#words in answer

[wordsandrobots]

Since you’re THE biggest IBO understander, I’ve wanted to get your input on something that’s been circulating in my mind for a while.

What do you think was Tekkadan’s biggest flaw that led to their downfall?

Heh, well, first off, I can't claim the definite article. Prolific output does not equal authority. But I can certainly try to give you both my understanding of what the text is aiming for and my opinions about the final result.

I have seen Orga Itsuka's biggest flaw termed a 'lack of conviction', although I would argue it's fairer to call it confusion over how to enact his convictions. Because Orga absolutely believes from the bottom of his heart that the most important thing in the world is to create a future for his friends. He just doesn't know how to do that, long-term. He's a tactical thinker, reacting to what's in front of him rather than taking a bigger-picture view. And he's willing to risk everything, including the lives he's trying to protect, to get immediate results. This works well for short-term victories but tends towards blind recklessness. Moreover, since Orga has not actually established for himself what a good future for everyone should look like, he latches on to other people's versions of it. First the CGS, then Naze, and finally, fatally, McGillis. For all his own intense charisma, he falls hard for that of others, and misjudges badly as a result.

This would be bad enough in isolation, but it's combined with Tekkadan's generalised 'all or nothing' attitude to truly terrible effect. I touched on this in the context of Mika and Orga's relationship in a previous essay: the rest of Tekkadan are behind Orga 110% and that creates its own inexorable momentum. We see multiple characters express dismay at looming problems-- Eugene, Biscuit, Merribit, even Shino -- only to set their doubts aside for what they perceive as the greater good. They believe in Tekkadan, more than anything else, this dream Orga has sold them on, and protecting it and advancing its fortunes becomes an all-encompassing goal for which they will gladly lay down their lives.

[As an aside, Shino's conversation with Eugene right before the 'final battle' is a great example of this problem playing out. As much as I rag on him, Shino isn't stupid. He shows repeatedly that despite his gung-ho attitude, he can recognise a losing fight. But he's quick to mask or go back on his doubts and act like Tekkadan is going to pull through regardless, because Orga has gotten them this far, right? Set alongside Eugene's failure to replace Biscuit as the voice of reason, it serves to underline how deeply enmeshed the boys are by this point. They've bet everything on Orga, and can't bring themselves to break with him. Not unrelatedly, it's Shino himself who talks Orga into the gamble that costs him his life.]

This combination -- the boy who doesn't know where he's going and the people willing to follow him anywhere he leads -- is what the show positions as Tekkadan's key flaw and the results of it steadily ramp up as the story progresses. They scrape through Season 1, making a big name for themselves, and reach their zenith by taking down the Dawn Horizon Corps with minimal losses. But then the 'Silent War' hits, dragging them more directly into political power-plays. It goes appallingly badly: they are betrayed from within, their legitimate connections to the Arbrau bloc are severed, and they lose their presence on Earth.

Next they uncover the mobile armour, and while they mange a victory over it, Mika definitively proves that he won't let Orga stop under any circumstances, McGillis is inspired to throw caution to the wind, and Tekkadan's tenuous position inside Teiwaz implodes. They just about got away with jumping on board with McGillis' coup plans, but once they've taken out the 'armour and embarrassed Iok Kujan into the bargain? A lot of chickens come home to roost.

Naze -- the one person Orga respects, listens to, and who actually has the potential to reign him in -- dies as a result of Tekkadan's display of power. Afterwards, Orga knows killing Jasley in return will mean breaking with Teiwaz. He hesitates, visibly, over going through with it -- only for the pressure of everyone wanting vengeance on behalf of Naze, Amida, Lafter and the rest to tip him over the edge. From there, the only possible route to achieving what he wants is the alliance with McGillis, who turns out not to be able to deliver on his promises. Everything falls apart.

Now. The way this is presented carries judgement. Orga is repeatedly castigated for his decisions, including the loss of one of his closest friends. Likewise, the Arbrau/SAU war arc serves as a microcosm of Tekkadan's failings, with Aston's death stemming from Takaki blindly acting according to their ethos. Crucially, Takaki chooses to change for the better, taking one of the other options available to him (with Kudelia's help) -- notably in the same moment Orga is doubling-down on his existing path.

Tragedies are built from characters making the wrong choices and this juxtaposition serves to underline that they are wrong, and could be approached differently. Takaki is correct to hold on to what he has instead of risking it for the sake of an imagined 'better place'. He recognises something Orga does not until after Shino is killed (and lots of other people, of course, but it's framed around Shino's death).

There follow several scenes of Ogra being directly called out. 'He died for you!' Eugene snarls, taking charge of getting everyone to safety. 'You're whining?' Yamagi demands, when Orga reaches his lowest ebb and comes close to abandoning Tekkadan's cause. 'I was under the impression you had a spine,' sneers Rustal Elion, assuming moral authority and refusing to blunt the consequences of Orga's actions.

[When @prezaki asked me to explain my stance on Rustal Elion's intentions, I talked about his gestured-to positive traits. That's not what I mean here: Rustal takes control over the setting and imposes his morals upon it. The tenor of his exchange with Orga is of someone in the right looking down on someone pleading for unearned leniency. Whatever you think about that -- and I view it as a great demonstration of Rustal's inherent contempt for 'little people' who don't meet his standards -- this is functionally what's happening, and Orga is powerless against it.]

In light of this, the manner of Orga's death -- finally taking up a gun and sacrificing his life for his comrades after two seasons of doing the opposite -- is both fitting and a form of redemption. Given the director's original conception of the show being one that ended with every named protagonist dead, a thread of 'just desserts' is undeniably present. Tekkadan are not placed in a positive light for their determination, which comes with a bloody cost, both on their side and on their enemies'. They are fools and upstarts in a world that violently rejects change.

However, like many of the show's components, its authorship is a two-part affair. Mari Okada and other writers argued against the kill 'em all direction, and the end result is far more ambiguous than clean-cut condemnation. To be clear, it is absolutely still saying that Orga and Tekkadan as a whole make terrible decisions. But the more-hopeful-than-it-might-have-been ending allows space for greater nuance. (Which is good - I doubt I would be as enamoured with IBO if it had concluded by thoroughly punishing a group of child-soldiers for being what they are and committed to their never being anything else.)

In light of the actual ending, we can look seriously at the ways the show demonstrates why its characters behave as they do. Mika and Orga's ingrained behaviour is responsible for a lot of what goes wrong, but we are shown quite blatantly that they would not have survived into adolescence if they hadn't developed it. The ever-present threat of what would happen if Tekkadan *didn't* strive to grow stronger and resist the harmful forces surrounding them frames every decision. Even the individuals who mean them ill are the products of the systems that created this whole miserable situation. Nobliss, Ein, Gaelio, Carta, Iok, Jasley, Galan, Rustal -- they each have major personal failings but are equally shaped by their positions in society, just as the boys are shaped by theirs. By being so thorough in constructing an exploitative world, the writers and director hew against reducing the characters down to simply being flawed people.

They are instead flawed people doing their best with limited resources in oft-times impossible circumstances. The story at once highlights the brutality of its protagonists and that they are children, abused by those who see them only as tools, within systems that encourage that perspective. Tekkadan is itself a microcosm of larger patterns, of might making right and human life being exchanged for money. Throughout, lines are blurred between 'proper' soldiers and teenage mercenaries, between businesses and the mafia, between pirates and police. The whole is rotten and while struggling may not be a path to survival, it is at least clearly a path, if you can stick to it.

Thus, any discussion of Tekkadan's flaws must account for the show's refusal to place them in a vacuum. I don't know to what extent Iron-Blooded Orphans is the result of a push and pull between competing ideas about how the tale should go. Yet what was put on screen frequently refuses easy categorisation into straightforward condemnation or sympathy. It's just not the kind of story that allows us to neatly assign blame to zealousness, recklessness or a murderous attitude. All these have too demonstrable a cause and within that context, it's hard to argue they are incorrect as responses. They are, at the very least, eminently understandable.

Errors of judgement on Orga's part and the failure of those around him to moderate his haste play a role in what happens, without question. But to a large degree, no one involved is allowed to be otherwise. Takaki's path is contingent on too many factors to be a widely-viable alternative. Likewise, for all that the eventual escape of the survivors is facilitated by wiser and cooler heads prevailing, it is nonetheless paid for in blood, past as well as present. Heck, Kudelia's character development is about learning the cost of improvement and accepting that cost as necessary -- the same calculation performed by every boy who steps on to the series' battlefields.

In the end, perhaps the most honest answer to 'what caused Tekkadan's downfall' is simply that they existed as part and parcel of the world they were born into. Their 'mistake' was responding to it on its own terms, meeting violence with violence and oppressive hopelessness with desperate hope. They tried to win a rigged game, not because it was the only one in town, but because it looked better than the alternatives and once committed, there was no easy way to turn back.

I think that's a startlingly mature approach to a subject too often reduced to power-fantasies or personal horror. The existence of child-soldiers is a flaw in the real world. Through the way it fleshes out its tragic structure, Iron-Blooded Orphans manages to capture some of what that entails.

-------------------

Thank you for the ask! I don't know to what extent this is the answer you were after. I tend to view Tekkadan's naiveté as a significant single contributing factor, but it's really only a facet of their being stuck where they are, socially speaking. And I wanted to discuss the narrative treatment of Orga's flaws because it's something that could be a lot more clear-cut than it actually is.

[Index of other writing]

[thatsbelievable]

[akanemnon]

We didn't even get an answer, and we never will (at least it's not determination)

FIRST - PREVIOUS - NEXT

MASTERPOST (for the full series / FAQ / reference sheets)

[softwaring]

reblog for larger polling please 🖤

[sakuravalelp]

Phantom letters - DPXDC PROMPT

The bats wake up one day to the internet going crazy; people around the world were getting letters from they're diseased loved ones. The reactions are mixed, from people being outraged for the "prank" to people crying in melancholy at getting closure.

All the letters have something in common: They're closed with a green sealing wax that had an stylize DP and the name Phantom beneath it. Posts about the cards were using the # Phantom Letters.

The bats are discussing the viral posts in the cave when Alfred comes holding a basket filled with letters, announcing they were left at the doors. The letters had the sealing wax that they recognize from the posts. Checking the cameras they can see how they glitch before the basket appears.

Alfred starts to distribute the letters that had only one destinatary. Letters from each Thomas and Martha to both Bruce and Alfred. Letters from each John and Mary to Dick. A letter from Catherine to Jason. A letter from the Drake's to Tim, and another one to Bruce.

Once they had calmed down enough from the shock, Alfred proceeded to read the shared recipients. From Thomas and Martha to "The grandchildren we never got to meet." From John and Mary to "the family that took our little Robin in." Letters from Catherine to "My little boys family." The letters were directed to people the deceased didn't get to meet.

As much as the mere existence of the letters tugged at their hearts, they decided to not read them until they verified that the handwriting actually belong to the ones it claimed. They checked each letter, and in the end confirmed the letters were in fact from they're lost love ones.

After much discussion, each person makes the decision to read they're own letters later in private, and they proceed to read the ones that shared recipients out loud. The letter mentioned specifics like names and events that the deceased shouldn't have been able to know, including they're vigilante abilities, which had them pause each time to panic a bit. But what was more interested were certain pieces of the letters that mentioned a Prince Phantom.

"Prince Phantom said to don't mention things past our death, but it wasn't a command, so we're hoping this won't be much of a problem." - John and Mary

"I still can't believe Prince Phantom is letting us do this, but I'm so glad." - Catherine

It finally paints the mystery in a more concerning light when at the end of Thomas and Martha's letter there is a call for help.

"We're sorry for ending the letter on a serious tone, but seeing the kind of job you all get involved in, we wanted to ask: Could you please help Prince Phantom? Phantom had asked us to not give information about this, but he's so young, and has already been hurt so much. Please, check on Amity Park, Illinois."

-_-_-_-_-_-_-_-

Meanwhile, team Phantom has decided that they needed to get the news about the GIW out of Amity and ask for help. Two problems:

the GIW blocks any technological attempt made.

People might be afraid to learn that ghosts exist and side with the GIW.

As a way to deal with the public image, Phantom opens a possibility that the death have never had:

"All afterlives are open to write letters to their love ones that are still alive today. Nothing that includes threats, and don't go talking about the anti-ecto acts or Amity Park yet, we're trying to ease people into our existence first. Also, I know you all check on your love ones when the veil is thin, but please keep the things you shouldn't know out of the letters if possible. If you want your letter to be sent in the first batch, make sure to deliver your letter before the week ends."

Letters are a good way to reconnect people with the death, they aren't digital, and the GIW won't be able to intercept letters if they're send through inter-dimensional portals. Two birds in one shot.

[parisoonic]

'We go together!' 🤝

[eroticcannibal]

I'm still fascinated by the anti-sex people I saw on reddit and still so mad they wouldn't actually explain their stance to me like yes I disagree but I want to understand the specifics about like. What *exactly* is it about having sex that *requires* you dehumanise your partner. Why is this unavoidable. How does it work. What is making that happen. And instead they're just like "but your comment history says you were raped surely you should understand that sex is bad if you were raped" NO ENGAGE WITH MY QUESTION AHHHH I WANT TO PICKLE YOUR BRAINS PLEASE ENGAGE IN INTELLECTUAL FUCKERY WITH ME IM BEGGING

[gokuisahimbo]

And it felt like meeting the whole world.

Alt version, combined the layers!

[what-am-i-doing-in-this-fandom]

Is there a lore reason vampire fiddleford wears stereotypical vampire clothes or is he just Silly Like That /genq /pos

Yes, lore reason!!! That actually probably won't come up in the comic, so I'll answer it here!!

Fidds was actually wearing it for a vampire "meeting"!! Yess, he has been a vampire for a while, and he doesn't particularly like it, but he has to participate in vampire culture 🙏 And y'know, you have to dress up for those things. Stan just caught him at a bad time, he usually doesn't wear stuff like that!!!

So when he said costume party, it wasn't that much of a lie, who would've figured!!

[wordsandrobots]

So I've never seen anyone badmouth Gaelio as often as you, besides the ones that rightfully complain that he shouldn't have come back. Not that I wholly disagree, but what are your reasons?

Oh, anon. No, no, no. No, you have to understand, I *adore* Gaelio. He's perfect, vengeance arc and all. He is my absolute favourite chew toy. I wouldn't have spent so long writing fanfic focused on what happens to him, mentally speaking, post-canon if I didn't love the obnoxious lavender-tousled prick to death.

Gaelio Bauduin is a man fucked over by his social position, a sweet kid scarred by having been born into an aristocracy, who nevertheless retains enough of a moral compass to change for the better. He learns. He grows. He cares for those closest to him with an earnestness that belies his snobbish, flippant attitude. He genuinely, uncomplicatedly commits to justice and loyalty in ways his upbringing ought by rights to have beaten out of him.

He is additionally the single biggest reason the story ends as badly as it does, on account of being the most hideously self-absorbed dipstick on the face of the solar system.

(Second most hideously self-absorbed, we do have to factor in Iok.)

In another story, Gaelio's gradual dawning realisation that the attitudes he was taught are bullshit would be a process of redemption. His experiences with Ein, his compassion towards Carta, his vitriolic semi-mentor/semi-friend relationship with Julieta, his apology to Mikazuki -- these are the markers of someone learning to be a better person. In another story, he'd be learning to be a hero.

But in this story, his slow personal journey isn't what's important. What matters is how it interacts with a world too cynical to run on heroic narratives. Elion uses him as a political wedge. Tekkadan do not give a rat's arse about what he thinks. McGillis allows no room for an epiphany concerning their friendship until it is far, far too late. In imagining the scales had fallen from his eyes, he railroaded himself into the biggest screw-up of his life.

It's not completely his fault. As I said, he's used and rejected by others, and McGillis did have a damn good go at murdering him. But if he had been slightly more open-minded, slightly more willing to put his money where his mouth was when it came to his disapproval of Gjallarhorn's actions, and slightly less prone to making everything about his feelings -- well maybe he wouldn't have ended a broken, wistful shell of his former self, voluntarily disabling himself and regretting everything he didn't understand.

It's *beautiful*. Seriously. The tenor of your question leads me to believe I should restate my opinion that Iron-Blooded Orphans is a near-perfectly executed tragedy. When I say Gaelio is 'Always Wrong (TM)', I mean that is the part he plays in the tale. The man who makes every possible mistake he could in the course of getting exactly what he thought he wanted. It's a narrative role and he is a fantastic way of filling it because unlike Iok (who exists entirely as a hate-sink), Gaelio *does* have redeeming characteristics. He's loyal and principled. Passionate and determined. Able to adjust his world-view based on his experiences. Ultimately capable of swallowing his pride and admitting he was wrong.

And it doesn't matter one single jot. Things still end in flames, not just in spite of his attempts to do right by those he accidentally doomed but because of those actions.

Also he's a melodramatic brat who canonically used to flirt using Norse mythology, repeatedly injured people on his own side by mistake, got his arse handed to him by children (again, repeatedly), adopted the most on-theme moniker he could while wearing a doofy mask for months on end, and spent Season 1 with a crush on the world's least-hinged cop-brained class-traitor. I denigrate his character in precise proportion to which it is presented as lamentable.

Anyway, to lay off the verbosity for a minute, please also understand that if my opinion on a character is negative in the sense of 'I think the writers fucked this up', I'm unlikely to spend much time creatively cussing them out. For instance, to pick another Gundam example, I don't enjoy Shinn from SEED:Destiny. I get what the writing is going for with him and I think it's a neat plot concept, but I find the actual result grating. It's the same for a lot of the cast. Overall, I just don't rate that show very highly. So I don't talk about it, and I don't expend effort to dig into narrative roles, how characters come across, what that means for other parts of the story, etc. To put it bluntly, it's not worth my time, especially when there are people who *do* like SEED and don't need me raining on their parade.

But I enjoy watching Gaelio and that's exactly why I bad-mouth him. It's more than a passing joke; it's part and parcel of what I love about how Gaelio is implemented, that he's that much of an aristocratic nitwit, and that even when he's making moves towards the broadly 'good' end of the moral spectrum, he's still got a deeply hierarchical attitude. This is a man who, in the middle of quite understandably wanting to get back at somebody who tried to assassinate him, reflects on enjoying being in the heat of battle again after having just beaten-up/killed a bunch of workers trying to break free of colonial rule. There is a *lot* you can dig into about what (and who) Gaelio sees as important and how his attitudes are a perpetual work-in-progress, constrained both by his assumptions and by the alliances he has to make in order to pursue his revenge.

It's well executed, as I said, and I happen to find it extremely compelling. Certainly more so than if he hadn't been resurrected because the show-runners liked his voice actor's performance.

[lucidloving]

@inanotherunivrse // You're On Your Own, Kid— Taylor Swift // @inkskinned // Richard Siken, Crush // @lilcowgirl7-deactivated20210223 // Heather Havrilesky, How to Be a Person in the World // Zoe Heller, "Everything You Know" // Atticus

[whenthelightisrunninglow]

i'm sorry but ingo's "unfortunately not" in that comic is very funny to me

[rqbossman]

I sent this question to Jonny too, but just in case he doesn't answer - I'm currently in the process of copying the entire first episode of TMA into a minecraft book to hide in a box in the infinite underground labyrinth I'm surprising my friend with. in doing so, I've encountered a problem - the game censors every mention of alcohol and cigarettes. any ideas for replacement words I can use to "kidzbopify the anglerfish", as it were?

Alcohol = happy juice, orphan's tears, squeeze, liquid luck, liquid loss, that which inebriates, fool's nectar, glutton's bane, cool guy juice, splosh.

Cigarettes = death sticks, tobacco tubes, bonzos, that which burns, filter friends, lung drops, minor's mistake, ciggydiggydoodaadanglestrips.

[kizzer55555]

DP x DC: The Most Dangerous Card Game

Ok so Danny has essentially claimed earth as his. And he is fully aware that there are constant threats to the planet. Now he can’t stop a threat that originates on earth (that’s something he’ll leave to the Justice league) but he can do something about outside threats. Doing some research on ancient spells, rituals, and artifacts, he cast a world wide barrier on the planet to protect it from hostile threats so they cannot enter. This will prevent another Pariah Dark incident. However, barriers like this come at a price. You see, there are two ways to make a barrier. Either make one powered up by your own energy and power (which would be constantly draining) or set up a barrier with rules. The way magic works is that nothing can be absolutely indestructible. It must have a weakness. The most powerful barriers weren’t the ones reinforced with layer after layer of protective charms and buffed up with power. Those could eventually be destroyed either by being overpowered, wearing them down, or by cutting off the original power source. No, the most powerful barriers were the ones with a deliberate weakness. A barrier indestructible except for one spot. A cage that can only be opened from the outside. Or that can only be passed with a key or by solving a riddle. So Danny chooses this type of barrier and does the necessary ritual and pours in enough power to make it. And he adds his condition for anyone to enter. 

Now the Justice league? Find out about the barrier when Trigon attempts to attack, they were preparing after he threatened what he would do once he got to earth. How he would destroy them. The Justice league tried to take the fight to him first but were utterly destroyed, so they retreated home to tend to their injuries, and fortify earth for one. Last. Stand. Only when Trigon makes his big entrance…he’s stopped.

The Justice league watch in awe as this thin see-through barrier with beautiful green swirls and speckled white lights like stars apears blocking Trigon and his army’s advance. The barrier looks so thin and fragile yet no matter how hard the warlord hits, none of his attacks can get through and neither can he damage said barrier. That’s when Constantine and Zatanna recognizes what this barrier is. Something only a powerful entity could create. For a moment, the league is filled with hope that Trigon can’t get through yet Constantine also explains that it’s not impenetrable. And clearly Trigon knows this too for he calls out a challenge. 

And that’s when, in a flash of light, a tiny glowing teenager appears. He looked absolutly minuscule compared to Trigon and yet practically glowed with power (this isn’t a King Danny AU though).

And that is when the conditions for passing the barrier are revealed. And the Justice realize that the only thing stopping Trigon and his army from decimating earth. The only way he can get through….is by beating this glowing teenager in a card game. 

Not just any card game though. The most convoluted game Sam, Danny, and Tucker invented themselves. It’s like the infinite realms version of magic the gathering, combined with Pokémon, and chess. And Danny is the master. So sit down Trigon and let’s play.

(The most intense card game of the Justice league’s life).

After Danny wins, this happens a few more times with outer word beings and possibly even demons attempting to invade earth, yet none have been able to beat the mysterious teenager in a card game. Constantine might even take a crack at it and try to figure out how to play. He’s really bad though. Every time this happens, the Justice league worry that this might be the time the teenager looses. Yet every time, he wins (even if only barely). 

Meanwhile, Danny, Sam, and Tucker have gotten addicted to the game and play it almost daily. Some teachers might seem them playing the game are are like ‘awww how cute’ not realizing this game is literally saving the world. Jazz is just happy they aren’t spending as much time on their screens playing Doomed.

[theotherbuckley]

incorrect tweets pt 17/?