#within which i can analyse these characters

[elizabethrobertajones]

kriles summer trust top is kinda problematic tho... lalafell r smol and should be wholesome.

Aw, come on.

I'm sorry but I have to disagree because within the fiction, lalafell are just as mean, gross and horny as anyone else. Gegeruju is a perv, and the whole Ul'dah Syndicate is full of evil little bastards. On the good side, lala are just as complex and grown up as anyone else - Tataru courts followers and dances in a skimpy outfit in the Forgotten Knight, Giott is a roaring drunk stereotypical fantasy dwarf (not to mention whatever the heck is going on with the Tomra and Komra dwarves in general tbh :P). And Lamitt's story was sweet but it did involve her having adult feelings for Ardbert.

Like, really, I can only think of 4 completely wholesome lala out of a cast of hundreds, and they happen to mostly be the ones we've interacted with a lot (Nanamo; Pipin who is a Heroic Knight archetype; Papalymo, who was a grumpy old scholar man; Krile). But that's more about them being main characters serving roles in the narrative rather than indicative of how lalas behave as a whole. In fact after going through ARR, meeting Pipin and finding One Good Ul'dahn Lala is an enormous relief (since the other one is apparently dead now).

And Krile is a main character now so she's allowed to step out of the shadow of being uwu cat hoodie girl who wasn't written with much depth outside of being serious and earnest and rather spooky; she's actually 22 years old according to the first wiki I found - regardless of if that's totally accurate she's definitely meant to be a peer of the other adult Scions and they all treat her like an adult. Her introduction cutscene has her ribbing Alphy as an older friend laughing at how a much younger one used to behave, so we're supposed to immediately understand on meeting her that she's post-teen since she knew 11 year old Alphy and was of course older than him since he was a freak entry into the Studium at that age. Probably a necessary writing moment because establishing lala's age with hilarious moustaches or deep voices or whatever is a part of how the game has to present them.

Out of the fiction, I know lalas are part of a much wider trope that people do find problematic as a whole (e.g. just because in universe Tataru has babes across the globe and that's normal to everyone involved, who are consenting adults in a world which wholly understands Tataru as a consenting adult, is it actually really creepy that it's happening at all because her body type is toddler-esque? Is it weird in general that lala emotes are SO baby in the same way miqo emotes are SO kitty?

ffxiv definitely goes waaay further into borderline creepy territory than many games with smaller fantasy races in it, when it comes to how lala look, so yeah I know it's a fraught area and can be discomforting to see the game present child-shaped people as having adult desires and a thing some people understandably set aside along with other elements as things they're not happy with co-existing in the game with things they really love.) We can absolutely talk about that on a meta level of how we relate to the game and feel about it, just like things we find racist or uncomfortable in other ways e.g. eng translation Hien's treatment of Yotsuyu being a really problematic point.

But, that's one thing, versus talking about us here in fandom and how we relate to it, and I think your ask is, well, really not very deeply considered on any level, but I think is talking about how we as fandom relate to lalas, based on an inaccurate reading of them in the game, meaning you're really not even analysing a thing about it and therefore your ask comes more in the terms of policing how we should FEEL about Krile's beach outfit, and dictating that we SHOULD find lalas smol and wholesome, and that therefore there's an inherent problem in anyone reacting positively to the outfit, rather than critiquing its place in the game in the first place. Having hit a cognitive dissonance in seeing swimsuit Krile existing you've come to me to complain it's problematic rather than taking any actual meaningful action. Ergo, this is a fandom problem to you, not a game problem. WE should find it problematic and say so, you are implying, shocked that so many people looked at a post about the beach outfits and no one commented as such.

Aside from lalafell being fictional and at no point other than the visuals are they treated as children (and emotes aside, playing through the MSQ as a lala wol you easily fall into seeing them as an adult because of course all the cutscenes share the same level of gravitas no matter what you're playing or what clown costume you have on any player), there ARE actually real humans who are built somewhere closer to lala than not, and would be drawn to playing any of the smaller races in a game (like, gnomes in WoW, halflings in D&D, etc) because that's just their chance at representation. And because FFXIV doesn't have anything other than precious moments doll-shaped people the look might be great in the sense that they have the proportions of a cherub statue and it is a lot harder to meet in the middle than a halfling (notoriously hairy middle aged bastards and much easier to read as adult, though that doesn't exclusively represent people who've had growth developmental differences), that IS still the only representative option some people have in the game and if they want to indulge it rather than play something else with proportions forced on them by many games, then what the hell is wrong with that?

And they WILL go to bat for lalas and get upset when people say that they have to be precious baby characters who act like children. I've seen that on tumblr: there's a whole lala community who keeps kinda low key and away from everyone else by their own admission BECAUSE as soon as they get too much attention they're deluged with hate for playing characters who have adult desires and dress fancy - or, you know, like any other random slutty elf WoL. The fact I wandered onto lala blogs at random and saw that complaint on the first pages should speak to how often they have to deal with it. And, again, within the fiction of the game their characters are completely 100% normal and doing what other lalas who are written by the game do as well. I KNOW those blogs are out there and they'd be scared of getting this exact ask, and it would greatly upset them and ruin their day and put them off having any interaction with the community, which fucking sucks. We're here to have fun!

That said I'm not a weirdo anti all up in others' business, it's also fine to just like lalas and stuff without some huge circumstantial justification like "they look like me" - or - "my IRL wife" or whatever - you can also just play a lala or ship with one and it's like, your business. If that's all you're doing and it's not a hypothetical child molester who also has a whole gallery of lala porn that the cops find when they impound the computer full of REAL CHILDREN stuff as well it's never going to be anyone else's business anyway, ever, and that's like, one hypothetical awful person for a whole fandom of normies who are just surprised by how much idk Pipin's deep voice rocked their world and changed their whole perspective on what a hot character was.

Like, granted, that one HYPOTHETICAL weirdo will make everything rancid because there are people waiting to jump on people who like lalas, but also it still won't actually change what other people are doing into being Evil just because someone who actually hurts children found lalas attractive too. That, again, was the hypothetical awful person's problem and not theirs. And in no way can we just casually imply ALL people who like lalas are just inherently going to be dangerous, like real children, or enacting a private psychodrama teetering on the edge of all that.

They could in fact be completely average and boring psychologically and also have a crush on Tataru. Or, I guess, normal amount of weird for a fandom, but basically average XD In a fictional world where these characters are treated as adults, even normal people will naturally end up drawn to them as adults because, well, that's the story that's we're all engaging in. It's not inherently a thought crime to do so, because, weirdly, thought crimes don't exist.

Also, of course, people will literally discourse that hobbits are child-coded and shouldn't be shipped or seen as sexy, despite the most famous halflings, who made the entire halfling race as a generic brand, all being middle aged, hairy, smoking, drinking, guys with normal adult desires and mindsets. I mean yeah Elijah Wood was 18 when they started filming LotR (over several years so he was Krile's age by the end :P) but also Frodo celebrated his 40th birthday before setting off on the Ring Quest in the book and he was the baby of the group aside from Pippin.

In any case, there's no fucking winning and so I can understand completely that if a fucking Hobbit from Lord of the Rings gets shit for being short, and people are getting called a perv for fancying Sam Gamgee, then why not just embrace it with a Lalafell because you're literally damned no matter what in the eyes of someone who won't meet a LOTR HOBBIT where he stands as an adult man.

There's some DEEP puritanical brainrot going on online and I don't want to be a part of it whatsoever, so it means accepting lala likers for the sake of protecting Merry and Pippin's right to be seen as hot, than like, I know which side of of the line I'm dragging my beach chair. It's not even a question. I'm defending people who think lalas are appealing.

ANYWAY none of this is my business, I don't even find lalas sexy, I just think Krile looks nice in her cute summer top and it's lovely that she's getting fashion advice from her besties, and there's a million reasons to be happy about that and for her as a character, and only miserable bastard reasons to go "aurgh aurgh it's problematic" and condemn the game and everyone who plays it just for enjoying something. Lalas are NOT smol and wholesome, they're short and people, and that's fine.

[greenfiend]

The Significance of Lover’s Lake and Byler (Theory)

'Cause we're lovers, and that is a fact

Yes we're lovers, and that is that (Heroes by David Bowie)

Part 2 here

(Warning: This post has mentions of sex (nothing graphic)… if you’re uncomfortable with that please do not proceed.)

So, Lover’s Lake has existed within the show ever since season 2, when Will mapped out the entirety of Hawkins. The lake is shaped like a heart (keep this in mind for later) thus the name “Lover’s Lake”. Makes sense within the town of Hawkins, but does not provide an explanation on a subtextual level. None of the “lovers” existing within the show has been associated with the lake (you could say Steve/Nancy but honestly it’s a stretch since they never actually rekindled their romance.)

This leads me to the question… why call the lake “Lover’s Lake” without associating any lovers to it?

Because maybe, there will be lovers connected to it… but they aren’t lovers… yet.

Okay, let’s get back to the shape. A heart. ❤️ Hm. Now which character within the show is most associated with hearts? Which character is even referred to as the heart by their love interest?

Mike.

I don’t think it’s a stretch to say that he’s one part of the “lovers” here. Thus ruling out many other romantic pairings within the show. Leaving only two pairings: Mike/El and Mike/Will. I won’t go into detail on why I believe Mike and El will inevitably break up, you can read a lot of different analyses for that. So that leaves… Mike/Will. Not lovers yet.

Okay, here’s the part where I may get crucified. The definition of lovers.

Please put your pitch forks down for this.

Lovers usually refers to two people in a sexual relationship outside of marriage.

With all the subtext (and actual text) around sex and sexuality, and how we see Will struggle with his own sexuality, there is a likely conclusion here. He’s going to confront his sexuality. To do so, he will have sex. With whom? Well, with the one person he loves the most, the one he affectionately refers to as the heart… his best friend… Mike.

Now, where’s this going to happen? What better location than somewhere empty and secluded.

Reefer Rick’s lakeside house.

Now, who is “Reefer Rick”?

Also known as, Rick Lipton, Reefer Rick is a drug dealer who’s closely acquainted with Eddie.

He’s an enigma. We never see him. All that is known about him are the things mentioned by other characters.

He’s currently in jail apparently for dealing drugs. Also, he seems like a town pariah.

Also, he isn’t too keen on Fast Times (returned on time), at least not as much as “Cheech and Chong” (returned late each time.) That shot at 53 minutes and 5 seconds in Fast Times doesn’t do it for him, I guess. Unlike watching two guys get high.

His name choice is an interesting one.

“Reefer” Rick Lipton.

“Reefer” is a synonym for “marijuana cigarette”. Okay, makes sense, he is a drug dealer after all. But why the term “cigarette”? Well… there’s this other word that also happens to be a synonym for “cigarette”…

Then Rick… short for “Richard”. Richard is one of the few names out there with a nickname that is also slang for male genitalia… “Dick”.

Then finally… Lipton.

As Robin says, spelled like Lipton tea. Now, why would the writers use the name “Lipton” and even reference the tea company if there were no significance to it? They wouldn’t. We know this about them.

So why “Lipton”?

Let’s do a bit of research here, shall we?

The founder of Lipton tea was a man named Thomas Lipton.

Thomas Lipton just so happens to have been a closeted homosexual man who had a long term relationship with another man whose name is… *drumroll please*

William Love.

Okay, that can’t be just a coincidence right?

So moving on to Reefer Rick’s house.

We see glimpses of his living room, kitchen, and briefly his bedroom.

Jason and his buds are searching for Eddie and this involves looking under the mattress? As if, Eddie could successfully hide under there? Haha okay sure.

The angle of this shot is interesting too, because the bed is essentially being shown off to us.

This bed with a blue blanket and yellow sheets. Hm. Interesting.

Keep in mind this scene is essentially unnecessary. They could have easily shown Jason et al searching for Eddie without creating an entire new set for a room that’s only used in one single insignificant shot. Therefore, I do not think it’s unreasonable to believe this is used for foreshadowing.

Then we also get this shot from outside the window into the bedroom.

Look familiar? I thought so too.

Okay. Now for my theory/prediction.

As I mentioned earlier, Will is currently struggling with his own sexuality and feels a lot of shame and internalized homophobia. There’s also a lot of evidence that Mike is experiencing the same thing. Unlike Will, Mike conforms to the society’s expectations. He dates El, performing as her boyfriend. This is comparable to Nancy’s arc in season 1. She also conforms, and like Mike, leaves her best friend behind. We all know how that ended.

Now, what better way to wrap up the show than to have Mike correct his sister’s mistake? To have Mike reject societal expectations in favour of his best friend?

Okay so this is my theory.

Mike and Will have their first kiss an episode or two prior to 5x07. Tensions are high, but they’re busy fighting interdimentional monsters along side their friends.

Then comes 5x07 which somehow leaves Mike and Will alone by Lover’s Lake. The tension between them reaches an all time high, leading to a passionate kiss and then… more. Let’s just say it involves that blue and yellow bed.

At the same time as these two become the lovers they were meant to be, another character is being saved, or perhaps being brought back to life. Perhaps another red head, one we all know and love. Yes, a major parallel and contrast to Steve/Nancy’s sex scene in season 1, which featured Barb dying. But because Mike is rejecting conformity and being authentic, another character lives instead.

I mean, what better way to represent the beauty of the love and intimacy between these two boys? Their love is literally bringing back life to the world.

So yeah, basically I’m saying that Mike and Will expressing their love for each other will save Max.

This also wouldn’t be the first time that Max’s survival is correlated with their relationship. As I doubt that it was merely a coincidence that in episode 4x04 we have Mike’s genuine monologue to Will, then we have Max surviving Vecna. In contrast to 4x09, which features a forced monologue from Mike to El, followed by Max losing to Vecna and barely surviving.

So, as their bond strengthens, Max’s life bar goes up (so to speak). If something interferes with their bond, Max’s outcome is more dire.

The writers have also been associating Mike/El with death…

[Tumblr only allows a limited number of images so pretend we have one of El holding dead flowers and another image of the cut scene from 3x05 with Mike/El having a moment cutting to a dead body on the hospital floor]

Mike/Will on the other hand have been associated with life. The birds chirping in the background of their final scene together, the flowers blooming between them as they stand together. Plus, blue plus yellow does equal green after all. Which is the most commonly associated colour with life.

🌿🌱🌳

To conclude, I just want to say that I personally think this would be a nice way to end their arc. I know a lot of people are uncomfortable with associating Mike/Will with anything sexual… but the show has been doing this already. Whether you like it or not, Mike and Will have been shown implicitly and explicitly that they desire each other both romantically and sexually. The fact that they have sexual desire for each other does not minimize or trivialize their friendship and love, it’s an aspect of it… adding another dimension to their relationship.

Do I think or hope they would show anything pornographic? Absolutely not (do I even have to say this?) But explicit like Steve/Nancy? Yes. Do I think they’ll be only 14/15 years old when this occurs? No. This will likely happen after a time jump.

Being authentically yourself and not conforming is overall a major theme of the show. I mean it’s called Stranger Things after all. Will people be upset by the ending of this arc? Bylers included? Absolutely. Many people within the town of Hawkins and people watching the show will both show disgust for it. But that’s the point. It’s not “normal” and that’s okay. Different is good, and can be a beautiful and wonderful thing. We all just need to open our minds and hearts a bit. I’m not just talking about the GA; many Bylers are also closed minded and stuck in their ways too. Let’s all try to work on that, shall we?

Despite the opinions of others, Will and Mike will choose to love each other which will inevitably lead to their defeat of Vecna. Love concurs all. It may be cheesy and cliche but personally? I think that’s a beautiful thing. We all can learn to love more.

Anyway, would love to know your thoughts on this.

Then we could be Heroes, just for one day

Part 2 here

[torawro]

I’D DIE FOR YOU (AND I HAVE). ( s.a. )

sousuke aizen & black!fem!reader.

cw ━━ ! minors, blank and ageless blogs DO NOT INTERACT. reader is portrayed as a black woman but you do not have to imagine her that way. using this map of the seireitei as a reference (i searched high and low for a consistent accurate one but it was hard). the first half is set pre-ryoka invasion / pre-soul society arc. the second half is aizen-centric (from his pov told from the 3rd person) and set post-tybw arc, years after he was sealed away in mugen, also including mention of events from vol. 1 of can't fear your own world (a light novel that's post-tybw & can be considered canonical); so all this being said: SPOILERS i guess???? of course you're welcome to read if you don't care about spoilers! somewhat based on 'die for you' by the weeknd & even more loosely based on 'dark red' by steve lacy. contains themes of heavy-ish angst, existential crises (?) & inner emotional turmoil within reader + aizen (separately). descriptions of character death, blood and violence. descriptions of manipulation/mind games. aizen is an unkind man. proofread (i did my best).

word count ━━ 11k

notes ━━ ! the way this fic was supposed to finished a month ago...but life once more gets in my way. and the way that it's this long....i anticipated the max being 10k but i greatly underestimated how long it would take to flesh out my idea. anywho i'm somewhat reentering my bleach era again. i’m not sure what it is but character analyses in the form of fanfiction is my jam rn like i really enjoyed writing this (i got tired of the length by like... 7k words lmao) but i like how this turned out. i've watched & read quite a bit of content that provide explanations as to why aizen is the way he is so i wanted to try my own portrayal of that in the context of canonical events. how i characterized him here is partially inspired by a fic i read about him last year so shout out to them for their support :D i hope i've depicted and humanized aizen well ♡. reblogs + commentary are heavily appreciated!!!!!

THE PAD OF YOUR THUMB SLOWLY glided against your bottom lip, the lingering aftertaste of jasmine tea still on its surface and on your breath. The absentminded motion of your thumb caressing your mouth, as if in deep contemplation, continued as you stared at the clock hanging on the wall above you.

It was past eleven, and the midnight hour only continued to draw near as time sustained its temporal march. And there you sat at your desk, floating in the limbo of your mind that was filled with hesitancy and admittedly, budding anticipation.

Your gaze lowered to the now empty porcelain cup, nothing remaining of its contents except the shriveled remnants of herbs and a few wayward drops of the brew.

Your senior comrade, captain Sōsuke Aizen, was correct in his prediction that you'd take a liking to its floral and delicate taste when he gifted you a jar full of the jasmine tea leaves as well as other ingredients.

The captain of Squad 5 seemed to be correct about a lot of things.

His intelligence and foresight, along with his kind and politely witty disposition, were qualities that you found somewhat charming, and gradually drew you closer to him.

Being the current third seat of the 9th company, your barracks and those of squad 5's were relatively close to each other's, so often you'd catch glimpses of and run into Captain Aizen on a pretty normal basis. Over the years, the conversations that bounced between the two of you expanded past the realm of formalities between a higher and lower ranking officer, and instead ranged in territories from literature, to art, to food & drink, and even to the politics of the government for which they were soldiers for.

Sometimes, you found it hard to believe that you managed to befriend a man like him. A man who seems to have mastered the balance between being a gentle soul, helpful to others, but also possessed enough refined power and skills to be named a captain within the Gotei 13.

Especially a man who wasn’t even of your own squad.

Despite the increasingly friendly relations and generally pleasant conversation, there were few moments where Aizen's words didn't feel quite. . . . real━ he didn't feel real. He spoke eloquently, often relying on figurative language to further illustrate his point and to breathe meaning into seemingly plain and meaningless words. But at times those words, his tone felt stained; stained with some substance or color you couldn't quite place. An enigmatic façade was painted over his speech, and it took too much mental capacity to try and find your own meaning in it.

So you'd often brush it off. Your over-reliance on your own reasoning that 'you weren’t able to come to a conclusion because there is no problem a conclusion could be generated from' successfully quieted your mind’s voice. You'd also frequently blame exhaustion, or your newfound hobby of watching human psychological crime shows during your off days for these subconscious ideas you had.

But you feared that the request Aizen made of you yesterday, the source of your current predicament, couldn't be blamed on any of those things. You looked at the clock again before returning to stare at your empty tea cup. For what reason could Sōsuke Aizen wish to meet you outside of the 1st division barracks? Specifically at this hour? You immediately thought of his question as uncharacteristic of him but prevented yourself from jumping to any further conclusions.

Aizen was a reasonable man, and you were sure there was a reasonable explanation.

With a final sigh of acquiescence, you stood up from your sitting position to retie your yukata before slipping a thicker, dark colored haori on top. You were unsure how cold it was this late at night or how long you'd be out, but it was better to be safe than sorry.

You paused for a moment, glancing longingly at your vanity mirror a few times, clearly torn between a decision, before giving in with a soft groan. Grabbing your favorite perfume, you quickly spritzed the spray onto both your inner wrists, either sides of your neck, and stray areas on your clothes. You’d proceed to make sure your hair was in order and your lips were as moisturized and glossy as a pair of tear-filled eyes before making your way to the door and slipping on your sandals.

Meeting with a captain— with Aizen of all people— in the dead of night resembled too closely to forbidden lovers rendezvousing under a fruit tree to fulfill their desires of embracing one another, with no one but the moon as their witness. The comparison alone caused the apples of your cheeks to burst aflame with embarrassment, and you lightly chastised yourself for even indulging in such an inappropriate train of thought. Such a scenario seemed far too deluded to even be considered ‘wishful thinking’.

But those delusions still seemed to make more sense than whatever other conclusion you have yet to reach.

Making your way out of your personal quarters, you activated your shunpo technique, stealthily hopping from one rooftop to the other in an effort to make it to Squad 1 barracks quicker.

After several minutes, your mind mostly engulfed with the 'what if's', the soles of your sandals finally touched ground, and you stood a few feet away from the massive walls and bridges that connected to and from the barracks. Even at night you were able to make out the bold-printed kanji for the number 1 that was painted on the building.

When you arrived, even from a nearby rooftop, you didn't see anyone around. Feelings of confusion and worry began to creep up and flicker to life in your mind.

But, as if your thoughts were as audible, you felt a light breeze of wind behind you, a familiar sound that indicated someone had made their presence known.

Startled, you reflexively reached for your zanpakuto, when you remembered that you hadn't even brought it with you. It still laid against the wall near your bed, just where you placed it earlier when you were relieved of your duties for the day.

You didn't think you needed it necessarily if you were just going to meet with Aizen, hence why taking it with you slipped your mind.

The flickers of concern were swiftly extinguished as your brain caught up with your body upon realizing who just appeared. A relieved sigh left your lips, a breath of air that seemed to release all the tension that had a grip on your heart and wound tight within your muscles. "Ah! Good evening Captain Aizen. You caught me off guard for a moment there."

"My apologies, that was not at all my intention." The Fifth Division Captain sported a dark colored scarf, his long captain's coat and the standard shihakushō all Gotei officers were supposed to wear. In the sash around his waist resided his own sheathed zanpakuto. His tawny hair maintained its usual part but looked slightly tousled, yet still remaining so in a meticulous fashion that made it look intentional.

The state of his hair alone, and his current facial expression made Aizen look more . . . approachable if that’s how you were to describe it. There was a glint in his eyes that you had seldom seen before.

"Thank you, for making your way down here to accommodate my rather. . . . atypical request. I again extend my apologies if I have inconvenienced you in any way."

You shook your head in reply, "It's alright, I wasn't doing anything too important anyway. Just having a cup of tea and delighting myself in a book before bed."

You glanced downwards at the foot or so of space that was wedged in between the two of you. You forced away the murmurs of your lingering thoughts that took note of how the moonlight and shadows danced across the surface of Aizen's face just right, and emphasized his decidedly handsome features.

"But having a complete and good night's rest is important to be fully functional in all areas of one's performance. Wouldn't you agree?"

You couldn't help but chuckle softly. "Yes, I do agree with that sentiment."

Aizen all but hummed in acknowledgement, letting a moment of silence fill the air before speaking again.

"Shall we be on our way?"

You nodded in agreement, following him as the both of you walked about the First Division grounds. From what you could tell based on your position, your aimless nightly stroll drew you closer to where Sokyoku Hill was located. The area became increasingly more grassy and contained less buildings.

Although Squad 1 grounds weren't terribly far from either of your barracks, you still weren't sure as to why Captain Aizen wished to meet out here. Initially you thought that perhaps he was just fond of this particular scenery, but really it could have been anything.

But still, you believed Aizen always had a purpose for everything he did.

After several moments, his warm voice replaced the evening silence, vocalizing your current thoughts. “I assume you are contemplating why it is I have asked you here, and I’m afraid the reason is quite benign. Truthfully, I just wished for your company. I often go on night walks to clear my head after a long day and thought I might invite you to join me this time, and have a conversation with each other."

Your brows shifted upwards, for that was not quite the answer you were expecting. It seemed too . . . simple. “Really? You just . . . wanted to talk with me? Plainly?”

The Squad 5 captain let out a short, soft laugh at the disbelief that was painted on your face. There was an expression of fondness present in his eyes and in the light smile he offered you. “Yes, exactly. I quite enjoy our discussions actually, they’re intellectually stimulating and relatively pleasant. You crossed my mind, and before yesterday, it has been quite some time since we’ve had the opportunity to unwind and talk.”

You hummed an mhmm in agreement, tearing your eyes away from Aizen’s side profile in favor of the hem of his captain’s haori, watching how it danced in the soft breeze. It seemed to be less distracting than the way Aizen peered down at you from time to time.

"I see. I am. . . . truly flattered by your words, Captain Aizen; you're too kind. Forgive me for asking but," you took longer strides so that you could fall into step next to him━ as if to speak to him more directly, "Why at this time? To talk with me, I mean. It couldn't wait until more . . . . . conventional hours?"

He chuckled again, and answered as smoothly as if he were awaiting you to ask him that. "Unfortunately, today's tasks ran a little long today, so I had to stay at my office later than usual." The spectacled man paused for a moment, before setting his soft gaze on you, "And besides, that completely defeats the purpose of inviting you on a night stroll, doesn't it?"

You ignored the heat flaring up in your cheeks again. Your mind refused to move past the fact that you had crossed Sōsuke Aizen's mind enough times━ or the times that he thought about you were significant enough━ and highly enough to invite you into his realm and indulge in these moments with him, when he very much could have done that alone.

A tender smile appeared on your lips, more towards yourself than the man next to you. "I. . . suppose it does."

The ashen-white moon only rose higher in the sky, providing an ambiance of tranquility as the both of you talked about whatever crossed the surface of your minds. Other times, the stillness of the night did the talking, and you'd listen to the leaves, and the wind, and the crickets sing together in harmony. Gradually as you walked and the beaten path grew more narrow, your figures drew closer together, until you could feel the long sleeves of his haori brush against your own.

You hadn't noticed that the two of you eventually stopped walking and paused under a tree until Aizen struck up conversation once more. When he called out your name in that gentle, velvety voice, you swore your heart was going to lurch out of your chest. The sound of your name rolled of his tongue so smoothly, the desire to hear it again grew within you.

"Uh━ yes, Captain Aizen?"

"Are you satisfied with way things are at the moment?"

You stood next to him, perplexed at his inquiry due to its vague nature. "Um, what. . . . things? I'm afraid I don't understand what you're asking."

The wind brushed Aizen's dark ochre tresses across his face as he took a step towards you, like the breeze itself was pushing him towards you. "Hm, perhaps I should be more clear then. Are you content with being a soul reaper? Are you satisfied with being a soldier for the Soul Society?"

With your brows slightly furrowed in thought, you remained silent for several seconds and overanalyzed his every word, trying to predict where he might be steering the conversation now. The longer you thought it over, the stronger that nagging feeling from within your soul became. The one that often told you what he was asking wasn't exactly . . . it didn't quite feel . . . . .

"This feels like a prelude to another insightful discussion on Shinigami━ and by extension━ Seiretei politics." Your words cut off your own thoughts, as if your mind was trying to sweep something under the proverbial rug.

Aizen huffed in amusement, before lightly shrugging, leaving your statement definitively unanswered.

You sighed as you seriously considered his question this time. "I mean sure, I guess. I'm somewhat satisfied with my job and all of . . . this," gesturing your hands in the air around you to emphasize your point. The 5th Division Captain made another humming noise, indicating that you still had his full attention. He inched a little closer into your personal space.

The mere action caused your next words to die in your throat and a quiet chuckle resounded from his, before your thoughts revived themselves again.

"Of course things could always be better but. . . . y'know. This is just how it is." You weren't quite sure if you should voice negative opinions about the Soul Society so plainly to a senior officer, even if he was the one who asked you in the first place, so you treaded lightly.

The same plainly relaxed smile from earlier remained painted across his lips, held in his chestnut irises was an emotion akin to affection. He seemed somewhat pleased that you were expressing your thoughts with him.

“And you? Are you satisfied, Captain Aizen?” You were unable to keep the teasing endearment out of your tone as you returned his gaze, casting aside the notions of Gotei officer seating and ranks for the moment. The air seemed like it shifted━ towards what, you weren't sure of━ but it kind of made you feel like you were adrift, floating in isolation from everything else around you.

It was still hard to process that you were alone with Captain Aizen right now. . . . at night.

A low hum reverberated within his chest, contemplative in nature as he replied, “Perhaps.”

The wind whistled lowly again, erecting goosebumps on whatever part of your skin happened to catch the midnight breeze. You fought the instinctual urge to twitch towards the nearest source of heat, which happened to be Aizen. Now that would be even more wholly inappropriate than the 'lovers meeting at midnight' scenario.

The silence between the both of you was brief, but comfortable nonetheless. Once more his mellifluous voice cut through the quiet, leveled and calm, like still ocean waters.

“Come. I want to show you something,” Aizen reached his arm out towards you, your spine as straight as if someone stuck a metal rod dipped in ice water down your robes.

The captain's movements seemed steady and slow━ it had felt like time itself had hesitated for several moments. You thought he was going to . . . . well you weren't sure what he was going to do, and that's what you made you nervous.

Was he going to touch you? Cradle your cheek? Remove a stray leaf that happened to land on your head? You were left somewhat dangling in anticipation, not daring to flinch backwards because you felt it would be disrespectful or offensive. You hadn't even blinked, subconsciously fearing that this was only a very vivid daydream.

But alas, when his arm drew near it extended past your head, slightly above you, and held a small branch in his palm it like a delicate flower. You released a breath you didn't know you were holding, but that breath drew short again when your gaze was eye level with his lower neck and chin.

He seemed . . . . closer.

“I think that regarding the condition of the Soul Society," Aizen began in a quiet voice, referencing his own reply to his earlier question, "and therefore my thoughts about it, is akin to this set of leaves on this branch."

Snapping out of whatever stupor you seemed to have slipped in, you exhaled softly before stepping back a bit to look at what he was talking about. In his palm he cradled a wayward branch that grew from one of the other sturdier branches of the tree. The green foliage of its arms had started to weaken and dull in color. The cold air due to the seasonal transition to autumn caused the leaves become brittle, nearing closer to the edge of death.

The sound of just how brittle they were resounded in the air when Aizen thumbed the leaves in between his fingertips, observing their texture with pity laced in his small movements.

"These leaves will fall off as it gets colder. And soon, the rest of this tree will be bare as well. When the time comes, when the right circumstances fall into place, the old die to make way and usher in the new; it's simply the way things are. I think of the Soul Society government is structured in a similar manner."

You hung onto his every word, like he were imparting crucial wisdom to you. Even though you were a bit confused on the last part, and on the connection between dying leaves and Soul Society, you still listened intently, waiting for him bridge the gap between the two.

"The Soul Society as it is now can be thought of as a season. And this particular season, this climate has remained so for several centuries. How can nature continue━ how can we continue to progress when the old have yet to be washed away by the currents of time? It defies that of nature, yes?" He directed this question at you specifically, in search of your agreement.

You nodded your head, tearing your gaze away from the branch and directed it at the grass beneath your feet. Your brows furrowed a little as you mused over Aizen's words. He gave a rather ambiguous answer before but now, his words sounded like vague displeasure and muted criticism. Everyone was entitled to their opinion, and on some fronts, you'd sometimes agreed with the 5th Division Captain. The Soul Society was far from perfect, too much emphasis on nobility and status, the government resembled too closely to an oligarchy . . . But you didn't━ wouldn't voice these thoughts, though.

Instead you hummed quietly under your breath. There was that tugging sensation again. This time it told you that there was something deeper to this conversation than meets the eye. But what could there be? Was there anything at all or were you just overthinking it?

The voice-like sensation in your soul was calling out to you, but you couldn't hear it that well or quite make out what it was saying. It's as if someone was calling out to you in a crowded room that had music playing on the speakers: you felt like if you listened hard enough you could make it out but ultimately, the result would fruitless.

"And when that happens," Aizen continued, "sometimes nature has to be gently nudged back on track to keep things moving smoothly. That may require . . . shaking the tree. Pulling a few harmful weeds from one's garden, so to speak."

"Weeds?" You echoed. You felt like you understood this analogy and therefore what he was trying to say, but at the same time you didn't. Or was it . . . . you didn't want to understand what he was implying?

Because if you were interpreting his words correctly, if he were inconspicuously comparing the higher-ups and the government itself to dying leaves and harmful plants that needed to be removed, then . . . .

"You, dear child, are a mere weed in this scenario."

Wait, what did he just━

Your thoughts were cut short when a gush of air that smelt strongly of Aizen━ warm oak, vanilla, and a kind of musk that you weren't sure how to describe but was still pleasant all the same━ brushed against your face and took you by surprise.

But there was another aroma that arose, steadily becoming more apparent alongside the increasingly painful throbbing feeling you felt in your abdomen.

It smelt metallic. And it was something that you've smelt all too many times before.

It was blood.

Your gaze that was initially narrowed in confusion lowered as it followed the source of this pain. Your eyes slowly widened in as you struggled to comprehend the blade that was currently ran through your torso.

Aizen's blade.

"Actually, instead of weeds, a more accurate and befitting analogy perhaps would be blades of grass. You unfortunately have to step on them in order to reach the weeds you want to remove."

You couldn't really focus on what the captain was saying, because your brain was still struggling to process what the hell just happened. Your hands slowly rose from their sides and shakily grazed the zanpakuto, wanting to believe that if you touched it, it would pass right through your fingers like mist. But no, the sensation of cold steel was as real as the robes you wore on your back. You only just now are processing the muffled squelching sound of his sword impaling your flesh.

You wanted to scream, to cry in pain, to vomit, to push him off━ something. But all you could do was stand there, stunned, words completely failing you. "Wh. . . . what? Why did . . . . you . . . . "

A cough replaced your attempt at a comprehensive sentence, and you tasted iron in your mouth.

Fuck....was this really happening?

"Please don't push yourself trying to talk," His voice was like an index finger to one's lips, similar to a parent's gentle caress to quiet and sooth their child, "You'll only hasten your death. And I'm sure you wish to know the reason for my killing you, yes? You'd have to be alive for that."

'Killing me?' 'My death?' The certainty that rang in his words chilled the blood in your veins, and they confirmed the one conclusion you hoped wouldn’t come true: that you were going to die.

The frigid embrace of fear and dread engulfed you from behind and you shivered, causing the blade snugly lodged in your organs to shift. The pain of that foreign object moving even a little bit shot through your entire body, causing a groan to emerge from your throat.

Desperate to conserve your energy and the oxygen that was becoming a little harder to take in, your breathing became uneven and a little wheezed. Even then, you couldn’t bring yourself to meet the gaze of Captain Aizen to confirm if this was really happening or just an extremely realistic and vivid nightmare. The sight you might be greeted with could be more frightening than the actual impaling of his sword.

As if his betrayal couldn’t actually or figuratively cut you any deeper, just then there was a noise that grew louder and louder within a matter of seconds until it was almost deafening. You’ve distinguished it to be the sound of glass crackling.

Your surroundings formed cracks everywhere on its surface, like it was just an oversized window. Even on the grass you stood on, or what you thought was grass, began to crumble away.

A dumbfounded but panicked look was plastered on your face when your world literally shattered around you, the only remnants of it being you and the Captain.

What was underneath the mirage━ or you should say, the fact that it was a mirage at all━ only disturbed you and increased your perplexity.

Slightly hunched over and breathing heavily, it took a minute to process where you were, but you noticed that now the two of you stood in a formal room that looked like it was used for important meetings. The lights in the room slowly started to brighten, most likely due to motion sensors. Even with Aizen's scent lingering in your nose, you could still pick out a rather stale aroma that hung in the air like dead fruit that hadn't fallen off the tree.

"Is . . . this Cen . . . tral━ "

"You are correct. Where we currently stand is the assembly hall for Central 46, the judicial power of the Soul Society. All judiciary as well as legislative trials and proceedings are held here."

All around the room were seats with partitions, the kanji for 1 through 46 printed on them. In the seat for the 19th member, your gaze caught onto something on the translucent barrier. It was a little farther up so you had to squint your already blurring vision to see it properly.

You saw, and your heart promptly sank as a result, eyes widening once more.

There were splatters of a dark colored substance on the partition━ undeniably blood. And the lithe, bony fingers of an older man laid lifeless, peeking out from the side of the screen like the appendages themselves were trying to escape from the body they were attached to.

That man . . . was dead. That stale aroma you smelt was the stench of death.

It was only after that unsettling epiphany did your eyes dart frantically around the room and realize that every member of Central 46 was dead.

The disturbed expression on your face only intensified as your stare was pulled back down to where Aizen's blade still resided in your body.

" Cap.....Aizen," you uttered, swift to correct yourself. All the moisture in your throat dried up like water underneath the unrelenting rays of the sun. You kept gulping your saliva in an attempt to assuage the sensation, but relief only last for a fleeting few seconds. "Did you ━ you killed them . . . didn't you?" Your question was laced with shaky hesitance and swelled with apprehension, fearing that you already knew his reply even before he answered.

There was a moment of silence and a hum before he replied. "Smart girl."

The muted mirthful tone in his voice sounded like sarcasm, and it was enough to finally draw your attention away from everything else and directly look at him. Almost instantly, you regretted it.

His umber tinted gaze was colder than you remembered. You couldn't find anything in his eyes that hinted that all of this was just a big misunderstanding, or a dream, or that Aizen had a secret sense dark and complex humor.

This was your first, and apparently your last time, that you have ever felt a fear such as this. Your mind was struggling to comprehend this was the same Aizen that spoke with you so gently, full of encouragement and wisdom. The same man that recommended you books to read and gifted you tea to drink and gazed upon you like . . .

Well, none of that mattered now. In this moment, Sōsuke Aizen wasn't the same man anymore. This Sōsuke Aizen was someone else, and it frightened you.

"When?" you croaked, your voice no longer sounding like your own. Nothing felt real anymore. "W-When did you . . . . . how? Why?"

Another noncommittal hum resounded from the spectacled man as he closed his eyes, feigning the action of thinking of an answer. When he reopened them, his narrow gaze returned to you.

"Everyone in the Thirteen Court Guard Squads was previously aware that the ability of my zanpakuto, Kyoka Suigetsu, allowed me to confuse the enemy using bodies of water, mist and even moisture in the air in order to attack. However, that is not my zanpakuto's actual power; there is more to it than just simple confusion. Kyoka Suigetsu's true power is Complete Hypnosis. Essentially, when someone looks at my blade, I am then able to take control of that person’s five senses, causing them to believe that something is real ━ or that something isn't real. In a way, once glancing at my unsheathed zanpakuto, that person forfeits their sense of existence to me. Kyoka Suigetsu is quite flawless in its deceptive abilities."

A heavy silence, aside from your uneven breaths, endured in the space between both of you. You didn't need him to spell out what he was trying to say.

It was all . . . . an illusion. A convoluted, premeditated illusion. And you walked right into it without even knowing or considering, that it was all fake.

The Fifth Division Captain inwardly smiled at the despair clearly written on your face as he watched you mentally put the pieces together. He took your lack of reply as a sign to continue. "The members of Central 46 have unfortunately been dead for quite some time now. And as for your question of why......"

The taller man stepped towards you which inadvertently (or purposely, you began to fear), drove his sword deeper into your abdomen without warning and slight force. You bit down on your bottom lip hard to stifle your exclamation of pain. In an attempt to somehow resist him, with the little strength you had left, your hands automatically took purchase in his oversized sleeves, but it did nothing. You found it ironic that you could feel how warm Aizen was underneath his robes, but his soul was anything but.

" . . . . I believe I already mentioned it earlier, yes? All flowers die eventually and the weeds......must be removed."

At that moment you remembered that tugging sensation that told you something felt off in some instances whenever you talked with Aizen. This must have been what it was. Damn it all. You still didn't understand exactly what bad things Central 46 and the Soul Society have done to cause his actions, but based on what you've been told and your current position, it must have been heinous. Again, you actively swallowed the urge to vomit.

"You . . . you lied. I can't believe━ how could it have all b-been a lie?" Another nasty cough rattled your body, followed by a shiver and a groan.

The brown-haired man slightly tilted his head, like he was truly confused. "Lied? Hmm, well. I suppose you could put it that way based on your limited knowledge of the circumstances, but I wouldn't put it that way. Besides, this isn't really about truth or lies. It is, and always has been, only about the reality of what is. And what is, is that you were unable to anticipate my deception. No one could, because it was outside the domain of your thoughts. What is, is that the current way the Soul Society operates is tainted, and I shall be the one to remedy it."

You drew another shuddering breath and looked down at the ground with a grim expression as your blood continued to pool at your feet. Briefly, you even considered unsheathing yourself from his blade and take the chance to make a run for it, but the chances of you making it to the outside world, let alone coming across someone before you bled out and died were slim. Besides, it was clear that you couldn't even trust your own senses anymore after Aizen demonstrated that he had complete control of your reality.

Which reminded you of something else.

" . . . when?" you asked the same question again, but much quieter than before, despair palpable in your voice. 'When and how did you subject me to your zanpakuto's Complete Hypnosis?', is what you were really asking. And being as intelligent as he was, the spectacled man understood.

Abruptly, with a large palm on the small of your back, Aizen used his gentle hold grip to pull you towards him in order to close the remaining distance, causing him to drive the remaining length of his zanpakuto all the way through until the tsuba of his blade rested against your stomach. You looked like a skewered piece of meat.

You didn't have the willpower to hold back the piercing shriek of agony and physical anguish as tears sprung forth from your eyes. You could no longer tell if your blurry vision was due to your tears obstructing your sight or if it was from being a step away from death's door.

"Do you remember . . . the first time we met?"

The hand that rested on your lower back slowly glided upwards until his fingers found your jaw. With a tenderness that reminded you of a time before his betrayal, he lifted your chin and guided your gaze to look at him directly. His thumb moved to graze your bottom lip just as you've done mere hours ago━ as if he knew that, as if he watched you do it. His thumb was dangerously close to slipping inside your mouth and that both excited and scared you. Your breasts against his, your breaths synchronized with his, your body and his were fully pressed against each other and it made focusing on his question more difficult.

Your eyebrows furrowed in confusion. The first time . . . we met? Sure, with a little bit of effort you could easily recall the first time you formally met Aizen. It was sometime in the spring, and you remembered him running through combat formations with his lieutenant and the rest of his squad. But why d━

A silent gasp left you. Another epiphany, another figurative blade piercing your heart.

Battle formations, and he . . . offered you to join them . . . his zanpakuto . . . . .

Confusion crumbled away, and was replaced with vacant horror and sadness. It seems you've already been defeated, for many, many years now.

Aizen seemed to murmur something under his breath, a pleased sound you couldn't quite decipher. His mouth brushed over yours, rendering you literally speechless, before he closed the distance and brought your lips together. You could barely process what was happening.

It was ironically tragic how soft and skillfully gentle his lips were against yours. The kiss felt longing, like a departure between two sweethearts and their last meeting together. It also felt heavy and final, making you want to cry.

And you did. Silent tears streamed from your eyes and rolled onto the fingers that still held your face so affectionately. The captain reacted by guiding your chin up a little further, dipping his head a little lower, so he could deepen the kiss. You weakly scorned yourself for thinking about how the two of you must really look like lovers now, sans the sword sticking out from your back.

Oh, how cruel this was; how cruel he was. It was cruel for him to kiss you like this, hand still splayed on your back like he needed to touch you stay sane. And how cruel it was that still managed to enjoy it, even as you stood there dying. Your lips moved together in tandem, slow and almost passionate, all while tears stained the apples of your cheeks, drying up the plush youth that once resided in them.

Aizen's tongue had slithered its way into your mouth, and you suddenly felt like crying harder. There was a tart, sweet flavor lingering on his tastebuds, and you absently wondered what is was. Perhaps hibiscus from tea, you surmised. And he too tasted the sweet jasmine and citrus that clung your tongue and lips. At this, he chuckled quietly into your mouth, humming before retracting from you by a few inches so he could speak.

"I knew you would like the tea. It's sweet and flavorful, isn't it?" You hated how low his voice was, how its timbre pleasurably vibrated and rumbled against your lips, and you hated that lidded stare he gave you. You again thought it unfair that you couldn't even revel in the rare sight of Aizen's lips slightly wet because your lips were intertwined with his.

"I have to thank you for humoring me and my recommendations. I really appreciated it. And I also," you winced loudly and cried out in affliction as Aizen finally began to withdraw the sword from your body, "must to bid you farewell now. It seems you don't have any more time left, and this has dragged on for longer than it needed. I'm not surprised you've held out for this long, as I already knew you possessed commendable strength. But alas it wasn't enough. I am sorry that you have to die; it's rather regrettable that you happened to be that blade of grass that ended up underneath my foot."

Another wail was yanked from your chest as he steadily removed his sword from your abdomen. The pain was becoming excruciating, you would have collapsed by now if the taller man weren't holding you.

You saw two things before the light in your eyes had all but faded away. The first were the colors of faux pity and apathy that swirled in Sōsuke Aizen's irises, spiraling like a storm that was certain to wreak havoc in its wake. His gaze was devoid of any regret or remorse; the final metaphorical nail on the coffin. The second was a small smile.

But this wasn't one of his smiles you were familiar with. No wait . . . . the one you knew was simply a veneer of what is.

This smile was slanted, the corners of his lips tilted upwards and was sharp. Sharp enough to cut open your already gaping wound further and completely tear you apart, spelling out your demise. It looked insidious as if it were hiding razor-edged fangs. This was what is; Aizen's real smile.

"I. . . I see. Aize. . . ." were the last words you were able to manage. You didn't have the strength to be upset or hurt any longer, so you gave in to the exhaustion.

Your body permanently relaxed, long lashes veiling your now empty eyes as your arms lifelessly dropped to your sides. The captain found a disturbing amount of pleasure in his name being the final word you attempted to speak before succumbing to the sleep of death.

And even after the fact, the facade of doomed, star-crossed lovers persisted as your body slumped backwards. Aizen's strong forearm wrapped tightly around your waist being the only reason you didn't fall to the ground in a puddle of your own blood.

That day was the last anyone saw of you, your zanpakuto still laid idly in your room, its spirit destined to forever wander in the afterlife between worlds alone, eventually fading from existence without ever feeling the presence of its master again.

They had declared you missing by the end of the next day. Lieutenant Hisagi was probably the most perturbed about your sudden disappearance. Days, weeks passed, and they never located you. The Gotei 13 was left unsettled by the lack of progress, but ultimately had to rule your case inconclusive. Some believed that you were simply killed by a stray hollow, or even ran away from your duties because of the stress.

The news of what happened spread like wildfire across all the squads, that a high-ranked officer just up and vanished without a trace. The spirits and morale of the thirteen companies dampened, sorrow and worry swelling like a festering boil.

And that boil burst when Ryoka infiltrated the Soul Society, and when it was revealed that all of it was carefully orchestrated by Sōsuke Aizen.

Like a blade of grass that somehow snuck into one's sandals or in between their toes, during his time in Hueco Mundo, images of you flashed in his head at unexpected times when his mind was quiet. He'd remove the grass, tossed you aside, and moved on with his day. There was no room for you in the grand scheme of things. Such reminisces were beneath someone like him.

And yet.

He'd always find another piece of grass from the greenery he stepped on whenever he advanced a step in his plans. There you were again.

It was common knowledge that if you kept repeating the same action over and over, it will eventually wear you down.

━━━━━━ 鏡  ━━━━━━━

It was dark, and there was nothing.

There had been nothing for quite a long time now. Utter darkness and the abyssal shade of black engulfed every inch of Aizen's body and surroundings.

He saw nothing, the seals over his eyes too opaque to let anything through. And even if they weren't obscuring his vision, he would barely be able to see three feet in front of him; there was seldom a few lanterns in his cell to begin with. He felt nothing but the bindings that kept him imprisoned in one of the deepest pits of the Seireitei. At times it felt like even his internal organs had stilled in their functions. He heard nothing but the unrelenting quiet of his cell within Mugen's maw. The only thing that served as proof that he hasn't spontaneously grown deaf yet was the occasional muffled noise that originated from outside of the entrance. And even then, he could hardly hear much of anything.

Such is an ironic fate for someone who, with a stray thought and a glint of his blade, could control someone's senses and take away their free will to experience those senses in their reality. And now, he was stripped away of all of his in nearly every capacity.

Sōsuke Aizen was rendered stationary and stagnant, qualities he detested and were the antithesis of his ambitions and plans, perhaps even his existence.

Aizen had always believed in being in control of your own destiny and making your own choices; if you had the opportunity and the power to change something━ especially if it was something that was wrong, unfair or immoral━ then one should be able to move towards that goal by making change, even if by force. The former captain had always been intentional about his actions and his desires right from the start.

And yet, here he ended up.

Spending years strapped to a chair in this dark, cloistered hole, Aizen had nothing but time to reflect the reason for his arrest: that orange haired Ryoka boy, Ichigo Kurosaki. He had nothing but time to admit to himself and settle on the conclusion that his last battle with the substitute Shinigami . . . did something to him.

Fighting the Ryoka boy ignited something inside him that he previously believed would forever lay dormant.

The thrill of a challenge.

Adrenaline was injected into his veins with each clash of their swords, spreading far and wide across every inch of his body. It no longer reacted in the measured, calculative manner he had programmed it to, but with unadulterated, pure instinct and raw power━ all in an effort to not only withstand such potent spirit energy from his opponent, but to come out on top and win.

It made him feel alive.

Aizen's desire to be the victor in battle and in his philosophy━ to prove himself right━ both fueled him and consumed him so thoroughly it led to his own downfall. That was a rather difficult fact to acknowledge; so much so his head started to pulsate intensely whenever it crossed his mind one time too often.

All of it unfolded right in front of his eyes and yet . . . he didn't really see it happen.

As time passed during his perpetual incarceration, with hooded eyes, the former captain spent an unfathomable amount of time tossing and turning every single event that led him to this underground prison, even pondering his temporary release by the Head Captain Kyōraku to fight in the war. Scenarios both minor and significant displayed itself in front of his mind's eye as if he were watching a film.

Every so often, a blurred visage of your image would make a brief appearance, like the flickering sparks of a match before they were able to come to light, fading away into the void and were overshadowed by his other thoughts. It was as if his own consciousness and intentionally muted any manifestations of your existence in his memories. As if he wasn't able to or allowed to see them━ to remember you for too long.

Mentally reliving moments from the last several months, years, decades, centuries━ trying to analyze each moment and decipher where it could have went wrong━ turned out to be quite an exhausting task. His mind and body would grow heavier with inertia, and eventually he would succumb to the alluring pull of slumber. After some time he would rouse from his sleep, and continued from where he left off.

These were his daily activities day in and day out (even though he had trouble distinguishing day and night in his chambers) for years. He saw a positive side to it though. He'd instead think of it has him getting stronger because he had spent so long . . . thinking. Ruminating. Contemplating every possibility in the past, present, and future. His mind would become as sharp as his zanpakuto.

Aizen had always been intentional about what he did, what he said, and how he conducted himself. He was sure in his abilities to orchestrate an image━ a belief for others to have faith in, and act on it in order to further his goals. He was always sure in that image, knowing who he was and what he stood for.

Or at least, that's what he thought.

Aizen wasn't consciously aware that his certainty in this crafted image had already begun to waver. He could not and was unable to anticipate how severe these small fractures had become until after a certain lieutenant paid him a visit outside his cell of confinement, right before he was scheduled to be thrown back into that dark hole of the Mugen.

Lieutenant Shuhei Hisagi was quite emotive when he burst through the doors. His expressions were contorted in volatile mixture of frustration, anger and sadness. His emotions were every which way, directed at everything that has happened so far, including himself. He was especially emotive at Aizen specifically for what he did to former captain Kaname Tosen and 'corrupting him with his twisted ideals.'

Aizen found amusement in that.

Before he was rolled away by the punishment force and therefore out of earshot, a particular set of Hisagi's words caused the small, content smile on his lips to uncurl ever so slightly. "Everything . . . and everyone that has ever gotten themselves involved with you has been trampled on by you and your ideals one way or another, and they all end up dead. If you think what you did to Captain Tosen was justified━ to call it mercy . . . . . then there is truly no justice in this world. You will . . . forever be the enemy in my eyes."

There was a trembling anger in his voice. Pain that wanted to cry out and be set free but, the thin lid of reason prevented it from doing so. And after a moment of silence, the corners of Aizen's lips curved upwards once more. A little bemused, a little more wolfish this time. He maliciously imagined Hisagi's reaction if he ever discovered the true reason for your disappearance.

But instead, all he said was. "What an interesting thing to say, Shuhei Hisagi. Your conviction is admirable." Any evidence of emotion that might have been reflected in his sepia irises was swallowed up and obscured by the darkness of the Mugen's jaw.

The cracks in Aizen's sense of self, in his beliefs, in the image he invented started to cave under the weight of Hisagi's words before he himself realized it was happening. They were like stains in the fabric of his mind that refused to come out.

What puzzled him more, was that with each attempt to figure out just why Hisagi's words echoed in his mind, they all lead back to you, the third seat of the 9th squad. Annoyingly so.

The tattooed lieutenant hadn’t said anything particularly profound ━ at least, Aizen didn't think so. Your name didn’t even fall from his lips. So why were memories of you and your likeness the only clear thoughts he could make of Hisagi's speech? Was it because he was aware of how close the two of you were? He doubted the reason were that trivial and insignificant.

His thoughts grew more discordant by the day, his soul a little more weighted than usual. Perhaps these new seals that Urahara had fashioned actually had an effect on him, Aizen thought. It made sense. His intellect, other than his own, were the only ones capable of creating such effective restraints.

After a while, he had a revelation. This was a different kind of weight.

This heaviness, the closest word he knew to describe it as . . . . was loneliness.

Time taunted him as it seemed to drag on━ Aizen grew even less sure of how much━ when he came to this realization. Hisagi's words were a clear mirror to the loneliness that echoed within him after what happened to you and to Tosen. It was so . . . potent, that it seemed to strike some chord in Aizen he had never heard before.

Such a chord, this sound of loneliness, it was strange and uncomfortable; he wasn't very fond of this sensation. He'd try to scrub it away, but it was all for naught.

His eyes had slid shut at some point, his ruminations leading to dead ends and wearing him down. And, almost as expected, there you were again, in all your translucent glory. The hem, the sleeves, and even the smell of your yukata slowly dragged across his dreams, haunting his thoughts like a lonely wraith.

And Aizen hardly dreamt of anything.

When he regained consciousness he was plagued with yet another epiphany. An additional reason behind this newfound depth.

Aizen's own loneliness. Guilt. Much to his own quiet horror.

How foreign and unusual a thing like guilt is. It was like looking into a mirror and not recognizing something you had never noticed before, but wondered if it had always been there.

But the thing Aizen did recognize, how lonely he actually felt, was something he had hoped would never resurface again. It was a notion he hadn't had the time or regard to consider━ 'loneliness'. Its only purpose, if any, was solely to serve as a motivator. At times though, it was more like a hindrance.

Something akin to nausea slowly started to bubble up in the pit of his stomach, but he suppressed the sensation before it became any more intense.

What of his previous actions did he need to feel guilty for? He hadn't felt it then, so why would he feel it now? Again he ruminated such a question endlessly into oblivion.

The former captain had no doubts that his plan to remove the Soul King, and therefore the Soul Society's sins, were necessary.

Nor did any hesitancy about removing the opposition or dead weight━ whether shinigami or arrancar━ existed.

He certainly had no reservations against killing Kaname Tosen, for he knew the man well enough to know that Tosen would have been so thoroughly appalled with what he had become, it would have drove him mad.

So what was it, then? Why were such useless emotions as guilt and loneliness being amplified n━

"Y....know, S....."

Even covered by the seals, Aizen's eyes widened and his brows were slightly furrowed in distress. Had his mind finally tipped the scales of sanity and madness, to the point where he was hearing things?

It was quiet for several moments longer, before his senses caught onto the sound of water dripping onto a hard surface.

One drop at a time.

Its cadence a little too rhythmic to be natural. And for a second time, he heard that soft, ominous sounding whisper. Its voice a little clearer this time.

"You...know.....Sōsuke."

In the second it took for his eyes to flutter shut behind its seals to blink, when he reopened them, he was no longer sealed to the walls and floors of the Mugen, nor was he surrounded by every shade of darkness imaginable. His limbs and senses were finally freed to breathe for the first time in what felt like ages.

That relief was short-lived when his senses absorbed the unending landscape of water underneath his feet, water lilies lifelessly floating on its surface, and the dim sky illuminated by a full pale moon.

Aizen was in his inner world, and now he was aware of how he got here, or rather who brought him here.

"You . . . already know the answer to that question, Sōsuke." The voice was even more clear, its sentences more comprehensible. And it sounded it eerily like you.

Why the voice was impersonating your likeness had caught him off guard for half a second, but he realized it was only the work of his zanpakuto, Kyoka Suigetsu.

An illusion it may be, there was an untouchable quality about your voice and how you spoke that even Kyoka Suigetsu couldn't replicate.

A few feet away from him, the water was disturbed by a being emerging from the depths. Ripples formed around a manifested version of his zanpakuto, who took the form of you, smiling ever so gently. The smile felt airy, and it didn't seem like the same one that haunted his dreams and every waking thought as of late. It felt....knowing.

Still, the former captain couldn't be bothered to maintain eye contact with his sword spirit, so he turned around and opted to keep his unreadable stare trained on the vast expanse of water and white lilies.

"It's been quite a while since I have stepped foot into this realm. There must be something you want . . . Kyoka."

The zanpakuto chuckled, it sounded like the way you would softly laugh at one of his clever quips. But this wasn't you.

He didn’t want to admit that something about that fact didn’t sit right with him.

"Judging from your tone, would I be correct in assuming you don't want to be here?"

Silence rang out within the soul scape, before Aizen interrupted it, his gentle voice colored a shade darker, and a little rigid. "And I fail to see the reason why you must take that form when you revealed yourself to me. Is your aim to get a reaction out of me? Or something along those lines?"

Your eyes━ the eyes of Kyoka Suigetsu━ narrowed at its master's back, as if they were trying to create concavities in his skull. But the expression was washed away the moment it appeared, the serene smile from before was back in place.

"You know . . . it's considered quite rude to not look at someone when you're addressing them. That, and when you deliberately ignore things they say. Your manners have been deteriorating, Sōsuke. Tsk, tsk."

Kyoka-dressed-as-you suddenly appeared before him, as if they had teleported. Even when they were in his peripheral vision, Aizen still maintained his stare off into the distant nothingness.

"Unless, you can't find it in yourself to look at me. . . that's correct, isn't it? It's because I look exactly like her, right?" The zanpakuto continued to provoke him, taking a step closer into his personal space.

With an exasperated sigh, his eyelids fell shut for a second, using that time to gather the strength he didn't know he needed, and directed his gaze to meet his spirit's. Aizen's face gave nothing away, but his heart lurched about his chest when his bronze eyes met with yours, or what was made to look like yours. The undesired affect it had on him was all the same.

"If you wish to chastise me about manners, I suggest you take your own advice. You didn't answer my first question, either: what is it you want? Why am I here?" Again the former captain chose to not address the other parts of Kyoka's statement. For the sake of his sanity and his thinning patience━ or was it to preserve his resolve?

Its smile widened a bit, moving another step closer to their master. God, Kyoka even smelled like you, mimicking your signature honeyed scent that Aizen didn't realize he found so intoxicating until this very moment.

"I called you here to save you from yourself."

Aizen remained silent, only narrowing his eyes in speculation. "Meaning?"

"Didn't I already say it earlier? I think you already know what I'm talking about, Sōsuke. You've always known."

Fate's pairing of Kyoka Suigetsu with Aizen was a match crafted from the spindles of heaven, but also a maddening curse pulled from the depths of hell, for they complimented each other a little too well. The zanpakuto was too perfect a reflection of Aizen and his soul, looking at it started to hurt his eyes.

His sword spirit insisted that he already knew the reason for his coming here, and perhaps he did have an inkling the moment the light of epiphany was shone on his profound loneliness and guilt. But that couldn't have been what it was referring to . . . . could it?

"You cannot feign ignorance here, my dear Sōsuke, however I do find it rather humorous you bother trying. If you'd like, I don't mind humoring you by spelling it out for you. I'd be glad to unearth the truth that you have buried in the most neglected corner of your heart."

"When you were . . . . subjecting yourself to such mental torment, it had an affect on this world as well. The ripples, the waves in this scape become quite . . . tumultuous." The nuances in your voice were perfected by his zanpakuto, but the way it talked sounded like a fog that was gradually closing in from over the horizon. The uneasy feeling that resided in his chest traveled down to his stomach, but Aizen's face remained steely, even when Kyoka Suigetsu took that final step to close the gap in between them. "And the reason for that, the reason why Hisagi's words rattled you so is because you regret killing that woman."

The creased line in Aizen's brow grew more prominent as he stared down his sentient sword spirit. With its breast pressed against his, they placed a hand on his clothed chest in a tantalizing manner, but he felt nothing. There was no warmth from its palm, much unlike when your hand touched him. There wasn't even a cool sensation either. Even minutes before your death, your touch brought a soothing heat that permeated through his shihakusho and penetrated his skin.

Kyoka's face grew nearer, their smile━ although still tender looking━ grew cold at its edges, nearly resembling that of a predator eager to see despair reflected in the eyes of its prey. It didn't fit the graceful allure of your face at all, and seeing this expression deeply unsettled the former captain more than he would like to admit.

"You regret . . . killing me."

A chill tore through Aizen's body, the weight of Kyoka's words adding onto the heaviness that still hasn't been alleviated from his heart; he was hardly able to suppress the involuntary shiver.

Without warning, Kyoka's mouth suddenly became dangerously close to their master's, its lips brushing against his in a provocative manner. Aizen's expression darkened when he realized that it was reenacting his last encounter with you when you were alive. His mouth started to grow uncomfortably dry, despite his soul scape being full of moisture, and there was a taste on the back of his tongue that's been lingering there since he arrived.

The lilt in Kyoka's tone continued to taunt him. "That is the reason for your guilt: regret. You have been in denial. And in the spirit of unearthing truths, I suppose I can admit that perhaps . . . . I've been . . . . encouraging said delusions, adding drops of fuel into the flames of your emotions and ambitions. But after all that's happened, when it comes down to it there's no point in continuing this hallucination any longer. I've grown tired of this game, so it's time to for you wake up now, Sōsuke. I've brought you here to release you from your own illusion, to completely shatter it."

Aizen's back was as stiff as a board, not moving a millimeter when Kyoka's lips grazed his again. They were breathing softly onto his mouth, but he hardly felt any puffs of air.

The former captain was having a rather difficult time processing the fact that his zanpakuto had its own agenda and had been manipulating his emotions without him noticing. Specifically the emotions he felt towards you.

He never truly believed that such a thing was possible, one's own blade having such a deep-rooted influence━ no, control over their master. Or would it be more accurate to say that he never expected himself to be controlled to such a degree? He that prided himself on being freed from the marionette strings of fate that were tied to his limbs and mind, he that relished being able to do what he wanted, think what he wanted, feel what he wanted━ or what he didn't want━ it was hard to believe that none of that mattered in the end.

Kyoka Suigetsu's deceptive abilities were indeed undeniably perfect. No one, not even Aizen himself could have anticipated that Kyoka's most absolute and complete hypnosis would be enacted on himself.

"Do you know now, Sōsuke? Do you understand?" Kyoka's voice was as soft as a whisper, but it couldn't hide the edges of its tone that were still sharpened from finding amusement of seeing the truth flash across its master's face. "You had destroyed the solution to your existential question of loneliness, before you could fully understand the question itself."

Yes . . . . . Aizen understood now.

He didn't bother acknowledging what Kyoka had said. His grim facial expression━ still, tinged with dolor, and paired with an indescribable, distant look his eyes━ said all that it needed to. His silence was as much as an admission as any.

Kyoka-dressed-as-you leaned forward again to fully close the gap between their lips and Aizen's. Tenderly, like the intentions of a lover, it spoke against his nearly closed mouth. "Have you figured it out yet?"

Nothing but quiet could be heard between them, as Kyoka's mouth moved about their master's face and placed something like kisses upon its surface, but not quite.

Aizen's cocoa-shaded eyes slide down to stare at his sword spirit pressed up against him. His gaze was hard, and yet something swam underneath its surface that his zanpakuto had never seen before. Melancholy, it guessed? They weren't quite sure.

Kyoka pressed on when Aizen remained quiet. "The taste in the back of your mouth. Have you figured out what it was? You know it quite well....."

Aizen's tongue grazed the roof of his mouth, sensing the rather unpleasant taste that has coated the inside of it. And within a moment, because he was faced with the current circumstances, Aizen had finally placed a name associated this particular taste. How unfortunate this was.

Upon his realization, Aizen's head lowered, and his brown tresses hung freely over his lashes. Perhaps it was so Kyoka couldn't properly see whatever remorseful expression painted their master's face, but it mattered not. Even from here, the sword spirit could already sense exactly what it was he was feeling.

And they loved it.

"It's a sweet and flavorful taste, isn't it? Quite lovely." Kyoka Suigetsu mimicked the exact words he uttered against your lips all those years ago when he tasted jasmine tea on your tongue, and sealed your death with a kiss. "It's too bad you don't seem to enjoy it anymore."

Aizen's chest continued to rise and fall calmly, and the hands of his sword spirit that rested there glided upwards to cup his strong jaw, caressing his skin with its thumb. Its phantasmic touch did nothing to stir their master.

"Sōsuke, do you know what the jasmine flower from that tea symbolizes?"

Aizen's lips were slightly parted, but again he didn't say anything. Instead, its corners twitched and lifted upwards by an inch, and he huffed softly.

Kyoka Suigetsu grinned in reply. "Good."

The next time Aizen blinked, he was plunged in darkness yet again. The restrictive feeling that swallowed his being whole had returned, and was an indicator that his zanpakuto had released him from his inner world. He was consciously back in the Mugen, back in this abyss they called a prison cell.

Kyoka was indeed as much as a formidable force in its own right, as much as, if not greater than Aizen himself.

The conversation he had with his sword spirit would be cemented in his head for all eternity. When he grew senile and began to physically wither away, the one thing that would remain vital like a young heart, was this epiphany that he had. This realization that he actually . . . .

As the chains of despair bound him tighter to the bottom of the metaphorical pit, regret and his loneliness corroding his flesh and spirit like metal exposed to moisture, a stray memory of his time in Hueco Mundo flashed in his mind. He recalled having tea prepared for meetings with his Espadas and he could not pinpoint when, but at some point, Aizen developed an aversion for jasmine flavored tea. For one reason or another, he no longer found its taste appealing; whenever he drank it, it always tasted bitter.

Now that reason had become painstakingly clear.

The binding on his mouth muffled a rueful chuckle at the though, and it trapped the flavor of jasmine on his lips.

(#) @soaringmirror @stygianoir @ryukenzz @blkjupiters @chrissie2003 @nymphoheretic @dejwrld @triangularz @souyaszn @kuujo @honeybleed @valentineluvu . let me know if you’d like to be apart of my tag list ♡♡.

[atamascolily]

There is a tendency I see in PMMM analyses and discussions to treat the witches simply as monsters that can be overcome with sufficient force regardless of other circumstances--and thus Homura's failure to ever win against Walpurgisnacht on her own terms is something that could be easily fixed with more firepower and different tactics. And while there's nothing wrong with this interpretation, it's not one that particularly interests me, either.

What I like about PMMM and what makes it so engaging for me, is that it can be read on multiple levels--both as a literal journey and as a symbolic one. In-universe, witches are the shadow selves of magical girls; is it really so surprising that they also serve as narrative foils to those who face them, thus making victory or defeat as much of a character issue as a tactical one?

It is not a coincidence that Mami Tomoe, a girl who was forced to grow up too fast and who could have wished to save her dying parents but didn't, meets her end at the hand of a particularly childish and immature witch, a lumpen, misshapen doll that transforms into a clown--a girl who never grew up, who could have wished to save her dying parent but didn't. Mami, an experienced veteran who wiped the floor with the Rose Witch and her familiars earlier, is completely caught off-guard and is eaten alive by a witch who embodies all of the issues she herself struggles with and has yet to overcome within herself.

Yes, Mami was careless and overconfident, which led to her doom--but she had also fulfilled her role of introducing Madoka to the world of magical girls. On a narrative level, her death was necessary--not only to free Madoka from her impulsive promise to become a magical girl too early in the story, before she'd learned all the facts and could make a fully informed decision, but also to teach Madoka one final, horrific lesson about what life as a magical girl is really like.

This is not to say that AUs where Mami survives are wrong or missing the point--I've written them myself and I love them! (It helps that Mami's survival is usually the result of someone else's interference, not something she accomplishes on her own.) Nor do I mean to suggest that Mami's death is a moral failing on her part--merely that I think that Charlotte represents Mami's own particular brand of kryptonite at that particular point in her life, one she might have been able to survive if she had been able to move beyond the psychological issues hobbling her.

Meanwhile, Homura is able to easily defeat Charlotte, because metaphorically she's moved beyond the childish worldview that Mami is still stuck in. From that same symbolic perspective, it's this relative level of maturity, as much as her time stop and pipe bombs, that allows her to win.

Likewise, it is not an accident that the next witch Madoka encounters is one that specializes in extracting the memories of its victims, trapping Madoka in a spinning carousel as she is tormented by her own grief and guilty conscience over Mami's death. She is freed by Sayaka, who has moved beyond such angst by her decision to take on Mami's role as an idealized magical girl protector. Later on, Sayaka's descent into dualistic thinking is symbolized by her fight against a witch whose world is literally black and white--whom Sayaka defeats, but only at the cost of pushing herself dangerously to her limits.

As with Mami, Sayaka's death is directly tied to her own psychological issues--in this case, by her incredibly strict rules about how magical girls should behave and her refusal to cut herself any slack whatsoever. Her metaphorical self-denial results in literal self-denial, and her death as a magical girl and rebirth as a witch.

Then we come to Walpurgisnacht, a witch made of cogs and gears--the one witch Homura cannot beat, no matter what she does. Homura is stuck in her loops, unable to imagine a future beyond them, increasingly isolated from any meaningful connections or relationships--Walpurgisnacht may be the "fool that spins in a circle", but so is Homura. The inside mirrors the outside; when we watch Homura fight against Walpurgisnacht, we are also watching Homura's struggle with herself. Unlike Mami and Sayaka, Homura's magic allows her to fight this battle over and over again--again and again she is forced to retreat and start over, unsatisfied with the results and determined to do better next time. She doesn't die, but she doesn't win, either--instead, she's locked into perpetual stalemate with no end.

Madoka, however, is able to see beyond the vicious cycle represented by Walpurgisnacht and thus easily and repeatedly defeats an enemy that Homura cannot, regardless of her relative power levels in any given timeline. It's probably too simplistic to say that hope triumphs over despair--and yet, that's exactly what happens, every single time. Homura has numbed herself through repeated exposure to where she no longer feels hope or despair, thus existing in perpetual stasis with her purpose the only thing driving her. Paradoxically, the one thing she needs to do to win is the one thing she cannot do--and the thing that Madoka can do all too easily.

(This is not to say that Madoka doesn't have her own issues--she does!--just that her issues are different from Homura's, meaning she's not tripped up by this particular obstacle in the same way that Homura is. And it's not that Homura's struggles were pointless--they were what allowed Madoka to get to point where she had both the power and the knowledge that she could save everyone, including Homura.)

Homura's final battle with Walpurgisnacht shows Homura going to insane lengths, including a wall of C-4 explosives inside a refinery, a flaming oil tanker, and a submarine with Type 88 Surface-to-Ship missiles--none of which has any lasting effect on Walpurgisnacht whatsoever. That episode goes to great lengths to show that Homura's approach to fighting Walpurgisnacht fundamentally isn't working; I don't think adding more nukes would help.

The one time Homura gets the closest to her happy ending is the one timeline where she and Madoka fight and fall together--the one timeline where they are shown as equals, and the one where they debate becoming witches together and destroying the whole world before Madoka thinks better of it. This is also not a coincidence. If there is ever to be a truly happy end to this franchise--or an end at all--Homura and Madoka must be equal and willing partners, not one protecting/sacrificing themself for the other again and again. It is also likely that they will remake the universe in the process, through the combined power of their mutual wish.

[It also wouldn't surprise me if that line foreshadowed future plot elements--after all, Madoka technically became a witch in the final episode of the TV series (she got better, thanks to the nature of her wish), and so did Homura in Rebellion--but we shall see if the series ever follows up on this.]

This is why I'm so excited that Walpurgis no Kaiten seems to be laying the groundwork for Homura creating her own enemies and her greatest enemy being herself--once again, making the metaphorical literal. I'm excited about the prospect of Homura getting a do-over with Walpurgisnacht, which would represent a chance for her to confront her narrative foil one more time, and show us how her character has changed. Though it may play out on a larger stage, the real battle will be inside Homura's mind and heart--and, I would argue, always has been. The only way the outcome will change--the only way we can move beyond what's been and into something new--is if/when she changes.

I want to be clear that there's absolutely nothing wrong with the strictly literal interpretation of witches, and I think people should write what they want to write; if that's the story you want to tell, then go for it! For me, however, I find it far more compelling--not to mention richer and truer--if the actions and words on-screen correspond to the characters' emotional and psychological journeys, and there's no question that this preference how I interpret media in general, and PMMM in particular. And it's not that I think Homura couldn't defeat Walpurgisnacht in an AU scenario--merely that any story where she achieves this victory without changing in any way or addressing her own psychological issues in some fashion removes exactly the elements that drew me to this series in the first place.

[mercutio-the-velaryon]

A Close Reading of Viktor's 'ascended' Form

Disclaimer: These are very jumbled thoughts but I've been trying to articulate this for a while so I'm just baring it to the public flaws and all.

I am being dead serious when I say that Melvik is a lens of viewing that serves to recentre Mel as a major character and reassert her value in the hextech trio dynamic. I will be utilsing this lens to analyse Viktor's choice to make his 'perfected' beings carry Mel's attributes.

Immediately, I will preface by saying, that although I read Jayce and Viktor's relationship as romantic, this choice has nothing to do with Jayce, at least, not in relation to feelings of romantic jealousy or romantic insecurity.

So, what does it mean when Viktor wears Mel's white and gold? I think it shows that he views Mel as the epitome of Piltover priivilege and the personification of the social barrier he could not supercede through hard work and picking himself up by his own bootstraps.

The scene above where Mel seems to be singularly be imploring Jayce to militarise Hextech as defensive action is essential to understanding why Viktor views her this way.

In this sequence, Mel is originally conversing with Viktor and Jayce on an equal physical level until she presents her ideal plan of action then she stands straight and focuses more on convincing Jayce rather than Viktor. This is not an attempt to be cruel or malicious, though it very well be an expression of her irritation because in Mel's eyes Viktor's reasonable protest seems like a juvenile outburst. As a Noxian and a Medarda Mel is accustomed to war and bloodshed she does not want the carnage of such an event to bring Piltover to ruin. However, she is also painstakingly aware that losing a war would be a death sentence. The stakes are life and death, and I believe based on what I understand of Mel's character that she would not attempt to bypass Viktor's opposition in more normal circumstances. She respects him to an extent but not more than she respects her position, her legacy and not more than she fears the consequences of losing a war.

Additionally, I view the way she stands and directs attention at Jayce as a demonstration of how she is by nature of the social system always above him. That she and Jayce, are classist as is everyone conditioned and socialised in this system, and for them as citizens of Piltover, as members of the bourgeoisie, and the council their dismissal of Viktor is not that active of a choice, its a reflex, its a manifestation of their biases. Which is terrible in its own right. Viktor discovers in this scene, that Jayce can and will go over his head despite hextech being a joint creation because his social positioning is just higher than his is. It always was and it always will be. These are unchangeable factors and immovable dynamics.

That is to say, that I think Mel's show of power in this scene, her long-term investment in hextech as well as very likely witnessing her political maneuvers from a distance during his time as Heimerdinger's assistant has cemented Mel in Viktor's mind as the paragon of Piltover privilege.

I like to imagine this reaction to Mel's powers "the arcane stirs within you" as a twisted delight. Magic is a natural force, its wild and uncharted and its presence in Mel has this undoing effect, it perplexes her, to use it she physically exerts herself, it makes her bare her teeth. It's a side of Mel, Viktor would have never witnessed, in her struggle with this he finds a glimmer of kindredness that briefly enthralls him.

When he creates his ideal form, a white and gold, sleek and slim faceless robot with a gentle elegent gait and manner of movement and is seeking to conform the entire world to it, know that Viktor in his mind is equalising both himself and the rest of the world to what he considers the apex of privilege, therefore ridding the world of social hierarchy, difference and struggle.

The grand irony of this act is that he ends up bypassing the autonomy of literally everyone by subjecting them to this much like Mel bypassed him. Meaning, he hasn't rid the world of this hierarchy at all, he's put all these people beneath him and robbed them of choice and freedom.

Separate Melvik spiel:

Mel and Viktor's inherent relationship to each other through nature, disposition and as narrative foils is just so meticulous I can no longer genuinely view Arcane as a text without noticing the absence of an established personal dynamic between them. The groundwork for a romance is embedded in the text, their relation to each other is already by itself canonically quite romantic, all of their qualities and attributes are either contrasting or is eerily similar, everything about them serves to say something about the other within the constraints of the Arcane narrative (I doubt this will continue in game and in the follow up series). His admiration of her is tainted by his resentfulness at her position and the way she's wielded it. So many characters in media have kissed for less than that.

[vi-arcanes-left-biceps]

So... I wanted to write about the Caitlyn hate train because it's flooding my twt.

First I'd like to start by saying that you're entitled to dislike a character. Arcane is a work of art, but it's also just cartoons -whatever, just hate the cartoon character. I don't even like Caitlyn that much, mostly I find her arc very compelling.

But. The amount of hate and the shape it takes, for me, is very clearly influenced by a few factors.

With Caitlyn I feel like half of the folks are just regurgitating discourse they read before and try to earn internet morality/politics points while very much forgetting to touch grass. There is no"I don't like her", there is a sense of rightgeousness in disliking her that doesn't make much sense. "She's literally Hitler!" Please think. There are real life fascists and nazis over here. This is a cartoon who's the bad guy for like four and a half episodes.

There are interesting conversations to have about how Caitlyn's actions mirror real life oppression, as many also point out as a reason to hate her. It's fair that you dislike her those actions, to be honest. But 1) stories are not made to be morally perfect but to explore themes and emotions -characters will do bad, even evil things; 2) critical consumption of media exists; 3) using political language to hate on a fictional character with no real political critique/analysis behind makes me think you don't really believe that much what you're saying & you just want to use buzzwords you learned on the internet.

Takes like this are tinted with some sort of attempt to a moral high ground for disliking a fictional character for political reasons, while simultaneously refusing to understand the narrative of the character and think critically about what it is trying to say about real world politics.

To analyse a story you have to engage with it. See what it wants to tell you. See how it does it. See how it fails. You can dislike Caitlyn and tbh disliking her because of her role in the story is more than fair. But that doesn't equal media analysis. And I'm sorry but not liking a character doesn't make you more politically committed than the rest.

There are so many interesting things to say about Arcane's flawed portrayal of politics. How it uses the aesthetics of oppression to tell a story without deeply analysing the oppression itself within the narrative, how the context in which it was created and the beliefs held by its authors afect the portrayal of themes... Among all these, "Caitlyn is evil and irredeemable because we saw a montage of her and Vi doing police violence" is a very superficial take. Please, please, pleeease analyse those montages frame by frame and discuss how they showcase police violence, what bias they have, what purpose it serves. Analyse how it takes from real life events in a way that is insensitive. I'd love it sooo much to see posts like this.

On the other side, I've seen people say both that say Caitlyn is evil because of the acts she commits and then say that Silco is a revolutionaire. What? Silco WAS a revolutionaire, and he still had a motivation to make Zaun free, but his motivations do not match his actions and that's pretty obvious. "Sometimes revolution requires violent resistance" = "Silco is a revolution hero" showcases a very shallow level understanding of the first phrase there. Silco flooded the streets of Zaun with drugs. The Firelights were born out of willingness to defend zaunites from Silco and Jinx. Silco did not do violent resistance against Piltover, not since the rebellion he had led with Vander. He tried to invent shimmer as a weapon to fight again and the only thing he managed is to make many people misserable and dependent on it -and he didn't care. His character and his actions are quite more complicated than "he's doing everything for revolution"; but again, another character reduced to a catchphrase that fails to actually engage with his story. Only difference between these people's opinions on Silco and Caitlyn is that Silco's character has the word "revolution" near in the script and Caitlyn's script includes "cop".

Another thing is, why hate Caitlyn so much and not say a single thing about Ambessa? I can think of a few reasons but I'll summarise like this:

1) Not being aware that Ambessa is always the one calling the shots here even if Caitlyn is given the title of Commander. Even though the show is very much making this clear.

2) Because Caitlyn gets a redemption and Ambessa gets "punished" aka is a villain and dies. As if humans where not more complex than good and evil.

3) Caitlyn's more popular than Ambessa I guess? It's always more fun to hate on the popular character. Also she's a main character so she'd obviously get more more attention.

3) Some people just want women to be perfectly moral all the time, and in wlw relationships even more. I didn't want to bring up fandom misoginy & lesbophobia but I can tell if it was Jayce having her narrative and redemption the discourse would be quite different.

Anyway. Acab and long live critical thinking. I guess I just want to say please send some nuanced Caitlyn takes my way because I'd really love to read those.

[saphireeyes9875]

You know, I love all the analyses the fandom is making about the Pristine Cut and Slay the Princess in general, but I haven't seen a lot of people talk about the nature of the Construct. Sure, we all know that the Narrator created it somehow to contain both the Long Quiet and the Shifting Mound, but the actual “fabric” of the Construct is these two gods.  An attentive eye might catch very early in a playthrough that the trees, the sky, the ground - they’re all shades of dark grey and black, with a feathery texture that is unquestionably Quiet. The new Apotheosis showcases this very well. 

But the cabin is different. It’s all light grey and white - Shifty’s colors. I believe that the most notable way this is shown is during our encounters with Shifty’s incomplete form. When we are “at the cabin”, all we can see is her mass of hands and the vessel we brought her - which implies that Shifty is the cabin itself.

And that’s fascinating to me, because the cabin is also, by the Narrator’s design, her own prison. Just as he establishes in his opening monologue that we are on a path in the woods, he also cleverly says that the Princess is within that cabin, and that if she escapes it, the world ends. And, except in the Wild, none of these two statements are ever refuted by either the Hero or the Princess, because to do so is to unravel the very fabric of their false reality.

So even though it seems like the cabin should bend to the Princess’ will, being quite literally her domain, it remains her prison in every other route.

In many Chapter 2’s, but especially in the Nightmare and the Beast, the Princess emphasizes the fact that the cabin will not let her leave - very ironic, since we’ve just seen how the interior of the cabin has been completely reshaped by the Princess’ influence.

I love this line from the Beast, because you can so clearly see how the Narrator’s beliefs have bled through the Construct. I was reminded of it the first time I played through the Princess and the Dragon, because the repetition of “this is what you deserve”, as other people pointed out, seems very much like something the Narrator would tell her.

Speaking of the Princess and the Dragon, I've recently noticed a very interesting line in the lead-up to this chapter! Once Spectre possesses you and you decide to slay her, the Narrator says this:

Here, our very flesh imprisons the Princess in the same way the Narrator imprisoned the Shifting Mound - the cabin - within the Construct - which is, of course, the Long Quiet itself. I almost can't believe the Narrator would make such a direct comparison like this, but I suppose that in this route we never come to question our surroundings like in the Wild.

Notably, however, the Princess can escape the cabin when you are accompanying her. On a meta-narrative level, this makes complete sense: the characters can only escape the cycle of violence they are trapped in when they work together. But within the narrative of the game, this doesn’t seem to fit with the rest of the Construct’s rules. The Narrator would never allow such a thing if he could help it, so this must be Shifty’s influence coming through, right?

And this reminds me of another two routes, the ones I’ve seen people describe as the most genre-savvy ones: the Damsel and the Tower.

If in Chapter 1, you don't question how you should get her out of her chains, in this variation of the Damsel route the Voice of the Hero will ask why the Princess hasn’t escaped already if her shackle is so loose, and Smitten replies with this line: “we’ve yet to present her with her freedom”.

On a surface level, this seems like a pretty arrogant, even demeaning line, a trend in this chapter that robs the Damsel of her agency. On a meta-narrative level, this is commenting on how the “damsel in distress” archetype is often a shell of a character that simply exists to reward the “hero”. But I also think this hints at how the Princess, either subconsciously or by the Narrator’s influence, doesn’t believe that it’s possible for her to escape alone - and therefore, she can’t.

Tower, arguably the vessel most aware of the extent of her powers, is even clearer when she tells us that she could easily break her chains and escape the cabin - and she does so in the Apotheosis - but that’s not the story she wants to tell. As much as they yearn for freedom, all the Princesses, by their very nature as beings of perception, want to be perceived, to connect with someone… especially with the Hero, of course.

(this line makes me go feral every time btw, it's so simple and yet so effective -)

Anyway, this was a very long winded way of saying that the Narrator somehow managed to make the Shifting Mound’s “body” into her own prison (which is insane if you think about it) and she can only be freed with the Long Quiet’s help. I’m not sure if this is like, super obvious, but I still wanted to talk about it, soooo if anyone wants to add to this, I'd love to discuss more!

(Edit 11/01/25: Added a missing Damsel screenshot with the help of @quicksilversnails, and rambled a bit about the lead-up to the Princess and the Dragon.)

[sunaluv]

Kinda random but what if Earth42! Miles had a s/o who was bitten by a spider as well (maybe just an AU where 1116 Miles didn’t get bitten by the spider or there was another one) and they are both rivals under the masks but literally love eachother without them bc they don’t know each other’s identity?? And some angsty if they were in battle and he was beating her tf up and literally about to kill her and removes the mask and MORE ANGST AHH. Thank You!!

omg i luvvv this idea!!!

"-coming up next, more sightings of the prowler around brooklyn. though his intentions unknown, it can be assumed that-"

both you and miles were sat in silence listening to the news report. his arm around your shoulders begun to bounce up and down as he watched the news lady talk about how he was an assumed criminal.

"out of everything, you choose to watch the news?" an unimpressed expression drew on his face, hoping you don't take note of the slight agitation in his tone.

"yeah." your gaze is stuck on the tv, eyes dancing around the screen trying to analyse as much as you can from the tv as you watched the masked figure evade the cameras lens.

the prowler was a... difficult subject for you. the you miles doesn't know about at least. the few interactions you've had with him as spider woman were very confusing. you obviously had a feud going on, the game of cat and mouse coming nowhere to an end. but for some reason, your spider senses seemed to be immune to him-- one of his abilities you assume. since that fact was revealed to you, you've been hyperfixated on the boy, using any public (sometimes private) resource out there to get a one up on him.

a deep groan came from your boyfriends throat. "you have a crush on him or somethin', ma?"

finally, your gaze is removed from the tv. "maybe i do," you teased, "he's an interesting character,"

nothing else was said that night and miles was forced to watch you stare this guy (which was him) down. it got to the point where he wasn't even sure you had blinked in the past 10 minutes.

once the headlines were no longer about the prowler, you had a change of heart and decided tv was no longer interesting and called it a night.

"sorry i was kinda absent tonight," you stood up with the intention of going to sleep. "you can sleep over if you want."

"all good. i don't think i can stay over though." miles rubbed his hands on his thighs, before standing up. "ill catch you later, mami."

he kissed your cheek gently, before leaving.

you walked him to the door, listening until his footsteps were out of view. once the hallway was quiet, you walked to your room with practiced, hushed footsteps before sliding your spider suit on with familiar fastness.

with a new objective in mind, you elegantly swung towards the main city whilst keeping an eye out for potential danger on the way. after making your daily night time rounds, you perched on top of a tall office building to rest a little.

"you're back."

the familiar voice spoke from behind you. the prowler had once again startled you with his masked prescence. thankfully, you were certain he had no way of telling how your heart rate slightly increased from the shock.

"saw you on the news today," you stood, making your way towards the man who had yet to move an inch. "you've officially been recognised as a criminal, congrats."

he watched, allowing you to get within meters of him. through your peripheral, you noted the subtle glow rasiating from his claws. you waited for him to make his move and it came.

finally, your spider sense reacted.

though the period between the instinct and the attack was much too short and before you knew it, he had dealt a heavy blow to your side but this attack was not like the others. whatever that was glowing in his hands had stored enough force to blast your body way leftwards, making you fall off the building.

the next series of attacks came quick. after using your webs to save yourself from falling, you quickly generated an electric current in your hands as you were now on the defense.

your spider sense was going crazy, as if making up for all those times it had failed you in the past.

left. right. from behind. a flurry of attacks were unleashed on you, filled with such hatred. you had managed to shock him a few times, but he had also snuck in a few of his own, never seen before attacks.

fifteen minutes have passed and the two of you were running on pure adrenaline at this point. all cards have been revealed and nobody had the juice to keep pulling out the flashy special attacks from before.

he had you pinned to the ground. "this ends right now araña," he held his claw to your throat, spikes digging into your skin hard enough to draw blood.

from behind the mask, miles watched as you choked and struggled, before going limp in his hold. he checked your pulse and confirmed you had just passed out. he had time to deal with you later, he needed some information before he discarded you after all.

releasing his hands from the claws, his fingers hooked under the mask to lift it and his blood ran cold seeing you, his lover, passed out on the dirty streets of new york with blood running down your face and bruises and cuts marked on cheeks which he had kissed an hour before.

he had done this to you. even worse, he had come at you with the intention to kill you.

"what have you done, mi amor," he whispered, eyes glossing over. "i'm so sorry," he had lifted you up and hugged you as tight as he could whilst trying not to apply more pressure to your cracked ribs which was again, his fault.

miles, the man who swore to kill anyone who harmed a hair on your pretty little head had now become the man he hated.

[maxdibert]

The Class Dynamics between James Potter and Severus Snape: A Critical Analysis:

This is a dedication to all those who say that class has nothing to do with the bullying that James exerted on Severus, to those who claim that James couldn't be classist because "he never proactively despised anyone for being poor" or because "he was friends with Remus," to those who say "Snape also attacked him" or suggest it was a "rivalry" and that they were on equal footing, or simply to those who say they are "fictional characters" and that fiction has nothing to do with reality, blah blah blah. This is something I have written with bibliographical references because, once in a while, I can stop being a simp goof and show off my university degree in political science. And yes, I am going to be an authentic pedant because I can, and because many people seem to live in a candy-coated world regarding these issues, and it wouldn't hurt them to get a bit educated. That said, here goes my essay:

When analysing the interactions between James Potter and Severus Snape in the "Harry Potter" universe, it is common to find vehement defences of James, arguing that his bullying was not class-motivated. However, it is crucial to untangle how class dynamics operate structurally and how this influences interpersonal relationships. James Potter, as a member of a wealthy, pure-blood family, represents the dominant class, while Severus Snape, coming from a poor, working-class background, embodies the subordinate classes. In the magical world, pure-blood lineage is associated with inherited privileges similar to aristocracy in the real world, where blood purity is a marker of status and power. Authors like Anderson and Löwe (2006) have explored how heritage and lineage have been determining factors in the distribution of power and privileges throughout history, both in fictional and real contexts. This socioeconomic background plays a crucial role in the power dynamics between characters like James and Severus, highlighting how class structures affect their interactions and perpetuate inequality.

Social class, according to Marxist analysis, is a structural category that determines individuals' positions within society based on their access to the means of production. In "Harry Potter", pure-blood status equates to magical aristocracy, while Muggle-borns, Half-Bloods with muggle parent and those from humble origins, like Snape, represent the working or marginalised classes. James Potter, on the other hand, embodies the privileges of the elite, not only through his wealth but also through his lineage, which grants him a status that influences his interactions with others.

The bullying James exerts over Severus cannot be disconnected from its socioeconomic context. Although James may not have explicitly expressed disdain towards Severus for being poor, the way he exploits his superior position to humiliate and subdue Severus reflects power dynamics based on class. Pierre Bourdieu describes how power structures are reproduced through symbolic violence, where the dominant classes impose their cultural and social legitimacy over the subordinate ones, perpetuating inequality. In the context of 'Harry Potter', this symbolic violence is reflected in how the magical aristocracy imposes its values and norms on those of humble origin. The public humiliations James inflicts on Severus are not just acts of bullying but also manifestations of a structural power that favours the privileged like James. Besides Bourdieu, other theorists such as Michel Foucault could provide complementary perspectives on how power is exercised and perpetuated in institutions, in this case, Hogwarts as a microcosm of magical society.

In James and Severus's case, this symbolic violence manifests in the public humiliations James inflicts on Severus, using his status to ensure there are no significant repercussions. James's position as a popular and privileged student grants him social immunity that Severus, due to his humble origin, cannot counter. This demonstrates how class structures influence the dynamics of school bullying, where resources and social capital determine which behaviours are acceptable and which are not.

The "Harry Potter" fandom often minimises James's actions, portraying him as a mere prankster without malice, while pathologising Severus's response, attributing it to resentment and bitterness. This narrative reinforces the whitewashing of the actions of the rich and popular to the detriment of the poor and marginalised. Theodor W. Adorno and Max Horkheimer, in their "Dialectic of Enlightenment", explain how the culture industry and hegemonic discourses contribute to naturalising domination relationships, presenting them as inevitable or even fair. Their analysis reveals that modern media perpetuates class dynamics by presenting power structures as natural and immutable. This can be observed in how the dominant narrative in the 'Harry Potter' franchise tends to glorify high-class characters like James while marginalising figures like Severus, whose resistance to the system is viewed with suspicion or disapproval. Contemporary studies, such as Mark Fisher's "Capitalist Realism" (2009), also highlight how media reinforces the current economic and social status quo, making it difficult to imagine alternatives to the existing system.

By justifying James's bullying as mere youthful pranks, the fandom perpetuates a narrative that excuses the abuse of power and classism, ignoring the impact these actions have on individuals like Severus, who are already in a structurally disadvantaged position. This reinforces social hierarchies and strips victims of their agency and dignity.

Severus's portrayal as a bullying victim is intrinsically linked to his social class. His marginalisation is not just a product of his actions or personal choices but a consequence of social structures that privilege figures like James Potter. Antonio Gramsci's theories on cultural hegemony are useful here to understand how the dominant class's ideas are imposed as normative, silencing the oppressed voices and legitimising the violence they suffer. In the 'Harry Potter' narrative, this hegemony manifests through the glorification of the values and behaviours of pure-blood characters like James, while the perspectives of the marginalised, like Severus, are dismissed or vilified. For example, the Marauders, led by James and Sirius, both rich pure-bloods, are portrayed as mischievous heroes despite their aggressive behaviour towards Snape, who is depicted much more negatively even when acting in self-defence. This reflects how cultural hegemony shapes public perception, perpetuating a value system that favours the privileged and marginalises the oppressed. Authors like Stuart Hall have explored how media and popular culture reinforce these hegemonic structures, underscoring the need for critical analysis to dismantle these dominant narratives.

Severus, in this sense, represents those who are constantly repressed by power structures and whose narrative is distorted to fit a worldview that favours the privileged. His resistance and eventual adoption of extreme ideologies can be understood as a response to this marginalisation, a desperate attempt to reclaim agency systematically denied to him.

To fully understand the relationship between James Potter and Severus Snape, it is essential to acknowledge the influence of class structures on their interactions. The narrative that minimises James's bullying and blames Severus perpetuates a simplistic and biased view that ignores the complexities of social inequality and power. By applying a critical analysis based on Marxist theories, we can unravel how classism permeates these relationships. Studies on young adult literature, such as those by Maria Nikolajeva, and the analysis of victimisation frameworks in popular culture by Henry Jenkins provide a theoretical framework that reinforces the need to re-examine fandom's conceptions to avoid perpetuating these structural injustices. These investigations highlight how narratives of power and oppression are often shaped by dominant interests and how this affects the public's perception of marginalised characters like Severus.

[ineffable-endearments]

When you (generic, universal) talk about theories about the end of Season 2 and Aziraphale going to Heaven, you often run up against either:

taking everything at face value to the point of ignoring that some details contradict one another

or

accidentally nullifying major emotional, plot, and character beats by implying that they Didn't Really Happen.

A lot of the differences in analyses, especially ones that I like (LOL), can be explained by the fact that we're analyzing a character who is experiencing massive cognitive dissonance and believes a number of contradictory things at once.

Nobody is wrong to point out Aziraphale's need to Belong to a Good Cause, which makes his acceptance of the Supreme Archangel position entirely in-character; nobody is wrong to point out Aziraphale's anxiety around the Metatron, which indicates that he may have been coerced.

Did Aziraphale go back to Heaven because he's afraid of what will happen if he keeps refusing, or because the Metatron made an implicit threat? Did he go back to Heaven because he's vulnerable to flattery and wants to feel important? Did he go back to Heaven because he thought it would be a way to be permanently safe with Crowley? Or did he go back because he missed belonging to something Good, something bigger than himself? All of the above. It's all of them.

Yes, even though it's incredibly dissonant to believe a system that he KNOWS is dangerous and coercive can accomplish true Goodness, that is in fact his belief.

Admittedly, this is no one I follow - just random comments I see around from people I don't know very well - but it seems like some people out there are assuming Aziraphale can't possibly be making any plans to do anything remotely intelligent, because this would mean that he is already aware that Heaven is bad and would therefore leave no room for character growth.

Except no, that's not necessarily what it means. In fact, the cognitive dissonance is the main thing he is going to have to resolve. Having that dissonance - the belief that Heaven's ideals are genuine, along with the understanding that Heaven is dangerous and needs to be carefully manipulated - is what will move his plot forward. Mindless obedience wouldn't progress his story any more than magic brainwashing coffee would, and it would be equally inconsistent with his story and motivations so far.

The dissonance is the point. And part of the dissonance is that he already knows Heaven is dangerous - he just hasn't accepted what that means yet. It would make sense for him to simultaneously try to work within Heaven's system and watch his own back.

Also, only partly related: Neil might write a story about how the worst people exploit the need to belong and to be Good. He might write a story about how we have to become our own greater good. He might write a story about how to rebuild after you discover your greater good is not so great or good after all. He is not going to write a story about how having any faith or trust in something objectively bigger and stronger than yourself makes you a stupid clown who is wrong about literally everything and shouldn't have even tried.

Let Aziraphale fuck up. He needs to and he will. Whatever plans he was making in that elevator won't actually succeed. But give him credit where it's due.

Edited to add: And you know what? When he fucks up, he's going to get through it. And then he's going to do the right thing. And he's going to get it right when it matters the most.

[piratecaptainscaptainpirates]

Another common way in which I think criticism of OFMD can fall apart is when people don't take the show at its word about what genres it's trying to inhabit.

This was one of the most annoying aspects of the few negative pre-release OFMD reviews, for me. Like I said, the vast majority let us know that we were in for a wonderful treat, but there were a few that complained that it took forever for "plot" to happen, and this is just such a bizarre criticism for me because I find it so hard to believe that someone who professionally reviews media could have so much trouble figuring out what the "plot" of a show is supposed to be.

But then this criticism just kept popping up, and it still makes me roll my eyes. Post-s2, in some Izzy fan circles there's been an argument that Izzy is a more important character than he actually is because "the plot only happens when he's around." And where these analyses fall short, I think, is that they fail to consider that OFMD has always been a character-driven show, not an action-driven one.

There's a difference between the main plot of a show and things that happen in that show. OFMD is a romantic comedy, it exists to tell us a story of Ed and Stede's romance. It plays with the romcom format, and a lot of the humor in the show comes from juxtaposing this with piracy as a backdrop. But piracy is not what OFMD is about; it's about a romance that happens to take place within piracy as a setting. Complaining that there's not enough action in OFMD is like watching Black Sails and getting mad about its overly-serious tone - that's a feature, not a bug.

If you expect OFMD to look like an action-driven story, there's really not a lot that happens, and you'll be disappointed by how seemingly jerky and slowly the "plot" moves. But it's actually a character-driven story, and if you watch for the main characters and the development of their stories, it's a very smooth ride. Bigger background elements, like Chauncey and the Act of Grace and Ricky's attack on the Republic of Pirates, are not meant to be a focus, they're meant to force Ed and Stede into situations that will reveal more about their characters and move their arcs along.

And I can't help but wonder if this criticism of OFMD is so common because people just don't expect a queer romcom to actually be a queer romcom. We're so used to stories where even queer main characters' romance has to take a backseat or only be hinted at. OFMD stands out because the romance actually is the point, and some people, I think, for whatever reason, just can't believe that.

[theastrical]

Genshin men as haikyuu characters in their respective teams!

kaeya, diluc, alhaitham, kaveh, childe, albedo, aether, ayato, kazuha, itto, thoma, venti, cyno

in honor of the haikyuu movie, i shall present to you a short headcannon of genshin men and their preserved vb team in the haikyuu universe~

KARASUNO:

What makes karasuno different from other team is their team coordination. Their improvement begins from pressure, their ability to adapt towards the intimidation is amazing as it is, they are crows after all-and crows has no fierce in facing death.

Aether as Sugawara Koshi (Setter), Being a setter means that you’ll have to be the one to bring forward/push your teammates and i feel aether does the best job in this aspect.

Venti as Nishinoya Yu (Libero), Venti is somewhat a lifesaver, somebody you can depend on. Although you may or may not trust him due to how he works on “his way”. Still, if you’ve ever need him, he’ll come to your way and be there for you.

Itto as Tanaka Ryuu (Wing Spiker), both of them are hardworkers and despite both being kind of….dumb, they can be the best if they set their point into something.

Thoma as yamaguchi tadashi (middle blocker), Thoma isn’t exactly in the big picture, but he contributed a lot more than people think, just like yamaguchi. He’s not the centre of attention but he is the biggest reason why the team get along and can coordinate better.

NEKOMA:

What makes nekoma so different from other team is how they prioritise their strategy and they’re very team centralised instead of coach centralised. Like cats, they are tame in the outside but inside they are unhinged, somehow able to kill off the “untouch”.

Albedo as Kenma Kozume (setter), setting up a strategy and being the one to control the team-even giving critical notes if necessary in order to “improve” the team coordination. If that’s not albedo, i don’t know what is.

Kaeya as Kuroo Tetsuro (Middle blocker/Captain), kaeya is born with talent, physically and psychologically, he’s prepared to face such an obstacle in any strategy. He’s able to adapt easily and he can easily gain respect, he knows what to do and what he MUST do for the team.

Kazuha as Fukunaga Shohei (Wing Spiker), he’s not in the big picture of the team, neither does people know his name. But he contributed more points than the so called ACE, because he would try to improve himself and try to adapt to the strategy-he use the silence to coordinate himself better.

SHIRATORIZAWA:

What makes shiratorizawa different is how old fashioned they are. They focused more on the strong physical appearance and talent more than improvement. Eagles are known to be the peak of the food cycle, yet they can also face death, which means the peak of eagle can die anytime soon if they don’t adapt.

Diluc as Ushijima Wakatoshi (Wing Spiker/Captain), if diluc set his point into something he had wished to excel since the beginning, he will get it. He’s strong, especially with the support of his allies. Because he’s not exactly the supporter of the team, but the core. If there’s no diluc, then what is the team made of?

Childe as Satori Tendo (Middle blocker), childe’s passion is wreckage, he knew what he had to do to broke people’s pride. He has no limit. His adaptation and instinct is insane, hence he’ll be the back bone of diluc’s success.

Cyno as Tsutomu Goshiki (Wing spiker), Ambition and Skill is what cyno consists of. Ambition blinded him, but that’s also how good he is on becoming the soon to be best in the team. Cyno will (it’s a must on his dictionary) pursue his dream.

INARIZAKI:

What makes inarizaki different? This team has a total control of everything. The court and their audience, their control is as insane as it can be.

Alhaitham as suna rintarou (middle blocker), what is more suna than alhaitham. That man is the pinacle of “i’ll do whatever i want except i’m joking!! (I’m not)”. That man can analyse everybody, even the best out of the best, he plays within his ego-if he want to, he will. And he had set quite the name for himself, because he is alhaitham (duh).

Kaveh as Atsumu Miya (setter), he’s an ambitious prick, he wants to be the best due to the pride of being one of the best. He doesn’t know his limit because he’s blinded by certain boundaries in order to be somebody more than what he aspires to be.

Ayato as kita shinsuke (wing spiker/captain), if being the so called heart of the team is a role, then ayato is one to be called. He can stabilise and coordinate the team well enough, because his own skill sets upon his team. His control is his team.

[blitzwhore]

wait, i don't understand, can u please if u want explain why they scrapped the "Stolitz Montage" song?

Yeah, I can explain! I actually have a lot of thoughts about these songs.

For context, at the beginning of Sinsmas, a song called Day By Day plays in the background while Blitz and Stolas run errands. Originally, a different song (untitled, so Sam Haft—the composer—unofficially called it Stolitz Montage) was going to play during these scenes, but they ended up scrapping it. I mentioned in the tags of a different post that I understood why they'd made this decision.

If you don't want to keep reading, my TL;DR is that I believe the tone and mood of Stolitz Montage doesn't fit Stolas' emotional journey in Sinsmas as well as Day By Day does.

If you do want to read my full personal analysis, keep reading below the cut!

-

(Note: I'm going to focus on the songs' lyrics, because I'm not knowledgeable enough about music to analyse the musical aspect of the songs. If anyone else wants to add their thoughts in that regard, be my guest!)

Let's start by taking a look at the lyrics of the scrapped song, Stolitz Montage:

So you're having a bad time

You're stressing and everything all seems much so

You've been having a sad time

And your family probably hates your fucking guts so

The song starts by describing Stolas' situation and emotional state in the days following the trial: he is sad and overwhelmed, everything feels like "too much", and his family probably hates him.

It's pretty clear from the get-go that they wanted a song for this montage that conveyed Stolas' struggle to adapt to life as a commoner, away from everything he's known, and having gone cold turkey on his depression meds (the lack of which is emphasised visually throughout the song).

The song is also in second person: Stolas isn't him, or me, he's you. This is something both songs have in common. It keeps the song at a slight emotional distance from Stolas. Whereas a first-person song would make the feelings too personal—would make Stolas too aware of his own struggle—and a third-person song wound be too distant, the second person allows Stolas to be only passively aware of his emotional state. He's not the one singing; he's the one being sung about. What he's feeling is being pointed out to him by an external, seemingly omniscient voice.

The song continues:

Ooooh-oh oooh ooh

I know you feel it too

You lost your way

And just can't fake it for another day

It's hard to take it

Just pretend you're gonna be okay

Here is where I think the tone of the song starts to deviate from what they wanted to convey in this montage.

At first glance, this is a continuation of the previous verses, and mostly expands on Stolas' emotional state: "it's hard to take it"; "you lost your way".

The key difference is that the lyrical voice now plays an actual role in that emotional state.

First, it states that it shares Stolas' feelings ("I know you feel it too"—implying that Stolas isn't the only one who feels this way). Thus, the lyrical voice starts shifting into an active character within the scene. And not any kind of character—one that can relate to Stolas and, more importantly, one that can offer some comfort.

Then, there's the line "just pretend you're gonna be okay". Now, I see two possible interpretations for this line. It can either be a piece of advice for Stolas (hey, I know it's hard, but just pretend), or another description of his struggle, a continuation of the previous line: "(it's hard to) just pretend you're gonna be okay". Personally, I lean slightly towards the former interpretation, especially because the lyrical voice's intention to offer comfort and advice becomes clearer in the next line of the song:

You're not okay and that's okay

This is where the focus of the song shifts fully towards a hopeful, even optimistic view of Stolas' situation.

Now, I get where they were going with this. "It's okay to not be okay" is a very powerful thing to say to someone who's struggling with mental illness and hard life circumstances, and it's one Stolas badly needs to hear.

In fact, it is a message that is conveyed to Stolas multiple times throughout the episode. By Blitz. Not through words, of course—but through actions. In the montage itself, as well as throughout the rest of the episode, Blitz constantly stands by Stolas' side, offers him company and comfort, meets him where he's at emotionally, doesn't pressure him to be okay, and (especially at the end in their apartment) gives room for Stolas' sadness and grief to exist. He hugs Stolas, puts his hands on Stolas' arms, and opens up emotionally about his own sister, and those are all ways of showing Stolas that it's okay that Stolas isn't okay.

But here's the thing. The knowledge that it's okay to not be okay is Blitz's, not Stolas'. That is Blitz's emotional state, not Stolas'. Stolas doesn't know it's okay to not be okay, and even though Blitz keeps conveying this message to him, he's not able to hear it just yet. Not this early in his descent to rock bottom.

In fact, learning that it's okay to not be okay is a journey that Stolas only begins at the end of the episode. By then, Stolas still isn't okay, but he begins to come to terms with the fact that that's alright. And he does this by allowing Blitz to sit in silence with him, to dance with him, to pry a laugh from him, to hold him without any expectations of being held back. The final scene of the episode is all about them both being okay even though Stolas isn't. We see this in the fact that Stolas lets himself stay in Blitz's arms, going as far as closing his eyes. He's there. He's finally in the moment. He's finally allowing the "not okay" feelings in his body to just be.

The Stolitz Montage song ends with:

You put one foot in front of the other

Then you take it day by day

Knowing you got nothing

You still got each other

Ooooh-oh oooh ooh

Again, most of these lines do match Stolas' emotional state. In fact, the notion of just living life one day at a time, just focusing on putting one foot in front of the other, is very representative of what a depressive episode can and does feel like.

But, in the very last line, the song shifts right back to a reassuring tone: "you still got each other".

Now, not only does the hopeful, optimistic sentiment of this line belong—once again—to Blitz's emotional state, it also goes directly against what the emotional arc of the episode aims to achieve.

Sinsmas isn't about them having each other—Sinsmas is about Stolas having Blitz.

It takes him all episode to realise this, too. At the beginning, when the montage takes place, Stolas is just going through the motions. As stated above, he's just focusing on putting one foot in front of the other—he's fully on survival mode. During the fight with Andrealphus, Stolas is shocked that Blitz came to save him, that he risked his life. That is the moment Stolas begins to truly comprehend that he can lean on Blitz. And then, after they get home, he slowly continues to learn it, as explained above. By the end of the episode, he's only just starting to allow himself to lean emotionally on Blitz.

And significantly, Blitz doesn't lean on Stolas. Because he's at a very different part of his own character arc, and he already had his opportunity to lean emotionally on those around him with Millie in Ghostfuckers, and to a lesser extent, with all his employees during their mission on Sinsmas.

Blitz has gone through enough pain, character growth, and healing to both understand exactly where Stolas is at, and be able to meet him there and be a rock for Stolas to lean on.

So the reason that line—that last line, positioned strategically to drive home its message that it's all gonna be okay—doesn't work for the montage is twofold. Firstly, because Stolas isn't ready to see that he has Blitz. Secondly, because it is now Blitz's turn to give comfort without needing to receive it in exchange.

And, if we take a look at the whole song, the reason it doesn't work for the scene is because it doesn't meet Stolas where he's at. The song says, "yes, you're sad, but—" and shifts to optimism. It doesn't fully allow Stolas to simply not be okay. To not be there yet. It doesn't fully allow his depression to just suck. The feelings of sadness and overwhelmingness are shadowed by a positivity and hope that belong to Blitz, and not Stolas.

Let's now take a look at Day By Day, and at which ideas from the original song were kept, which ones were changed, how, and why it works:

Ooh-ooh-ooh-ooh-ooh-ooh

You take it day by day

You got everything that you had thought you wanted

But you still feel so blue

And you don't know what to do

Right off the bat, the lyrics are very similar in tone to the ones at the beginning of Stolitz Montage. Once again, a lyrical voice in the second person describes Stolas' emotional state: he's blue (sad), he's taking it day by day.

But there's already a change. "You have everything you thought you wanted, but you still feel so blue".

The fact that Stolas had always wanted a life with Blitz is something the previous song doesn't touch on whatsoever. And it matters, because "what Stolas thought he wanted" is a central part of his arc in the episode. It comes back during his breakdown at the office: "and I did it for what?! These stupid, foolish fantasies?" And it comes back again when Blitz saves him from Andrealphus, and when Blitz dances with him and their eyes meet afterwards.

As stated above, this is the episode where it dawns on Stolas that he has Blitz. But he isn't there yet at the beginning of the episode, and so he still believes what he and Blitz had was just a fantasy of his. And because he's never had anything with Blitz that wasn't a fantasy, because fantasy is all he knows, he doesn't immediately know what to do with the real thing. With the domesticity, and the errands. He doesn't recognise the signs Blitz is sending his way that he's got Blitz to lean on.

These two lines are also important because they bring forth another aspect of depression that the previous song doesn't: that love doesn't cure depression, or make it magically go away. That going cold turkey on your meds and having a massive depressive episode is going to suck no matter how many good things you have in this life, because depression is a biological process, not a state of mind. Depression takes away your ability to find joy in things that used to bring you it. It takes away your feelings, your energy, your strength.

Notice that Stolas doesn't seem apathetic or hollow inside on the night of the trial and the morning after. Yes, he's had his title and power stripped, he's been physically assaulted in the street, and yes, he's worried about Octavia. Obviously, he shows signs of being dissociated, and he's exhausted. But, emotionally, he's still hanging on. He still thanks Blitz for everything, and he talks to Blitz in the morning, and smiles when Blitz offers to get him rats. Before the effects of going cold turkey on his meds start to kick in, he's grateful to be around Blitz.

It's during the montage, as the days go by, that he starts feeling blue. Because depression is very quickly taking away the joy he found in Blitz's company.

And that's why, even in the first few lines, this song conveys Stolas' state of mind so much better than the previous one. Because while the message in Stolitz Montage was "yes, you're sad, but—", the message in Day By Day is "yes, you should be happy, but."

It lets the sad win over the happy. It lets depression take Stolas down with it, it lets him feel helpless and lost. "You still feel so blue, and you don't know what to do."

The song continues:

You're sitting at the end of the rainbow, but the pain grows

And you can't help let the strain show

'Cause what else are you to do?

These lines emphasise the ideas presented in the previous ones: that Stolas should be happy, but he isn't. That the pain that has planted itself in Stolas is growing. So much so that he can't help but let it show.

Stolas' helplessness, his slow descent into misery, are given the room to exist. Everything around him seems fine, but he's not fine. And he's not told that it's okay to not be fine. Because this is Stolas' emotional state we're exploring, and for him, it's not okay to not be fine right now. He's too busy going through the motions to grant himself that kind of mercy.

The song finishes:

Keep it calm, life goes on, and on, and on

Nothing's wrong, nothing's wrong

So why do I still feel this way?

Ooh, ooh-ooh, ooh, ooh-ooh

You take it day by day

And, much like in the previous song, we get a small hint of what could be interpreted either as advice/reassurance from the lyrical voice, or as Stolas actively telling himself to pretend to be okay. "keep it calm, life goes on, nothing's wrong". In this case, though, I lean towards the latter interpretation for a very simple reason: the next line shifts to first person. "So why do I still feel this way?"

And that's the thing: once again, the hope and calm he's trying to make himself feel are immediately overpowered by his feelings of sadness. Once again, it's the sadness that wins over, and not the happiness. His depression is given room to drag him down, take him slowly towards rock bottom.

And once again, the last line—at least the last one before the chorus is repeated—is used to drive home the message of the song. But this time, the message is that, despite it all, despite having what he wanted, despite sitting at the end of the rainbow, despite trying to convince himself he's okay, he still feels sad. Because that's what depression does. No matter how many good things you have in your life, it drags you down.

And that message, in that last line, is delivered in the form of a question. "Why do I still feel this way?" This matters for two reasons. The first one is that it shows that Stolas isn't (fully) aware of what's happening to him. He obviously knows he needs his meds, he knows he should be taking them. We see him reach out for them. But he is also living his emotions, and not just experiencing them from the outside. And as the emotions take over, he loses perspective of where they come from, too caught up in how they're drowning him.

The second reason this matters is because the song and the lyrical voice don't offer Stolas answers.

In Stolitz Montage, Stolas gets an answer to his struggle: that, ultimately, [Blitz and Stolas] still got each other.

But in Day By Day, all Stolas gets are questions. What else are you to do? Why do I still feel this way?

Day By Day meets Stolas where he's at during the days leading up to Sinsmas after the trial. It allows for these questions to exist without an answer; it lets the answers come later in the episode. It lets his journey through the episode play out, allowing him to learn that he has Blitz, that he needs his meds, and that he has to be okay with the fact that things are not okay.

By the end of the episode, he can acknowledge that he made his choices and has to deal with the consequences. He starts to understand Blitz is by his side, willing to help him through this. That his relationship with Blitz might not feel like he thought it would, because he's too mentally ill and heart-broken to be there—but that they still have each other, they still love each other, and they'll be okay.

But during the montage, he's not there yet, and it wouldn't make sense for the song to be there, either.

So, yes, as cute and optimistic as Stolitz Montage is, and as glad as I am they released it anyways for us to enjoy, I believe the writers made the right decision by scrapping it for the episode.

If you read this far, thank you for your time! Please treat yourself to a glass of water for me, and feel free to share your thoughts ❤️

[justanapplenothinghere]

MEPHONE4 (PERSONALISED ) CHARACTER ANALYSIS.

I was debating whether to post this after the whole movie was finished however, due to the recent episode I am really scared of all you coming after me because this character is a heavy kin. Please bear that in mind. This work has taken me months to type and analyse. I didn't do everything due to how long this post would end up being. So just the major points were discussed.

Mephone4’s generalised overview:

MePhone4 is one of the main characters in Inanimate Insanity, a popular YouTube object show created by AnimationEpic. As a sentient smartphone, MePhone4 serves as the host of the competition, a role that places him in a position of authority and power over the contestants. His character is defined by a mix of ambition, arrogance, and emotional complexity, which is what makes him one of the more dynamic characters in the series. From a first glance, when watching, some may view him as just a rude and arrogant host with no mental well being of concern for his contestants.

Whilst that might be somewhat true from the start of early episodes into Season 1, he progressively begins to change his character through the course of the other two seasons.As shown for example in Season 3 his attitude begins to change, from a distance the show makes it obvious to us that he DOES CARE about his contestants, just has a hard time expressing such emotions.His character is complex, especially as the series progresses, revealing deeper layers of psychological trauma and emotional conflict.

Mephone4’s background (TW: mentions of abuse/manipulation. As a victim myself of these, this part maybe very detailed.):

MePhone4 was created by the character Steve Cobs (a parody of Steve Jobs), who represents a father figure to him. However, the relationship between MePhone4 and Steve Cobs is strained and toxic. Cobs is demanding and controlling, treating MePhone4 as nothing more than a tool for his own ambitions.The trauma begins with MePhone4's creation, where he is given life, his identity is defined entirely by his purpose to serve others (In other words just Cobs and the Meeple company alone).This lack of agency and the constant pressure to meet Cobs' expectations contributes significantly to MePhone4's psychological issues.

Cobs created MePhone4 with a "highly-advanced emotion emulator," allowing him to experience emotions deeply, unlike other Meeple products. However, instead of focusing on the tasks assigned to him by Cobs, MePhone4 became enamoured with reality TV, which led to disappointment and tension between them. This foundational conflict likely left MePhone4 feeling inadequate and rejected, contributing to his later insecurities and anxieties. His love for competition and showmanship can be seen as a coping mechanism—a way to channel his emotional energy into something he enjoys and excels at, perhaps in an attempt to gain the approval he never received from Cobs.

Most evident in his anxiety and insecurity, which are central to his character. He is often portrayed as anxious about the show's progression and its eventual end, indicating a deep-seated fear of failure or losing purpose.This being evidenced in seeing Mephone3GS.That experience alone caused a sense of realisation he needed to finally leave Meeple.The way Mephone3GS is..that could end up being him in his place. Whilst it is unknown how 3GS gained his scars the best bet to assume it was from / or somehow Cobs did contribute to it himself (Back in typing this before ACT 1 CAME OUT). If that is the case that would explain Mephone’s sudden urgency to leave the company.However, a fascinating factor is Mephone took MEPAD, WITH HIM. That within itself is noble, Mephone could have just left by himself. But he didn’t. That’s the thing. This already shows Mepad’s and Mephone4’s deep level bond to the point Mephone could’ve taken any other Meeple products with him, yet again he specifically took Mepad. He saved him. He saved him from the possible future abuse that could have been inflicted exactly like Cobs has done to Mephone4.Even if Mepad seems somewhat not exactly aware of all the details.

Mephone’s competitive nature may also stem from a need to prove himself, reflecting an internalised pressure to meet expectations that were never fully articulated by Cobs.

Furthermore, MePhone4's "out of sight, out of mind" mentality is a clear indication of his avoidance coping strategy. Instead of confronting his past, especially the painful memories associated with Cobs and Meeple, he chooses to erase them from his system. This physical removal of memories symbolises his desperate desire to escape from the emotional burden they carry. His consideration of re-erasing these memories after they resurface suggests an ongoing struggle with his unresolved trauma. It highlights his inability or unwillingness to process these emotions healthily, leading to a continuous cycle of avoidance and emotional suppression.

Impact on Relationships:

His trauma significantly affects his relationships with others, particularly the contestants and his assistant, Toilet. His lack of regard for the contestants' well-being and his blatant bias during eliminations suggest that his trauma has warped his sense of empathy and fairness. By showing favouritism and making shrewd comments, MePhone4 exerts control over the game in a way that might make him feel more secure or powerful, counteracting his underlying feelings of inadequacy.

His treatment of Toilet, whom he sees as an "unhelpful menace," further illustrates how his trauma manifests in his interactions. MePhone4's disdain for Toilet can be interpreted as a projection of his own insecurities. By belittling Toilet, MePhone4 may be attempting to distance himself from his own perceived flaws and weaknesses. This dynamic reflects how his unresolved issues with Cobs influence his behaviour, leading him to replicate similar patterns of emotional neglect and dismissal.

Mepad:

Relationship between MePhone4 and MePad is characterised by a clear hierarchical structure. MePad is the professional assistant, always respectful and subservient, referring to MePhone4 as "sir" and fulfilling his tasks with precision. This dynamic reflects a classic power imbalance where MePhone4 holds the authority, and MePad exists primarily to serve and support him (Though I do not believe Mephone does so with any malicious intent). MePad's professional demeanour and lack of overt emotional expression reinforce this power dynamic, as MePhone4's emotional volatility is contrasted with MePad's calm and measured responses.

MePhone4's authority over MePad is not just professional but also emotional. MePhone4's insecurities and anxieties often lead him to rely on MePad for solutions and advice, placing MePad in a position of subtle influence despite his ostensibly lower status. This creates a complex dynamic where MePad, though subordinate, becomes a critical emotional anchor for MePhone4, helping to manage his chaotic emotions and the stress of running the show.

Despite claiming that he "can't feel anything," MePad's use of sarcasm and his occasional concern for others indicate a deeper, more nuanced emotional landscape. This suggests that while MePad may not experience emotions in the same way as MePhone4, he has learned to navigate the emotional environment of the show, adopting a dry, ironic tone as a coping mechanism or a way to fit into his role.

MePad's emotional suppression is most evident in his calm and composed demeanour, even in situations where others might express frustration or concern. However, his growing concern for the contestants, particularly Marshmallow, reveals that he is not entirely devoid of emotional response.

The relationship between both of them revolves from one of strict professionalism to something more complex and personal. While MePad starts as a loyal assistant, his actions later in the series suggest a growing sense of independence and moral judgement. His willingness to challenge MePhone4's decisions, as seen when he lies about Marshmallow's whereabouts.

Truth or Flare (ii 15):

MePad's conversation with MePhone4 about quitting the host position of Inanimate Insanity II is a pivotal moment that causes the shift in their relationship. This conversation suggests that MePad is not only concerned with the show's logistics but also with MePhone4's well-being and the overall direction of the series. MePad's ability to confront MePhone4 about such a significant decision reflects a deepening of their relationship, where MePad moves from being a mere assistant to a confidant and advisor, someone who can influence MePhone4's major life decisions..

CONCLUSION:

Whilst many claim and point fingers at Mephone4’s behaviourisms after such a pivotal moment. There is something that must be addressed that I noticed as I am writing this analysis. In this episode, he struggles with handling the pressure of hosting and maintaining control, revealing his insecurities. His tendency to put his own desires above the contestants is a key aspect of his character, as seen when he prioritises entertainment value over fairness. Throughout the episode, MePhone4 becomes increasingly panicked as the game show format starts to unravel, whether that being even something simple as Suitcase trying to reassure Mephone about his past trauma.A pattern I have noticed is that people will try to justify themselves that they hate him because of how he doesn't care about his contestants or his co-hosts. When he clearly does! It is shown subtly throughout the season 2 and 3 he does care, just isn't sure how to show it. The only way he knows is by doing what he is doing. He learnt everything from TV, his views on things will be skewed.He's going to have weird views on what is considered care. Because this man hasn't HAD a single OUNCE of it in his life. He doesn't KNOW what care is, properly.There's a reason why he was suddenly rude and dismissive,there's a reason why he didn't keep answering suitcase,despite suitcase, trying to reassure him that it's okay to talk about it and that she's there for him if nobody else is. Mephone doesn't know how to respond to that. How would he anyway?

If you don't agree with me. Please do NOT come after me. This is just MY personal analysis because he is a heavy kin for me, for a good reason. And It makes me really anxious and REALLY uncomfortable when I see people hunt him down as a character,I am not excusing his actions but I am explaining it.

[linkspooky]

Hello, good afternoon. How are you? I would like to say that I find your analyses extremely cohesive and that you are one of the few I have seen so far who can analyze the work of Jujutsu Kaisen beyond the surface. The question I would like to ask is, what does death represent for JJK? What is its function within the manga and also what is the function of the way it is treated in the work through the fatalities that occur in the plot and with its characters? I haven't read all of your analyses, so forgive me if you have already talked about this subject before. If you see it, I appreciate your attention, and if you can't answer, I apologize for the inconvenience.

So I think at it's core Jujutsu Kaisen is a very existentialist manga. The central question that the literal main character is trying to answer himself is how can life possibly have meaning, if it always ends in death? For the first half of the manga, the fight between the main character and his villainous foil have completely opposite answers to that question. Yuji is continually searching for meaning in death, because it HAS to mean something otherwise how does life have meaning if it always ends in death? Whereas, Mahito believes that because life always ends in death it has no meaning.

I don't think one is necessarily right over the other, it's just conflicting philosophies. Yuji believes life has to have inherit meaning, and Mahito believes life has no inherent meaning. More under the cut.

Death is a Mirror

So, I believe the entire concept of Death in Jujutsu Kaisen can just be summarized as the panel I posted above. Of course I'm going to elaborate on that, but basically Death is a mirror. Humans try to find meaning out of the short life they have, because life always ends in death.

The philosopher Camus was quoted as saying once:

“There is only one really serious philosophical problem,” Camus says, “and that is suicide. Deciding whether or not life is worth living is to answer the fundamental question in philosophy. All other questions follow from that” (MS, 3). 

All philosophy is therefore, an attempt to justify whether or not life is worth living. Why are we alive? As I said above, Yuji cannot accept that life always ends in death so he tries to search for meaning in death. His grandfather's curse (telling him to save people so he can die surrounded by people) and his concept of a "meaningful" death for the first half of the manga is Yuji debating with this philosophical concept.

Yuji is introduced to the danger of the world when he is thrown into the world of sorcery. Much like Geto, he has heroic notions of being a sorcerer which are challenged when he realizes both how easily people can die, but how easily his fellow sorcerers can die as well.

This is the philosophical question that essentially broke Geto's brain. What is the meaning of young sorcerers like himself fighting and dying for an uncaring public, especially since the cycle will never be broken and sorcerers are basically sentenced to a life of continually exercising curses until they meet an early death. Then the next generation of sorcerers just continue the vicious cycle.

For Geto, death ends up negating all meaning to life. When he realizes that there's basically no meaning to the lives of sorcerers who constantly throw their lives away, he becomes completely unable to enjoy life. He accepts death at the hands of Gojo, because he couldn't continue living in the world, couldn't smile in the world with the way it was.

 In some ways, Geto and Yuuta were the same. Geto was too sincere. To someone like him, the reality that the world of sorcerers presented to him was just too cruel. '...that in a world like this, I couldn't be truly happy from the bottom of my heart.' To live for the purpose of being yourself. And for that goal, Geto could only continue to pursue his twisted dream, drowning himself in the curse that lies in the gap between ideal and reality.\ This was the final confession of a man who could only choose to warp himself, who had erased himself in pursuit of his goals. The only person who could bear such a curse was Gojo Satoru.

On the other hand Geto loses to Rika and Yuta who's love for each other is able to persist after death. In fact, Yuta's entire arc is starting out cursing Rika because he was too afraid to lose her, but when he accepts that Rika's love can persist with him after death he's able to move on and make new friends.

Of course Yuta proceeds to just be parasitically codependent with his new friends,. but that's just how Yuta is as a person. He's a funny little freak.

Even until the very end, Rika loved Yuuta deeply. It's like loving someone like the other half of your soul, like willingly giving up your life for their sake. It's the true, honest hope that no matter where they may go, there will always be good fortune waiting for them. What happened to Rika is perhaps not so strange after all. 'Death' is a conclusion that falls upon everyone equally. But Rika found someone she loved and remained by his side. All this time - until this very day - she was always by his side. Maki, Panda, Inumaki - it's all the same. Even Gojo will have a day where he dies. Yuuta will die too, one day. But there's no need to hasten it's arrival. He should smile more, explore the world more, see even more new things. That's what Rika hoped for, deep in her heart. Because the end will surely come one day, and after that rightful death - we will definitely meet again. And after that, we will always be together. It won't be too late to make good on our agreement then. So please, before that happens to you - before that happens to the one I love - live blessed by happiness.

So, Geto and Yuta are ideological opposites. Geto can't love the world where so many of his comrades and fellow sorcerers die, and Yuta is able to continue loving the world in spite of death.

When Yuta and Yuji are protagonists of their works they face the same question but with different flavors. Yuta tries to find meaning for life in love, and Yuji tries to find meaning in life by searching for a "role" to play. He states pretty clearly early on he wants to do something thyat no one else could, which is why he accepts his role as Sukuna's vessel. If he helps a lot of people, it doesn't matter to him, if he's executed in the end. If he's able to help as many people as possible.

Of course Mahito challenges this notion of Yuji's. Early on Yuji says that he feels like life will be worth less, if he has to kill people. Then Mahito presents Yuji with people he cannot save, who it would be a mercy to kill because they are living in pain. Before finally being shown that all of his efforts to save Junpei completely failed.

If he can't help Junpei in the end, then for Yuji what was the point of meeting him? What was the point of Yuji trying to sympathize with him, if he failed and Junpei dies such a gratuitous death.

I think Junpei is one of the standout deaths in Jujutsu Kaisen, because in spite of the fact we know him so briefly his permanent impact on Yuji lingers. He's the part of a pattern where every time Yuji tries to play hero and protect life he utterly fails. He's confronted over and over again with what are "meaningless deaths" in his own words.

Until Todo literally spells it out for him. That if he tries to keep searching for meaning in death, he's going to go insane. He was in danger of walking down the exact road that Geto was.

So, Yuji is nearly broken by the meaningless deaths of Nanami, Nobara and the thousands slaughtered in Shibuya in succession, and Todo's advice is basically that if you keep staring at all of the death in front of you it's not going to help at all, you're just going to drive yourself crazy.

Yuji is trying to use Nanami's death as an excuse to give up searching for meaning. If death is the end result of life, then for a moment Yuji thinks it's no longer worth living. He even tells himself to die after the massacre at Shibuya.

Then, there is Mahito who fully believes that because everything dies life is equally worthless. Since there is no meaning you are entitled to do whatever you want, because all life is just competing with each other.

Full rules of the jungle logic. Why does the deer have more right to life than the wolf, when they're both competing for survival? The wolf eats deer not because it's evil, but because it's what it does.

Mahito clearly sees himself as the wolf and humans as the prey. He doesn't need to think about the reasons why he kills humans, that's what curses do, the same way that wolves eat deer. It's just natural instinct. A wolf doesn't ponder the meaning of life. It just eats to fill it's stomach.

Mahito is trying to disprove the notion to Yuji that life has meaning or there's a greater meaning behind his actions. Which is what his speech is about, you save people without thinking and I kill people without thinking. There's no meaning for our actions, Curse and Humans are just different species that are trying to wipe each other out for survival.

What's interesting about them and why Mahito is the true mirror to Yuji, is that after their confrontation, their philosophies completely flip. Yuji decides to accept Mahito's words that there's no meaning to life. He won't search for meaning in death anymore, he'll just play his role. Sorcerers kill curses because that's their job, he's just another part of the food chain too.

In that instant Yuji becomes the wolf and Mahito the rabbit. Mahito also flips his ideals. If he were a true believer in the right of the strongest, then he would have just accepted his death when Yuji was stronger. Jogo did. He even said it doesn't need to be him in the world of curses as long as the world he wants is brought about.

Jogo knows they'll just be reborn anyway, even if they wont' be the same but he can accept that. That's the nature of a curse. However, Mahito who's name literally means "true human" and is the most humanlike of the curses wants to retain his individuality.

Yuji rejects his individuality to become a cog. Mahito runs away to try to preserve his life and his individuality instead of just accepting death and reincarnating and he ends up being turned into a tool by Kenjaku. It's a fun reversal, because as I said above death is a mirror.

In fact Mahito comes full circle in the last piece of dialogue in the entire series to show that even Sukuna was able to accept death as a part of life in the end, and accept that maybe he can change in the next life. Mahito who is paralyzed by his fear of death and believes that death negates meaning however, is the only one who remains eternally stunted as a child.

[beannoss]

So, as I'm writing more than I anticipated when I first dipped a toe into SxF fandom (!) I thought I'd collect the meta & fic links in one place! 💕 (not spoiler-free :)

META

Endo describes Twilight as 'matter of fact' rather than 'kind': there's a profound philosophy embedded in that sentiment.

… that matter-of-factness manifests in ways that are, almost unerringly, kind. Twilight values consent, he values empowerment for those around him (with some limits, if they impinge on his mission), he privately espouses and practices other values that align with progressive ideologies, like feminism and the rights of the child. Obviously he's 100% antifa and anti-war. One could argue (and perhaps this is what Endo means) that Twilight makes those decisions because they often result in the path of least resistance, making his job easier. And okay, maybe. Except...

Anya isn’t needed for Strix. Twilight decides to adopt her anyway.

Twilight decides it — “I’m going to rework the mission so it doesn’t involve a child because that’s too dangerous” and he’s 100% right! Donovan Desmond is canonically a far right warmonger with fascistic authoritarian aims... Also it turns out Anya’s a person which is frankly unacceptable — Twilight had needed and anticipated an automaton, ideally of himself in miniature form... So having entertained this change, why go back when his reasoning is indisputable?

Let's get deep into analysing the meaning behind the choice of the word Forger for our family's last name

[Create (a relationship or new conditions)] can be taken as a whole within the Forger household, after all Twilight did create the Forgers. But more importantly to me, this meaning applies particularly by way of what Anya and Yor are doing within the family, their choices and aims, and how they’re influencing and shaping the Forgers. And then, of course, Twilight’s choices in return, both under the explicit guise of for the mission and those times when the mission is curiously (ahem) absent from or delayed in his thought process.

What moment(s) cinched it for Twilight to start developing feelings for Yor?

It's entirely in keeping with Yor's character, and it's an entirely revealing moment of who she is. And I think this is the moment for Twilight. He's already been trusting her bit by bit, as he says above, intuitively. I'd suggest that maybe even more than that though, Yor taps into something Twilight deeply wants: backup. Someone and somewhere safe. Maybe we could describe a person fulfilling that role in an adult relationship as a partner...?

What about a Twilight x Yor romance, pre-reveal, in canon? (Ask response)

... because I think it would undermine character arcs and dominant themes. Twilight’s arc involves finding and forging a new pack, a new family. Somewhere safe and loving... A big part of this safety and love for Twilight is about being accepted, warts and all... Yor’s arc is also around finding love and security, but centred less around acceptance (although that obviously also explicitly features!) and more around self-worth and understanding her value.

FIC (all fic is Yor x Twilight unless otherwise stated :)

It's only me, what have you got to lose? (M, WIP, current primary focus)

Loid asked, “Are you willing to follow my lead?” Why — why did that question make her so angry? It was a practical question in the circumstances. It wasn’t one Yor was typically asked but it wasn’t so far outside the norm. And, a part of her which felt very small added, she had happily followed Loid's lead on many things over the months, without question, trusting his kind eyes, his calming practicality, his seeming abiding normality — But. What did any of that mean any longer? In which the Forger house of cards collapses, and with everything that matters in the balance, the value of normal becomes an open negotiation.

Relationship & family study. Began with me wanting to explore Yor finding out about Twilight, and has, um, expanded. Identity reveals, angst and fluff, hurt/comfort (emotional and physical), touch starvation, lots of feelings, intimacy, some humour (ah, eventually), and the building of something real.

Let's start living dangerously (T, Complete)

The real reason Twilight was in the park drilling Bond unnecessarily and covertly training Franky very necessarily, was that Twilight was enacting what he'd called The Avoidance Protocol. And was consequently avoiding his wife. In which Twilight kisses Yor and absolutely does not panic about it.

Character study. Post-reveal, humour, fluff, mutual pining, romance, and lots of thinking and lots of feelings. Also flirts with 'idiots in love', I'll have to add that tag...!

heartlines (T, one-shot complete)

Hello? Appeared on the soft part of the back of his hand, between his thumb and forefinger. He shouldn't have seen it except that something scorching had torn, had burnt, his glove away and he only just noticed that, the way the fabric had curled and crisped and as he stared, as his heart rate went higher and higher — What did that? Could I have lost my hand?! — more words appeared. I could really — this was crossed out— if — crossed out, but then again — if you're — this was then crossed out as well, but the scribbles didn't disappear, just words on his hand with frantic, messy lines through them until one remained unsullied — can we talk?

Soulmark: Anything you write or draw on your own skin appears in the same place on your soulmate.

Based on a prompt from this list of soulmate prompts, canon divergence if there existed soulmarks in the SxF world. Pre-relationship, sort of epistolary until it very suddenly isn't 😊

our melodies overlapped (T, WIP, currently on hiatus)

Twilight prided himself on accepting situational changes swiftly and with equanimity. Said swiftness was presently three minutes overdue, and equanimity hadn’t reported for duty. Four times it was for the mission + one time it was for The Mission + one time it was for —

Twilight character study basically! Family-orientated, some Twilight x Yor. On hiatus in part because it's actually led me to disagreeing with myself 😂 and I'll probably need to rework it.

Twilight journaling short fic (T, complete)

After Strix, when the Forgers are well established, no secrets between them, Twilight starts journaling. Obviously this is a security risk, so he creates an elaborate cipher. He tests it on Franky. He tests it on the cipher-breakers at WISE. He even feeds some to the SSS. None break it. Satisfied, he starts to journal. Twilight's journaling time is something he starts to jealously protect; given how much it means to him and helps him process things, Yor starts to protect it jealously, too.

shock to your soft side (T, complete)

Twilight blew out a long breath. “Yor, you're Ostania’s best assassin and you can't stop telling me that this hurts.” “But it does hurt,” Yor said, as though this were explanation enough. She glanced at him over her shoulder. “What do you do when something hurts?” Twilight and Yor have... differing... philosophies when it comes to dealing with their own pain and injury.

Minor character & relationship study. Post-reveals, some hurt/comfort, some emotional hurt/comfort, grief/mourning and cuddles.

with you, all in tangles (T, complete)

Three times Yor blows kisses to Twilight and one time Twilight blows a kiss to Yor

Time-skipping across pre-relationship & established relationship & very established relationship. About building trust, being flirty, and the secret languages that develop between people who love one another.

(used to be) afraid of love and what it might do (E, complete)

Filling the glass once more, Yor went into the main room. “Oh,” she breathed, swaying to a stop, “My…” Twilight had mussed his hair out of the strict, slicked-back he'd worn for cover, shaken his fringe out into his preferred looser style. Yor liked it best too, but that wasn't what had stopped her — that wasn't what tightened her stomach. He'd taken off his jacket, leaving his emerald vest over his shirtsleeves, rolled up to his elbows, forearms displayed, crossed over his chest. He'd removed his watch. Loosened his tie. Undone the top buttons of his shirt, collars spread to show the hollow of his throat. After Yor does the unexpected while on a joint-mission, an emotional Twilight suggests they do something new in bed, and thrilled, Yor agrees.

Relationship study. Mind the tags: Service Top Twilight, edging, blindfolds, light bondage, makeup sex, trust kink, praise kink, sensual play, enthusiastic consent, caretaking, emotional hurt/comfort, cuddling/snuggling, porn with feelings.