#you can extrapolate nothing real from anything put out about them

[d-andilion]

.

[sarcophagid]

miscellaneous thoughts abt ithaqua's weibo post and trailer backstory

weibo post link | official wiki lore page

my translation (i'll be referencing this a few times, but it's pretty rough, and not significantly different from the official wiki translations, there's just a few semantic things i added from the original weibo post. i'll put the original chinese text besides whatever i'm referencing. lmk if there's anything i should change, my chinese is very very far from perfect 😭)

disclaimer: i doubt all of this is necessarily intentional, i just think it's fun to think abt. this is more of my personal interpretation 👍

Red, fire, life - are all connected symbols.

His heartbeat is described as being 'rekindled' specifically using a term (燃起) related to lighting fires.

His life with his mother is also likened to a bonfire in the blizzard (风雪中的篝火)

In this sense, ithaqua embracing the identity of an snow monster is also a departure from his identity while he was 'alive'. The night watch is cold, it's not alive. He also says 'no longer will living people come near you' (不会再有活人靠近你). 

Similarly, after the attack, he describes her humanity as having died. (母亲的人性死)

He uses these figurative terms of 'life and death' in his trailer too. he was born 'dead', and only upon meeting his mother was he 'alive'. 

In this sense, his mothers hair is red like fire, warmth, and life

Clerical cloaks are usually black, unless it's a special occasion. Nathaniel's cloak is also red. 

Occam's Razor says that red stands out more against the dark background, and in shots with just the two of them, makes the scene look more cohesive. 

But I have a problem, so symbolically, I think red in Nathaniel's context represents blood - both as a blood relative to Ithaqua and to indicate his violence and the violence of the society he represents. 

This is more tentative, but I think the concept of 'gods' is also related to this. When he 'regains his senses' (回过神) the character (神) used for 'senses/mind' is the same as the one used for 'god'. This is also the scene after he murders Nathaniel. However, this is also a very commonly used phrase with nothing to do with god (god, mind, spirit, are connected concepts linguistically; unrelated to this story) so it's likely mere coincidence, similar to the line about "becoming an adult/becoming human".

In this sense, red, blood, and violence are connected.

barbarism/civility

Leng is described as barbarous, but its practices have also been described as 'civility'. I think the first instance refers to the cultural lagging of Leng, being somewhat a figment of the past. 

This could be seen as a separation between two time periods - the civility that has these rules (the ones which hurt his family), and the older barbarism that does not. Ithaqua's "reverting to barbarism" could then be inferred to represent an even older time than the already old practices in the plateau. This is somewhat in line with his persona of an "old god", although fictitious.

Ithaqua, whether he shows it or not, has an understanding of politeness and etiquette. (heavy extrapolation but this is from the 5th anniversary video where he says "Do you believe someone who believes barbarism is better than civilization should be illiterate and lacking etiquette?") On this note, it's possible if not likely that his mother was well-educated. Regardless, I don't think he hates every aspect of society or humanity, but he also has a very limited understanding of it given the nature of the Plateau.

humanity/monstrosity

Monsters in this story aren't very literal* as much as they represent the unexplained and chaotic. 

*There were no real witches or demons, and Ithaqua is not literally an old god. He also rejects the existence of witches. (However, there are supernatural elements to the story, such as his mysterious survival and the wind power.)

A demon/monster/witch makes a concrete concept you can destroy to gain a sense of security. Leng is a hotbed of fear, not wrath. (perhaps hatred comes into the equation but it does not initially grow there.) It's isolated, has limited resources, harsh winters, and a constant sense of paranoia regarding survival. It wouldn't take a lot for the area to go out of balance, and this uncertainty drives the desire to have a tangible thing to blame because it's difficult to accept the idea that we have so little control over our fate. The Night Watch embodies the cold and alien that the people fear - but what scares him is familiar. A face that literally matches his own. 

Ithaqua spends nearly his entire life both mentally and physically separated from a nebulous 'other' civilization. I won't speculate on his personal philosophies regarding human nature and free will but he is terrified of the possibility that he, for all his differences, was not meaningfully different at birth from Nathaniel because they are both very human. This is all a story for another day though 😅

anyways thank you for reading! i haven't rlly checked enough for spelling and grammar stuff and it might be a little repetitive/rambly forgive me TOT but imma edit this later maybe

[yes-these-obsessions-are-healthy]

the problem with writing OCs in certain fandoms is that if the OC needs to be competent and do something, i.e. be the chosen one or the leader of an organization, I get overwhelmed by the mere thought of being responsible and proactive and literally get so tired I need a nap. Not to mention I'm not clever and have no patience for politics and strategy that doesn't boil down to "Argue/threaten people to be nice and do the right thing or else". Yeah I'm that person who would write a terrible OC that just sits there and does nothing while people do the work for them. At least I'm self-aware hhhhhhhh

It's why hyper-competent OCs are kind of hit or miss for me. Too competent and I get annoyed. Too incompetent and I get annoyed. Hyper-competent, confident, capable OCs have never been characters I've gravitated toward or enjoyed for 'wish fulfillment'. Characters that are a hair's breadth from a serious and genuine mental breakdown (not in the ha ha ha way people would joke about it in the tags, but actually holy shit someone put out this fire, someone help them, someone genuinely actually help them please) and make mistakes and try their best to scramble to keep all the plates spinning are much more comforting. Their anxiety becomes my anxiety, and paradoxically it becomes enjoyable because it's a simulation of those negative feelings. An OC with tons of accomplishments just makes me feel like my real life sucks, lol, I just end up comparing myself to some fake deeds and adventures and end up going 'I wish I could be like that. But I'm not."

anyway this is just rambling, but somewhat also sort of kind of about my Lavellan and the difficulty in writing fanfiction for Dragon Age because there is little room for absolute losers because if your OC is an absolute and actual-actual unlucky incompetent loser, then the plot can't progress. The Warden, the Champion, the Inquisitor *can't* be a loser. Everyone would be dead if they were, so it is difficult trying to toe the line between 'realistic stress and character flaws impeding this character's story" and "Okay realistically and by the logic of the game's universe, the law, the nature of things, and everyone around the OC, this character would have a Game Over screen by now."

Also not to mention that my brain is indeed built for knowledge of lore, but it's not built for constructing anything from that lore, at least if it's fictional. If it's real history I can make all the connections and extrapolations like nobody's business, but I guess because a video game, a book, a tv show, a movie, etc. has so much that is simply not known, it's too big of a fog of war for me to know where to start. No one wants a shitty superficial word vomit of half-baked ideas when there are people who just have more creativity to come up with entire family trees for their Inquisitors or Wardens and can fold in Game of Thrones' level of intrigue into made-up Fereldan - Orlesian politics and nobles. I don't have that dog in me, sad to say.

I know. Just write. Just write what you like to write about. But the thing I want to write about--the thing that would make me feel accomplished-- is the stuff I'm not good at writing and don't understand how to write because it's as foreign and unintuitive to me as Ancient Greek, and no matter how much I read I can't come up with anything. Just a blank. I blame the autism for this blind spot when it comes to my inability to spontaneously conjure up and plot out fake human motivations. I can't even write characters being rude or ignorant--not like I used to--because the thought of even including people like these in my stories is like adding your least favorite ingredient into your favorite stew. Yes it gives it a better flavor profile but you're still chopping up that onion and being miserable the whole time.

Again, rambling. Just rambling. I had six years--count 'em, six--to develop and write down a half-decent walkthrough of my Solavellan relationship and I didn't because I'm not quick when it comes to understanding my own OCs' motivations My OCs are basically the transfer student you get second week of school and it's only by May you realize "Oh we actually have something in common". My OCs are pretty much as much a mystery to me as they are to a reader. I have to spend just as much time trying to figure out who they are and what makes them tick as anyone on the street. I have to parse through things, and try to find a voice and find the tune and string it together with canon characters and events, and it's always extremely slow goings. .. sigh.

[clamsjams]

If you’re chill with people in your ask box sharing theories /if not you can ignore this ^^/. My personal theory about Maximus is that he’s not secretly working for the federation or anything, the federation just needed him to either 1: cause unrest and distrust among the order group since he was one of the forming members of it 2: they needed to test a small experiment with him, 3 he could’ve also became a sleeper agent but I doubt it.

I don’t think the code attacks people who are with the federation, I think it attacks people because the federation needs them for something or to take them in private, making the code seem worse and more threatening to the residents just helps the cause since it takes the heat off the federation a little bit.

dude i’m chill with people in my ask box just to say hi or something pls pls pls talk to me i am normal i swear i am not foaming at the mouth i can talk to ppl

anyways yeah i absolutely agree with ur first thing, bc of how trumps death affected max and the way he’s been so so focused on finding answers, founding the ordo theoritas, and basically constantly trying to figure out the federation, there’s basically no way he would ever be a part of the federation willingly imo. unlike fit, who seemed to stay more neutral, which makes sense if he was planning on being a traitor for a different organization, and he had to have been planning that for a while, if not since the start, which makes his neutrality seem like a planned move.

however, max is extremely paranoid and gets tunnel vision when it comes to the federation, which makes it extremely easy to manipulate him if u know what ur doing. and look, i hate to have to take the ass camera seriously, especially bc the ass camera thing was like improv that they came up with on the spot, so if you’ll excuse me for being meta for a sec, there’s no way the people who put together the story could’ve planned for that or factored it into the lore. BUT hehe butt implanting some kind of monitoring device into someone does seem like a classic federation move, even though i think it’s main goal was to gather info, and the sowing of dissent was kind of a secondary bonus

and as for the code thing, that’s def an interesting point. i like the idea that the code is a red herring, something planted by the federation to serve its goals. and i think that would be interesting if the codes real goal is to give the players an enemy to unite against, to make them feel like theyre doing something and to take the heat off of the federation for a sec. bc most players seem to agree that between the feds and the code, the feds are the lower priority threat, the lesser of two evils. bc the feds don’t resort to violence as much as the code, and their agents can be reasoned with, in a way, even tho that reasoning and logic seems pretty warped to anyone with a functioning understanding of how emotions work. the code, on the other hand, just shows up, attacks, and leaves, there’s no way to talk to them or try to negotiate, bc you’ll just get killed if you try. so yeah def a possibility

but that’s the thing about the codes. when u theorize u go off of the info that u can gain from the source material, things that are explicitly stated, things that are implied, and things that u can extrapolate based on the data u have and logical thinking. the problem with codes is that they’ve given me basically nothing to work with. all i know is that they attack without mercy, they have some form of admin powers, allowing them to fly and summon mobs, they target the eggs for some reason, and the federation won’t admit they exist. that’s basically it. which means that all of my thoughts on them is just baseless speculation. when i theorize about them, it’s mostly just me speculating on a direction i think the code storyline could possibly go in and how it might affect the storyline, but i have nothing to back that up.

anyways that was basically a long winded way to say, i don’t fuckin know what’s going on with the codes at all but it’s a fun thing to think about and i think ur idea is def plausible and would have interesting implications

[emailsfromanactor]

We're in a Redfield drought, so here's another one of his letters to The New York Times! This is from November 23, 1969.

TO THE EDITOR: Critics here and critics there. There seem to be critics everywhere. It’s enough to give a professional the pip. At times one gets the impression that we have more critics than plays. Martin Gottfried, fat with grants, is the drama critic for Women’s Wear and I think that’s nice. He seems to be on the side of the angels, culturally speaking, and that’s nice too. But when he barks so sharply at Walter Kerr because he considers him an apologist for Broadway (justifiably), he reveals himself as something worse: an amateur. Hard fact: the trouble with 99 per cent of critics is that they know nothing about the theater. So blunt a statement may seem a joke, but it isn’t. The not so surprising truth is that the only people who know anything about the theater are the people who put on plays. With all Mr. Gottfried’s endless gazings at the Alley Theater and Berliner Ensemble, he learns little of importance because he can neither act nor direct nor write nor pull a curtain rope for the theater. Until you can do one or all of these things, you end up knowing zero about what makes a production either move or be moving. Why such a polemic from me?

Because theater professionals get awfully weary of the war between critics. Granted many of them are just young fellows trying to get ahead, must they try so desperately to euchre each other? If I read one more attack on Clive Barnes by John Simon, I think I’ll throw up at the sheer “I want your job” of it all. It’s like “All About Eve,” for heaven’s sake. Mr. Gottfried, while making a painfully awkward case for resident theater, provides us a list of competing players. He lines up Zoe Caldwell, Dustin Hoffman, Jon Voight, Frank Langella and Stacy Keach against Jason Robards, Sandy Dennis, Paul Newman, Barbara Harris and Henry Fonda. He tells us, with beguiling certitude, that the first group are actors because they owe nothing to Broadway (not entirely true) and that the second group are merely Broadway-approved performers. So tortured an argument must not be pecked at too fiercely for want of space. Enough to say that Paul Newman, rightly or wrongly, never received totally approving reviews on Broadway; that Barbara Harris’s “development” (Mr. Gottfried’s word) has as little to do with Broadway as Zoe Caldwell’s; that Jason Robards’s original impact had entirely to do with Off Broadway; that Jon Voight has not had time to compete with him as a serious theatrical actor, though I doubt either of them give a damn; and that Sandy Dennis and Henry Fonda do not by any means hold firmer grips on “fine actor” reputations than Dustin Hoffman or Stacy Keach. The real point is: who cares? Reputations, as such, have always been questionable. Success is always questionable, so long as we are aware of why it is there. To say, as Mr. Gottfried does, that William Ball is “surely the finest director in America” is surely the sort of amateur’s extrapolation we expect from someone who has no idea of what he is watching. No rap on William Ball. He is a vigorous and important director, but how would Martin Gottfried know?

John Simon, for his part, has publicly chastised Harold Prince for daring to direct professional productions. Simon pointed out that directing is a far more difficult art than “all but the greatest acting” (sic) and that Prince would certainly shrink from starring himself in a production. Therefore, Simon says, how dare he direct? The question is gorgeous and the logic sublime. It places Mr. Simon, by his own request, at the lip of Mauna Loa—from which he obligingly dives into lava. What is certain, obviously, is that Mr. Prince directs Broadway productions because they are hugely successful. Also that he is hard-nosed enough, as producer, to discharge anyone, including himself, who cannot measure up to his assignment. It is no insult to Mr. Prince to say that if he were to star himself, he would close in Medicine Hat. Before disgorging themselves of so many top-hatted judgments, shouldn’t our more pretentious young critics learn how to dress a dancer? Or speak one line of dialogue before an audience? What is distressing for the theater workman (barring producers) is that such sweeping determinations too often quite literally control a fellow’s next job. This situation, by the way, is considerably more damaging to the “developing actor” than all of Gottfried’s eyewash about the importance of playing Pinter rather than being “directed by Abe Burrows.” I am not at all persuaded (after 33 years) that one experience is necessarily more developing than the other. The fact is that a great deal of resident theater acting is absolutely dreadful while a great deal of Broadway acting is pretty good. One of the reasons is, as Minnie Maddern Fiske pointed out some years ago, that repertory companies are often stuck with the wrong actors for too many of the parts. It is nice to know your fellow player and to have worked with him before, but it is not so nice if he is ghastly in his role. Individually cast productions—granted a sufficient rehearsal period—frequently work out better. Mr. Gottfried’s heart is nicely placed but he has badly blown his mind because he confuses goodness with creativity, reputation with ability, success with accomplishment, and Broadway with the devil. Mr. Kerr, on the other hand, and despite his sometimes maddening commercialism, knows what he is watching because he is a theatrical professional of considerable experience and decent accomplishment. And it is my belief that Mr. Barnes does not entirely deserve the continuing contumely of his colleagues. The fact is they know no more than he. And, in many cases, they know a great deal less. All I ask is that a critic either genuinely understand the creative process or leave off trying to fool me and the public into thinking that he does. Opportunism is not evaluation. Wrestling for reputation is not criticism. It is not even reviewing. A little less regal, gentlemen. In a very real sense, we are all in this together. And, if you don’t know that, you don’t know your proscenium from your apron. WILLIAM REDFIELD New York City

[fionnaskyborn]

see the thing about the idea of "you can't make shit up lest you stray from the core ideas of the work or the personalities of the characters as depicted in the source" is that, as always, everything in this world is about nuance, so making absolute statements like that is inane, pointless. i firmly believe that one can shake their head at the passing along of ideas that do not at all adhere to those conveyed by the original work or the original iteration of a character and the passing along of those byproducts, so to speak, that have strayed so far from the things that they describe or stand for or represent that, in the most extreme cases, they can be considered as entirely divorced from the source material while also recognizing the flaws of the original work and pointing out what could've been done better. and doing so isn't necessarily going "HURR DURR i am a writer greater than the greats who have created this deeply meaningful work themselves" (though there are probably people out there who are doing just that, but i could care less about all that) - rather, i believe it to be a show of love for the work. not trying to make it better or trying to act as if you or i or anyone other than the author could write a kojima game or whatever but rather just trying to make sense of things based on what you already know to be true - not too unlike navigating life. creating a derivative work is a pain in the ass as much as it is the most fun i've ever had with anything that has to do with, well, creation, because in your constant struggle to do every concept and every character justice, you're going to run into some walls, and those walls come in the form of deviations from the concepts the work or a character or a group of character stands for so absurd that while the story does end up holding itself together (somehow) even with them being present, those same deviations make certain character arcs look like a snapped straw. and that's a part of the source. but if the source contains deviations, and the act of extrapolation is the essence of deviation, then, oh, woe is me, what's a man to do?!

well, there's no easy way to say this, but, uh. if you have the freedom to extrapolate that comes with creating a derivative work. then, perhaps, maaaybe you should exploit that freedom. maybe extrapolation isn't a cardinal sin if it's done out of love and passion for both your work and the original work and if it's done carefully while having in mind the original motivations of the characters before those deviations started taking place, and the things they were trying to convey. maybe the decision to make the unit commander deeply grateful to the man who helped shape her into the person she is today while having the feeling that she won't ever be something as great as that guy gnaw away at her while also consciously ignoring the advice given to her by that same man to quit war because War Is Bad (as we all know) is a more natural progression for that character than "i may have loved you once... but you are nothing to me now. also i'm going to be really mean to you on certain occasions for no real reason and passively aggressively call you terrible things while also going 'ugh, men.' in general". maybe that one guy wouldn't be too happy about being lied to about the life of his son by his own girlfriend/partner/significant other/whatever. i'm not trying to put anyone down, and i never will, and i am writing all of this out of love for the stories that have been told to me, but also the fact that i am writing this at all is a very rare act of me being confident in my skills as a writer, as an artist, as a media analyst and enjoyer, and i am going to revel in the moment as much as i can, and i am not going to write a single word of apologia for writing this post. thank you, goodbye.

oh you guys are getting a rant and a half alright

[telebisou]

Fight Club

I can see immediately why people had so much trouble understanding the point of this film after the 90s were done.

This is a very 20th century American story, about how "Generation X" boys would inevitably evolve into "incels", and how that would ultimately fail to create anything other than a thin mythology with which to justify and absolve them as perpetrators of violence.

It is a simple prescience, in the way of all speculative fictions, in which the author extrapolates from 'now' to envision a future based on extant reality. That "future" came and went, exactly according to its author's schedule. Its despair was proven accurate (and its author has since retired into contentment).

At the time, it was presented as a dark farce, but of course the entire basis for any but the most surreal farce has been obsoleted. "Something like this would never really happen", "no one would actually do this", "people aren't that silly" are incoherent premises! We all know it would, they would, they are, and beyond. In this way Fight Club is a final fading ember of farce. The darkness its joke was presented with has since become standard fare, so ubiquitous as to be invisible.

The difficulty of art was once Palahniuk's burden, but the outcome of simple reality is not his responsibility.

The story's psychological complexity speaks to a people that are mostly gone, now: 'the middle children of history' have surrendered to their masters and their cynicism has been redirected toward their younger siblings, so that they can keep their jobs. Blue Trump is a satisfying and adequate surrogate for Orange Trump.

When Chuck speaks clearly, the movie gives cinematic weight to the line, but it's gone ignored or misunderstood all these years:

We are men. Men is what we are. Put this in context: at the support group for people who have had their testicles removed. Line it up with what he has demanded be done to him if he betrays Project Mayhem…

Bad news, friend, it's not going to happen. I'm sorry if there was a misunderstanding. You're trespassing and I will have to call the police. The people you sought your validation from are going to demean you in every same way you have been demeaned before. Can you take it? Or are you weak? You can't be in the club if you won't let us abuse you for our amusement.

Tyler. You are the worst thing that ever happened to me. she is unable to escape her abuser. his power includes having her brought to him against her will, and to convince her to hold his hand while his violence erupts. our justification is that it is credit card companies he is attacking - but in the real world, do the credit card companies erase your debt? or does your abused girlfriend feel obligated to try again? in reality.

I always suspected that his fans drastically misinterpreting his work is part of the reason for Palahniuk's cheerful recusal from the business. I speculate that he is too mild a person to really grapple with white supremacy at that level. Many people his age, especially educated white people, are just unable to face it. Realizing that their existential crises stem from their own privilege within racist systems is too crippling to face, too guilty and with no apparent solution, especially as web-enabled moral absolutism increasingly defines our common perspective. What a different story Fight Club would have been if it was "I am Jack's Wrong Colored Skin", or if Raymond K Hessel, sobbing and pathetic, had been depicted as the average white boy viewer instead of a humorously nebbish asian person.

Beyond the ground level - did Chuck know how white a movie it was going to be? Did he reflect after on just how white all his works are? I've read three of his books, they have nothing to do with nonwhite reality. Watching the movie, I wonder if it is intentional, how jarringly out of place & shallow his black background characters look. As a wild guess, I don't think he was conscious of it; I don't know of any interviews or essays in which he examines the boundaries of his imaginal worlds that express an insight into the delineations of color in the society he criticizes. It's a useful filter to examine his work through.

[serpenteve]

I'm having the horrible realization that Aleksander never actually did any serious wooing of Alina in the books. It's all just Alina her self being horny attracted to him. But this is supposedly???? His grand scheme???? Of manipulation???? Implications! It seems like the girls in these books wasn't the only one slut shamed. I'm- ☠

Leigh wrote a man sexy and captivating and said "it's his fault, actually, that Alina got a crush on him. He shouldn't of.... uh.." Flips through papers. "Ah, had such pretty eyes."

Okay! 👀Yes, we are finally doing this!

I'm flipping through my copy of Shadow & Bone and noting down all the interactions between the Darkling and Alina which I've put in chronological order beneath the cut.

First of all, the Darkling and Alina are only alone together in about a handful of scenes. Most of the time, the are surrounded by other Grisha or Baghra or are in a public place. A lot of the Darkling's actions and words are clouded by Alina's own insecurities. She constantly voices how she feels like she's not good enough, not pretty enough, not strong enough and he takes it in stride and gently encourages and placates her. There are a few lies he does tell her (that the Black Heretic was his ancestor, that he wants to destroy the Fold, and he doesn't know what Baghra's power is, etc) but if we extrapolate the trajectory of her ill-fated romance arc, I think even book!Darkling would have told Alina about his real plans if she seemed like she'd accept them.

A lot of speculation has been made about the Darkling's seduction of Alina and honestly???? Aleksander literally just exists and Alina is thirsting for him because she's desperately looking for validation and re-assurance. I initially head-canoned his first kiss by the lake as being pure calculation and the kiss at the Winter Fete being 100% accidental (because Dark Lord Sasha played himself lmao) but on this re-read, I don't even know anymore. He already came close to almost kissing her after they have a tender moment, catches himself and then immediately leaves before he can catch feelings. Then when they share another tender moment at the lake, he kisses her and then is surprised by it and before he can really process it, Ivan comes by to cockblock.

Like, even Leigh (as much as she has shit on this ship) said at one point that the Darkling has strong feelings for Alina, even if he may not necessarily quantify them as love. So looking back, I don't read anything the Darkling did as manipulative seduction. He obviously lied about some stuff and wasn't transparent about his real plans for the Fold, but as a military commander who sees Alina as an opportunity for a coup, it makes sense that he'd play that a little close to the chest---especially when Alina has proved to be wary of his powers and has a very black-and-white sense of morality. If anything, this is less "the Darkling seduced Alina to manipulate her into being used!!11" and more "local dark lord tried to encourage his protege and accidentally caught feelings and it was a mASSIVE FUCKING INCONVENIENCE TO HIS EVIL PLANS"

But you know who does slut-shame Alina a lot? Baghra. Seriously, Baghra makes Alina feel like shit for her crush on the Darkling numerous times. She has all these lines:

"You want to be [his pet]...Don’t bother lying to me. You’re like all the rest. I saw the way you looked at him."

"Dreaming of dancing with your dark prince?"

"Foolish girl." (After Alina shamefully admits the Darkling might come to her that night)

At one point Baghra creeps on Alina and the Darkling's interactions and even though literally nothing happens between them and when the Darkling leaves, Alina catches Baghra giving her a snooty look. ("For no reason at all, I blushed")

She is determined to shame Alina for her feelings and make her feel like a lovesick idiot for daring to crush on him and this is in addition to all the slut-shaming Mal does. The narrative revealing the Darkling is the bad guy all along while leaving Alina no compelling arc to discover this on her own feels very much like Leigh hitting us all with Baghra's stick, like "Foolish girls! You thought he cared about Alina just because he has a sexy jawline??? HAHA HE LIED YOU SLUTS"

Scenes with Alina and the Darkling in Book 1

Their first scene together is in the Grisha tent. Based on Alina's description of him, she already thinks he's hot as barely any other character in this godforsaken series gets so many descriptions of their grey/smoke/slate/quartz eyes as Aleksander does 😏

The next time they're together he saves her life. Alina is traumatized from seeing a man sliced in half and the Darkling instructs her to keep her eyes on him instead. She is disturbed that he killed the person about to murder her and this aversion seems incredibly contrived and arbitrary on behalf of the author. It's almost like she wants Alina to be vindicated and shamed for not trusting her initial bigotry against him or something 🤔The Darkling admits even he can make mistakes and then he touches the back of Alina's neck (with some secret Heartrender/Healer abilities?) and she falls asleep riding on his horse.

They spend the next few days traveling. Alina notes that the Darkling hasn't spoken to her (probably because he's focused on getting her to the Little Palace without any more assassination attempts) but Alina is a paranoid she's offended him somehow. Again, this is just Alina's insecurity painting a narrative that simply doesn't exist based on what actually happened so far.

They exchange a few words by the stream and Alina fishes for pity points by saying she's ugly and can't possibly be Grisha. Aleksander appears 100% done with her stupidity and says she doesn't understand but he's not in the mood to explain at the moment and walks off ☠️

Alina joins the Darkling and his men for a meal. She notes that the grouse they've killed is meager shared meal but that the Darkling doesn't want to put his men in danger by sending them out to hunt in the forest at night 😌He also sits on the floor to eat like they do and he doesn't take more than the regular portion than they do 😌. Sorry, how is this man the most ~evil~ wizard on the planet? He is obviously a good and fair commander and beloved by the Grisha.

Alina has been checking Aleksander out the entire time so when he catches her, he walks over to talk. He fishes around for information on what Alina has heard about him. He seems sad when Alina mentions she has heard that Darklings are born without souls, though not surprised. He then spins the story about the Black Heretic being his ancestor and how the Fold was a mistake and how every Darkling since then has tried to undo it and how Alina is "the first glimmer of hope" he's had in a long time.

Because Alina is still on that "Grisha are unnatural monsters" agenda, she asks him about the Cut and he explains it but she's still distrubed. He asks her if it would have been better if he used a sword and she replies: "I don't know". The Darkling gets offended and leaves. Alina tries to convince herself she can't have possibly hurt his feelings (because Darklings don't have souls or feelings?) and then feels paranoid that she's failed some secret test. Yeah, the test you failed is called "empathy", Alina 🙄

Two days later, they arrive at Os Alta. Aleksander roasts the Grand Palace as the ugliest effing building he's ever seen. He leaves immediately after dumping Alina at the Little Palace and Alina actually seethes that he isn't paying more attention to her? I understand that it's overwhelming to go to a brand new place, but Alina expecting him to constantly hold her hand and explain everything to her after she basically insulted him is a bit strange.

The next time Alina sees the Darkling, they are scheduled to appear before the King and Queen. The demonstration is a surprise for Alina and Aleksander's lack of transparency of what's expected of her means she's forced to rely on him and trust his instincts. This might be his underhanded way of getting Alina to see that she can trust him; that he will not make her look like a failure or humiliate her; that they are in this together and it will only work if she trusts him.

After the demonstration, Genya and the Darkling trash the monarchy for a bit (Alina is horrified) and then the Darkling orders Genya to get a black kefta for Alina, to which Alina infamously wants a blue one. The Darkling doesn't really put up much of a fight, merely wanting to know why. Alina decides he doesn't approve of her choosing blue and wonders to Genya if he's angry.

After Alina's first day, the Darkling calls her to his quarters to ask her how her day was. Alina is surprised that this is all he wanted to know because she was paranoid he was going to torture her??? She says: "Why shouldn't I be afraid of you?...You can cut people in half. I think it's fair to be a little intimidated." If the Darkling is offended or angry about this, he doesn't show it and merely indulges her. He notes that she has a habit of running her hand across a scar on her palm and asks her about it, tracing the scar himself. Alina gets distracted by his touch but manages to answer his questions: she got the scar at Keramzin, Mal is also an orphan, he is good at tracking. He shows her a secret passage back to her rooms to avoid the main hall.

Alina starts her training and at one point laments that the Darkling is rarely at the Little Palace and when he is, he never speaks to her or barely looks her way and she is convinced it's because she's a failure and can't summon light on her own. It could also be because, you know, he's the commander of the Second Army and is usually seen in talks with other military advisors and the fact that Alina kinda lowkey insulted him with her wariness about his powers???

The next time they are together, Alina interrupts him and Baghra arguing. He politely asks her how she is. Baghra antagonizes her. The Darkling defends her. They talk about amplifiers and because Baghra is being a snarky little shit about it, they take their conversation outside.

Aleksander complains about how annoying his mom is and then asks Alina what stories she's heard about Morozova's herd. At one point he laughs for the first time and Alina practically creams her pants at the sound. Alina expresses her concerns that she can't summon any light and the Darkling says he's not worried and it will happen when it happens and worse case scenario, it will happen once she has the stag. They have a quiet intimate moment, gazing softly into each other's eyes and then suddenly Aleksander realizes he's catching feelings and steps back suddenly like "GoodLuckWithYourLessonsOKayBYE". Baghra watches this interaction from her hut and gives Alina a slut-shaming look.

Alina eventually does learn to summon light on her own. Baghra gives her grief about how it's not enough. The Darkling shows up during one of these lessons and says as much. Alina says she's useless. The Darkling corrects her (“I don't think you're useless, Alina....No Grisha is powerful enough to face the Fold. Not even me”) and then he apologizes for letting her down ("I've asked you to trust me and I haven't delivered"). He wonders if his mother is right and he's crazy to hunt the stag. They have a nice bonding moment, Aleksander lies about Baghra's power, and then he asks if Alina would think him crazy for still wanting to find the stag. She asks why he cares what she thinks, he seems genuinely surprised himself that he cares. Then he kisses her. He seems not to have meant to kiss her because then Ivan shows up for his 5 o'clock shift of cockblocking and the Darkling immediately pretends like nothing happened and walks away with him. Like dude is acting like a fucking dork who's allergic to feelings at this point. I should note here that Alina practically has an orgasm from how giddy she is about this moment. She can barely think of anything else.

The next time they're together, it's at the Winter Fete. They do their demonstration and Alina accidentally reveals her insecurities about how he had kissed her and then disappeared. He responds, "Did you really think I was done with you?" and then they enjoy some steamy kisses and thigh grabbing in an empty room before a random round of Grisha show up for their 6 o'clock shift of cockblocking. Aleksander is annoyed at his own attraction to Alina. He asks if he can come to her that night but Alina doesn't get a chance to respond.

and then the Darklina romance arc falls off a giant cliff and dies a terrible death 😭😭😭

[therealvinelle]

Carlisle and theology

So, there are a lot of thoughts in this fandom on Carlisle’s brand of faith, and Carlisle seeing vampirism as inherent sin, and it’s time for this Christian philosophy nerd to butt in, featuring all the quotes.

First of, let me do my usual disclaimer - the Carlisle of the books is not the Carlisle of the movies. Carlisle of the movies believes he’s damned, because while the movie does mostly quote the conversation from the books, they cut him off halfway through, completely changing the meaning. Book Carlisle is making an argument, and his conclusion is the opposite: vampires have souls.

"Edward's with me up to a point. God and heaven exist… and so does hell. But he doesn't believe there is an afterlife for our kind." Carlisle's voice was very soft; he stared out the big window over the sink, into the darkness. "You see, he thinks we've lost our souls." (New Moon, page 20)

Later in the same book when Edward believes he has died and gone to heaven, his first words are: “Carlisle was right.”

So, book Carlisle doesn’t believe they’re all damned. If he did, creating others would be to damn them. If he had doubts about their souls and decided to risk it anyway, his “I made vampires” angst would be about their souls. It’s not:

"(Choosing to turn others) is the one part I can never be sure of. I think, in most other ways, that I've done the best I could with what I had to work with. But was it right to doom the others to this life? I can't decide." (New Moon, page 21)

was it right to doom the others to this life.

He says nothing about their souls. His issue is the life they’re now living because of him: “was it right to turn others into bloodsucking demons, all of whom have a body count?”

Which is a very fair question, I’d be wondering that too. Edward, Emmett, Esme, and Rosalie are all murderers, they live in the constant pain of bloodlust, they must live in this very particular way or be nomads, and they’re not truly immortal, for sooner or later death will come in the brutal form of being torn apart and burned. Not to mention both Edward and Rosalie have very ambivalent feelings about what they became.

Carlisle wondering if turning them was the right call appears to have nothing to do with religion, and everything to do with the pragmatic reality of what it means to have created a vampire.

But if Carlisle doesn’t believe vampires are damned, what does he think then?

His backstory, admittedly told through Edward (who projects a lot onto Carlisle), is helpful.

His strength returned and he realized there was an alternative to being the vile monster he feared. Had he not eaten venison in his former life? Over the next months his new philosophy was born. He could exist without being a demon. He found himself again. (Twilight, page 160)

Carlisle had been raised to believe in witches and demons, eternal damnation for the wicked and the whole shebang. He wakes up a vampire and he knows what this means, he is now a senseless monster who kills people. 

Well, turns out this isn’t the case. He doesn’t have to kill people. More, he still has his faith in God, which by protestant doctrine is what you need to enter Heaven. (This right here is one big bone I have to pick with fanon Carlisle. People keep ascribing a very Catholic brand of theology onto him, as he believes existence is sin and one must do penance. He’s Anglican, and Anglicans adopted Protestant doctrine. Protestant salvation comes through faith.)

Now, if his existence doesn’t automatically lead to sin, and if he is still in command of himself, able to believe in God and be devout, who’s to say he’s damned?

The urge to kill people remains present, of course, but humans are tempted to sin too. All of God’s children are tempted. (And yes, he did arrive at the conclusion that vampires are among God’s children. If he didn’t, he wouldn’t believe they had souls.)

Edward specifies that Carlisle created his own philosophy. As in, he didn’t just say “I don’t have to kill people, neat. Being a monster is still horrible, though”, he sat down and went full Zarathustra.

This is where my love for theology comes in.

Christian thought is founded on the relationship between God and Man. How Man is saved, the definition of sin, absolution, all of it - it’s all built on the supposition that Man is human. Well, Carlisle just found out that there’s God, Man, and Vampire - and potentially (Carlisle at this early point in time would still think witches and such were real) others as well.

He also learned that the notion of monsters being bound to sin, or having made deals with Satan, are also wrong. He never met the guy, he has his conscience, and he lives as morally as ever.

This invalidates pretty much everything he ever learned, and Carlisle’s sitting there in the English woods realizing the same thing Nietzsche later would when science challenged religion: he has to figure out Christianity from scratch.

I think Carlisle came up with his very own doctrine.

Edward outright says so: his new philosophy was born. We see Carlisle engage in all sorts of behavior completely contrary to anything a devout 17th century priest would have been doing. He associates with heathens like Aro, Amun, or the Amazonians, allows his family to be non-believers, considers fallen women like the Denali to be wonderful people and respects them as equals, he performs abortions, he allows material luxuries under his roof, he marries a woman who committed suicide.

There’s also the fact that his was a time full of alternate interpretations of Scripture. I won’t get into this part of European history, suffice to say that with Martin Luther’s 97 theses, the Christian world exploded with different sects and branches. Anabaptism, Calvinism, Quakers, Lutherans, the list just keeps going. It wouldn’t have been a foreign concept to Carlisle to sit down and say “Alright, who is God and what does He want from us”

I keep seeing Carlisle written as a Christian parody who cries because once when he was having sex with Esme in the dark some light entered the room and he saw her ankle, and now he thinks they’re both going to hell. And if we’re talking about the movies then sure, that guy seems the type. Book Carlisle is not this, and there’s nothing in canon to indicate as much, quite the contrary. (Yes, Edward is angsty about souls, but that’s not what Carlisle believes at all. It’s made clear over and over these two don’t agree on religion, so the argument that Edward somehow downloaded his religious angst from Carlisle defeats itself.)

It seems to me Carlisle came to the conclusion that sin is to take lives for pleasure, and that vampires are neither damned nor inherently sinful. This is the only action he appears to condemn, to view as sinful. Apart from that, he will kill to defend himself or others (the newborn battle and James), he’s pro-abortion, and he did not oppose Rosalie getting her revenge.

Apart from that I’m not going to extrapolate much, in part because that’d be hard to do when we don’t have a lot to go on and I’m not actually a theologician, and in part because this post is very long now. Feel free to ask if someone wants me putting on my philosophy hat and pretending I’m a vampire with a religious crisis.

(I will say this though: the notion of vampires being inherently sinful is just Original Sin in a hat. If Carlisle believes in it, then he also believes in Original Sin for humans, vice versa if he doesn’t. Doesn’t seem to be the case, but if it is then the vampirism by itself still isn’t any more damned than humanity.)

[rarepairnation]

alright now that i’ve constructed some sort of framework (also thank you to @bretwalda-lamnguin for backing up wikipedia re: barahir and the tale of aragorn and arwen) i can get to my real point which is that "though indeed thorongil had never himself vied with denethor nor held himself higher than the servant of his father" from appendix a is so milquetoast that it awakens suspicions inside of my mind. if it's enough of a prevailing narrative in minas tirith that it gets put down in the histories as such, it's not too out there to think that aragorn had some hand in his own portrayal in the situation. or at least whoever wrote annals of the kings and rulers was being paid to say nice things about the king. sure it definitely happens that someone hates someone else when they haven't actually done anything to them except exist. but i just think that if we read it as being from aragorn's perspective it's an infuriatingly neutral statement. it's 'many thought that thorongil had departed before his rival became his master' and you can't build a rivalry with only one rival. like that's just a guy you hate.

i think that later on there is evidence of aragorn still respecting denethor and understanding their relative positions and extrapolating the strength that denethor's power has risen to, after he left, enough to not want to cross him when he returns to gondor / before he finds out that he's dead. and the difference between a rivalry and just 'some guy who hates my guts' is respect and i don't think it's that easy to develop that in hindsight if all denethor was to aragorn was a guy who hated him. but like...that doesn't exactly help his case here.

i totally believe it's a lopsided type of thing because it's denethor who is meeting someone who is his equal and who is like him for the first time, and it just so happens that his father loves him and would advance him past just being his "servant" if he could and denethor fucking hates his guts for it. and aragorn is just kind of there like. well i didn't ask for this. but even if all aragorn ever did was argue back and never initiated anything it's not exactly like he was building bridges either. i think being gondor's top two captains, being the steward's right and left hands, makes it so there's no getting around them being rivals and it just really puts that statement in perspective. of course aragorn doesn't want it to seem like he was usurping power from the stewards or that he had any sort of part in gandalf's change-of-regime plot (not that it's portrayed like that in any history, i doubt!). so the easiest way to get around that is for thorongil to seem like an unwilling participant in a plot/messy family dynamic/political tangle that formed around him. even though there's some kernel of truth to that, there's some kernel of truth to most journalistic/historical slant and aragorn doesn't get to say oh i did nothing to him if he doesn't want me, tumblr user afaramir, to accuse him of making himself look better in the history books

canonically who wrote the appendices. who wrote appendix a. was it frodo. what is happening there.

[trekkie-in-space]

Straight Fact about Marsella/Marseille from La Casa de Papel and some following Headcanon/Theories ✨✨

- Fact -

- Very discreet, he observes a lot and talk a little, called at a least at two reprises a mute (by Bogotà and Denver)

- Close to animals, especially dogs, love them, respect them, trust them more than human. He is against animal suffering.

- Ex-Soldier, has been called an assassin (by Bogotà) and Hitman (by Denver), killed human, killing a human is not a problem (straight up threatened Denver to cut him in half)

- Lost all his friends during war

- Had a dog during war, the dog was very loyal to him, stayed when human left (That dog was probably not Pamuk)

- Had a dog, Pamuk, very loyal/close to him too, got killed by children playing war

- Know many languages : Spanish, French, Italian, German, English, Croatian, Serbian

- React very quickly to Denver grabbing his arm/to physical provocation was trained to react that way + probably has a sharp instinct, not shy to threaten physically and orally someone

- Answer quickly to the professor order, see him as the chief/boss and obey him. One word from him is enough, do not discuss order.

- Extremely lucky - dude crash a car and get out pretty much without a scratch - I BEG YOUR PARDON ? - the car rolled and all, what if it had deformed to the point he couldn't get out ? What if he had broken a bone in the shock and couldn't dash out ? Because you can protect yourself all you want, getting in a crash, even one you plan, is very dangerous. Dude was like 'I have things to do and nothing will prevent me from doing them' and just walked out like nothing happened. Wtf man ?

- Has a lot of respect for the professor and to his plan. Will defend the plan when the professor wants to take risk but still follow change in plans if the risk is less than the gain (When they fight after Lisbon 'death' and then go into the crowd disguised.).

- Try to provide emotional support to the professor, he is clumsy about it but do his best and tries a lot of things

- Caring toward the professor, with (and I'm sorry but I don't know how to say it differently, but..) A certain tenderness. Like anybody in the group (or most) they are not just colleagues. But there is just a softness with him.

- React to Palermo 'Boum Boum Ciao' the same way the professor does. Seem annoyed, middly ashamed but also taken by the energy around (to crack a smile like the professor).

- Can be very intimidating if choose to, but in relaxed situation seem very kind/soft and not unbearing or obnoxious/showing.

- Extrapolations on Canon, Theories and Headcanons -

- The last hit he gave the professor when they were fighting is not because he misread the situation but because the professor just said Lisbon could betray them (which is technically true) and his hit was his way to say, 'have some faith/respect in your wife'

- During that fight he intentionally took hit from the professor to allow him to unload stress/give him a win. Why ? Because he is a trained ex-soldier who clearly shows good physical abilities, he knows how to fight and could probably take on Sergio even if he know how to fight too. Prior to this we see two scenes. One in a relaxed sitting (the soccer match) where Helsinki give him a slap and he doesn't react badly, he takes the hit and laugh, they were in front of each other he could have potentially avoid the hit, but did not hold grudges for that hit, basically taking a hit or two is not much for him and won’t be enough for him to get angry/escalate a situation. BUT during the pig scene to remove a micro, he reacts badly to physical provocation by Denver after he had to defend his position not to touch the animal with the rest of the team. Even if just a few said something, the whole team was baffled by his decision/principle, it was a moment where he was 'alone against all' and he defended himself in a quick and efficient manner.

They are in a middle of a heist, they are allies and he clearly does not want to fight, he fights because Sergio wants to fight and he probably doesn't give his all but just enough not to get bullied and give Sergio a mean to keep unleashing on him. (Man I swear you're doing too much)

- Definitely have some trauma and problem concerning human and trust. In two separate points, he has lost a lot or enough, and he had been deeply hurt by that (his friends all dead, his animals), probably have some unhealed emotional scars or one that heal badly and one way to cope is to keep a bit of distance + he seems to have a certain discipline/restrain in general.

Second, he mistrust humans, he is careful around them. Probably (definitely) has seen a large panel of the worst humanity has to offer. Probably don't trust easily but love when someone proves him they are worth trusting - which I think is what happened with the professor. Otherwise probably work alone or keep some distance.

- Jumping on that. He completely agreed to the professor as the boss, and his boss. Coming from a military background, he is used to having someone above him giving order and he answer promptly to the professor order or demand without questioning it/arguing (except when it touch to something the professor explicitly stated they should not do like improvisation, then he will argue). Overall he trusts him, might even admire him or have a deep respect for him and his plan/what de does/his personality.

-> I also believe his personality is one of a 'shadow' by that I mean he is his best as close support to someone/something acting behind for the good of the plan (which he does in the series), but I think he thrives in that role. He is a real doer. Dude will do anything that need to be done. like, he is perfect for a second, with someone above him to direct the action.

- Always had a good relationship to animals, now it had become a coping mechanism and a way to have companionship without the burden of 'human' nature. Not that he doesn't miss more close relationship to humans. Nor is it not painful when he loses someone or an animal close to him. it's just he find solace in animals compagny.

- Very soft, kind, caring inside. He let that out for the people he care about/trust. We see him mostly with the professor and above it being his role to care for the professor and all the 'beside' matter and needs. There are a lot of moments where he is very attentive to the professor or caring in ways that go above a professional setting (I'm sorry but when in the latest season when he put the cover back on Sergio as he sleep.. Such tenderness I swear ! or the way he tries to offer him emotional comfort/help)

-> Also the way he care for Sofia..

- Give off asexual vibe, sorry not sorry but it's true. That man is ace.

- Why is he on the heist ? I think outside of money and personal material gain he might be in for revenge against the system. He was a soldier, an executor in the government hands, he may want to fuck the system, give shit to a system that has used him, that took a lot from him. Maybe he was betrayed by that government and the people in it, root for his mistrust of human or just added enough to a preexisting base.

- The way he reacts physically and violently to Denver grabbing him when he turn away is very telling. He has a strong instinct and sharp reflex. But also definitely found himself in a situation where this would have been a life of death situation or overall high danger. This is absolutely pure speculation but outside of his work as a soldier and now hitman this reaction could be rooted deeper in child abuse and trauma, which could also reflect to his discreet and unshowing personality, he keeps to himself.

Anyway this looked like reflexes from training and from past traumatic experience. -> In a way his reaction seemed a bit too much (definitely) for the situation they were in, but also somewhat 'slow' (I'm interpreting too much the acting but whatever) as if he thought about reacting the way he did, nearly didn't but still did because he was pissed off from earlier and had been triggered. So he just decided to go with the outburst, and set his position straight.

-> Being grabbed from behind/prevented from leaving might also be from a fear/trigger to be trapped (the way he place himself behind in the class, close to the door (which could be nothing lol x) )). Which could also be tied to his time in military where his agency had been stripped from him completely/where he was lacking freedom and had to do things he didn't want to do.

- A big BIG softy, but also those hands have killed and will kill again. (in a way him and Helsinki are a bit alike)

- Keeps most of his emotions inside, tend to stay mostly neutral and what he show is just the tip of the iceberg, but don't be fooled, that man have a lot of emotions.

- Probably need a lot of time to open up, but do info dump at time when he think it might be relevant (ex: during the pig scene, or in the car with Sergio after Lisbon 'death') and you're like 'what ?' very likely need to be asked question if you want to know things about him.

- He likes honesty, but probably won't be himself, tend to be secretive, probably a good liar. He will be honest on a few important things otherwise...

- That man way of love his act of service x)

[anthemxix]

So... how far did Cia go exactly? I haven’t played hw but I’ve read several fics, and she’s always very... extreme.

hi anon! thank you for your ask!

by “extreme,” i’m thinking you mean stories where she’s a psycho who tortures link or forces unwanted sexual advances on him. which makes for fantastic angst! but that characterization of cia has never felt quite authentic to me.

in the game, she has a roomful of his portraits, like a shrine. that’s extreme. she technically starts a war because of him, which is very extreme, but i don’t think that’s about lusting after him, as people often joke. she says some off-putting stuff, and you could infer that she behaves in an inappropriately “seductive” way, but. she doesn’t really. do anything, like fics might imply. she’s creepy and lewd. i’m sure she makes him uncomfortable as hell. but as for what she does, the extremeness in fics is mostly fan extrapolation.

that’s my short answer! but i kinda got carried away while responding to this, and. um. wrote a lengthy character analysis of cia? XD i thought about not including it, but i spent so much time thinking about/writing this that i’ll go ahead and share.

in my opinion, hw does not present a clear picture of cia, and it skews fan interpretation of her.

(putting this under a cut because it got long 😅)

the story the game gives at the start is straightforward. there's a "guardian of time" (whatever that means) who watches over everything but never interferes. she admires the purity of the hero's spirit. she comes to love the heroes, then to want them. she's lonely. she doesn't want to just watch anymore. she wants to experience love.

gradually her desires become something darker. she doesn't only want the companionship, she wants to possess.

ganon sees this darkness in her heart and causes a split. the darkness separates from her, becomes its own person (a la dark link). the "good" part is lana, the "bad" part is cia.

for ganon, this is all part of a larger plan. in hw, his spirit is divided into four fragments that have been sealed away in different eras. he manipulates cia and gets her to open time gates so he can gather all the fragments together. a key fact: one of the fragments has been sealed away by the master sword, so ganon needs a hero to draw the sword.

cia willingly allows herself to be ganon's pawn because in so doing, in starting a war to force the hero to emerge, she thinks she'll get what she wants. throughout the story, she gives more and more of herself to ganon, fracturing her own spirit further and further, because she is so desperate to claim the hero for herself, to own him. lana repeatedly warns her to stop before she does irreparable damage to herself, but she doesn't listen, and ultimately she...well, dies, i guess. fades from existence. (that's how the original hw ending goes. they added stuff on later that changed this.)

ok, so. we have some interesting stuff going on here. arguably, cia is a tragic figure. a victim even. her underlying motivation is loneliness. viewing it through this lens, the story becomes an exploration of what isolation does to a person. how desperate it can make us. how we become willing to sacrifice anything for love--and i mean "love" broadly, not in a romantic sense. how it makes us vulnerable to manipulation and abuse.

let's also not forget the whole reason she focuses on the hero's spirit to begin with. after witnessing all the atrocities of history, she admires the purity and goodness and self-sacrifice of the hero. it has nothing to do with link being attractive. in her temple (the temple of souls), she has statues of different heroes from different eras, including wolf link and oot/mm link. she is certainly not lusting after an animal or a child, i assure you.

so why does she have frickin portraits of hw link, specifically, (not any other hero's spirit incarnations) plastered all over her walls, if not for lusty purposes? why does she dress so damn seductively? i'm not claiming lust isn't part of it, but i think there's more. she wants to feel surrounded by him, you know? she wants to feel like he's looking at her the same way that she looks at him--with desire. it's delusion.

and holy hell, she's nothing if not deluded. some examples of her actual in-game dialogue: "no matter what betrayals I may suffer, at least I know the hero will always love and protect me." and [to herself, as she's losing a fight] "the hero is still by my side... the hero is still by my side..."

and it's sad. she pretends that he loves her, that he will protect her, because she doesn't have any real love in her life. she doesn't have anyone.

and what's even sadder is that she's condemned to all these feelings and delusions because that's who she is. she is corruption and darkness personified! she's doomed to this lonely hell, to being ganon's servant, to self-destruction.

that's how tragedy, and tragic figures, are defined: hubris. characters that have an innate flaw that inevitably leads to their downfall. that's what a traditional tragedy is.

don't get me wrong here. i'm not saying she had no choice, or that she had to start a war. she can be tragic and we can sympathize with her while also accepting the fact that she's corrupted beyond redemption. morality isn't black-and-white. our understanding of characters, or of real people, isn't black-and-white.

...but. BUT. there is a major "but" here. the game sabotages its own character and its own story. the game opts for the path of least resistance. screw grey areas of morality, screw the tragedy of loneliness, screw exploring vulnerability and abuse and hubris... they sensationalize. cia is a joke.

have you seen her frickin outfit? her character design? she's an uber-sexualized caricature. all those portraits of link in her temple can easily be viewed as a joke, too. "lol, look at this crazy, horny bitch." hell, they even have her say innuendos about the master sword, like, “come show me what your sword can do” or something to that effect. 🙄

it's all very surface level. they don't go deep at all with cia. they give us no substance, only these little bread crumbs of information that i've laid out for you. and not only that, they set this up so that it feeds into old stereotypes. the salient details easily allow us to interpret cia, consciously or not, as an embodiment of feminine hysteria, a woman guided by irrational emotion and obsession, fixated on winning the ultimate prize of a man's love.

so koei tecmo's own confused presentation of this character muddles up fan interpretation and has us falling back on the familiar stereotypes we know and understand. that’s the basis for these depictions of cia as extreme. that’s what fans are extrapolating from when they try to imagine how she might act or what she might say. so in the end, she isn’t really depicted with accuracy. she’s like a caricature of a caricature at that point.

…or at least, that’s my opinion. 🥴

[someonestolemyshoes]

Off the Record

Hello!! I am super excited to finally post my entry for @levihan-drabbles competition :D The prompt was super interesting and I had a tonne of fun writing this one! 

The prompt I received was: Hange posts a picture of Levi somewhere and it becomes a meme.

(For those curious, this is the meme I used for inspiration) 

Hange pushed her plate across the table and grinned at him. "Levi! Fancy seeing you here! To what do I owe the pleasure?"

Levi's lip curled.

"You know what," he said. Hange braced her elbows on the table and rested her chin atop her knotted fingers.

"Enlighten me."

Colour rose in Levi's cheeks. For a moment, Hange felt a little guilty. For all Levi's grumbling and grunting, Hange had never seen him angry before.

"That bullshit article."

"Ah. Was there a problem?"

Hange met Moblit in a small cafe a little way down the road from the newsroom. She was in good spirits—her morning had been productive; she'd made steady headway with research for her next interview, finished the final edits for a few smaller tabloid pieces she'd been meaning to brush up, attended three short, perfunctory meetings on tedious company policy, and laid the groundwork for another exciting interview opportunity.  

She felt good. And now she had the pleasurable prospect of a hearty lunch, a passable cup of coffee, and perhaps best of all, Moblit's company. His company, and his camera.

Hange threw herself into the seat opposite Moblit the moment she spotted him, hunched over his laptop in a corner of the cafe. He lifted his coffee cup just in time for Hange to clatter against the table, the thin metal frame rattling precariously. She offered him a sheepish grin.

"Sorry," she said, and then, "got anything exciting?"

"I don't know about exciting. Interesting, maybe, but no breaking news."

Hange flagged down a passing waitress with one hand, and waved Moblit off with the other. "Doesn't matter, doesn't matter," she said, then paused to order a drink and her favourite sandwich. "Tell me anyway."

"I got a tip-off from a waiter at Sina's."

Hange's eyes sparkled behind her glasses. She sat forward in her chair, folding her arms on the table top as she leaned closer. "Who?"

"Take a guess."

Hange grinned at him. Moblit was not one to play coy; he did his job and did it well, and reported his findings efficiently. To leave her to question it meant one of two things; he had photographed someone very high profile indeed, or it was somebody Hange was, for better or for worse, well acquainted with.

Or perhaps, if she were lucky, it was both.

"Let me see him, then."

**

Hange had taken far too much time in the cafe with Moblit. He had given her a rundown of all the details he'd gathered during his field work that morning, and shown her through his extensive photo gallery. It was impressive, the kind of archive Moblit could cultivate with only a 45 minute breakfast window.

Hange had been delighted. Moblit was right; it wasn't breaking news, nothing particularly thrilling, but there was a corner of the Internet, Hange knew, that would delight in a trashy little article just like this. Something quick and simple to bulk up the social media feed for the afternoon.

Plus, there was a series of pictures Moblit had snapped, a cluster he'd thought to be of no real merit, that Hange simply could not pass up.

She could lay down no facts with a story like this one. There was no hard-hitting investigative journalism to be had, but she could at least offer some speculation based on her knowledge of the subjects involved, and spin a tale juicy enough to get people talking.

It took little time at all to put the article together. Hange scribbled up an outline for the contents—the location; Sina's in downtown Hizuru, a luxurious restaurant serving five star meals at every hour of the day. High in quality, sickeningly steep in price. The time of day; 9am. To the best of Hange's knowledge, this was rather out of character for the subject. He was an early riser, but according to their interview last March pending the premiere of his newest movie, he wasn't the type to eat much at all before lunch time.

And then, the company. Eren Yeager was a relatively well-known actor, barely an adult at nineteen. He starred in his first role a decade earlier, and had seen commercial success in multiple movies and TV shows ever since. He had been something of a prodigy in his younger years, bold and precocious, possessing a natural talent many actors years his senior couldn't even hope for. As Hange understood it, he had recently hit a rather troublesome phase. An interesting line of inquiry, but despite his talent and his fame, Eren's presence was simply a cameo, compared to the subject of the article Hange was drawing up.

Levi Ackerman.

Levi is a fan favourite and a media delight. He's attractive no doubt, and his performance in any and every role is almost always met with critical acclaim. Outside of his career, however, he's an elusive thing, silent in any matters pertaining to his private life. He avoids any public event like the plague, and rarely shows his face at premieres or award ceremonies if he can possibly avoid it. He gives interviews only when required by some contractual obligation or other, or else when the journalist in question is so painfully persistent that it is simply easier to give in than to keep fighting.

Little of his personal life is known, but it is impossible for someone in Levi's position to avoid interacting with anybody at all, and even the great Levi Ackerman is not above scrutiny.

There are rumours. Several of them, accounts from fellow cast members, from staff, from directors, and even Erwin, his manager, has alluded more than once to Levi's sour disposition. He is prone, Hange has heard, to fits of anger, and is easily disgruntled by minor inconveniences. His dislike of anything unclean or untidy is the stuff of legends—Hange has seen this first hand, at their very first interview. He had entered the room, scowled at the chair before sitting in it, and given Hange a thorough once over before announcing, with no hint of humour, "your glasses are filthy."

Hange had found him both fascinating and quite delightful, in his own strange way. When he acts, Levi sounds eloquent; he is a master of emotive performance, wringing the last drops of anger, despair, or grief out of each and every word, or else injecting the perfect giddy jitter, or a tremor of humour when the scene called for it. As soon as the cameras stop rolling, though, Levi's tone becomes flat, and without a script, his words are clumsy and crass. He communicates poorly, quick to throw insults and crude remarks. Hange has interviewed him a number of times—she counts herself very lucky that Levi will consent to her requests without too much fuss, these days—and each time she finds herself spending half of their time together translating his answers into something a) family friendly, and b) understandable to the everyday reader.

There is nothing for Hange to translate this time. Moblit managed to speak to the waiter after Levi and Eren had vacated in hopes of gleaning any small tidbit of knowledge regarding their conversation, but the venture had been hopeless. The pair had grown silent upon the approach of any staff member, and spoke in tones too hushed for anyone nearby to hear. They learned nothing they couldn't extrapolate for themselves from Moblit's pictures; Eren looked sheepish, avoiding Levi's gaze in favour of staring into his drink, while Levi—

Levi looked furious.

Every picture featured his signature frown, which, in and of itself wasn't enough to assume Levi to be in any mood besides neutral, but some of the photos show a hint of bared teeth or pursed lips, with his brows pulled lower than normal, the space between them deeply creased. Hange found herself curious as both a journalist and as an acquaintance. They may not be friends, but Hange liked to think she knew Levi a little better than most people, at least. She could find nothing in their past interactions to suggest any relationship with Eren beyond the strictly professional. They had over a decade between them, and though they had worked together on more than one set, neither party had ever said anything to insinuate so much as a friendly attitude between them.

There was no resolution to her queries to be easily found. And luckily for Hange, this particular piece didn't require any. It was a gossip article, something spicy, jam-packed with buzzwords, what-if's and more questions than answers, designed to make people wonder. Levi's name in the title would be enough to draw people in; Eren's name was an added bonus. But the star of the show was Moblit's photography. Hange arranged the images she had chosen in a grid. In context, the pictures were intriguing, depicting a particularly ferocious part of Levi and Eren's exchange. Out of context, they looked a little ridiculous. Both would bring readers onto their home page.

Satisfied with her work, Hange queued the finished article for review, and turned her attention back to her schedule.

**

The article launched mid-afternoon. Hange watched, somewhat satisfied, as it was received much as she had expected it to be. The activity on their Twitter account skyrocketed, the tweet in question garnering more likes, retweets and replies in the hour after it's post than any other they’d dropped in the last month.

Hange had allowed it to slip from her mind after the first hour or so. She received praise from her bosses, and a text from Moblit, jokingly demanding she pay him even more handsomely for his work than she already had, and her cousin had called her in the evening on a quest for insider gossip she could share with her friends, but that had been the end of it. Hange thought of it no more until early the following morning, when she had stopped by the quiet little cafe beneath her flat for breakfast and her favourite coffee.

She had been polishing off her pancakes when the bell above the door chimed. She had paid little attention to the newcomer, until a shadow passed over her table, and a familiar voice said, "Oi, shitty glasses."

Hange looked up to see Levi Ackerman himself standing over her, his face twisted in a scowl.

There are perks of being reasonably acquainted with Levi. Hange always gets to conduct his interviews, and Levi only ever turns her down if her request is unreasonable. Like that time she demanded he meet her at this very coffee shop for "just a quick piece, about the cameo you did for the new season of Titans", only to show him she'd bought a new pair of glasses—"look, all clean!"—and, when pressed, admitted there was no interview at all. He had been far more hesitant to indulge her in smaller affairs after that, but Hange was still lucky enough to be his only regular interviewer after big releases.

More interviews means more commission for Hange, and more high profile work with other celebrities. Yes, being acquainted with Levi has its bonuses.

But it also has its downsides. Namely, that Levi will not hesitate to turn up at her regular coffee shop to berate her after she has posted some complete and utter wank at his expense.

Hange pushed her plate across the table and grinned at him. "Levi! Fancy seeing you here! To what do I owe the pleasure?"

Levi's lip curled.

"You know what," he said. Hange braced her elbows on the table and rested her chin atop her knotted fingers.

"Enlighten me."

Colour rose in Levi's cheeks. For a moment, Hange felt a little guilty. For all Levi's grumbling and grunting, Hange had never seen him angry before.

"That bullshit article."

"Ah. Was there a problem?"

"You're a piece of shit, you know that?"

Hange sat back in her chair and sipped at her coffee. Levi's face was full colour now, a pale pink flush from his neck right up to his hairline. Hange gave him a measured look, then kicked out the chair opposite her.

"Sit," she said. "If you have issues, I'd be happy to discuss."

Levi looked for a moment like he'd like nothing more than to strangle her. Then he pulled out the chair the rest of the way, and dropped himself into it.

"I don't give a fuck about the article," he said. "It's shitty gossip anyway."

Hange raised a brow at him. She opened her mouth to continue when, without prompt, a young waitress approached their table, practically bouncing on the spot as she stopped and gave Levi a dazzling smile. Her cheeks were flushed prettily, and Hange would have thought she were simply starstruck, if it weren't for the light of mirth in her eyes.

"Good morning, sir. Can I get you anything?" She gave Levi no chance to respond, before plowing on. "Water? Or tea, perhaps? Forgive me, but you seem a little upset. Might a nice tea calm you down?"

Levi grit his teeth. "No, thank you."

Hange almost apologised to the poor waitress on his behalf, but she didn't look bothered at all by his rudeness. In fact, she had barely turned from the table before she snorted in laughter, and caught her giggles in her hands as she scurried back behind the counter. A second passed, before all three waitresses snickered.

"That," Levi hissed, "is your fault."

Now Hange truly was confused. She furrowed her brow at him. "How does that have anything to do with me?"

"You and your stupid article," he said. Hange looked back to the waitress, who looked to their table again before falling into a fresh fit of giggles. Hange turned back to Levi, a little sympathetic.

"I think she just fancies you."

"You're trying to tell me you really don't know the mess you've caused?"

Hange shook her head slowly. Levi watched her closely, searching for proof of the lie, but Hange's earnestness must have shown through, for Levi's anger abated a little, and he slumped back on his chair.  

In lieu of a verbal explanation, Levi pulled out his phone. He tapped the screen a few times, typed something out, and scrolled a little way, before placing the phone on the table and sliding it towards her. Hange pulled it closer with a frown.

The screen displayed Twitter, and showed the feed beneath the search for Levi's name. Hange scrolled a few posts, eyes widening little by little as she went.

Levi was right. The contents of the article were of little significance at all. The photo grid, however, had gone viral overnight.

It showed four pictures of Levi and Eren, taken in succession. Each one showed only a portion of the back of Eren's head, but Levi's expression in every frame was more animated than Hange had ever seen him outside of his movie scenes, and each was more distraught than the last. Face tight, jaw clenched, teeth bared, with his finger pointed condescendingly in Eren's face. The second last picture shows his brows arched and his lips pressed into a thin line, and the final one—

Hange had laughed at it in isolation when Moblit had shown her. She had fully expected it to garner a few laughs, but she hadn't expected a photograph of Levi furiously slurping his tea to become a meme in less than 24 hours.  

"I see," Hange said, as she calmly slid the phone back to him. "In my defense, you don't help yourself. It wouldn't be half as funny if you didn't hold your tea cup so weird."

"In my defense," Levi snapped, "If you didn't post it online nobody would have anything to laugh at."

Hange crossed her arms on the table and leaned towards him, smiling pleasantly. "In your defense, you wouldn't have been so angry in public if it weren't for whatever Eren had to say. What was that about, by the way? I'm terribly curious."

Hange expected a very Levi response to her prying; a scowl, perhaps a quick kick under the table, an 'It's none of your damn business, four-eyes', if she were lucky.

What she got instead was a haughty sniff, and a gruff, "He's fucking my cousin."

For a moment, they were silent. Either Levi's anger at his new meme status had temporarily disabled the part of his brain that blocked any mention of his private life from slipping past his lips in the wrong company, or something about Eren's indiscretion had rattled him so much, he couldn't keep silent about it. Either way, he looked increasingly surprised—and horrified—at himself for saying it out loud. Hange's eyes were wide, and Levi's were growing wider by the second. Of all the people to slip up to, he had slipped up to her. An entertainment journalist, the one person in his life who thrived on this kind of insider knowledge.

Hange swallowed. Levi was still staring at her like a deer in headlights, no doubt painfully aware that there was no taking back what he had said now.

Hange doesn't take a great deal of pride in what she does. She feels satisfied when her stories receive the reception she'd predicted, validated in her ability to analyse their consumer base and make accurate assumptions about what will hit and what won't, but the work itself feels dirty, at times. An opportunistic scavenger feeding on whatever carrion they can find, no matter how rotten it may be.

This is a perfect opportunity. Salacious details of Levi's interpersonal relationships, right from the horse's mouth. If it were anyone else, Hange would be scribbling every word verbatim in her notebook.

But this is Levi. Levi, who seems jarred by her last article (though Hange will maintain this, at least, is no real fault of her journalism, and also, absolutely hilarious) and was clearly, for whatever reason, incensed by Eren's actions.

Hange brushed her palms over her thighs, and picked a speck of lint from her trousers.

"This is nice, isn't it?" She said, "having breakfast together. We should do it more often. It feels good to just talk, sometimes. Off the record."  

Levi blinked rapidly at her. He opened his mouth, but, still too shocked by his own loose tongue to speak, he said nothing. Hange pulled her phone from her bag and fiddled around with it some, tapping here and there, until she found what she was looking for. She turned it to Levi, and said, "I think this is my favourite edit so far."

Levi finally pulled his gaze from her, and looked down at the screen. It was truly something, the way the picture snapped him out of his stunned silence. Hange had never seen someone's face pinch up so rapidly.

"Come on, it's kinda funny. And look! That's Tony Stark, right? People are so creative. And maybe, if we're really lucky, Buzzfeed will do a compilation article of all the best ways people have used your new meme."  

Levi rolled his eyes at her. It looked strange, with his face so tightly twisted. Hange chuckled at him.

She nudged his ankle beneath the table with the toe of her shoe. "Lighten up, you look constipated."

"Oi, out of the two of us I'm not the one who's full of—"

"—Full of shit, I know, I know. That honour is all mine."

They lapsed into another silence, this one marginally more comfortable than the last. Hange finished the last of her coffee and checked her emails, while Levi tortured himself some more by scrolling through his Twitter feed. After a short while, he spoke again.

"That...doesn't sound bad," he said.

"Hm?"

"What you said about talking more. Off the record. It doesn't sound bad."

It was Hange's turn to flush. Heat rose in her cheeks, and she occupied herself by rifling through her bag in search of nothing.

"Yeah?" Her voice, an octave higher than usual, cracked around the vowels. She cleared her throat, "will you have more gossip for me? It's almost painful that I can't share it, you know."

"Good. I'll share as many secrets as I've got, if it'll bother you that much."

"Sounds terrible," Hange said. She tore a clean corner off her napkin and scribbled her personal number onto it. She slid it over the table to him. "Text me."

Levi pulled a face at the piece of napkin. "Is that used? Gross, shitty four-eyes." He pocketed it anyway.

Hange didn't know what else to say. Levi didn't seem to either, and so he stood, and tucked his chair back in. Hange turned her eyes down to her empty plate. Her stomach and chest felt strange, almost sickly, but in an oddly pleasant way.

Levi rapped his knuckles on the table. Hange jumped, startled, and looked up at the sound.

"This part is on the record," he said. The corner of Levi's mouth quirked into a small, barely there grin. "I heard from a reliable source that Eren was so scared on the set of Last War that he pissed his pants. Twice."

[luckyspacerabbit]

would you ever share the background you created for kai leng? i'd be so interested in hearing it!

Hehe, yes! Thank you for waiting anon. I wanted to really think this through and make sure I was working with all the possible details of his character.

Okay, so my goal with fleshing out Kai was not to excuse him as a villain or to necessarily redeem him, but to humanize him and hopefully incur sympathy because I find his depiction as a mysterious lackey boogeyman to be 🙄 one dimensional and playing on racist tropes like the yellow peril ✨ (also bioware making him predominantly chinese + a lil russian. extrapolate what u will lol)

So here is my background for Kai :) Lots of childhood headcanoning and then some general talk about his character/why I chose certain elements as I did (such as dumping that dumb phantom blade for butterfly swords AEORHIG)

Childhood: According to the wiki, Kai is Earthborn, and from his general heritage we can assume that he grew up in Northern China (omg that's where my ancestors are from). The most populous city there is Beijing, which, if there was a spaceport or alliance recruitment anywhere, it would be there.

I headcanon that he was born to a bit of an unsteady family, where it was likely there was estrangement and unsafe conditions between the mother and father that may have created a sense of helplessness and neglect from a young age.

In my canon, Dan Hyun's mom, Hannah Shepard was the head of an agricultural research facility on Trident, and was an old friend of Kai's mom (From University, possibly).

As conditions worsened throughout Kai's childhood, his mom decided to take a chance and flee with Kai (age 10 at the time) to Hannah Shepard's science facility on Trident (Sentinel Agricultural Research Facility), where she and Kai would stay for about two years as his mom worked to save enough money for their own place .

Since Dan Hyun was already being homeschooled, it was easy enough for Kai to join up alongside her.

Dan Hyun (12 at the time) was extremely happy to have a friend since life on the facility could be really lonely-- but with all these changes Kai was having a difficult time adjusting, especially when Dan Hyun felt put off by his competitive attitude. After so long feeling neglected and growing in a tumultuous home environment, he craved external validation: homeschool provided an avenue for that. They developed their own academic-based competitive rivalry that counted towards friendship, but grew distant when he moved out with his mom about two years later.

When Dan Hyun was 18 (Kai at 16), she managed to apply to an Alliance Research Training program and receive admission-- something that was considered highly prestigious, despite her parents' reluctance. Kai had already begun to build resentment towards her due to the way her parents treated her (very preciously, sheltered, and without exposing her to the difficult parts of life) in contrast with what he lacked in family and world kindness, creating a drive to supersede her and compete with her once again, if only to have tangible proof that just because he began in a lower place didn't mean he couldn't surpass the vision of success.

After this event, they would strike up a still somewhat friendly rivalry again that continued until Kai enlisted in the Alliance at the age of 18 (his attempts to join directly at 16 failed in my canon lol, but he sure tried )

Alliance Service:

Kai took the combat-driven route while Dan Hyun was receiving training for her eventual research establishment in Akuze, meaning that in their line of work, they never crossed paths-- Though they maintained occasional communication and met up here and there whenever Kai was back from his tours.

This is where I believe his decline truly began.

Some habits, like his desire for tangible proof of success and seeking external validation, manifested more heavily in this time. Collecting badges off of dead soldiers (To remember his skill first hand) is a notable one, but I speculate he relied heavily on the word of his commanding officers to counter his self-esteem. Titles were incredibly important because they were proof. When he began to feel a loss of control which led to emotional outbursts and breakdowns, he would fall back on these bits of evidence that he had done something, anything.

The weight and violence of service combined to break away his mental strength and conditioned him to that of a soldier.

Famously, he was discharged in 2186 after his N7 designation. In a bar fight on shore leave, he murdered a Krogan (OKAY. Listen. The wiki says "first-degree murder" but first degree requires premeditation and bar fight implies heat of the moment. So IDK I think the details around this one are a little fishy. He was on leave but he was a soldier, so ? he probably just had a weapon on him? Okay, I'm not excusing him but premeditation is a bit different from manslaughter so just something I've pondered. It separates intentional killers from accidental murders).

At this point, he is formally incarcerated and set to serve a twenty-year sentence.

Cerberus Contact:

The year is 2177, and Kai has lost everything he's ever worked for. His prestige is gone, he is at the worst place he has ever been, his mom won't talk to him, and he has no one. He had even stopped hearing from Dan Hyun, the only person he could have considered a friend once.

Through a small TV in the prison, he is able to hear about the attack on Akuze, and its one survivor: Alliance Scientist Dan Hyun Shepard. In the attack her biotic abilities (Which she had kept secret for many years) were revealed, prompting immediate recruitment into the N7 Program and a contract for ten years of service. This drove Kai into rock bottom-- while he had nothing, Dan Hyun was steadily on track to uprooting the only thing he had ever felt like he had accomplished.

This is when Cerberus intervened, promising him a home, freedom, belonging, and success.

So of course Kai agreed. Why wouldn't he? He had nothing left in his miserable life and there would never again be a place for him.

Cerberus Intervention:

It's my belief that Kai wasn't necessarily "alienphobic" in the beginning. Instead, I think The Illusive Man saw a very clear opportunity to recruit and nurture a broken man into a pawn of service. TIM is incredibly smart-- everyone who works for Cerberus is. He knew what Kai needed was validation, the promise of success held directly on the tip of his tongue to drive him into tenacity and action.

Organizations like Cerberus, even in real life, prey on people at weak points, fulfill their needs and drape their ideology on top like icing on a cake. That's not to say that Kai is completely innocent-- he ate the sweets and readily threw the world to the side in order to attain more-- but it does give some perspective.

Kai in Cerberus:

In ME2 we know there is some apprehension on Kai's part about the role Shepard will play. He is already starting to feel slighted from failures with Rasa and takes even the possibility of rejection from TIM extremely hard and with violent emotional outburst. This evidences how much TIM has whittled him away over the decade of service. Kai feels as though he owes everything to TIM, that TIM saw something in him-- failing him is disproving that and accepting what Kai has feared all along: that he truly is a worthless and incapable person.

Kai and Shepard:

Kai is best known for his direct antagonism towards Shepard in the events of ME3, directly killing their allies and potential love interests in a way that is extremely personal. Yes, it is part of the job, but at the same time, it's clear Shepard gets under his skin. It's because in the end, after all that setup, Shepard is the one person who can take it all away from him.

They can replace him as TIM's prodigy/ They can bring an end to the organization that gave him everything (From his cybernetic enhancements (uh indoctrination cough couch) ) to his purpose in life. Kai threw it all in with them because he didn't see another choice.

My Canon: The End

So how do things end for Kai in my canon?

As you're aware, you can unalive him, violently. But Dan Hyun is very emotional and due to their shared childhood, I like to believe that there was still a grand feeling of kinship between them, a recognition of the other due to shared insecurities. I don't think there was ever a time Dan Hyun looked at Kai and saw anything other than her slighted friend (which is very romanticized, but SHE is very romanticized), it was just about getting Kai to see that too.

She locked him down the best she could, yelled, cried, and beat the shit out of him, but ultimately, preserved his life. After the crucible had been fired and Thane (alive ofc) attended to, she sought to right things between her and Kai: whatever form that takes. Who knows if he'll ever be able to live comfortably in society again-- but at least here, he has the chance.

Random Tidbits:

Some notes! At his best, I like that Kai is portrayed as Loyal, Hard Working, Methodical, Clever, Tenacious, and Factual. I think sometimes he can be written off unfairly as wimpy or scared, but in truth, he's very sure of his abilities and able to calculate his chances extremely well. He's smarter than fandom gives him credit for.

He has an interesting conflict between arrogance based on title and humbleness. He knows he wants to be the best but he never airs it-- like when Rasa suggests that he wants to be the leader for Humanity but he grows quiet and says to just focus on where things are at right now.

His time as a soldier absolutely affected him in ways I think sharpened him to the killer he became. It instilled values that remained with him in Cerberus, such as when he berates Bates for abandoning his squad and calls him a traitor. Kai doesn't betray-- he's quite literally ride or die.

Also? The ninja sword is super dumb because Kai is Chinese and the swords and Phantom's themselves are designed to appear Japanese in aesthetic. Ninjas= Japanese, but China did have their own sect of Assassins which I believe gave birth to Wu Ching as a type of Martial Arts? Or was drawn from it hmm

To keep to accuracy, Kai would have trained more towards their martial art techniques which focuses on close combat and quick movements, as well as the use of dual blades called butterfly swords (You'd likely recognize them as a set of rogue daggers).

That's all for that meta! Phew. If anyone actually read to the end, hey wassup, hope you enjoyed, and take most of this with a grain of salt since it's my headcanons and background work :) Thank you again for reading!

[ranboo5]

whats 'the clip' and knifetrick?

Augh. Under the cut for shipping discourse and p/dophilia ment (nothing graphic or specific). Gets long bc I discuss my thoughts on DSMP shipping in general. You are setting me up fr anon

Some quick vocab -

intimacy here is used to refer to. Well. Any kind of intimacy between characters, of any sort, as an umbrella term /r, /p, and /qp here are used as shorteners to denote "romantic," "platonic," and "queerplatonic," both as adjectives And as verbs ("to /r" = "to portray romantically") shipping here is used to refer to any focused examination of intimacy between characters

And some clarity that Should follow from the essay next but may not - """anti-antis"""" and RPF writers delete forever

The Clip is from one of if not the? most recent Discord stage(s) Mr Live has done (which I missed when it was live RIP) wherein he issues a hard ban on shipping him ("do not ship me, in any way, with anyone!") which would less influence c!beeduo (which has been portrayed/stated to be romantic AND nonromantic both conflictingly for a while until being confirmed unconfirmed several months ago, that being the last was heard) without its direct invocation if he hadn't also cited for the reason as being underage ("'Cause, one, it's straight up pedophilia") which is! a) immediately applicable to At Least his DSMP character, Partially and b) while not Strictly True (should b obvious that portraying a relationship within the bounds of what it is in canon and in a nonsexual way is not That, and /r-ing c!beeduo etc was possible to do Appropriately again by remaining w/in the bounds of canon) is Clearly Indicative of the fact that baggage-wise it IS associated with people being fucking creeps

This Really complicates things bc like okay the apparent solution is "lol just don't /r it" but it's really like. A Worse issue than that bc like.

Okay the reason shipping in terms of fictional characters is a Different Bar is bc it's an examination of Intimacy and certain lines exist in certain dynamics of intimacy that Isn't Shown (which is the whole Within The Bounds Of Canon thing) which is important in a medium like DSMP because of the smaller gap + more personal relationship b/w character and streamer. Examining intimacy beyond th bounds of the consent that has been established in that regard is Weird at best and Violating And Creepy more often and, As Mentioned In Ranb's Stage, Literally Evil at worst

Which is why writing abt like. QPR or platonically intimate Techno and Philza (characters) is smth that is fine because that's smth that has been shown and repeatedly stated onscreen; it's in the bounds of canon n thus within th bounds of what the streamers've consented 2 be done with their characters. But writing T3chza making out or whatever is fucked up because it's smth that's beyond those consent barriers

And the thing is right

Slapping a /p on T3chza makeout doesn't. Make it less violating

Like what you CALL romantic is not the measure or whether it's past those barriers yk? And if it's indistinguishable, if it's in extrapolative territory that is Past The Bounds, it Does Not Matter how much you /p it EVEN IF IT IS TECHNICALLY PLATONIC y feel? Like at the end of the day placing a moratorium on some/all forms of shipping is placing a moratorium on certain examinings of intimacy

And okay 2 go back to Mr Live and his character. What it implies taken in context w/ older portrayals of c!beeduo and said by invoking smth that both evokes Really fucked up baggage (that does unfortunately exist btw I'm sorry if you didn't know that but People Really Do B Fucked Up Abt Beeduo) AND applies to his character is a revocation of consent to examining deep intimacies:tm: with his character, which is gonna apply regardless of the nature of that intimacy (even if nonromantic)

Like I don't /r c!beeduo myself, do not, never have, but I talk to people who have and have consumed content where they r background /r; I also don't think it matters. Like I don't Actively /r it and I don't Actively Not /r it because imho w/ the intimacy regarding c!beeduo that is plot relevant and character important whether that intimacy is /p /qp or /r doesn't really matter. I don't consider myself Less of a c!beeduo shipper than someone who /rs them because that would be dumb as hell and while none of the content I've made* is Intrinsically or Intentionally /r it certainly can be read tht way as much as it can be read /qp or /p. It's be dumb and hypocritical of me to like, dunk on ppl for /r-ing c!beeduo when I'm also invested in these two and my tonetags r not gonna suddenly Delete the picking apart I've done of the dynamic @ hand

Which Has Been. Within Bounds Of Canon. It's been what's been shown (sometimes to my great distress. There is a reason that the :canon_beeduo: emote looks the way it does) Directly Onscreen and in general keeping with the tone n intensity/directions of what they've Done With The Characters

HOWEVER

As mentioned up there. Revocation of consent

It makes. Full sense 2 me that Mr Live wants to place a moratorium or fullon ban on shipping his characters perhaps where he wouldn't have before because of the Unfortunately Very Extant trends of people being Fucking Weird about shipping his characters AND of using them as a Thinly Veiled Excuse to ship HIM, which. I should not have to explain why shipping real people is fucking abhorrent

THIS creates a problem which is a. Bit of a vacuum in interacting with what is a facet of c!Ranboo's arc, decision making, and character. Like you CAN have c!Ranboo w/o cbeeduo but you Can't Really have his plotline without examining c!beeduo. And as I mentioned earlier: even if your examination of c!beeduo is fully platonic, the significance of it To the plotline means that any examination of it and its relevance to the plotline and characters IS gonna be an examination of intimacy, which. Regardless of it's platonic, Is Still Shipping

Unless some HARD retconning happens it leaves this like. Hole in an aspect of c!Ranboo's arc and decisionmaking and it's very. Uncertain? God. Fucking months ago I was already kind of :huh. Does he know what the fuck he's doing: irt c!beeduo and desperately wishing for things to be cleared up and now it's only That Much Stronger

NOW. KNIFETRICK, FINALLY

Knifetrick (or, as it’s actually listed, Bishop’s Knife Trick) is a fic about "Ran and Jackie from The Pit TFTSMP" in a "canon-typical ambiguously romantic relationship." As you can tell from the scare quotes, especially if you've seen me vague, both of these are, to put it politely, Doubtful. I've read the fic; I will not be sharing my opinions because that would be neither productive nor responsible (I will just say I can't recommend it and leave it at that) but I WILL say the following that Is relevant to the conversation:

Ran's and Jackie's characterizations respectively have very little to do with characterizations from The Pit, and bear a dollar-store-version resemblance to tropes and personality motifs found in ESPECIALLY fanon c!beeduo, especially later in the fic. I would not go so far as to say they are Intentionally Literally Ranboo and Tubbo but they are transparent expies and were clearly written at LEAST unintentionally w/ c!beeduo in mind (esp since. Ran and Jackie barely interacted in The Pit), and for a readerbase that, as far as I can tell, is HUGELY dominated by /r c!beeduo shippers. Like. Sorry. This is off-brand c!beeduo.

The dynamic between the two is pretty unambiguously romantic, also; despite what the fic's white knights claim, romantic tropes and implications/motifs/imagery from at LEAST chapter two, and is very much explicitly romantic by the most recent chapter.

FROM CH1:

"And now, with raised eyebrows and a pursed lip, the newly named General Jackie observes Ran in such a way that makes the enderman’s skin crawl. Ran reminds himself that this kid, as short and harmless as he may look, is trained to kill. [...] Jackie narrows his eyes and tilts his head a little, as if he’s trying to read in between every one of Ran’s imperfect scales."

FROM CH2:

"It makes Ran’s skin itch with discomfort. [...] 'That actually doesn’t explain much of anything at all,' complains Jackie, and he pops a few croutons into his mouth with one hand. 'Tell me what you’re thinking, pretty-boy.'

"Ran feels his face flush, no doubt mildly glowing green.

"Yes, that was the other thing. The unnecessary compliments to his physical appearance.

"They don’t happen very often, and don’t seem to have very much meaning or intention behind them— Jackie often speaks like an unthinking kid— but when they do happen… they’re embarrassing. [...] It’s annoying how the rug is pulled out from under his feet in these moments when he’s 'embarrassed'. Like the conversation see-saw has temporarily shifted weight in the general’s favor."

I am not going to include excerpts from Chapter 6 because it's just the entire chapter.

I WILL SAY, HOWEVER, STEPPING ON THIS SCORPION BEFORE IT STINGS: they are not written in an RPFy manner and I don't think there's any grounds, including Vibes, of accusing Knifetrick of being like. Closet truthing or whatever. Also, while I think there's certainly Some Weirdness ESPECIALLY around the reaction, the romance itself is Not written in any way I'd call weird or problematic pre-clip; it's nothing inappropriate or like Weirdly Fetishy or whatever. Knifetrick is not #problematic or anything and I don't have beef with like the concept of liking it intrinsically; if I thought it was like. Abhorrent I wouldn't be sharing excerpts lmao dhjfnhdsbvdnfjh. Hence: if anyone uses this post or anyth like it to send harassment or bad faith ANYTHING to anyone involved with Knifetrick I will hunt you down in the fucking night even if it WAS #problematic that'd be the LITERAL OPPOSITE of productive and as it stands it's Literally Not. Essentially: Knifetrick is a (questionably-written /mean) fic using Ran and Jackie from The Pit as a vessel for a large chunk of the dynamics and headcanons of fanon /r c!beeduo in particular

And again, I would not call it problematic in any way (aside from the disingenuity of the insistence that it's TOTALLY UNRELATED TO BEEDUO and TOOOTALLY WASN'T INTENDED TO BE ROMANTIC GUYS like own your shit please)... IF it weren't for the advent of The Clip, which is calling in2 question the Entirety of the problem of /r-ing any variant of c!beeduo or any of Ranboo's characters at all

I really do not have an answer for this tbh. I genuinely wanna hear from the streamer on this more specifically because I like,,, I got no clue where 2 go from here? Do I just consider an arc retconned? Was it an issue of speaking abt a troubling subject kneejerk wise and I'm reading too much in2 it?

I just. I dunno

Tl;dr (AT LONG LAST)

- The Clip is a clip of a Discord stage where Ranboo (streamer) loudly explicitly decried shipping in a way that implicitly applies to characters he plays - This would be all well and good but is rendered complicated by the plot relevance of c!beeduo, which does not stop being shipping if it's /p'd due to it still necessarily being an examination of a particular intimacy in a way that is in canon hard to distinguish the /p, /qp, or /r nature of - Bishop's Knife Trick is an AO3 fic centered around using TFTSMP characters as /r c!beeduo expies which is not a bad thing in and of itself unless it also is covered under this moratorium - Things remain unclear until and unless we get clearer word from streamer, but considering Mr Live seems to be allergic to clarifying anything abt c!beeduo this is doubtful

*very little if any of the content I personally have made 4 c!beeduo has been posted publicly, for related reasons. You May have seen it if you're in servers w/ me, depending on Which Ones

[queen--of--maggots]

Did the SPK know that Near killed Mikami?

Matsuda stated at the end of the manga that Near might have killed Mikami with the Death Note. There are several hints that this is the case and barely anything, which speaks against it. If you are interested, check out the analyses by casuistor and mikami about this topic.

Let’s just say he did it. Killing Mikami is something Near could have done without involving the SPK. This raises the question, were they aware of it or not? Considering their behavior, they knew it. But before I come to this, I’ll start with the arguments which speak against it. There are two legit reasons why he wouldn’t have involved them.

First, they could have moral concerns and, in the worst case, stop the cooperation with Near. This is not very likely, though. Near would have chosen people who value the results over the means. It is clear from the beginning that solely clinging to the law will be impossible if he follows in L’s footsteps. Therefore, surrounding himself with people who have a problem with illegal actions seems contra-productive. We can also see in canon this was not an issue. Halle and Rester abducted Misa. They even admitted that they would have used the force of arms if she would have been uncooperative. They didn’t protest either when Near wanted to imprison Light in a private facility. (Near has the same right to do this, you have the right to kidnap someone and held them captive. None.) Also, Near’s defeat would mean they are all going to die. This and the fact that Mikami would face an execution anyway if convicted probably help to overlook the immorality of sacrificing his life. Morals in general are a good thing, but are they worth dying for? I guess moral concerns can be ruled out.

The second reason is the risk, which comes with involving more people. The more people know about the plan, the higher is the chance of someone slipping information, accidentally or not. If the Task Force finds out what Near has done, they would most likely quit their cooperation. It would also give Light the opportunity to make it look like a complot against him since Near could have used the Death Note and the manipulation ability to fake the evidence he needs. So this argument is legit. But wait. It is legit for Halle and Rester. Gevanni on the other hand... Gevanni was the one who made the fake Death Note. It is physical pretty much impossible to duplicate the book exactly in one day since it does not only involve writing names but copying the book itself. (I wrote something about the topic here.) The best he could possibly have done is a mediocre copy, which wouldn’t fool Mikami. Also, Gevanni must have been aware that Mikami would probably test the Death Note before going to the warehouse. He observed him for weeks and knew him well. Unless Gevanni is incredibly stupid, he can only come to the conclusion that Near’s plan is doomed to fail. So, informing him about the manipulation is less risky. Otherwise, facing potential death could make Gevanni’s behavior unpredictable, and Near doesn’t need something like this endangering his plan.

What about Rester and Halle? Rester helped with the Death Note copy, but it is unclear how much he knew about Mikami. Keeping certain information restricted to certain people is a better strategy than telling everyone everything, especially after the incident with the spy. Therefore, it is likely that Rester only had basic information about him. If this is enough to figure out that Mikami won’t fall for this trick can’t be said with certainty. What can be said is that Rester’s behavior in the warehouse indicates that he knew it too, regardless. The way Rester and the SPK in general handled Mikami is wrong on so many levels, which can’t be a coincidence. Let take a look at the mistakes.

After Mikami tried to kill them a minute ago, Gevanni and Rester handcuff him, but with his arms in front of his body.

While handcuffs in front of your body restrain the movement of your arms, you still have a good range and mobility with them. If you handle a potentially dangerous person, which applies to Mikami, you put their arms on the back first before handcuffing them. This makes the arms almost useless.

They do not search his long coat for Death Note pages or other weapons, like a knife, nor do they check outside for something like this. (His briefcase is still outside. It could contain a weapon or real Death Note pages.) Up to Kiyomi’s abduction, Mikami only showed Gevanni what he and Light wanted him to see. How can the SPK be sure that Light’s plan did not involve a plan B in case something goes wrong? How do they know that Mikami did not come up with a plan B on his own after realizing he lead Gevanni to the Death Note? Maybe it is not very likely that Mikami prepared a trap or that he had something in his coat, but how can they be sure without checking? They can’t. This situation could decide between life and death. Searching his coat and outside takes a few minutes, death is permanent.

They do not force Mikami in a position, which would give them more time to react in case he does something, neither do they force him to hold his hands in a position where they are visible. Mikami is standing for the most part. This is the worst possible position. It allows him to charge at someone or make a run for the door, giving the SPK almost no time to react. Usually (if the handcuffs are on the back), he should have been forced to lie on his stomach. Or, since it is not possible with the hands in front of him, they should at least have made him sit in a way, which allows seeing his hands at any time.

Rester doesn’t aim his gun at Mikami. In fact, he put it back into his holster. The only one with a gun is Gevanni, who doesn’t pay attention to Mikami.

If Mikami would do something, Rester and Halle have to draw their guns first, unlock them, aim, and shoot. Gevanni has to turn around, aim and shoot (if his gun is unlocked). This, plus the few seconds they need to realize what is going on, would take way too long in this situation.

When Mikami gets angry at Light, no one tries to intervene. Look at his face, look at his anger.

How do they know his aggression won’t result in an attack? He is potentially still dangerous. Yet they let him yell at Light without trying to calm him down or stop him otherwise, like threatening him with a gun, for example.

Now the biggest mistake, no one is paying attention to Mikami. Gevanni stands behind Near and only watches Light. After handcuffing him, Rester is the responsible one. He stays close at first, and it looks like he’s holding onto Mikami’s coat. Shortly after, he is only standing behind him, later he moves a bit away, and when Light tries to write their names down, he goes to Near, leaving Mikami completely unattended. (Why though? Standing close to Near won’t save him.) After Light is lying on the floor, Rester stays with Near instead of returning to Mikami.

During the whole time, even when he is still close to Mikami, Rester seems to be focused on Light. If Mikami wanted to do anything, the lack of attention would give him the opportunity.

Halle is just a bystander throughout the whole scene. But she would most likely notice the mistakes and point them out if she was unaware of Near's deeds. I mean, her life depends on it. She doesn’t do this, though, and like the other, it looks like she is only focused on Light.

The SPK members are ex-FBI and CIA agents. They are experienced in what they are doing and should know very well how to deal with dangerous people. All the mistakes cannot simply be explained as rookie mistakes. Unless they got suddenly struck hard by pure incompetence, it is more than likely that Rester, Gevanni, and Halle were aware that Mikami is now harmless. And the only way this is possible is that Near told them he used the Death Note.

I also want to give you some speculations about the possible consequences of the careless handling if Mikami’s was not manipulated.

First of all, his arrest pushed Mikami into a corner. Most people would experience some degree of panic in this situation. In this state, actions aren’t always logical. Relying on assumptions about what he is going to do would be insanely stupid. No one can predict his behavior here and exclude, for example, the possibility that if he is going to die anyway, he decides to take someone with him.

However, in the manga, he doesn’t seem to be in a complete state of panic, which allows him to think rationally about his options. While doing anything in Mikami’s position is risky, he has nothing to lose anymore. If he dies now or if he is executed later, the result is the same. But ensuring Light’s survival is also Mikami’s best chance of getting out of this.

I already mentioned it. In the best-case scenario, Mikami could have hidden Death Note pages in his coat. The SPK never checked this, and Mikami is also allowed to switches positions freely. He stands mostly, but shortly after he was arrested, he kneels on the ground. Then he stands up again, and after his outburst, he sits down. Partially, his body is hunched over.

This, the position of the handcuffs and the general lack of attention are perfect. If he kneels on the ground and bows his upper body down, he could write on a page while his head, hair, and coat obscuring his actions. As long as he moves slowly, without drawing attention, he could write all names on a page before anyone notices it.

Even without a page, Mikami still has options. During Near’s explanation about the fake Death Note, he realizes that he made a mistake and that Light was still able to kill Kiyomi, which means he had access to a Death Note page. Extrapolating from this fact that Light, even now, most likely has at least a piece of a page with him isn’t that difficult, and Mikami is intelligent. Now everything Light needs is time to write the names down. I would estimate he needs about one minute for the writing plus 40 seconds until everyone is dead, so roughly 1.5 to 2 minutes. Mikami could buy him the time. Everything he has to do is distracting everyone. Keep in mind, Mikami’s actions won’t necessarily ensure his own survival, but a, let’s say, 20% chance to survive is still better than 0%. Plus, his actions could at least save Kira and with him Mikami’s ideals of justice. Of course, this won’t work anymore when Light already lies bleeding on the ground, but there was plenty of time before that.

Mikami isn’t far away from the door, about one tile, which equals roughly 2 m, using Rester as measurement (see side note below regarding the positions). Two meters are two big steps, that’s it. The door opens sideways, which could slow him down slightly, but he still should be able to get outside. Running away would most likely cause some distraction. I assume Rester and Gevanni would follow him. The other ones stay behind. I could also see that Matsuda or Aizawa start an argument about the careless behavior of the SPK causing this in the first place. Some time would certainly pass until everyone calms down.

Another option is attacking someone. Near or Halle would be the best options, but Halle is too far away and Near sits in Gevanni’s line of fire. The next best option is probably Gevanni since he appears to be less muscular than Rester. Gevanni stands between Mikami and Near but slightly behind them. Mikami could try to tackle him to the ground. The best possible outcome would be that Gevanni drops his gun within Mikami’s reach while falling. Being armed would surely draw all attention toward him.

Mikami could also try to grab Gevanni after he fell and use him as a shield in case the gun is out of reach. If he manages to put his arms over Gevanni’s head, Mikami could possibly use the handcuffs to strangulate him. Potential injuries from the sudden fall and the oxygen deficit could make it harder for Gevanni to fight back (He had most likely combat training, which would give him otherwise an advantage). A human shield would prevent the others from shooting Mikami immediately since they don’t want to hit Gevanni. If Gevanni can fight back, staying close to him could still have the same effect. Ultimately, even if Mikami is too slow and gets shot, ending up injured or dead, Light would still get a bit of time to write due to the distraction.

With this being said, two questions still remain. First, if the mistakes are so obvious, why did the Task Force not intervene? They have good reasons not to do so. Mogi and Aizawa were on Near’s site. They trusted him to have a plan here. The way the SPK handled Mikami could have been part of it. Maybe Near wanted to provoke a certain reaction from Light or Mikami. They don’t know. Since interference could be problematic, Mogi and Aizawa wouldn’t do anything as long as it looks like Near is in control of the situation. Matsuda tried to stop Mikami from writing down names at the very beginning just to be threatened at gunpoint by the SPK.

Being put in his place once should be enough not to try it a second time and leave matters to the SPK. Ide either trusted Near as well or witnessing the reaction to Matsuda’s interference was enough to stay quiet, maybe both.

The second question is about Near’s intentions behind involving the SPK. As I said earlier, this comes with a risk. My best guess is based on their behavior. They are all focused on Light which makes sense. Mikami isn’t a threat here if manipulated Light is. If Near never informed Rester and Halle about Mikami’s condition (I assume it is necessary to inform Gevanni), they would have become wasted resources. Rester, who was responsible for Mikami in the warehouse, would only have an eye on him. Maybe Halle would switch her attention between Light and Mikami. But since Light is highly intelligent and could have a backup plan, it is better if all three SPK members observe him instead of only 1.5.

Overall, it seems very likely that the SPK knew about Near manipulating and therefore killing Mikami with the Death Note. Because otherwise, it would mean they are all incompetent, which is something I find hard to imagine. Near wouldn’t have chosen people who don’t know how to do their job properly, right?

Also, I think the alleged reckless behavior of the SPK adds further evidence to Matsuda’s theory.

Side note: Obata was very inconsistent while drawing Near’s and Mikami’s position in the warehouse. Near doesn’t move at all, and Mikami stays in one spot after he was handcuffed, yet the panels show them teleporting all over the place. You can see this here:

The panels are in chronological order. I did not include all panels, which show them. The distances between Near and Mikami change, as well as the distance between them and the door/wall. Also, the relative positions to each other vary a lot. Sometimes Mikami is slightly in front of Near, sometimes Near is in front of Mikami, sometimes they are at the same height.

The most realistic positions for them based on how often they were draw this way are:

Mikami: close to the door since he didn’t walk very far away from it (about 1 tile, 1 tile = ~ 2 m)

Near: about 1.5 tiles away from Mikami, which equals about 2.5 tiles away from the door

Both are more or less at the same height. Gevanni stands between but slightly behind them and closer to Near. Maybe he moves around a bit.

Even if the drawing shows otherwise, these are the positions I was referring to.