hi friend, i am literally so glad i've found another dr. ratio enjoyer! you're literally such a great writer and I love your character analyses.

anyways, my curiosity is peaked, how is children of the city dr. ratio core?

First of all, thank you so much - haha, I'm glad that you enjoy my analyses and writings. I'm so sorry that it took me this long to get back to you - I had a few things to take care of, but I'm going to do a full analysis in your honour!

Analysis under the cut, because it gets really long. :)

"Sleep for a total of 800 hours per day And then drink a liter of milk Warm-up before you go play Only eat, or write Or pull the trigger with your right hand Only thing that's left Is to work on following commands"

I'm totally not projecting my gifted child trauma here, nuh uh... Anyway, my personal HC for Ratio is that his child might have felt monotonous being in classes that he was already too "intelligent" for. Learning things at a quicker pace than other children, absorbing knowledge up like a sponge - sure, the praise is nice, but after awhile, especially when you get to higher levels, intelligence isn't enough to carry you. You have to put diligence, effort, blood sweat and tears into what you're studying for, especially if you want to make a change, like how Dr. Ratio wanted to. It. must have gotten lonely, getting up only to do more researcher, eating only to go back to work. Following a schedule is wonderful, and he would have enjoyed the routine, but after being isolated from other people along with that, it might have made him feel subhuman or less than human for only being there for the studying of more knowledge. Eat, study, work, repeat. This is more of a personal HC rather than something canon, though. :)

"By the time you realize You'll be restrained to a desk And with your dreams on the floor, you comply Eyes chained to the test In 30 minutes, find a groom or bride Bonus if brunette In 90 hours, spill their insides Paint your room picturesque"

I feel like the prospect of romance is pushed onto children at a very young age - and that can be applied to Dr. Ratio. Who knows what romantic beliefs that he grew with? However, I believe this is less of him observing himself, but more of him seeing what the education system does to others, and how society molds others into the person that they "should" be, rather than what they want to be. Also, it could be a reference to academic trauma and placing all your self worth in your grades.

"Now it's time for another vendetta Going through the shelves Picking out my pre-written persona (ha-ah-ah) Children of the city sees only the neon stars Reflected upon the murky gutter sky Don't ask me why I desperately wish to be included in the city's night"

This is how I see Dr. Ratio holding a grudge against the Aeons and other figures of authority. We are all expected to be "good" and "well-behaved", and yet, we all look to the "city's night" - the approval of those who are in a higher position of us. We want to gain the approval and the praise of our parents, of our teachers - it's natural, after. We want to be included in the "city's night" - in Dr. Ratio's case, the gaze of Nous. He wants to be acknowledged by Nous and let into the Genius Society because his beliefs that were instilled into him as a child dictate that since he is hailed as a genius, he should be seen as one by the Aeons, right? However, I'd like to point out the usage of the words "neon stars" - stars are not neon. This implies that the stars are fake - I can also see this as a pointer to the idea of there system itself being fake, or societal "norms" being fake, as we are all unique.

"In four hundred thousand meters, turn right

Pick up a knife and stab a familiar warm body Learned to fight before I knew love or bitterness of coffee Snippy scissors cut down the strings I set myself free Only to figure out everything I chose was by proxy"

Dr. Ratio following orders until he doesn't. Fitting in until he gives up on it. Setting himself free from the chains of what is expected from him of other people, but not by the Aeons - no, that's something that still stays with him. However, I like to interpret the idea of a "familiar warm body" being his own childhood - killing the child that you used to be in favour of facing the future. Coffee is also something commonly regarded as students or workers using it to keep awake during long periods of work and study - it talks about how he has known to fight for himself, or fight for what he wants, before he was told to suck it up and just work for the sake of others, for the sake of the authority. However, this might feel scripted to him as well, with the mention of a "proxy" - it was a decision someone else made for him, maybe? Who knows? Maybe his selflessness was originally chosen by someone else, and drilled into him?

"As we suckled upon the nine millimeter pacifier Swallowing the fact that other than to expand We had no purpose As my ever-burning will to stay afloat backfires I now know I must be comfortable being Who I considered worthless"

This is definitely expanding on the idea of being raised to just be used by the authorities. Also, this can also be a representation of the way that he calls himself "mundane" - he was called a genius and raised as one, and now that Nous has not seen him, he must be "mundane" and he must come to terms that he is exactly what he wasn't called growing up. None of their words of praise have any meaning any more, because in the all seeing gaze of an Aeon, he is nothing.

"Follow the city's ribbon To a heart nobody seems to listen It takes my heart being broken and broken again (broken and broken again) To know that I am the reason why (the reason why) The sufferings never end"

As Dr. Ratio uncovers the truth of his childhood and the truth of why he was raised this way, the empathy that he has suppressed comes back up. And this is it - because he feels for others, because he is so incredibly human, that is the reason why his suffering does not end. He cannot detach himself like other people, like other geniuses, and treat life with little to no care. He cannot, because he loves, and that is his fatal flaw. He listens to his heart, as well as his mind, and that does not make him a genius in the eyes of an Aeon.

"Do not go home until you finish reading the value of E. 2.71 8281 8284 5904 5235 3602 8747 1352 6624 9775 7247 0936 9995 9574 9669 6762"

"E" is a mathematical constant, and therefore is logical. It's called the base of a natural logarithm, and while my knowledge in that area is limited, the fact that it is called a "constant" means that it cannot change, just like all numbers cannot. It might be a representation of the idea of Dr. Ratio trying again to fit in with others, only to fail once more, even though he knows all the rules. He was simply born in a different way, doomed from the start. It wasn't his fault.

He was just human.

You can also see this as Dr. Ratio observing the world as he grows up in an "apathetic" and "detached" way - as he pushes down his own emotions in favour of staring at his own success to help others, knowing that his empathy will not get him anywhere in terms of a cruel world. However, he cannot help it.

Ultimately, "Children of the City" is about how we are raised in a society that forces the idea of work on us ever since we are young. We do not get to cherish our childhoods nor our youth, and are immediately turned to the prospect of how we can provide value to society. We are raised in a never ending cycle like machines, to be puppets to corporations, to be slaves by the desire of the majority, to never have free will of our own.

Summoning @ironunderstands @pepper-demon @misty-lilies @sleepyburito :)

reposting a meta i did under someone else's post bc people have been asking me to psychoanalyse aomine or kagami and i think nobody saw this one :( anyway @cemetery14 's original post is here!

jumping on for a second to talk about this bc it's so important to me. i'm not trying to mansplain aomine daiki here but his attitude is one of my fav parts of knb so pls excuse me if i say something obvious HSDHSDJH

just as a preface, i spoke about aomine's sense of security in the people he loves HERE, in the context of my aokaga fics. it's mostly hc because it talks about his parents whom we don't get to see in canon, but i'm fairly confident in this analysis to discuss this angle without referencing to that. i founded the parent hcs on how he acts with momoi.

SO. let's discuss aomine's relationships first and foremost. in the series, aomine refers to THREE people by their first names, and he does it exclusively when he feels comfortable and/or friendly with someone enough that they've earnt it. unlike with some of the other characters, he doesn't do it to get a rise out of anyone by assuming familiarity, and he doesn't do it to make fun.

he calls kuroko tetsu when kuroko proves that not only does he love basketball as much as he does, but that he's a good person and someone aomine feels he can trust. even when they fall out, even when aomine believes that kuroko must hate him, and he wants to hate kuroko for his naive view of basketball, he still calls him tetsu. he doesn't waver at all, not around other people, or shouting his name at the top of his lungs from the back of an arena. kuroko is tetsu. it's a badge of honour.

momoi is his childhood best friend and someone he does not believe will ever leave. she is, and has been for over ten years by the time the show starts, satsuki. in my view, he treats momoi as one would a sister, almost, because he treats her honestly pretty badly with no expectation that she's taking him seriously. he's surprised when he makes her cry (like in the rain when she's suggesting he pull out of a competition due to injury), because yeah he's calling her ugly and telling her to fuck off and all of that, but there's an unbreakable bond underlying his meanness that aomine trusts won't break. he shouldn't treat his friends like this, but i'm just trying to come at this from his perspective. he expresses his love for her quietly, but it's there.

as i said in my linked hc post, aomine does not believe that he has to do anything special in order to earn the love of those he trusts. he does not believe that their love is conditional, he does not think that it's linked to his skill or status as a prodigy. for better or for worse, he feels known by these people, and therefore, he's immature about responsibilities and regularly acts up around the people he loves. he ditches people, he shirks chores, and he genuinely does not care about annoying or bothering people.

and now we come to sakurai. aomine and sakurai have a faaascinating dynamic. they're classmates as well as teammates, but i'd love to know how they started talking. neither of them have the kind of personality to just sit next to the other bc they're in basketball club together. sakurai appears skittish, insecure, wet, pathetic, we love you sakurai but you have a reputation. and it's bullshit. sakurai's "drawback", what makes him look weak in the eyes of those around him, is in his need to please others. he takes it bitterly personally when he does something wrong, or he believes he does something wrong, quickly reducing to tears and the classic "i'm sorry! i'm sorry! i don't want to live! i deserve to die!" spiel he usually descends to. but in clutch mode, in his favourite sport, sakurai can be just as arrogant as the rest of touou. he has the confidence to make threes against strong opponents instead of just passing to the prodigal ace. he wants to score points. he isn't interested in proving himself to anyone, he already knows that he's great.

sakurai's actual personality, rather than his perceived one, is probably what draws aomine to him. i can very easily imagine that they're in a game early on, and sakurai looks like he's about to get into trouble with the opposing team who are picking on him a little. but instead of crumbling, he gives them the most disgraceful look of disrespect, and scores an amazing three. it's a moment like that which would make aomine interested, and as he pays more attention, he'd notice other things he also would like. sakurai is kind, he loves basketball, and he is not afraid of aomine. he's not afraid of his skill, however much he is impressed by it, and he doesn't see aomine is someone to prove himself to or compete with. sakurai honestly doesn't seem like he thinks about aomine much at all. which aomine would like. he's also a great cook. again, my idea is that they were eating together, and aomine is looming because he kinda wants to make friends but isn't quite sure yet, and sakurai offers him a little food. you know, like the neighbourhood cat? anyway. once he's had some, he wants to have more, and so, a friendship occurs.

sakurai's food making is one of his more beloved traits in his team, and everyone is comfortable enough with him to snatch and steal etc. like wakamatsu eating all the fucking lemons so aomine wouldn't get any. my fav team. stupid idiots. there are instances were sakurai expresses that he wishes they wouldn't (like the cursed replace novel where aomine eats all sakurai's food he made for the team during a study session to do aomine's homework, without him knowing, and when he discovers an empty fridge, he starts crying and has to be comforted), but overall his protestations are, in my opinion, coming from modesty rather than actual discomfort. sakurai is a strong enough person not to have people walk all over him, he simply doesn't mind being useful to a team he has grown to love and respect.

sakurai is the third person aomine refers to by his first name. sakurai earns this in his basketball skill, he earns it in how he stares fearlessly and disgracefully at nonbelieving opponents. the food definitely helps, but aomine wouldn't have just stolen a stranger's food. he doesn't view sakurai as weak. he doesn't bully him. wakamatsu may think that aomine is bullying him or taking advantage of him, but aomine isn't like that. he doesn't take advantage of the weak, he protects them. like the lady's bag getting snatched. like fighting haizaki when he knew his friends couldn't (not that he thinks they're weak, it's just that their hands were tied). i don't think i've seen him ever take advantage of anyone like that. he certainly takes advantage of friendships as i've mentioned above, but it feels different to me. idk maybe i'm just an aomine excuser at this point. it'll happen again.

for someone who doesn't sincerely smile much, btw, look at how he is in that scene with sakurai:

sakurai: but... this is... aomine: huh? sakurai: sorry, go ahead!

i think this dialogue is less aomine bullying his way into sakurai's bento, and more sakurai realising that the neighbourhood cat is getting more comfortable with him. would he have told him to get lost? probably not. but he doesn't move away when aomine's near, and he isn't flinching or worried about anything bad happening. if anything, his eyes closing when aomine's draped all over him shows, to me, that he's sort of accepting his fate, bc he knows aomine's not gonna do anything but take the good bits of his bento (not a bully. wakamatsu. please calm down). in fact, look at aomine's reaction when wakamatsu tries defending sakurai, whom he believes is getting kinda bullied here:

first, he checks on sakurai. look, he's fine. sakurai cries at everything, he's calm here. he hasn't overstepped any boundaries. but to me, aomine's first words being a reply to wakamatsu's claims that he should be at practise, and not about stealing food, suggests that aomine hasn't actually considered that he could be doing anything wrong enough to rile wakamatsu up this much. it has gotta be about coming to practise. he stops eating sakurai's bento and tries to leave. i think he'd probably be embarrassed by the idea that he could bully anyone. mean as he is, selfish as he is, aomine's good at heart. he'd definitely think his whole team was stupid as fuck if they believed that aomine would bully sakurai, or degrade him in any way. aomine's just showing that he's comfortable with him in the only way he tends to: by being a little shit.

phew! aomine brain dump out of the way. let's discuss haizaki more briefly because haizaki is a lot of fun, but he's not as fun to talk about as aomine.

i think it's a super interesting, deliberate choice to introduce aomine as a nuisance and then haizaki as a nuisance in a similar setting. aomine's food stealing, to me, looks like it's founded on habit and friendship. he doesn't view sakurai as weak and pathetic, and i think already by that point is calling him ryou, so they're solid friends. aomine is a definite loner and doesn't seem to want friends, but ryou is one of them. one of three, as i mentioned, whom he refers to by first name.

haizaki's entrance in the food hall is different because he doesn't have that base level of friendship with kuroko at all. from memory, he calls people by their first names and it makes them uncomfortable. that's likely why he does it. he is big on disrupting the balance of things. i know he hates the generation of miracles, i know he hates team play and friendship dynamics (likely because he finds it difficult to relate to people like that, and to forgive when someone does something that he finds annoying or weak). haizaki does prey on the weak. he's a menace to women walking around at night, he's a menace to kise in their match (his views on kise are super interesting but i don't wanna get into them now, but he does view kise as weak). and he definitely thinks kuroko's weak. it's no surprise that he targets kuroko's plate (this is all from memory so i'm hoping i'm right lmao).

haizaki's food stealing is a power play. look at what i can do, i can take what i want. you can't do shit about it. when called out for it, he says this:

(mido said fuck YOUUUUU aomine) now, i don't think this is actually haizaki believing that aomine is doing it for the same reasons he is. i don't think haizaki gives a shit, and he just sees aomine making a fuss and wants to cause trouble. (side note: aomine's i only take when i'm hungry is so funny. he's saying i'm DYING before i steal from my friends!!! that's so stupid. he's such a pain. but he's never going to say "i only steal from my best friends" because that is crazy talk, this is still aomine, whether he's 12 or whatever.)

murasakibara complains, drawing himself into haizaki's zone of interest, and then haizaki shows he doesn't give a fuck by talking only of the food. i am SURE there are translation issues to be taken into consideration, but haizaki's word choice at face value is: a) your fried chicken looks good too, b) that's mine now. essentially: the fuck are you gonna do about it? he likely doesn't view mura as weak, i think here he's just willing to fight for it. mura plays defence and haizaki loses interest.

haizaki seeks to remind them that he isn't emotionally invested in any of this shit, he just takes what he wants to because he can. it's a power play, and everyone knows it.

the fact that it's aomine putting up a fight about not stealing food is telling to how different they are. it doesn't matter that aomine thinks he only steals when he's hungry so it's alright, if he even does view it like that at all (aomine has a history of talking shit and lying sooo). aomine sets them apart by making it clear that he doesn't have any ulterior motives. haizaki is very quick to announce that he does. he isn't doing it because he has to, he's stealing and being a general menace because he wants to. and he tends to target either those he views as weak, or those he knows will fight him.

i wonder why he didn't take from akashi? i wonder whether it's a testament to nijimura's fighting skills or that haizaki didn't fight back when nijimura beat him up?

anyway. i'm so sorry i wrote an essay on your post. i love this topic obviously and i'm critically insane.

sits ddown Talk about insjidejob to me Meow /nf .....:3

i think it's important to remember that while the show isn't the best ever, and while it has problems that should be discussed openly and critically when talking about it, i'm impressed with how it writes victims of abuse quite well. we can see that with reagan and brett that their reactions to their surroundings and the people around them present two results of abuse.

brett, in being neglected, put down, and discarded as a failure in his family, went RIGHT into people pleasing. and the thing is, it's clear that he doesn't realize that the things he experienced through childhood and the majority of his adult life are not normal or healthy, and we see him able to realize this through the episodes, from him realizing his frat brothers were just using him in part 1, to him commenting "yeah, no, i do hear it, it-it's bad.." when alpha beta expresses concern about the treehouse his family built him OUTSIDE of the main property in part 2. his casual dropping of factoids in his traumatic childhood were concerning, and he uses them as jokes many times, because how do you react to that?? (my mutual simplyender pointed this out on discord, i believe)

brett was slowly learning to gain his own backbone and finally stand up for himself near the show's ending, and if the show had continued, we would have seen him be able to heal from the treatment he got from his peers and family and confidently, well, do whatever.

reagan is a different result, with tamiko and rand's expectations and treatment of reagan leading her down a different path. due to much of rand's abuse and manipulation of reagan from a young age, she never was able to experience the normal, healthy childhood that she needed, and thus from skipping elementary school, we see that she was forced to grow up too fast (oof, hits close to home). she started training for cognito since she was 4 or 6 years old (according to rand in the mole hunt episode, i can't remember which it was right now), and due to rand, didn't get to remember her experiences with her one and only friend, so she grew up assuming that she had no friends at all. she absorbed many traits from her father, like prioritizing work over herself (to the point that she developed unhealthy habits like constantly relying on caffeine and prescriptions to keep herself awake), anger issues, and the classic using inventions to solve problems that had easier solutions.

rand was neglectful of reagan too, using bear-o in place of tending to her emotional needs, which caused reagan to develop trauma to touch because bear-o terrified her so much. poor reagan isn't used to genuine affection, to the point she's actively stunned when ron cups her face and kisses her in the appleton episode...

both reagan and brett mesh together into one giant ball of panic and bad coping mechanisms but... they care a lot for each other. their meeting was good for the both of them, and it seems as well that they help each other heal from these grievances.

brett was the first person since orrin that reagan felt comfortable hugging. he had that much effect on her life and... it's sad to see that we won't see more of them helping eachother take those stepping stones to heal.

do you have any particular thoughts regarding marcille being a half-elf? its interesting to me considering the fact that she seems self-conscious about being a half-elf, but denies it when its brought up

i remember marcille looking visibly uncomfortable over laios simply asking her how old she is, which i think the only reason she might feel nervous about this is because it might reveal her as a half-elf to him.

she's never corrected anybody whose called her an elf either.

never mind the circumstances of the reveal, in which thistle goes on about how half-elves are inferior and accusing her of wanting to become full blooded elf, she seemed particularly upset like he struck a nerve-

i wish the half-elf thing was built upon more. also, underrated marcille line:

okay so i revisited this sequence just to make sure I could back myself up and it's just... man. there's a lot going on.

the first reaction we get from Marcille is this huge panel that takes up half of the page

she is viscerally affected. flushing to the tips of her ears with the intensity of it. and we see it again, a few pages later

so it might seem like she's embarrassed about it and lying to herself, but... I really think it's just that Thistle is accidentally hitting sore spots. If you really look at what he says to get these reactions

"you'll live out your entire life [...] and die that way too"

"a hundred years from now, nobody will be there"

Hear me out. I think, if he stuck to harping on about her inferiority without bringing up how terrifyingly long-lived she is, she wouldn't have been as bothered. But right now, Thistle is accidentally hitting all the marks on Marcille's deepest fears-- and this is after the Winged Lion promised her that her dreams could come true in an extremely vulnerable moment, so it also hits her slightly guilty conscience as well.

I do truly believe that Marcille isn't bothered about being a half-elf the way that people assume she'd be bothered by it. To her, the biggest problem with being a half-elf is that it's isolating.

On one hand, it's not hard to imagine why she'd distance herself from elves in the west. A lot of them can clock her as a half-elf on sight, unlike other races, and therefore she's always branded with this weird stigma of being Othered -- I would even say that she considers herself lucky for being born outside of elven culture instead of having to grow up in it. I mean, just... look at the way elves talk about her.

Skipping past the uncomfortable implication of what 'not tolerating the existence' of half-elves would actually entail, this is incredibly fucking annoying. You can see why she wouldn't want to be around elves much. You see a lot of Marcille reacting badly here, but honestly, almost all of it can be attributed to her freaking out that her bluff completely failed. She's honestly more paying attention to Izutsumi's footsteps and trying to coordinate an opportunity to escape.

And in the end, you see her built-up frustration at being asked if she wants to be a full-blooded elf like 2-3 times in a row.

Yeah, yeah, "the lady doth protest too much," and all. But we know Marcille. We know that she's a lot more embarrassed and horrendously unconvincing when she's being prodded about something she's actually self-conscious about.

Moving onto the flipside of things, it might seem weird that she "pretends" to be a full elf around other races, but it's not really that strange if you think about it. Again, people are weird about her being infertile or whatever, and a lots of them don't even know much about what sets half-elves apart from everyone else. I mean, look at how uncomfortable Laios is just asking her about it

and look at how exasperated and resigned she looks

And like... she's right. Where would that come up in normal conversation? Why would she go out of her way to tell them? She's functionally a normal elf to other races anyway -- got the ears, the abnormally long "childhood", and the huge mana capacity. Unless it's directly relevant or important for people to know, I don't think it's all that strange or indicative of insecurity that she prefers not to bother with it.

(This combined with her sense of being an "outsider" to elf culture also explains why she thinks elf superiority is embarrassing. She sees the way elves treat short-lived races from the "outsider" perspective nonetheless, and thinks it's obnoxious; especially more so because she usually has to play the elf around short-lived races and deal with the reputation of arrogance that elves have built up.)

The sad thing is, this all means that... she doesn't actually fit in anywhere. She doesn't like going out West much because of how elves treat her. But she's also an outsider in the continents she was born in, treated like this exotic long-lived alien choosing to live among short-lived races for some reason. She is always an outsider, the Other, no matter where she goes. Add in the fact that she'll live longer than literally anyone she knows, and it's honestly kind of heartbreaking.

And I think that's the crux of it. Marcille really doesn't act like she's at all self-conscious about being a half-elf because of any feelings of inferiority or being half-made or whatever. She considers herself a perfectly legitimate being and might even, in some ways, consider herself superior to normal elves because she's not blind with elf supremacy or whatever. (And whatever "elven biases" she displays, all of them are born more out of the fact that she's kind of bad at conceptualizing how other races age and mature compared to herself, not that she actually considers herself better or more mature simply for being an elf.)

I think that whatever self-consciousness Marcille has about being a half-elf is, instead, related to terror and loneliness. The reminder that it ensures she'll never truly belong anywhere for the rest of her very long life. The reminder that, in truth, even she's not actually sure how old she is by other races' standards (hence the discomfort when asked how old she is). She doesn't want to not be a half elf, or be a full elf or full tall-man-- in her ideal world, she's still a half-elf. She just gets to live out her life at the same pace with the people she loves and doesn't have to say goodbye again and again and again until she dies.

and one last very important panel, right after Mithrun tells her that all her desires would be devoured

In her ideal world, she's still a half-elf and reality magically starts marching at her pace. But failing that, the second best thing is that she's still a half-elf-- but one who is able to accept reality and let go of her fear.

(But the rest of the story pans out the way it does because, to Marcille, taking reality apart and reshaping it was less scary than simply and fully reconciling with it.)

in your most recent tyson post, you said something about leo being distinctly autistic-coded and I was wondering if you could elaborate on that? it sounds really interesting (sorry if you've already posted something on this, I couldn't find anything though)

Of course! I do have a specific tag for talking about Leo's autistic-coding/traits - [here], and [one for Nico as well].

The main aspects with Leo being autistic-coded actually have a lot to do with Nico being autistic-coded, because it's the comparisons between the two that most clearly indicate Leo is autistic-coded rather than it just being his ADHD or etc.

So with Nico being autistic-coded, it's very clear in the Titan's Curse that he's intended to be autistic. First, the first series has a repeating pattern of secondary characters being very distinctly neurodivergent-coded in different ways (Annabeth's adhd/dyslexia, Tyson's down syndrome-coding, Nico's autism-coding). With Nico's introduction, he's pretty stereotypically autistic and we're given a lot of descriptors about him that are notably not attributed to him being ADHD, like it would be for other demigod characters. He doesn't register social cues such as people getting annoyed at him, he's asking/making inappropriate or impolite questions/comments, he gets particularly upset about change (such as Bianca joining the Hunt) and generally gets emotional, and one of his most notable traits he's introduced with is the fact that he has a special interest (MythoMagic) - and we're shown that this special interest particularly colors how Nico navigates the world. While ADHD has hyperfixations, we don't really get much acknowledgement of hyperfixations with demigods usually - Annabeth gets a little, but most others don't and it's not nearly as focused-in on as Nico's is.

Then as the series continues we see these traits stick with him and him start to show or voice more traits that similarly indicate he's autistic: He regularly mentions how he doesn't understand living people and prefers the company of the dead (social issues). He has more notable stims than other demigods (twisting his ring, fiddling with bones, etc). He's indicated to have strong sensory preferences (usually wearing mostly black/aversion to bright colors, usually wearing layers/his coat, multiple times he's described as wearing loose/baggy clothing or clothes too big for him). He has specific comfort items (his ring, likely his jacket(s) as well). We later get even more information about his special interests (Mythomagic/mythology/history and an older interest in pirates - the latter he specifically notes likely heavily influenced his feelings towards Percy). He struggles with emotions and facial expressions and tone. He struggles particularly with ostracism and feeling like he doesn't fit in and has something distinctly different about him from the people around him (who notably, all have ADHD, which indicates it isn't the ADHD that's making him feel that way), and other characters regularly describe him as being off-putting because of his strange behaviors - again, different from specific ADHD traits they recognize. And that last point is kind of notable because we have Hazel and Bianca for comparison - we know people are off-put by both Nico and Hazel because of being children of Hades/Pluto and their powers/aura, but other characters get past that general feeling of discomfort way faster with Hazel. And even after characters get past the death stuff with Nico, there's a second thing that they aren't moving past that isn't a factor with Hazel (Nico's autism).

So that brings us to Leo - Leo is paralleled to Nico a lot. And there's some very specific traits about him that we know are autistic-coding because of how they're used with Nico: He similarly struggles with social cues/etc, and in a very similar parallel to Nico describes how he prefers the company of machines to people because machines make more sense to him. He has similar types of clothing/sensory preferences (again some stuff with layers but also - pockets! He likes having pockets and things to put stuff in! He's even introduced as having a jacket with lots of pockets), and he has a distinct special interest (machinery) that we specifically know heavily influences how he views and navigates the world (constantly comparing things to machinery, describing things with machinery metaphors/terminology, etc etc). He even describes his entire general worldview to Hazel and it's a machine metaphor. He also similarly struggles with ostracization like Nico does, the only difference being that Leo specifically puts on a persona to compensate for areas he knows he's lacking in and very explicitly describes it as a means to make people like him, because without it he normally struggles to fit in (He's masking!). We also see notes of characters describing that similar discomfort with Leo's behaviors that they do with Nico, except without the aura of death this time. And when we're in Leo's POVs we see a very stark difference between his masking and his actual personality/behaviors such as his internal dialogues or how he behaves when he's alone. Also, like Nico, he stims more than other demigods, though for Leo it's more attributed to his ADHD. Leo also, more often than most, similarly struggles with tone and reading the room, such as making misplaced jokes/comments or etc.

But yeah! It's really interesting. Also it's just a fun thing that ADHD/dyslexia and autism have comorbidity, so it makes sense that we see demigods who are also autistic. It's also really fun to look at how other characters are coded in the series, what coding looks like in the riordanverse specifically (usually it's tied into the mythological stuff - like Chiron being in a wheelchair but he's actually a centaur, Grover being introduced as having a muscular disease but he's actually a satyr, demigods having adhd/dyslexia, Tyson being coded as having down syndrome but he's a cyclops, etc etc - it's a lot of specific metaphor stuff that I've talked about a bit before), and to look at how characters are compared to one another.

Haven't they broken several rules they've established just for everything to revolve around Tsukasa? Like...

1. A mystery can't be defeated in their own boundary (and yet Tsukasa somehow ripped Kako's heart out in his own boundary)

2. You can't use your tsueshiro in a boundary without permission (and yet Tsukasa ordered his to hold down Mirai)

3. Nobody could move because the school's time was frozen (yet Tsukasa did, as well as Yashiro, and Hanako who if I remember correctly suddenly unfroze on his own to break down into tears)

The earlier chapters were way better at following previously established rules and concepts compared to whatever's going on right now

They did ! :))) (want to explode)

I can understand the idea that Tsukasa is a rule breaker, he did destroy the previous n°3 in his own boundary too and it was an interesting twist! I can understand the idea and why it can be interesting, but the way AidaIro using all others characters/plots to make him stand out is just terrible. Dirsregarding rules is not a new thing about AidaIro unfortunately but Tsukasa really wins all medals on breaking them.

As you said, he was able to move when time was stopped and for which reason?? We don't know. Hanako was able to move once Akane and Teru got to him, probably because Akane is a clock keeper and can somehow give the permission to people to move.

I said it before and I will say it again, but wanting to show a character is powerful/cool by making the others characters look stupid is terrible writing, and that's the feeling I got with Tsukasa in general. (and chapter 109 is just a whole sequence of the characters being made fun of)

We don't know where to stand because he has every kind of tropes attached to him. They want us to understand he is some kind of martyr who is 'omg poor lil Tsukasa who was so selfless at only 4yo boohoo' (no matter which translation I read for the red house arc, he is believable somehow with Kou but then we get the flashbacks with Amane and it's gone). They put him in an 'angel' position and naive position in a lot of aus, want us so bad to understand deep down he is a nice boy. When we watched him do every possible horrors on screen. And don't get me wrong, I don't mind this, it's cool. Him forcing Mitsuba to eat, creating him, the way he treats some characters... It's the way they are not doing that to other characters who is so strange in my opinon. They know how to handle grey characters like Hanako or Teru (from the reader's pov) so I don't why they try so hard to put Tsukasa in a good light.

He is not a believable kid character in the red house arc, being smarter than Kou and Nene is not making him cool, it's just making Kou and Nene absolute idiots.

Him destroying his shackles thanks to Mirai power? It's not him being clever, it's Mirai and the clock keepers being made fun of. Him knowing what Hanako should be doing by using Nene? Not making Tsukasa cool, it's making Nene just as an object for Hanako's love, and to get a reaction out of him, most of the time by making Hanako look stupid. (I could go hours on why Nene is just here to serve as a mean to Hanako's character since some arc rather than being her own person but that's for another day)...

I understand that Tsukasa is like 'the antagonist and should be some steps ahead of the portagonist' but it's just so repitive in the way he is unpredicatble that it became boring and predictable. I was overjoyed to see him like this in chapter 108. (which was let's be honest the only good chapter in this new arc)

Tsukasa is really good here, which is why the drop of quality in chap 109 is even worst. Seeing a new side of him as a supernatural and his sorrow/hatred for Amane is really great. He even moralizes Nene about why sometimes you just need/have to get yourself out of situations alone, and that's how he himself proceeds because his brother never went to see him in 50 years. That he had no choice but to do so. It's great! Really great! To see that he is also an unpredicatble character and who decides to do what he wants not taking people's opinions in mind, because even his older never helped him when he called for him during all this time. It adds a good layer to his character and seeing him weaker/not really knowing what to do is something we desesperatly need for his chacter. But as everything in chap 108, chap 109 throws it out of the window and goes back to the usual ' we have set ups but terrible pay offs' things that has been happening a lot in the recent arcs.

He is also way too OP. As you said suddenly his tsueshiros could move again and he got rid of Kako. Even Hakubo and Teru being ones of the most powerful characters, were defeated once, Tsukasa never was seriously. It's never explained why he is so powerful (probably because he has an entity inside him/he eats others supernaturals) but the difference of levels is just insane, and absolutely not compelling to read.

We don't know why he is doing what he is doing and they try so hard to make him mysterious. They want us to get to know him without saying anything relevant or his backstory. We are left with whole chapters of absolutely nothing. Welp too bad I am not patient enough to see Tsukasa doing random stuff when half of the characters have rushed characters development or none because 'there isn't much time'.

AidaIro want us to understand they love him and that we should too but they are just destroying every other characters rather than make him loveable.

I hate what they did with his character, his role is terrible because it's destroying eveyone else's. Tsukasa is the favorite and it shows, but it's so badly done that I can't help but hate him.

Personally i doubt thor knows loki loves him

U know what I'm gonna take the challenge on this one. Now, this post will only discuss their relationship in the movies before Ragnarok, because I don't really like that movie and I think it did a great disservice to both the characters and their relationship; the brightest and best of them comes from Thor, Avengers, and Dark World in my opinion, so I will be talking about what I love rather than what I have at best apathy for. Sticking it under the cut (it got looooong because I love to think about their dynamic), so if you want my opinion, read on, and if you've seen enough opinions for a lifetime and don't want any more, scrumble away and have a lovely day

Okay so let's start with Thor. In the beginning of that movie, there is absolutely no doubt in Thor's heart that Loki loves him, and here's why: Thor is an arrogant man who is largely blind to the things he doesn't agree with or understand. He has this mentality of other people just being made to love and adore him, because he's the future warrior king of Asgard, he's the golden boy, and because Asgard's people really do love and adore him, so his arrogance is only being confirmed by other people's actions. And of course, there's nobody who should love and adore Thor more than his brother, right?

Now, here's where I want to digress for a minute to talk about how incredibly unhealthy their relationship is. Thor kind of has the same outlook that Loki expresses in Avengers, that people are beneath him, and that's why they should all be looking up to him with awe and praise, and that extends even to his own brother. He tells Loki to mind his place and kind of brushes off his advice, because even though they're brothers and that's the closest anyone could get to being his equal, it's still not enough. Thor views Loki as another person who is beneath him, but who ultimately can't do anything but look up to him and love him.

This is an illusion.

Loki does love Thor. Their relationship, with how complicated and messy it is, only works if they truly love each other, and they do. But it's not the blind, adulating love that Thor expects. It's a jealous, aching love. Loki craves being equal to Thor, a problem that's only exacerbated by the way Thor denies him that position. He craves to be loved as he's assumed to love. And the problem with a love like that is how quickly it can turn. If Thor won't give Loki the affection he needs, then Loki isn't going to show Thor affection the way Thor wants him to, either.

That first movie is in multiple ways a brutal awakening for Thor. He's not the man his father wants him to be. His entire life he's been training to be king and then that future seems like it's been ripped away from him. He has his power and then it's all gone. And his brother, this person around whom he's constructed a narrative of almost reverent adoration, suddenly turns against him, tries to keep him in exile and then to kill him, tries to take the life that was promised to Thor. That looks absolutely nothing like the love Thor has believed Loki feels for him.

I would feel some doubt at that point. I think anyone would. My sibling tried to kill me. Does he still love me? Did he ever love me?

And to add to that natural doubt, Thor doesn't understand Loki. He never really has. He doesn't know what it's like to be, as Loki says later, living in the shade of someone else's greatness, the trickster brother who's never really trusted, let alone lauded. And correct me if I'm wrong, but even by the end of Thor, he doesn't know what really tipped Loki off the deep end. He doesn't know that Loki's just found out he's a Jotun in a land of Asgardians, that he's the very thing he's been brought up to hate and fear, so Thor doesn't understand why Loki is acting so erratically, which must compound the doubt for him. From his point of view it's like a light switch flicked and now Loki's trying to kill him, which increases the did he ever? question. Was it always a facade? And I don't think Thor ever quite realizes the illusion he built around Loki, the difference between his expectations and reality to begin with, so he also wouldn't be seeing that it's not quite instantaneous, that there were years of building resentment and longing that contributed to the tipping point of Loki's changed behavior.

So by the end of Thor, yes, he's got to be wondering if Loki loved him.

But when Thor appears in Avengers, do you remember what plea he makes? He says I grieved for you, I want you to come home. That's not the kind of thing you say to someone you think doesn't care about you. That's a plea to the heart. That's Thor trying to get to the love he knows is in there somewhere, behind everything else that's built up around Loki's heart; that's Thor saying I know you still love me, I don't know what changed, but please let our bond be enough to fix it. Whatever he's been thinking about between the events of those two movies, he's moved past that doubt enough to think maybe Loki's love for him will be enough to bring him home, even if some part of him expects Loki to say no anyway. We know that in the interim he learned of Loki's status as a Jotun, so maybe Thor's even begun to try to understand. Maybe he's been thinking about the fact that life got very hard and very confusing for Loki very suddenly, and he wonders if now that some time has passed, there's a chance Loki wants to come back and work through it with him and their parents. When he says "we were raised together, we played together, we fought together," he's not just trying to convince Loki that he's loved, he's trying to remind Loki of his own love.

Again, during the Battle of New York itself, Thor makes a similar plea. He offers that he and Loki stop the fight together, and his eyes are so incredibly soft when he says it, you know he believes it can still work. That belief comes from knowing there's something in Loki that wants to say yes, something that loves Thor enough to give up his dream of kingdom and stop the invasion. His use of together is interesting not just because he's offering Loki a way out, putting it on the table that Loki can exercise his heart and choose a better path, but also because he's finally putting Loki on the same level he is. We can do this, we can return home, you just have to find some part of you that loves me enough to choose equality with me in this fight over equality with me in having thrones. He also holds back when he's dueling Loki, which is a horrible idea if you actually believe a person has the capacity to kill you, but if you don't believe that, it's an ultimate show of trust. Thor kind of puts his life in Loki's hands by not using his full strength, and only after Loki rejects his offer and stabs him does he finally use more brute force, although it's still not enough to kill Loki or even knock him out. Thor really believes, not just wants to believe, that Loki will not kill him given the chance, that there is something in him that wants to go home, and it's all because Thor, after all his shattered illusions, still believes there is love for him in Loki's heart, even if it has been touched and twisted by anger and pain.

In Dark World, Thor is much more pessimistic when he breaks Loki out of jail. He basically says that his brother is no longer in there, that he won't hesitate to kill Loki if he steps out of line. I think this is important to note because Thor isn't saying I don't believe you love me anymore, he's saying the person who loved me is dead and this shell is all that remains. Thor says he no longer has hope, but he's still clinging to that belief that Loki did love him, in his own way, and he would rather view Loki as dead than let go of it.

But beyond that, there's the fact that he not only lets Loki out of the handcuffs, he gives Loki a knife. Once again, you don't give a weapon to someone you wouldn't trust not to kill you, and you don't trust someone you've had so much tension with not to kill you unless you believe they love you. Loki says "trust my rage" re: Frigga being killed, but I would argue that actually wouldn't go in his favor. Thor has seen what Loki resorts to when he's not processing his emotions in any way other than rage: he attacks Thor, he falls into perfidy, he just lashes out at the closest target. And even despite that, despite having fought Loki in Thor and in Avengers, having witnessed firsthand what destruction Loki was willing to either cause or help facilitate, Thor still gives him a weapon and trusts that Loki isn't going to kill him. There is clearly still a part of Thor that is saying he loves me, he's not going to kill me.

Of course, by the end of that movie, Thor is rewarded in his faith. Loki stabs Kurse to save Thor, and it appears to cost him his life, and as he's dying, what does Thor say? Stay with me. In essence, loving me so much you'll die for me isn't enough, love me so much you'll stay alive for me. It's not a rational thing to say to someone who appears to be bleeding out; a person can't generally stave off death on willpower alone when they've been stabbed in the gut. Thor always ends up speaking to Loki's heart, because he knows that heart is bitter and full of rage and grief but also love, even though Loki is absolutely horrible at expressing it most of the time. I want to talk about why Loki might've faked his death and taken Odin's place at the end of that movie in another post, but part of me really thinks he chose that specific way to fake his death because he wanted Thor to see that Loki did love him, and that was the only way he could think of to reach out without actually having to confront his own pain and the enormity of the breach between them. Now, the "I didn't do it for him" could be taken one of two ways: it was actually for Frigga, or it was actually for Thor. I'm very much inclined to believe the latter, as Thor is the one present in the scene. Also, the expression on Thor's face when Loki says that is so frozen, like yes, I wanted more than anything to be told that you still care, but not like this. And it feels like Loki is doing his best to communicate that he does love Thor, but his communication skills, especially with Thor, are severely distorted, partially by that unhealthy relationship they had early on where he most likely never felt entirely welcome to speak his true feelings, and partially by the chasm that opened between them when Loki went into his downward spiral of destruction, both of himself and of others. I genuinely think Loki doesn't know how to just say it. To quote myself from an earlier post I made about Loki, he feels like "there’s no way he can possibly repair the relationships he’s broken," so he doesn't try to apologize and make up for it. Like someone else (I forget who) has already said, sacrifice is the way Loki makes up for things. So he gives Thor this image of a sacrifice, the ultimate expression of love and devotion, because he doesn't know how else to say it.

What's the point of all this? Thor knew Loki loved him. That's the whole point of their story. Their love for each other is the cornerstone on which that immense cosmic narrative is built. Even with doubt, anger, bitterness, frustration, grief, pain all complicating their relationship and getting in the way of actually expressing love to each other, the fundamental truth of Thor and Loki is love. Is faith. Is hope. Is saying maybe you don't know how to say it, maybe you're trying to shut it down, but I know there is something in you that loves me and that's the part I choose to believe in.

Thor knew Loki loved him.

im sorry but all of you "googoogaga zim needs therapy aaoooww zim has so much trauma sniff so saaaadd" people are sooooo fucking lame. if you sit zim down with a therapist the therapist is gonna curl up into fetal position start eating their own notes and cry. and maybe jump out the window

z*adrs dni. GIANT SPIDER KILLS YOU WITH HAMMERS

I was watching clips from Little Women 2019 on YouTube (im so normal about that movie) and on the one with Jo Friedrich getting together at the end, people were commenting “oh I’m so glad Jo found the capacity to love another person romantically because she would be a static character if not. They were so sweet together 🥰” and I had to close the tab because HNG,,,,,,

Firstly, it was heavily heavily implied that the ending where Jo gets together with him was simply made up for the sake of the publisher due to prejudices and constraints of that time period (which was reflected in Alcott’s own experiences of trying to get little women published). This was supported by the colour grading of the scene and it’s place in the story: it’s warm-toned and Jo hadn’t been characterised in any way that would suggest she wanted to be in a romantic relationship for the whole story. Her loneliness is not a byproduct of wanting romantic love, but of living as a struggling artist in the oppressive patriarchal standards of her time; there’s also the fact that her family is moving on and growing up all around her as she’s the only one left behind in her family home, which is further emphasised by the fact that she’s the one constantly clinging to the simplicities of the past. She considers accepting Laurie’s proposal not because she loves him in a romantic way or wants romance, but because life is a fucking struggle. And that’s why Friedrich showing up at her doorstep, from the perspective of a viewer, especially because he hadn’t shown up at all since the film’s opening, is jarring as hell. But it’s deliberately paced to be and ignoring this in order to make such a statement as “oh finally the perfect man for Jo” INFURIATES me. Especially when the scene under the rain? The confession scene? Was the cheesiest culmination of every romantic trope ever. This - accentuated by the jarring shift in themes and character - was a brilliant meta-commentary on actual criticism of the book where it felt like Jo married Friedrich out of nowhere.

Which brings me to the next thing - romantic love being seen as the be-all, end all for… everything. (coldest take of all time but unfortunately, not cold enough apparently) It’s not!!!!!!! Absolutely nothing against it (I love my ships as much as the next person) but when a filmmaker pays such attention in her commentary to love and societal perceptions around it, when she explores sisterly love and motherly love and platonic love etc. all so thoroughly. And you still leave thinking Jo was happiest and fulfilled when she gets together with Friedrich. I… I don’t know what to say. I’ve seen people say that the ending is ambiguous (and it is rather) but I’ve only ever seen it this way and I just don’t agree with the interpretation that Jo just gets married happily in the film because if so, holy crap was it paced/set up badly. All evidence just points to the contrary in terms of character, and themes, and just how the film is structured. And it’s genius! It’s one of the reasons why the film is one of my all time favourites. It’s such effective satire on how society (back then and evidently now) views romantic relationships. So it just makes me so annoyed when people ignore the nuance

Ok *breathes* I’ll stop

I clicked on a video essay about Snow White and off the rip, the guy called Snow White a "passive domestic weirdo with no personality" and quickly figured out he is one of THOSE critics. He also got one about Ariel and you bet your ass he is one of these "gave up her voice for a man", "The Little Mermaid is misogynistic" dipshits. I have yet to watch the video, but I know for a fact he is one of those guys. His videos reek of that smartass, sanctimonious, leftist bullshit just by reading the titles and looking at the thumbnails. This guy also has a video defending Twilight. You can't make this damn shit up.

Anime Anthea frustrates me because like. in the games, just about the only thing we know about her is that she was somehow able to cling to a conviction that Pokémon trainers are generally good despite being exposed to all the same stuff that radicalized N from a not-much-older age. And that's fascinating that is such interesting character trait, there is so much you can do with that, but the anime just...gave her the Generic Original-Plasma Talking Points instead.

The game doesn’t depicted Korekiyo as anything by the end though, does it? Like the mastermind just had a thing about incest making for popular television, then flashback-lighted Kiyo with a backstory of being an incest-crazy serial killer, even though he hadn’t killed anyone before in his life, just because it was looking like no-one was going to be killing/the audience wasn’t liking the show, its popularity waning, 53 seasons being exactly that — stale after too long.

just say you hate gender non-conforming people & male victims of CSA, anon. go ahead; just admit you’d prefer not to look deeper into the general issues of his character and writing and fuck off, love, it’s fine.

House driving a car into a house is a metaphor to represent his self-destructive tendencies. How easily walls broke speak to the fragility of his mental state. And the fact thats its a living room shows us what he thinks about that concept.

Not 100% sure tho, still working this theory, need something more substantial to confirm

hi!! random but i was wondering if you've heard the song 'better than me' by the brobecks- i just heard it and listen i don't even think about eridan too much but it reminded me of him so much for some reason. and possibly sollux. and you are the Resident Eridan Appreciator i know so i just wanted to drop this in your askbox to see if you had any thoughts :0

Gasp ooh I actually have heard that song before :D!! After listening to it again with Eridan in mind, oh yea you are so right hehehe, it fits him really well

Also I'm the resident Eridan appreciator !! Fhsgsh for some reason that makes me really happy lol

Also also, thank you for sending this ask! I love answerin stuff like this :]]]

can you do touya nii headcannons?? (swf +nsfw ;) ) PS i fucking love ur work so much keep it up <3

aw thank you so much!!! ⸜(｡˃ ᵕ ˂ )⸝♡ i am beyond happy to hear that u enjoy my writing!!! <33 aH okay so like,, i feel like just ‘headcanons’ is sooo broad + vague and i’ll probably just end up giving you a character summary LMAO (,,>﹏<,,) but if you’ve ever got anything more specific you’d like to know pls never hesitate to send it my way!! <33

One thing about me is you can always count on me to want the character who is incomprehensible. People often say "Oh you're gonna want this one for sure" because they think I have a type. There's the secret: There is no type. The only type is confusion.

If the character you are showing to me is perfectly comprehensible and makes sense well unfortunately I will be normal about them. Horny? Perhaps. But to a normal degree.

Show me a cunt who makes no sense at all and it's over. I'm finished. KO'd. I'm done. It's over for me forever.