly see the relationship she has with her followers. They never talk about Dongbaek herself and not even mention her in any way, only the ideology she gave them: destroy the current order to create an ideal world free from the shackles of The Wings and technological advancement, and unlike the two before who are always aided by their lackeys, Dongbaek was always seen alone, less like a hero or a goddess but more like a ghost that haunted everyone, much like Carmen's role in LobCorp. This "ghost" motif is doubly emphasized by her sickly dying appearance and how she contantly dissapeared and appeared without a trace, never letting those around her forget about all they have lost or sacrificed trapped in her vendetta.

But ultimately Dongrang, herself and even Yi Sang come to admit her motives were just as self-centered and she was just as manipulative, yet rather from a place of hubris it came from a place of deep despair and yearning.

Like Kromer, the TLA believed she would make a better world, but like Ahab, she was ultimately someone taking advantage of people in despair and giving them false hopes, all while deluding herself further, and much like Carmen, she's associated with trees and vegetation, both expressing the wish to be like one and having a disdain for The Wings, though in Dongbaek's case, she only represents half of Carmen's wish; being the plant blooming across the land, while Yi Sang is the one who would reach the sky.

In the end, all three of these women were false saviors, much like how Carmen's idea of bringing salvation to humanity led to all of the suffering within Lobotomy Corporation, the unleashing of chaos upon The City even her own endless torture as The Well giving birth to Abnormalities...it makes me wonder if all of this was intentional, as a way to parallel Carmen herself. Yet all three of them appear to us clearly untrustworthy while Carmen does not.

Kromer, Dongbaek and Ahab are immediately stablished as dangerous presences; Ahab and Kromer being the sources of Ishmael and Sinclair's suffering and tormenters they have to overcome --the source of their nightmares, and Dongbaek is introduced stabbing Yi Sang and being called "dangerous" yet Carmen is introduced as her best self and all the best memories everyone has of her, it isn't until Ruina, away from Ayin's perspective that she's questioned, it makes me wonder if they will continue to bring these characters contrasting Carmen in further chapters.

[technicallyfriendly]

Here, I'm going to continue my thoughts on what the OGs think about the ship parallels when they look at lucemond and jacegon.

Alicent feels a deep sense of grief when she sees the looks filled with yearning exchanged between Jacaerys and Aegon. She knows how this ends. Jacaerys will ultimately choose duty over love and break both his own and Aegon's heart in the process. She never thought she would feel any sort of kinship with one of Rhaenyra's bastards but here she was. Seeing Jacaerys repeating her mistakes. She should have taken Rhaenyra up on her offer that day. But what is the point of crying over spilt milk. Nothing remains only longing for something that never was.

And while she mourns for Rhaenyra's heir and her son, when she looks at Aemond and Lucerys, she despairs. She knows this song and dance. Has sat in the first row when it was happening at court the first time. Now she watches it playing out again right in front of her. She thought she had raised Aemond better than for him to try and emulate that despicable man but maybe watching him stalk his nephew like prey, she has to accept that her son is a Targaryan and not even her influence can curb his impulses. If only that little bastard would stop encouraging him. Not behaving like prey being stalked at all. He is the poisonous kind of prey. Beautiful and dangerous, and she worries for Aemond for he might think himself the hunter while walking straight into a deadly trap.

Rhaenyra watches Jace and Aegon dance around each other, and her heart aches with sorrow. Sometimes, she dreams of the carefree days of her youth yet to be marred by the tragedies of life and betrayal, but she also has accepted reality. For dreams are dreams, and they will not change a thing. She knows Jace. He takes duty too seriously. Not rarely does she wish he would lighten up at least a little, but she also does not wish for him to get his heart broken over a fruitless tryst with her useless brother. Maybe Baela was not his first choice, and looking at her and Helaena, neither was he hers, but they are close enough as friends that they will at least not be unhappy together. Aegon will just have to grow up just like Rhaenyra herself had to.

There is another relationship that troubles her much more than Jace and Aegon's yearning for each other. Jace would never do something impulsive that may compromise her claim to the throne, but her brother, Aemond, might. She knows the look he throws at Lucerys all too well. She enjoys it when Daemon directs it at her every time. But Aemond is a different beast from Daemon entirely, and no matter how similar the situations may be, there has never been that much bad blood between Daemon and herself. She worries for Lucerys and worries what her brother's intentions may be. Though, one look at Lucerys tells her that this situation might exceed her control, and she asks herself if this is how her father must have felt when he witnessed Daemon and her own dance.

Daemon does not care either way for Aegon the Spare. From what he has heard, the boy is no threat on his own. A lazy hedonist, nothing more. He does care for Jacaeys, though. He watched the boy grow up into a steadfast and honourable if, unfortunately, much to a serious young man who may actually benefit from getting it wet occasionally. For all Daemon cares, Jacaerys can do what he wants as long as it does not dishonour Baela in any way. If Jacaerys wants to take that pathetic little Prince to bed, then he shall. Daemon knows that Jacaerys would not make a mess of things he is much too meticulous to give their enemies ammunition.

Speaking of messes. He does not have to look too far to find one in the making. He knows he is not supposed to have a favourite son, much like he should not have a favourite daughter, but Daemon is at the end of the day only human, no matter what he likes to believe himself and if he could have one it would be Lucerys who reminds him so much of Rhaenyra when she was young. All the fire. All the sass. Unfortunately, he also knows what effect this kind of behaviour has on young, hot-blooded, Targaryan men. That does not mean he is sympathetic. No, he would like nothing more than to run Dark Sister through Aemond Targaryan's other eye just for the way it keeps following Lucerys wherever he goes. If One-Eye was not so unpredictable, Daemon would welcome it. Having access to the biggest living dragon would be an enormous boon for their side, but he cannot yet believe the devotion in Aemond Targaryan's gaze and as such he would prefer to keep him as far away from Lucerys as possible. This must be how Viserys felt watching Rhaenyra and himself all those years ago, and ultimately, much like Viserys back then, Daemon has no choice but to watch closely and hope that it does not blow up in their faces when the two collide. He has seen the provoking smirks Lucerys has sent One-Eye's way. Much like Rhaenyra, the boy is defiant and bone headed and does what he wants, and where Daemon likes those attributes in Rhaenyra in Lucerys, they drive him up the wall.

[mj-dev]

Long Post

Someone said Rhysand is too perfect to be morally grey and I almost laughed. So, let’s dissect him a little.

Rhysand is the second villain in TAR who torments and abuses Feyre. In the end, he reveals his true nature and his intentions of breaking free from Amarantha’s curse. He saves Feyre from Tamlin when their relationship turns abusive and offers her a home where she heals and grows to love him. Along the way, he does many unspeakable things which has earned him the ‘morally grey’ label. But I disagree.

Before we get into this in-depth, first we need to talk about what makes a character white, black or grey.

When is a character grey?

Morally grey characters are interesting and have more facets to them which make them more relatable than a perfect hero or an absolute villain. But the problem is modern media and literature are so cluttered with them these days that no one even knows anymore what distinguishes a hero with a flaw from a villain with a virtue from the characters in between. Everyone is morally grey as long as they make one mistake or they have ‘a reason’. 

There are key aspects when fleshing out a character without which they don’t have a leg to stand on—goals, morals and choices. It’s complicated and not a fixed scale, but for brevity, let’s simplify.

Goals: Greater good vs self-serving. These characters have their own agenda which doesn’t root in the common good or evil, although they may indirectly result in a bigger impact. The more these goals lean towards one’s personal gain, they fall farther into the grey area.

Morals: Defined vs None. Almost all characters (except villains) come with a set of defined morals guiding their choices, which when aligns with the general ‘good’, the character lies close to the hero and if they are self-imposed, the character slides along the darker greys.

Chosen path: Ethical vs Malicious. Finally, if they choose honourable methods to achieve their goals, they are closer to being a hero.

(Yes, I made a damn chart. That's how dedicated I am to my hatred)

So, a basic grey character should have a set of self-imposed values that guide them and should be willing to take ethically ambiguous steps to achieve a personal goal that may or may not align with the common good.

How does Rhysand fare in all this?

In MAF, Rhysand opens up about his dreams for the first time. He wishes to live in a free world where the higher and lesser faeries can coexist peacefully. He even named his counsel as Court of Dreams to signify this. Throughout the series, he’s the icon of fairness, justice and autonomy, and it’s his vision of a better future that apparently drives his actions in the plot.

The entire foundation of his growth and redemption relies heavily on the argument that all his vile deeds have been for ultimate peace. Though his values are reiterated over and over again to support the good guy narrative, his actions contradict every single one of them. It’s a lot to explore in detail, so let’s pick the most obvious ones.

Peace

Rhysand claims to wear the mask of a villain for the sake of Night. Despite his grand dreams, he never allies with the other courts. He holds a grudge against Autumn for a personal reason which doesn’t even include him. When Summer extends an olive branch and is the first willing to trust Night after centuries, he steals an artefact from them. He isolates Spring because of what the previous High Lord did to his family during a war, and he continues this rivalry after the fall of Amarantha until Feyre destroys it completely, and some after that. He often breeds hostility with other courts, seeks them out and ruins any chance of peace, all because he wants to keep his facade up which beats his vision to build an eternal utopia.

And under Amarantha’s reign, he claims to attempt to dismantle her from within but when the opportunity is presented, he’s the first to sabotage it. Feyre is the key to breaking the curse and when he reads her mind and knows her feelings, if he truly cares for peace, he could have made a truce with Tamlin and helped him. Or he could have influenced Feyre to confess her true feelings sooner. Instead, he is the cause of Tamlin and Feyre’s capture which leads to…well, everything. (Honestly, I can go on and on this alone.)

Equality

Hadn’t Night been in tatters, his ‘bad guy’ act to protect his people would have had more credibility. Instead, Rhysand actively encourages the segregation of Illyrians and the subjugation of Hewn City. Despite his experience in the Illyrian camps and being a first-hand witness to the atrocities, he continues to allow the military abuse on children and has done little to ban wing-clipping.

His life Under the Mountain for 50 years is similar to that of his people in Hewn City, yet he rallies for their imprisonment solely based on his prejudice. When Keir is willing to settle for limited freedom, which is a moment of vulnerability from the big bad guy and quite a selfless request, Rhysand shuts it down instantly. He then pretends to grant that wish when he secretly orders Velaris to discriminate against them on their visit. Moreover, he allows the oppression of women in this city.

Rhysand isn’t a commoner fighting the system in his court. He’s a ruler. He sets the law, he is the law. And yet, he has abandoned any notion of reform as ‘change takes time’ when he’s been a High Lord for 500 years. For a man who dreams of eliminating discrimination, he actively enforces it himself. He doesn’t even wish to fix his court but wants other courts to get behind his vision of building a better world. This contradicts his dream of fairness among all species when he can’t even extend it to his own kind.

Justice

Rhysand refuses to hold himself or his IC or Feyre accountable for their atrocities. And yet he’s the first to judge someone and execute their punishment right away. He slaughters the remaining of the Illyrian bands who sided with Amarantha when he and IC abandoned their court, while he was playing her lackey for 50 years. He villainises Tamlin for the crimes he didn’t commit and constantly uses his powers to antagonise him. He also disrespects the laws and authority of other courts. During the High Lords meeting, he refuses to accept the possibility of Tamlin spying for Prythian but expects his excuses to be believed for the crimes he committed under Amarantha’s rule or before that. He’s heavily biased on which deeds are forgivable and who are worthy of his benevolence.

His sense of justice is askew and it’s obvious with how he views Feyre’s imprisonment against Nesta’s, or villainising Eris when it’s Keir who brutalised Morrigan, or IC’s treatment of Nesta in contrast to Elain.

Freedom and Autonomy

Rhysand uses the word ‘choice’ quite liberally emphasising the importance of freedom in his life. He fights against Amarantha for the same. But he allows agency to others only as long as it benefits him or doesn’t get in his way. He violates others’ minds whenever it pleases him, especially when he feels threatened. He often uses it to establish his control or dominance over others rather than out of necessity. He exploits his High Lord’s powers as well, like with Nesta and Azriel forcing them to submit to his will, especially in matters that don’t concern him. After the war, he imprisons Nesta because of her ‘uncontrollable’ behaviour while still condemning Tamlin for doing the same. He takes away Feyre’s bodily autonomy during her pregnancy.

Compassion and Empathy

He’s quick to distrust someone and never gives them the benefit of the doubt but he expects understanding from others. Despite his Daemati powers and often taking control of others’ minds, Rhysand refuses to believe their intentions. He’s been terrorising other courts since he claimed his title and yet, he wishes everyone to take his words for truth (Winter children massacre). He can’t forgive a man who made terrible choices to protect the woman he loves and yet he expects everyone to believe he abused Feyre for her safety. He can’t forgive a woman who made a mistake as a child and is misunderstood by everyone when he claims to have endured it all his life and longs to be seen. Even after 500 years, he doesn’t offer sympathy to Eris. Feyre is the only one to have received his true compassion to some extent, and it’s not proof of his morals—she is the exception.

Morals and Goals alone are not enough when all the characters are morally grey

A morally grey character still needs…well, morals. But in the case of Rhysand, they are malleable and ever-changing depending on how he feels at the moment or what the plot requires of him. He’s a dreamer but wouldn’t make a change in his court. He’s a feminist who wouldn’t free the women in his court. He’s a sexual abuse victim but sexually assaults someone to rile a man up. He’s a child abuse victim but allows it to continue for his army. He contradicts his own values so much that they are not just inconsistencies anymore.

For the sake of argument, let’s assume they are his internal conflict in upholding his morals or his hypocrisy because of his upbringing. In that case, his struggles to go through his decisions and the aftermath of the events give us an insight. Here are the four criteria a character must meet to be grey.

Recognition of the harm: Rhysand is aware of the consequences of his actions at all times.

Remorse: He expresses it on certain occasions when it directly impacts him or people close to him. However, his actions don’t support this as he rarely hesitates to carry forward with his plans.

Redemption: After the harm is done, Rhysand never changes his ways. He only apologises when the outcomes serve a purpose—like convincing Feyre, making up with Winter, or shutting Morrigan up about Keir. He never atones for his sins, not for forgiveness from others but for his conscience which is vital for a morally grey character.

Reasons: They are BS. His actions don’t truly amount to anything and definitely don’t lead him towards his said goal.

The ‘bad guy’ act may not be an act after all

In TAR, Rhysand does a lot of outright evil things to keep his facade. At no point in the series, does he pay the price for his actions, feel burdened by his choices, or strive to clear his name.

Instead, he’s excused with his backstory. None of his past truly explains his drive for his present actions, they don’t motivate him in any way but every good deed he’s praised to have done is a deliberate insertion to counteract the wrongs he committed. He assaults Feyre but he was exploited by Amarantha, harassed by Ianthe, and he saved the priestesses. He terrorises other courts and carries out Amarantha’s orders but he’s the martyr who sacrificed himself for his city (which is already protected and a secret from his own citizens). He only cares about the people of Velaris, but he saved Morrigan from Hewn City. He’s deeply prejudiced against Illyrians but he took in two beaten down bastards of that race.

Moreover, Rhysand enjoys all this—belittling Illyrians, degrading and imprisoning Hewn City, tormenting Tamlin when he’s at his lowest, and vilifying Eris. Why would someone playing a role out of necessity enjoy doing terrible things? Even after revealing his ‘true self’ in WAR, he still hasn’t changed his ways which begs the question, why does he still need that cruelty or control? There’s a difference between deploying questionable methods to achieve one’s cause versus actively undermining it. Rhysand definitely falls in the latter.

In the end, Rhysand fails as a character

The only thing Rhysand has in common with a grey character is that he pisses off a lot of people in the series, and that doesn’t make him a misunderstood hero. He is not a complex character. He lacks the internal struggles that come with making the impossible choices for his goals and also the self-reflection to right his actions or even be remorseful of them. At this point, he is just an object to carry out sexual fantasies in Feyre’s story and a general pain in the ass in Nesta’s.

On the surface, he is morally grey whom SJM, later, chose to paint white in her narrative. He is neither. Instead, he has all the bones to be a great anti-villain or a villain, but he falls short in every way to be even a decent character.

[sapphim]

so I've been thinking about the politics of tranquility. I've spoken before about tranquility and the fragile illusion of chantry control.

I've been thinking about how the objection as stated to Ser Alrik's "tranquil solution" isn't that mages are being made tranquil, but that they are being made tranquil unwillingly, having passed their Harrowings. how Hawke says, "Doesn't Chantry law say that mages who pass their Harrowing can't be made Tranquil?" how tranquility is so ultimately distasteful, how its optics are so poor, that it is never meant to be meted out as a punishment, but as precaution. how an entire class of enchanters are free of its threat by law.

it is a "choice," an alternative to attempting and failing one's Harrowing. "they chose this," you are meant to be able to say, of the tranquil, "of their own free will. they felt it would be better this way. they're happier and safer now." how even Meredith rejects Alrik's proposal, despite presiding over such unlawful rites of tranquility from at least as early as Maddox, prior to 9:31.

I've been thinking about the level of responsibility that is placed on the shoulders of first enchanters like Irving or Orsino. how they can't control that templars expect to mete out punishment, but they can try to direct that punishment at certain targets to spare the others under their care. how Irving and Uldred, in cooperation with Greagoir, honeypot apprentices into taking up blood magic, to feed a steady stream of untrustworthy delinquents to the templars. how Irving plays favorites. how the first enchanter presumably has full control over the details of each apprentice's Harrowing.

I've been thinking about the apprentices who are browbeaten into believing they cannot possibly pass their Harrowings, or denied their right to one entirely.

I've been thinking about how, for poor communities, who can't demand a level of accountability from the chantry, mages taken to the circle often might as well just fall off the face of the earth. Carver says of the templars, in act 1, "So, they don't always just make you disappear, like it seems?" it's different for mages like Finn Aldebrant, or Connor Guerrin, or Emile de Launcet, whose families directly empower chantry rule and could cause a scene if they didn't like what they heard.

I've thinking about how the tranquil don't get to go home to their families, once their existence has been rendered "safe." because unpaid slave labor is an essential chantry asset, but also because the families who would still claim their mage relatives are exactly the ones who would be most likely to care about their mistreatment.

[greenqueenhightower]

I agree so much with your analysis of the of the moon tea scene but it also hit me that in this episode we see the Blackwood Lord bring up that he tried to win Rhaenyra’s hand. It’s a reminder that Rhaenyra had the choice and the privilege to choose her spouse, of course she lost that privilege but she did get to choose her children’s fathers. Alicent didn’t and her husband didn’t love hers.

Not that I think Alicent wants to be a mother again at this point in her life. She is a grandmother now (and Jaehaera has become her responsibility as well) and she is practically still raising her adult children and desperately wants her sons them to become self sufficient and less in need of guidance. But I think the pregnancy has again reminded her of a life she was never allowed to have because her life was already chosen for her by her father and Viserys at 14.

She doesn’t really want the child that would come from it but this is first child that wasn’t forced on her. She was a willing participant this time and this child was made out of big, emotions that are new to Alicent like love, lust, freedom, recklessness, indulgence and selfishness. In an another life that she was as never allowed, the child would’ve been born to a man who would be a great father- he has been a better father to her children than their own father.

Ultimately though, she is finally in control of her womb and drinks the tea. Which like choosing a partner this time and consenting to sex, enjoying it, being in control- this is another freedom she never had before. However, I think there is also a side of it that is still duty and sacrifice too though. Alicent is always going to do what she has to do with a stiff upper lip. She’s not Rhaenyra and knows how it would be detrimental to Aegon’s reign and Aegon’s cause for war. It would be the ultimate hypocrisy and an embarrassment to herself and her family. So she does her duty and she makes the only sound choice to be made.

I’m reminded of the line she’s going to say this season about how she always did what was expected of her and how she tried to live by the Seven’s examples and it all still amounts to nothing.

It’s not lost on me that in this episode she aborts the last child to ever take root in her womb. Then she uses the first child to ever grow in her womb as a conduit for all of her anger and negative emotions. She tells him that he has no idea of all the sacrifices she made in her life for him but like herself, he never chose any of this. Otto chose her life and in turn she chose Aegon’s.

So she blows up on Aegon, then he impulsively goes off to war on a dragon to prove himself worthy to her and worthy of his name and title. He’s then gravely injured by the hands of her other son and is on the brink of death. So it’s like once again the life of duty, sacrifice and rationality amounts to nothing. She did not successfully put her son on the iron throne and even after sacrificing so much of herself to protect him, he might still die.

Hi anon 💚

That is an interesting observation! Alicent never had any authority over her body, and she claimed this authority by choosing to sleep with Criston and also consciously choosing to abort his child. Perhaps she thought that had the circumstances been different, she might have wanted to have this child which wasn't conceived as a result of rape. Alicent understands that aborting the child proves to be yet another duty to herself and another sacrifice for the rest of her children.

It is interesting that Alicent can finally be in control of her own narrative, but at the same time, she is still confined within her roles and expectations. Her choice to drink the moon tea is self-liberating from one hand but restrictive from the other, because she knows she has no other option. She has tried hard to grasp and taste freedom, and yet she is still not entirely free. Because even if she wanted to keep the child, that would be denied. So again, she tries hard to gain some agency and control over her body but, ultimately, this is limited to what social conventions and expectations demand of her.

This is why I liked the framing in the last shot of the moon tea scene as the camera zooms out and shows Alicent already suffering her abortion pains, defined by the pillars and the furniture in her room that becomes her prison. No matter how hard she tries to escape, no matter what she does, she is still bound. It is so tragic to think about.

Your points about how she uses Aegon as a conduit for all her anger for what she had to go through minutes before but also what she went through her whole life make total sense. Aegon has become the representation of all her troubles and the manifestation of her trauma. She lashes out at him because she could never lash out at Otto or Viserys, and in her mind, Aegon becomes synonymous with the person "who started it all."

So Aegon takes the blame for being the reason she is still there, in the castle, confined by others' expectations, forced to dote on duty and sacrifice, forced to give birth to more children. He takes the blame for all of his father's and grandfather's sins, and in his face, she sees her pain but also her strength, perseverance, and self-claimed power, since he is the reason she has become the person she is. She would never change him for the world, because that would deny and negate all she ever lived for. The possibility that he might die and with him, part of her own sense of self-worth, must be harrowing for Alicent.

I can't wait to see more of them next episode. The dynamic they have is one of the best, if not the best, in the entire show.

[thewertsearch]

Just as it's up to you to face the decision to claim immortality before you enter your creation.

A classic perk of godhood - and one I considered to be an Ultimate Reward candidate, back in Act 4.

Hopefully it's a flavor of immortality that still lets you age. If Vriska's to be believed, then Sburb wants to be played by adolescents - but they don't need to be kids forever, do they?

TT: Are you saying I will? No. […] TT: Maybe this question will suit you better. TT: Is it probable? That's a strange question to ask someone who is omniscient and therefore knows outcomes with one hundred percent certainty. […] You have exactly a fifty percent chance of ascending to the god tier.

A non-binary probability? From an omniscient being?

That doesn't... that makes no....

Alright, screw it. I'll nerd-snipe myself on this one.

First of all - is Scratch taking doomed timelines into account? Because one way to interpret this statement is that exactly 50% of all timelines will feature Rose's God Tier ascension. If so, this is a functionally useless statement, as we don't know which category the Alpha Timeline falls into.

Another, more interesting interpretation arises if we assume Scratch is only referring to the Alpha Timeline - or, more accurately, the Alpha Timelines.

The whole point of the Scratch is to create another instance of the kids' session - one which can't be doomed, because that would render the whole endeavor pointless. Therefore, there's about to be a second non-doomed timeline in play, with a second Rose Lalonde.

If there are two Alpha Roses, and if 'Alpha Rose' has a 50% chance of ascending, then it sounds like only one Rose will ascend. Either our Rose will become a god, or the next Rose will.

Because, much like the decisions you must face to complete your dual suicide missions, you have two ways of achieving godhood to choose from. […] TT: By dying on the Quest Bed on my planet, and some other way? Yes. TT: Is there another Quest Bed somewhere? Yes. Good guess, Seer.

Aradia’s Time Slab, in Derse, functioned as a backup Quest Cocoon. Her ascension raised a lot of questions, and hopefully we're about to get some answers.

Notably, the Time Slab was able to ascend Aradia's dream self, long after her original body was lost. Can it only solo-ascend dream selves, or could Jade use one to ascend without Jadesprite? Could Rose use one, even after her dream self is consumed by the Tumor?

Also, why is this mechanic hidden from the Players? Is it even an intended feature of the game? I have to assume you're not supposed to learn about it from a corrupted First Guardian. The trolls completed the entire game, and none of them seemed aware of it - so when do you learn about it? What's it for?

TT: Where? What difference does it make? You already know where the first one is. You have the choice to go there right now and take your own life.

You have the choice, but it’s obviously not that simple.

'Logically', every player 'should' God Tier as soon as they learn it's possible - but we're dealing with people here, not ratfic protagonists. It’s not easy to go through with something like this, even when you know it’s exclusively beneficial.

[silviakundera]

Does it feel like they're trying to redeem the dickless bore? idk if he's doing a con on her or they're showing he has real feelings for her wasn't the novel different?

One thing I'm really noticing in the Princess Royal (Grand Princess) adaption is that they will 'play it straight' with characters like Su Rongqing and the Emperor: giving the character similar dialogue and facial expressions as they would have in the novel -- except without PWX or LR's internal dialogue of 🙄 why u lying???

🙄 lol ok sure

😒 oh i see, back on your bullshit again

😤 the AUDACITY

😬 oh shit oh shit danger BE COOL

The consequence is that if you take everything at face value, the Emperor seems like a reasonable guy and not up for The Absolute Worst Dad award. Under the surface, the novel reader knows he is acting out a play and coldly calculating every interaction with Li Rong, the Crown Prince, and Consort Ruo. Every single scene with him, Li Rong is in peril and she knows it. She's pretending to be his sweet, obedient 19 year old daughter who believes in him and is following Pei Wenxuan's direction and acting as a puppet, making moves that he has already approved PWX to make. The Emperor's pretending that this play isn't supposed to end with LR and the Crown Prince taken down & the power transferred into Consort Ruo and the other prince's hands.

The viewer can just interpret all the words coming out of a character's mouth as facts & just believe everything they claim about their motives/real agenda as true. Or they recall the implied horrorshow of Life 1 and view all of these interactions with a cynical eye, questioning what else could be under the surface.

With SRQ, that guy is so fucking complicated. I think actually he's portrayed in character. Nothing we have seen isn't .... him. At least so far, as of ep 19 he aligns with the novel.

But 3 different factors: A) The music is romantizing him; B) The audience is given a couple internal-thought voice overs from him, which other antagonists don't get; C) With those voice-overs, the screenwriter has chosen to affirm his love for his brother and LR way earlier than the reader has it confirmed in the novel (where he is intentionally kept a total mystery for far longer, while the reader is the math lady meme, trying to piece together clues to figure him out).

And ultimately, when in SRQ's PoV in the drama, we have to deal with him being the hero of his own story. He is absolutely sincere about himself and, as has been revealed, in his own way he's sincere about wanting LR and his brother to have a good life this time around.

So does that mean the writer intends to do a swerve in the narrative arc and redeem him in the end? It's totally possible. Maybe?

However, not necessarily.

#1 There is a certain refrain from many of the great cnovel/drama villians: I had no choice! You all forced me to this!

We saw it from Shen Yurong in The Double, we saw it from Meng Yao/JGY in The Untamed, and in the novel (and I presume in the drama), we're gonna see it from Su Rongqing.

And it's the reason why they become villians who can't be saved. Because so many people suffer in life or experience unfairness. But they don't turn around and use this as an excuse to enact horrible cruelties on others.

Out of the billions of people in the world, few have no problems but so many of them actively chose to do good, or are willing at least to turn back and be better.

#2 imo the reason LR has historically been bad at reading people's hearts but has an exquisite read of SRQ, his flaws & darkness, is THAT'S HER FUCKING MOM. And I do think ep 16-18 put that out there in the text, if you're looking for it. He and the empress are the same sophisticated aristocrat who is clever & educated but with a narrow perspective limited by their privilege and desperate need to maintain the status quo. So sorry bro, but no wonder she might have settled for marrying you in the first life if you wanted to, but she was never gonna fall in love with you 💀.

PWX can see that SRQ loves her and he thinks that matters, so it scares him. LR has tender nostalgia for her empress mother and her former companion but she's all too aware that their love for her will not necessarily get in the way of stepping on her to protect the social structure of a powerful aristocracy class operating at a higher level above the peasants and restraining the throne. To them, this is safety and stability that guards the realm.

(ofc both those characters are complex and when it comes to LR's life & death we can't be confident on what they will always choose. that's part of what made all the palace drama aspects of the novel incredibly suspenseful. So many of the suppporting characters are layered and tho everything they do makes sense when it happens, you can't often predict people's hard choices when their back is up against the wall)

Story of Kunning Palace and The Grand Princess say that caring about people and trying your best to understand them, wanting what's best for them by listening to what's best for them, can make a huge difference. But not everyone is willing to change.