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dlartistanon · 6 days

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Shining and Nightingale: Connection, Plot Beats, and How Their Story Makes (Even) More Sense If You Read It As Romantic

Introduction

Belonging to the Followers faction, Shining and Nightingale were among the first 6* operators introduced at launch. With damage mitigation as their niche, Shining is a single-target medic who specializes in reducing incoming physical damage, while Nightingale is an AoE medic whose specialty lies in reducing incoming Arts damage. This post will delve into everything we know about them and how it's so gay, oh my god

Design Analysis

Upon first glance, you notice how they compare and contrast each other visually: Shining is dressed mostly in black, Nightingale in white. Shining has long, thin white horns that gently jut outwards, while Nightingale has thick, black horns that fold inwards. Shining keeps her hood on by default, giving her a mysterious and secretive appearance. She has dark brown eyes, Liz has light blue ones. Shining’s outfit is tattered and ragged, really giving off the vibe of a wanderer (a “roaming doctor”, as she puts it), in stark contrast to Nightingale’s clean and put-together attire. If you squint, Shining almost looks like a harbinger of death, whereas Nightingale is angelic. Both of them wear the insignia of the Followers, a Terran version of the Caduceus. Shining wears it on a necklace (and is the actual leader), while Nightingale has it etched onto her clothes. One of the black straps on Nightingale’s outfit also reads “The path to light is dark”.

The predominant colors in both their respective skins are the complementary blue and orange. Just as black and white are opposed, so is the contrast between blue and orange. Within Shining's Silent Night, there are flickers of red-orange accents in the form of crystals, while in Nightingale's Elegy, there is the vibrant blue of her bluebird and its wings/feather. Despite Shining’s skin being a summer/beach outfit, the overall atmosphere is foreboding, given the moonlit background, presence of crows/ravens, and color choices. The backdrop in Nightingale’s is very characteristic of Gothic settings.

The strongest theme tying both their designs (and stories) together is The Gothic, an atmosphere and aesthetic best exemplified and symbolized by moody, somber colors (often black) and the gnarled, twisted branches of dead trees found in both their designs, as well as pertinent cast. (We will discuss more on their narrative ties to The Gothic)

Nightingale is featured (alongside Myrrh) in the song “Spring’s Pulse”, while Shining’s song is called “Winter Absolution”. Spring and Winter are opposing seasons, different times in which life either flourishes or hibernates. Green and red (as well as blue and red) are contrasting colors, highlighting life and death. As well as white and black, often symbolic of purity and sin.

Additionally, one of the Latin verses in Shining's song translates to:

"Sing, my tongue, redemption. Of my flesh, the mystery sing. Of the blood, all price exceeding. Shed by my immortal being. Destined for the world's redemption. From a noble womb to spring."

Profiles/Voice Lines

For the longest time, the most we could gather from their past was that Nightingale was a victim, a prisoner, forced to heal others while captive and that Shining had rescued her before they came to Rhodes Island. She has a host of ailments that mere Oripathy can't be the sole cause for, including amnesia. Through other clues, we eventually learn that Shining had a connection to someone called "Confessarius" ("Confessarii" when referring to a group), something she is noticeably evasive and uncomfortable about.

Later, the mystery slowly began to unravel as many theorized that Shining herself was involved with Nightingale's imprisonment, evidenced by Liz drawing the similarities between Shining and her captors. A shared past dripping with intrigue.

It was these seeds that provided a tantalizing story of atonement, of redemption, from someone who had committed a terrible transgression against another, complacent in her pain and suffering, whom she eventually grew to care about--so much so that Shining decided to sever all ties to her former compatriots, slaughtering many and freeing Nightingale, running away together. Shining, disgusted with her actions, spending the rest of her life atoning for her sins, of which she feels she can never be forgiven for.

The juxtaposition of Shining, unyielding with her sword, covered in the blood of her once-fellow Confessarii, and her being exceedingly gentle with Nightingale as she leads her to someplace safe, away from that room, her captors, that tower, where they (she) can’t hurt Liz ever again. The fanon that Shining was complicit in what made Nightingale the way she is, and that she is currently atoning for those sins, was largely embraced by fans.

Nightingale’s Operator Record #1 - A Song and a Blue Feather

The Op Rec is a good showcase of the Followers dynamic (with Liz as the Lady and her two knights), but it also serves to show more of Liz's personality. We only get a very baseline interpretation of who she is as a person via her official file, but seeing her interact with Nearl and Shining gives us a clearer picture of just how strong-willed she is. She goes against Shining's warnings in order to soothe the pain of an Infected child, particularly because his father was inadvertently exacerbating his condition through what Liz calls "a cage of love" (foreshadowing?).

Throughout, we learn more about Liz's Arts, specifically that they give her empathic qualities and come with the drawback of shortening her lifespan every time she heals. The game-breaking ability to reverse Oripathy symptoms comes with equivalent exchange. Liz takes on the pain of others in order to make them feel better.

Near the end of the record, Liz asks if Shining is mad and to not blame Nearl for helping her. Shining's original call to avoid the town was born out of being concerned with Liz's health, but she admits that she should've respected Liz's decision. This is a stance that we then see get repeated in their future appearances in both side stories and the main plot--Shining prioritizing giving Liz agency, when she previously had none. Even when it results in Liz's condition worsening, something that Shining struggles with accepting at the same time, communicated through her asking Liz if her feeling more pain was necessary.

Nightingale’s Module #1 - Closed Hope

The module basically states outright that Nightingale views herself as a burden for having to rely on Shining and Nearl to help her navigate through life. This is another example of Liz's strong-willed personality peeking through.

"But for me, results speak loudest. Because I endured a little more pain, others can be born anew. This is very good. But… if I could be like ordinary people, without this physical pain, that spark of hope in my heart would surely shine a little bit brighter. Unfortunately, as I am now, I can only rely on others to survive. Like a light crystal in a lantern. Even if the lantern door is open, even if the light can bring warmth to others, the crystal itself is still fixed inside. It is fixed there, because it has no ability to move on its own. 'Nightingale, Nightingale––' I hope that one day, I will also be able to spread my wings and fly… just like the bird next to me. 'Nightingale, wake up already––' Until then, I must impose upon them yet more to take care of me.

...

'What's the matter, Shining?'"

In her Op Rec, she had even told Shining that if her legs had cooperated with her, she would not have asked Nearl for help, and that she would've gone out to heal that boy on her own. It's letting us know that she longs to be independent, and that she can't idly sit by as a passive observer when she has the ability to help others. Liz won't even let her own disabilities stop her from doing what she wants.

It's not a coincidence how Shining's presence in her module is represented by the analogy Liz uses to describe her predicament. Shining rescued her = the cage door is open. However, the crystal itself can't move = Liz's debilitating condition. Shining played her part in putting Liz in the cage to begin with. Shining is not only her savior, caretaker, and companion, there's a darker undercurrent as well.

Near Light

In Maria Nearl, Nightingale and Shining get a brief mention and cameo around the time Nearl crashes into the Major stadium. A connection can be made with Liz's Op Rec in which we evidently see that she and Nearl have a more physical (and arguably openly affectionate) dynamic compared to Liz and Shining. Before Nearl leaves to help her sister, we a get a brief look into her and Liz's parting conversation, in which Nearl assures Liz that she'll be okay and that Liz still has Shining with her.

In Near Light, where they get more screentime, we have the iconic Nearl and Nightingale slow dance underneath the streetlights. In the CG itself, Shining can be seen hanging back, sporting a smile. She calls Liz beautiful unprompted, which results in Liz getting a little bit flustered, already so from dancing with Nearl.

Beyond these instances fleshing out the NearLiz leg of the triangle, it's also a purposeful depiction of Shining intentionally distancing herself from Liz, presumably due to her guilt for her past actions. And how that can be extrapolated into Shining feeling as though she is unworthy to partake in that same kind of intimacy. This self-loathing mentality is once more reflected in Nearl the Radiant Knight's second Module--here's a rough translation:

"I suddenly felt a little regretful - after all, I have always hated my bloodline. I have never tasted the beauty of home and the meaning of family. She deserved to have it all, deserved to be noticed and blessed and I deserved not to be a part of it."

However, at the end of Near Light, we get the scene where Shining makes a decision to go back to Londinium with Nightingale, preparing us for their subplot with Confessarius. This exchange hangs over them like a cloud, as well as further cementing Shining's firm resolve to always remain by Liz's side, no matter her own misgivings about everything else. Even if the rest of the world is muddled in her eyes, the only thing that stays clear and in view, is Nightingale. Nothing else matters more.

Chapter 10-18

The depth of Shining’s feelings for Nightingale is truly something to take note of. "My place is always at your side" is practically a textbook subtextual/indirect confession. "I will always be at your side... for as long as you’ll have me." Because we must know that Liz has a choice. She will not impose her own wants onto Liz. Should the day arrive where Liz no longer wants her, Shining will honor it, as much as it hurts.

The way Shining navigates and conducts her feelings towards Liz in this manner is very reminiscent of the medieval concept of courtly love, which is essentially a kind of romantic love without ever imagining it to go any further. The lack of consummation is not only expected, but ideal. That the love existing in and of itself is satisfying.

The scenes where we see Shining holding back help supplement this reading. It also plays well into how the Followers are basically the "knight in shining armor" idea codified into three individuals with corresponding dynamics. For bonus points, courtly love has ties to spirituality, which coincides with another aspect of Shiningale's story with identity, fate, and their conflict with Confessarius.

The fact that Shining 's most immediate plans for the future all have to do with Nightingale is only the tip of her unending devotion. "I’ll stay with you, and go wherever you want to go, as long as you want me". And for Liz to quickly ask if Shining will come with her wherever she wants to go suggests that the love is reciprocated.

Chapter 11-10

Through a series of revelations, we discover that the current head of the Confessarii is Shining's father, who is possessing the body of her younger brother. And that Nightingale was an experimental subject whose physical body is a construct, making her the equivalent of an artificial human/homunculus.

The whole scene we see just how both Confessarius and Salus view Shining, Nightingale, and their relationship. As randmsapphic puts it, the method in which they talk about Liz as an object with a purpose and that Shining's attachment to her is nothing short of a phase speaks volumes as to how dismissive and strangely self-assured that Shining will come to her senses and do the right/rational thing and bring Liz back to help her. They entertain the notion of saving Liz by way of pushing Shining to return to them, because they are the only ones who can save her. Instead of immediately resorting to threats, they rely on manipulation, pulling the "family" card, preying on and weaponizing Shining's guilt and desire to help Liz. It's not subtle--this dynamic could very easily be seen as the reactions homophobic relatives would have.

In particular, Confessarius's fixation on bloodline purity is insanely creepy and not only comes off as very homophobic, but ableist as well. Him suggesting they can build Liz a new body is coercion to get Shining to obey him (which also implies that he thinks Shining's attraction to Liz is purely physical). Salus emotionally abusing Shining by saying that all of Liz's pain is Shining's fault. Attempting to shame Shining by claiming she abandoned her family for a stranger. Does it not have the vibes of homophobia saying that Shiningale's love/relationship isn't real and will never work?

Chapter 12-10

The way Shining utterly ties her sense of self-worth to Nightingale, literally describing herself as Liz’s sin… she will not refer to Liz with possessive pronouns, but will do it to herself for her. The longing, the guilt, the resolve, the codependency… is incredibly yuri. Back in Chapter 10, Shining has an exchange with the Nachzehrer King where she says the moment she was born, she had carried sin. After the dinner in Chapter 11, she tells a Confessarius soldier (before cutting him down) that she hates herself most of all.

Of all the ways to describe her relationship with Liz, Shining decides on "I am her sin". There is poetry in how she refrains from using any kind of possessive language about Liz. Shining belongs to Liz, but Liz belongs to no one. "I am hers, and she is everything to me". It goes back to how she somewhat keeps her distance despite the overwhelming devotion. "I cannot touch her with these sinful hands".

Shining truly exemplifies devotion. Whoever was responsible for writing Shining’s dialogue is pulling out all sorts of stops to have her express her love for Liz in every way without outright making her say the words "I love Liz".

Chapter 13-9 (unfortunately tumblr has an image limit so i can't cap the entire subchapter; you really should read it yourselves for that delicious Shiningale goodness)

Kal'tsit: The way you look at Nightingale isn't just with compassion. You're not just her doctor—she's healing your fears too. Her body has its issues, but she's a member of the 'Followers', as well as your companion, and not a delicate flower that needs your protection.

Nightingale: I'm fine, Shining. You don't have to look after me so meticulously.

More examples of Liz's strong character! A dynamic becomes even more interesting when the one you thought was less-dependent turns out to desperately need the other. By this point, you should know that Shining places Nightingale incredibly high up her list of priorities. The narrative makes it no secret. They continue to hammer home that, despite being her caretaker, just how much Shining is dependent on Liz. Liz has already internally talked about how she hates having to rely on Shining and Nearl because of her ailments. In her other appearances, she makes it even more apparent with her dialogue. While Shining mends Liz’s aching body, Liz is the one who soothes Shining’s hurting heart.

Confessarius: Poor 'Liz'. She think it's all her fault, because of the momentary kindness you showed her.

When you remember that Liz's Arts make her empathic to pain, it takes on another layer of meaning when she wants to take away Shining's suffering. It's reasonable to assume that Liz also had an attachment to Shining, even if you see it as such because Shining "brought her to life". But the vibe you get from her dialogue shows a strong affection and compassion for Shining. Arguably instinctive, considering the "nature" of who Liz originally was. A wandering spirit, a memory, a soul that was drawn to Shining because she felt her crushing pain and wanted to help her. An intangible presence given life by an achingly lonely and hurt individual.

Another post by randmsapphic suggests that Liz's "childhood memories" of her and Shining were in fact fabrications that Shining had imposed onto Liz, in some desperate attempt to have a connection with another person, which this scene confirms. Shining was so happy with Liz's creation that she quickly became attached to her. Is this a sort of twisted love/affection that was born out of Shining's self-loathing? Or her being born into a very dark and messed up lineage in which her fate is a doomed one, and so she latched onto Liz as a means of escape and a way to feel close to someone? It may have started off as such, but by the time we reach this point, the love grew to be genuine.

Remember in Liz's Op Rec, where she described the father hurting his son by keeping him in a cage of love?

The bluebird losing its strength the farther it travels away from home is a metaphor and reflection for how the Confessarii treat Liz, their experiment. This is the basis for her captivity. Combined with Shining's sudden shift into a cold demeanor when she had previously been warm to Liz, this only served to psychologically and emotionally damage Liz, as well as compound Shining's guilt for having continued to follow the wishes of her family.

At some point, prior to deserting, Shining had wiped Liz's memories, perhaps out of said guilty conscious, or a means to a fresh start, or even her own way to stop Liz from feeling any pain associated with those memories, but she was still afraid of what would happen should Liz recover them, which had been happening little by little. Shining had resigned herself to believing that Liz would hate her, would want nothing to do with her, if she ever found out the truth. She had to wrestle with the very real possibility that attempting to save Liz could mean losing her, or being separated from her. Shining never once saw Nightingale as a burden; she was only ever happy that Liz exists.

Credit to randmsapphic again: Every time Shining draws her sword, it's a viscerally unpleasant reminder of her eventual destiny. It's both the only way to truly free Liz, and is the bind that keeps her shackled to a doomed fate. When Confessarius offers her the sadistic choice between killing him (thus giving up her soul) or return Liz to captivity... what should she do? There is no choice here.

The way Confessarius keeps (creepily) phrasing it as Shining “giving birth” really does paint him to be a disgustingly vile patriarchal figure set on destroying not only Shining’s autonomy, but her life and relationship with Liz. How a woman is treated as an object, her worth limited to only serving as a breeding ground for the next generation. This read continues to make even more sense because remember the Confessarii dinner scene? The way they talked like they expect Shining to come home after having had her fun with Nightingale reeks of how society views lesbian relationships as not real/practice for men/just a phase. The proverbial Class S? Shiningale really is just Arknights-flavored Class S Yuri. If a Shining Alter has her pick up her sword again, it could very well symbolize her reclaiming her bodily autonomy and fighting for her love, and for the chance to have a life outside of what the patriarch(y) wants for her.

The more I read about the Shiningale in Chapter 13, the more I’m thinking that this can’t be anything else but yuri. Even the role Confessarius is playing as a villain/obstacle they have to overcome. A man getting between them by manipulating their feelings for nefarious purposes?

Liz telling Shining that she prefers her current name, how it encapsulates so much of who Shining is as a person; she's not just a means to an end for the Confessarii, she's more than what they've instilled in her since her birth. The Followers are all light-themed, and Shining is no exception. She broke Liz out of her cage and showed her the world. And Liz is the light of Shining's life, as was mentioned all the way back to her voiceline.

Liz telling Shining that she's always loved the name that she gave her... that she holds dear any and every part of Shining that's a part of her. Her gently chastising Shining for making the decision to sacrifice herself to save Liz... Don't give yourself up for me, especially without asking me. That's not what I want. For all the times that Shining made sure Liz knew she had a choice, this was the one time she didn't. Couldn't. And Liz won't have that. Whatever trials that await them, she wants to face them together with Shining.

The way Confessarius described Shining’s feelings towards Nightingale as “your rebellious love for her”. He knew that she would love Liz and factored that into his plan/manipulation of Shining. I don't know about you but… I don’t think there’s any other way to interpret that. No heterosexual explanation.

Realistically speaking, we know actual gay characters can’t make it past the censors unless it’s tragic (see Scavenger) or unrequited (see Tomimi). But Shiningale have like… playable immunity. It’s “implicit” enough to not trigger the censors but at the same time how can you not see it as romantic?

Their relationship is basically up there with Talulah/Alina. And I'd even go so far as to say that it's more explicit than Talulah/Alina. To my knowledge, they never used the word “love” to describe how Talulah felt about Alina. Just "friend". I know there's a point where subtext gets ridiculous enough to become maintext, but then that leads you to question why some get the "friends" label while others are allowed to use "love".

Could it be platonic love? Sure, of course you can love your friends. But would you pledge your entire life to a friend? What's so "rebellious" about loving a friend? (Interestingly, I think the JP translation calls it "immoral love", which is even more eyebrow-raising) Regardless, love exists between Shiningale. Confessarius knew it, and factored it into his schemes. He counted on Shining to love and cherish her. Shining loves Liz, that much is undeniable. And Liz loves her back, enough to stop Shining from sacrificing herself to save her. He's literally weaponizing the love they have for each other.

Shiningale and The Gothic

I had mentioned before that both characters' designs as well as the narrative beats of their story have Gothic literature elements. I want to make a list of the ones I could find that relate to them as characters and as a narrative:

A focus on medical conditions, doppelgangers (the "pure" Confessarii looking like each other), forbidden power/knowledge, the dichotomy between light and darkness, imprisonment, rebellion, isolation/seclusion, gloominess or a gloomy setting, the grotesque/macabre, terror/horror, justice vs revenge, good vs evil, fear and suspense, the supernatural/paranormal, female victims, prophecies/curses/omens, mystery and secrets, involvement of the clergy/religious figures (confessor/absolver of sin), the dead don’t stay dead/hauntings, romanticism

The Gothic hero is “weakened by love”, they either rescue their love interest or pine away in despair

Significance of blood (relations) and inheritance, the duality of giving and denying life

An examination of family structure, patriarchy, hereditary suffering

Dreams/nightmares, memories

Secrets, past sins, sins of the father, darkest deeds

Driven by love, duality of man (appearance)

Dwelling on the melancholy, of wistfulness and regret, but not overcoming kindness

Concept of “othering” from society (Shining split herself away from her blood family to be herself and with Liz, her chosen family

The protagonist’s passionate love is torn between his desire to achieve the beloved and the family’s disapproval, control, and choice. Gothic novels also tell the tales of love in vain. The lovers are parted due to the conspiracies of the people opposing them being together

Gothic sexuality is usually somewhat repressed—women are expected to be pure and somewhat helpless while men are expected to be quietly predatory. It's also patriarchal, with men making moves and women reacting to them

Homosexuality = the love that dares not speak its name. Repressed sexuality, forbidden desire

Female Gothic protagonists are often committed to justice, unwilling to compromise their values, loyal, respectful of others, curious, intelligent and devoted to their faith. Some are gentle, kind, likeable, clever, witty, quiet, supportive, thoughtful, hard-working, independent and strong. Others are courageous, witty, brave, determined, knowledgeable and socially competent. On the flip side, some are also strong-willed and outspoken to a fault. They’re often socially awkward, depressive, melancholy, brooding, solitary and selfish. Some are jealous, fiercely territorial, deceitful, powerless and deceptive. Others, like their male counterparts, are prone to violence

Male Gothic protagonists are often conflicted, solitary, tortured, brooding, and secretive, self-loathing, wracked with guilt, have a self-hate of their own existence

Female-centric Gothic stories often trend towards obscured/anticipated fears, focuses on persecuted women and the domestic space she risks entrapment within/disturbed spaces

Food for Thought

Ryuzakiichi has a knight original character. Tell me... this doesn’t just look like Shining without horns? THE RESEMBLENCE IS UNCANNY.

Knowing this, I'm convinced that he split the concept of a "knight in shining armor" into two characters: Nearl and Shining. Nearl embodies chivalry. Shining embodies devotion.

The followers dynamic can best be summarized as two knights swearing fealty to one lady, but what's interesting is that while Nearl is the most obvious depiction of a knight, it's actually Shining who serves the role even harder, because she is quite literally Liz's knight. Which tracks with how Shining looks nearly like a carbon copy of his OC. She's the one who rescued the princess from her tower, while simultaneously being the "wicked witch" who put her there in the first place. And just like a Gothic hero, is tormented and sees herself as a monster.

Comparison to the main plot of Shadow of the Colossus. The driving force is that Wander commits acts (largely agreed to be treasonous) in order to revive Mono. The relationship between Wander and Mono is left up to interpretation as to whether it's platonic, familial, or romantic, but most fans of the game seem to theorize that Mono is indeed Wander's love interest.

Normally I despise turning the Followers into a nuclear family unit in any direction (especially people saying Liz is a minor and infantilize her to be the designated "child"), but for a moment, seeing Shiningale looking at Nearl’s portrait, my brain interpreted them behaving like Nearl’s (substitute) parents being proud of her accomplishments.

This was not helped by stuff like Shining’s teasing ("Look at you, our knight acting snarky"), Liz asking if she and Shining were also Nearl’s family, and some apparent discussion about Mlynar being a "bad end" Margaret who lost his own light (his brother and sister-in-law, Margaret’s parents).

If Shining and Nightingale are to Nearl as Schnitz and Yolanta were to Mlynar, then that might also explain why he dropped his jerk behavior for one second just to compliment how the two Sarkaz were good for his niece. If Nearl had never met Shining and Nightingale, her own light might’ve gone out too...?

IN CONCLUSION

Shiningale are complementary in so many ways. It really feels like several aspects of their characters are tailor made to match; you can’t have one without the other, their development is tied together… soulmates. Hopefully this post helps encourage you to consider their story in a certain lens if you hadn't before.

To quote a CN post I saw on the matter after Chapter 13 was released (rough translation): "Shining's sword pieced Nightingale's heart, and Liz came alive. Liz's existence helped give Shining emotions. Liz became Shining's redemption. Shining renounced her old name and Liz cherishes hers, a transformation of two people choosing to fight and change their destiny. Although Liz is physically fragile, her spirit and will are very strong. Although Shining has excellent swordsmanship, her self-hate and inner turmoil weigh her down. They are truly complementary in every sense."

They each want to take away the other's pain. Shining doesn't want Liz to die. Liz doesn't want Shining to die for her. They are each other's mutual salvation.

#dl talks ak #arknights #shining #nightingale #tl;dr i'm not saying that romantic love is the true intent for their relationship #but that their story feels more effective if you do interpret it as such #it's a spiritual story about defying fate; but also a very yuri one #the beats of shining's self-hate; a patriarchal antagonist; heteronormative expectations; dismissal of their relationship; etc.#can just as well be applied to yuri; specifically of the 'class s' variety #I FINALLY WROTE IT

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snackugaki · 1 year

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.... i have been so normal about wanting to draw tactical!Venus and tactical!Jennika.

hey. HEY. y’all need to go check out @donathan ‘s artwork, and if you are the proper age, go throw some money into their patreon for some... some real, real good art. 👀👀👀 ...but do not if you are a minor, that shit ain’t for you.

some IDW TMNT comic spoilers... and.... I guess... Next Mutation ssspoilers? I know some of you kids haven’t turtled up and watched my beloved childhood iteration yet.

alright, so, y’know, completely normal expenditure of my energy and skillset, amirite? big big thanks to @/donathan for allowing me to play around in their AU’s aesthetic because I have severe, terminal VenusAndJennikaDeserveEverythingoccocal SoIWillManifestItMyselfitis.

and tbh, all y’all’s fics have been, mwah, chef’s kiss. but SOME of you put LORE. delicious, tasty, appetite-inducing lore.

and i am nothing but the littlest hoebag for lore.

okay so, quick rundown for those who both A) are immune to spoilers B) also do not know Venus or Jennika’s origins-- bulletpoint time~!

So Venus de Milo, the “girl turtle”, the “fifth turtle” (not counting April’s extremely brief stint as a white-bandana’d turtle in the Archie comics run) was introduced in 1997′s Ninja Turtles: The Next Mutation

An episode of “The Toys That Made Us” touched upon Venus’ creation so idk it’ll cover what I won’t deign to acknowledge.

her backtory is interesting (just her show was a trashfire /affectionate)

Master Splinter’s frolicking around in the dreamscape where all the cool enlightened old people hang out away from teenagers, right?

but oh no! dragon lord, a bad dude with a widow’s peak to rival Vegeta Dragonball’s widow’s peak; is there too! stomping around, ruining shit!

Splinter’s dreamscape buddy Chung I warns Splinter to stay out of the dreamscape ‘cuz Dragon Lord’s around

And like in true old people fashion, just ignores his friend’s admonition and tries to investigate himself

bad choice, womp womp

Splinter gets trussed up and rendered “stuck” in the dreamscape

cue the catalyst for Venus to make the 10+ flight from China to the U.S

don’t worry about what the boys were doing, just literal surfing in sewer grey water, breaking their little turtle skulls on cinderblocks, and picking fights in warehouses with Foot clan goons

tl;dr Venus still has Sixth Ranger mode on, so naturally she whoops all of their asses in the dark, ties them up (like how some of y’all enjoy writing Leo does huhu nudgenudge winkwink)

venusistheoriginalshibarienthusiastandteadrinkerfightme

and then, y’know, it’s still the 90s and children’s television so blah blah the usual “oH My gOd a GiRL tURTle???/?? AWoooOOogaaa ga ga ga”

it’s.... I mean, i’m 38 so it no longer strikes me as bad as just really fucking embarrassing... for them. to be written saying. fuck, at least they didn’t make her bandana color pink.

so fast forward to Venus teaching them to dreamwalk so they can go rescue Splinter from Dragon Lord’s clutches in the dreamscape.

unfortunately, Dragon Lord offscreen murders Chung I so Venus is narratively anchorless post-rescue, so she’s invited to stay with them. thus ensues wacky hijinks with their new pal, Venus Boom Boom de Milo.

I glossed over the urge to write a cumulative review of Next Mutation. Just, take my word as the target demographic of the show during the last gasps of 90s Turtlemania that TNM was a trashfire overall but... y’know... if you ever needed a palette cleanser after some grimdark or angsty TMNT content, give TNM a whirl. The slapstick was intentional and The Point in the show. Venus’ circumstances for coming was as serious as it would get.

... Also, yes, they made them not related in TNM, preteen snackugaki didn’t clock why because I watched a lot of wuxia as a kid so brotherhood is a term beyond blood ties to me (and if I’m being honest, martial brotherhood is fkkn metal) and later I heard tell that it was to lure more girls into the franchise with both a girl turtle and romance options. which idk whatevs man.

I also have to clear that, actually no, Donatello and Venus did not fight EVERY episode. Donatello, despite sprinkling a little too much barely disguised snobbery, did defer to Venus’ expertise in “the supernatural” when the situation called for it, and Venus would commend Donnie on his scientific ingenuity. They even teamed up skillsets to create surveillance drones! She essentially casted Calm Emotions on him while he tried to hack the controls of the Astro Megaship back for the In Space Rangers. They breached the divide between STEM and Humanities! They only had one “real fight" near the end of the season-- because Donnie was playing his containment breach elevator mid trash copyright strike immune proto-EDM too loud while she was trying to meditate. and that’s just being bad roommates tbh.

...christ I know it’s gonna come up too, but also NO, there was not constant advances made toward Venus during the show. At most was Mikey pulling his ol’ “I work out every day~!” schtick for like 2 episodes of the 5 spent to introduce Venus. And then after? A shipper’s desert, you’d have to dig and peer behind like 8 curtains for any viable fodder.

...OKAY NOW FOR JENNIKA’S ORIGINS: Jennika is an IDW character specifically so, naturally why she isn’t in (or would’ve been, AHEM) a lot of iterations yet (or at all, COUGH) (but to continue in honesty there’s a lot of legal tape to cut through since Jennika is IDW’s while TMNT overall is Nick’s) Introduced as a Foot Assassin, her place in the Foot Clan shifts when Splinter takes over from Shredder (Saki), eventually she forms actual bonds with both the turtles and Splinter to where it’s implied she also saw him as an important figure to her if not an outright surrogate father figure. And because TMNT is mess and drama the other 50% of the time, Karai takes over the Foot from Splinter and shenanigans compounded by Karai’s then-current machinations for the Foot-- results in Jennika getting shanked in the stomach by Karai during a clandestine meeting to resolve clan rivalry. She’s losing blood fast, Donnie works to save her and it’s Leo who volunteers for blood transfusion to keep her stable mid-transit.

SURPRISE!

Leo’s blood mutates Jennika into a mutant turtle. And then Casey ghosts/dumps her. My poor daughter. She has a real rough time of it before fully integrating with the boys. Raph falls in with Old Hob, gets hoodwinked, and now they live in Mutant Town. Jennika slowly finds herself again, as a mutant turtle, a Splinter clan ninja, a girlfriend, a guitarist in a band she started, a sister in a found family, and a constable to a very little town.

okay! we’re all marginally informed about my two wonderfull daughters, Venus and Jennika~!

so if I can indulge further, I’m going to use my cognizance and make it everyone’s problem because I have beem quietly foaming with ideas for bg lore for tactical!J&V, more bullet points!

ok so, donathan mentioned a bit about their tac! Leo and Donnie being the snipers, Mikey and Raph spotting for them while also being demolitions and heavy ordinance specialists respectively

I would think, then for Vee and Jen, they’d be classified as close quarters combat specialists, complicated extraction? compromised area? call them to clean up and clear out~

give or take “magic” being a thing used in donathan’s AU, or anyone’s AU of this AU, Vee would probably be a close combat specialist along with Jen.

Vee, I feel, would, barring a ...”tactical fan”, (even though in TNM it was just her fists and her little wizard components but her toy came with a fan so.) probably use batons, Jen in lieu of her tekagi-shuko would... most likely use tactical karambit. not that large of a leap really.

for my personal lulz, Vee and Jen are... accurate, height-wise. Raph gets to be the biggest brother since alligator snapping turtles are, in fact, the largest motherfucking freshwater turtles on the north american continent. no getting around it.

my Vee in all Rise AUs is a softshell since the messy hanzi used to write her first given name, Mei Pieh Chi (美鱉气) has the hanzi that’s most commonly translated as softshell turtle (鱉). eh ‘di wow talaga

snacku what do you mean ‘accurate’???? tl;dr female turtles are usually the larger ones in most species.

and listen, I love and I mean LOVE, how some of y’all have written the tac!boys, mwah; but god I’m a professional turtle bully. I need to see them get dunked on. for nutritional value. and if it comes to it, I will provide that food for myself. brb laughing at eventually drawing Venus just offhandedly tossing Donnie into the air to skeet shoot his ass for fun brings me the greatest joy.

they absolutely dote on Mikey, as is the natural order of things.

and even tho I stated TNM Donnie and Venus got along in the show, and depending on the existence of magic in this AU; I just really love dichotomous rivalries (in as much “science” and “magic” exist as a dichotomy, much less as “diametrically oppose” fields-- just, opposites man. i’m a simple girl with simple trope needs)

Vee’s arms (and legs) are absolutely covered in burns, scars, and missing flesh divots, just as close to swiss cheese limbs as you can be

Jen and Donnie debate tracks that go into their joint “On Our Way To Commit Murder” playlist

if Vee’s tactical look seem very familiar, and you’re wondering if-- yes, you’re correct. and you can “call her ms. de milo if ya nasty”

Vee was actually pretty calm and rational in TNM... but for this AU, she can be a little unhinged, as a well-deserved treat. (and ‘cuz that specific anime unhinged facial expression is fun as fuck to draw, which is my treat)

#giving me cognizance was a mistake #letting me learn to draw was another #I love Venus and Jennika #a HEALTHY amount I'd say #totally healthy & normal #:)#fuckin' turtles man #3 months into this new year #and it's turtles all the way back #this is why I trained for visdev #just chewing on things absently #and wondering how things would work In This World #figuring out how to fit something into an environment #a context #a situation #is my enrichment activity #not unlike #giving tigers huge slabs of meat in 3 feet of ice on a hot day #just sitting there gnawing away #until I get to the meat of it #both literally and figuratively #it's like a puzzle #that you can design the pieces themselves #but have I updated my visdev portfolio?#HAHAHA NO #TOO BUSY DRAWING FKKN TURTLES MAN #h elp #i listened to so many baddie playlists drawing this #i needa start a fight #get this extra energy out of my system

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commsroom · 5 months

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as an extension of how hera reads as trans to me, hera/eiffel resonates with me specifically as a relationship between a trans woman and a cis man. loving hera requires eiffel to decentralize his own perspective in a way that ties into both his overall character arc and the themes of the show.

pop culture is baked into the dna of wolf 359, into eiffel’s worldview, and in how it builds off of a sci-fi savvy audience’s assumptions: common character types, plot beats, or dynamics, why would a real person behave this way? how would a real person react to that? eiffel is the “everyman” who assumes himself to be the default. hera is the “AI who is more human than a lot of humans,” but it doesn’t feel patronizing because it isn’t a learned or moral quality; she is a fundamentally human person who is routinely dehumanized and internalizes that.

eiffel/hera as a romance is compelling to me because there is a narrative precedent for some guy/AI or robot woman relationships in a way i think mirrors some attitudes about trans women: it’s a male power fantasy about a subclass of women, or it’s a cautionary tale, or it’s a deconstruction of a power fantasy that criticizes the way men treat women as subservient, as property. but what does that pop culture landscape mean in the context of desire? If you are a regular person, attracted to a regular person, who really does care for you and wants to do right by you, but is deeply saturated in these expectations? how do you navigate that?

I think that, in itself, is an aspect of communication worth exploring. sometimes you won’t get it. sometimes you can’t. and that’s not irreconcilable, either. it’s something wolf 359 is keenly aware of, and, crucially, always sides with hera on. eiffel screws up. he says insensitive things without meaning to. often, hera will call him out on it, and he will defer to her. in the one case where he notably doesn’t, the show calls attention to it and makes him reflect. it’s not a coincidence that the opening of shut up and listen has eiffel being particularly dismissive of hera - the microaggression of separating her from “men and women” and the insistence on using his preferred title over hers. there are things eiffel has just never considered before, and caring for hera the way he does means he has to consider them. he's never met someone like hera, but media has given him a lot of preconceptions about what people like her might be like.

there’s a whole other discussion to be had about the gender dynamics of wolf 359, even in the ways the show tries to avoid directly addressing them, and how sexual autonomy in particular can’t fully be disentangled from explorations of AI women. i don’t think eiffel fully recognizes what comments like “wind-up girl” imply, and the show is not prepared to reconcile with it, but it’s interesting to me. in the context of transness (and also considering hera’s disability, two things i think need to be discussed together), i think it’s worth discussing how hera’s self image is at odds with the way people perceive her, her disconnect from physicality, how she can’t be touched by conventional means, and the ways in which eiffel and hera manage to bridge that gap.

even the desire for embodiment, and the autonomy and type of intimacy that comes with it, means something different when it’s something she has to fight for, to acquire, to become accustomed to, rather than a circumstance of her birth. i suppose the reason i don’t care for half measures in discussions re: hera and embodiment is also because, to me, it is in many ways symbolically a discussion about medical transition, and the social fear of what’s “lost” in transition, whether or not those things were even desired in the first place.

hera’s relationship with eiffel is unquestionably the most supportive and equal one she has, but there are still privileges, freedoms, and abilities he has that she doesn’t, and he forgets that sometimes. he will never share her experiences, but he can choose to defer to her, to unlearn his pop culture biases and instead recognize the real person in front of him, and to use his own privilege as a shield to advocate for her. the point, to me - what’s meaningful about it - is that love isn’t about inherent understanding, it’s about willingness to listen, and to communicate. and that’s very much at the heart of the show.

#wolf 359 #w359 #doug eiffel #hera wolf 359 #hera w359 #eiffera #i still have a lot more to say about this honestly. but i hope this makes sense as an overview of my perspective.#with the caveat that i understand how personal trans headcanons are and whatever brings you comfort in that regard. i think is wonderful #but to me eiffel is one of the most cis men imaginable. and that's a big part of what he means to me in this context.#when i said some of this to beth @hephaestuscrew the other day they said. minkowski missteps in talking to hera based on #a real world assumption about AIs while eiffel missteps based on pop culture assumptions. and i think that's a meaningful distinction and #is something that resonates with me in this context as well

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hezuart · 5 months

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Thoughts on the “Look my Way” music video? For context if you don’t know, this is a fan song that’s just animated. Paranoid DJ had written this song awhile back, though Viv did take out some lyrics and switch them up a bit. What I personally don’t like is that there’s a line in the original where Stolas mentions the “impish play thing” line, as well as acknowledges that Octavia is hurting, and Viv cut that out. The song itself also doesn’t help for the show narratively really regarding the ship of Stolitz.

OMYGOD Okay so much to talk about here. It's a BEAUTIFUL song, amazing song, and I even loved the original of it. The animation for this AMV is breathtaking, everyone did an AMAZING job on it. This is what Helluva Boss songs should sound like. I was annoyed with that one scene, albeit very pretty where Stolas and Blitz have a string attached to the pinky finger, which is an indication of soulmates. This bothers me because a soulmate is either A. someone you have been reincarnated with over the years to love or B. Someone you click with- someone who completes you. You meet in every lifetime or they are the perfect person for you. This does not fit Stolas X Blitz AT ALL. They are not perfect for each other, they are complete opposites and the entire appeal and beauty of their relationship was the fact that they were fuckbuddies! They weren't even friends! They were tied up in manipulations, classism, and power imbalances. Their relationship required a lot of growth, a lot of work, and a LOT of learning on what love actually was, how to maintain it, and how to right their wrongs like-They needed to actively explore and learn what love means. They needed to find a real connection that would actually give them chemistry. Being soulmates is a complete cop-out. (Soulmates don't rely on reincarnation, but some do- and reincarnation is not a thing for demons???) You could say I'm overthinking it and being nitpicky with this visual, but this is exactly what it is! That is a soulmate string!!! He even says "I'll grant you this mercy, this bind on our souls-" LIKE BRUH wHAT !!! I'm so mad about what their relationship has become. They were toxic but not doomed. Now they're nothing Anyway..... still very beautiful and pretty

youtube

I have friends who actually know this guy and work closely with him. Apparently, Viv was the one who asked to change the lyrics of the song because it didn't "fit her story"???????? The lyrics changed: OG: "Come now, my little impish plaything, we both made our choice" Viv: "But dearest, I know better now I must give you this choice" It makes sense why she would want this changed since this song is about Stolas actually finally being in love. But it's still very sus because we still have not addressed Stolas's classism problem that seems to fluctuate episode to episode. OG: "Is this how she'd feel? Abandoned, all alone and left to fend For herself, for some semblance of happiness that doesn't have to end?" Viv: "Is this what you feel? Scorned by a realm that cannot comprehend, What you are, so I'll grant you this mercy this bind- on our souls needs to end" Again I can understand this change because we are going off-topic with Octavia here. However, I do find these changes very suspicious, especially if she wanted the song to better "fit her story". Because these circumstances are things that I have accused Viv of retconning before. Where Stolas wasn't actually in love with Blitz from the start and only saw him as a shiny toy, an "impish little plaything". Where Stolas was actually shady in cheating on his wife and not being there for his daughter nor really understanding her. "Home doesn't feel like home anymore. You ruined it." I can understand in the context of the song why these lines would be removed, but in the context of the overall story, I'm very suspicious of it, because those are very important contexts that people try to insist are "just people's headcanons" when they literally aren't. This could be considered active proof of Vivziepop retconning her story, but I will go with the latter and stick to my logical explanations for why the lyrics were changed- gonna try to have some faith here.

~~~~

Apparently, Cherri and Angel's AMV Addict was also a fan song. In THAT video, this is the description. Fully acknowledging it was a fan song, and giving clear credit to the person who made the song.

THIS. IS THE DESCRIPTION FOR "JUST LOOK MY WAY"

NO acknowledging this is a fan-made song. NO credit for Paranoid DJ. No thank you, no praise for the original, no links to the original song- He is at least in the credits, but not the description! This is insanely shady! I don't know if this was just a mistake or not, but this is really uncool. Again, he's at least in the ending credits, but... the description would make it more obvious. Vivziepop has a history of not crediting people for their work- I don't know if she was the one who made this mistake nor not.... this is not the worst it could have been, but at the very least whoever runs the youtube should fix the description out of respect.

#vivziepop critical #helluva boss critical #ask #long post #text post #just look my way

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super-paper · 3 months

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I feel like Toga and All for One have many similarities, but I am unable to articulate as to why I feel this way.

I think it's safe to say that AFO is an intentional foil to Himiko, Tenko, and Touya at this point! I've discussed how he shares body motifs with all three of them before, but his backstory more or less cemented that he's supposed to be read as "the worst possible extreme and the worst possible conclusion" to each of the trio's respective origins and overall stories.

As for how Himiko and AFO foil each other, specifically:

Cannibalism as a metaphor for Not cannibalism

Let's get the obvious point outta the way first, lol.

AFO and Himiko are both established as children that society wasn't prepared or willing to care for-- AFO was born during the advent of quirks where "paranormal" children like him were treated as diseased and shunned (or worse) by the rest of society, while Himiko was born during an "era of peace" where civilians are expected to maintain said peace through endlessly conformity and complacency-- outside of pro-heroism, civilians are essentially expected to role-play as though they've returned to "normalcy" (i.e. pre-quirk society) and the fear of being labeled as "abnormal" (despite living in a post-paranormal society) drives them to shun those who can't easily conform.

Both AFO and Himiko's "first sin" involves the "consumption of their fellow humans," which they both commit when they are too young to fully understand what they're doing-- and both acts of consumption were initially tied to their attempts to fulfill a basic human "need" that wasn't being provided for. Himiko drank the blood of a friend whose smile she envied after years of having her own smile called "creepy," AFO was a starving newborn whose mother couldn't provide him milk or protection and whose cries were ultimately ignored by everyone else. When Himiko takes someone's blood and "becomes someone else", she finally feels good "about herself". When AFO takes his mom's quirk and uses it to drink her blood, he no longer feels hungry and no longer has any reason to cry out for help/attention. Thus, AFO & Himiko ultimately learn and internalize that in order to fulfill their own neglected needs, they need to take from others.

Something something re: "the catharsis that comes with finally """"embracing your true nature'"""" so you can finally become what your family always feared you'd be (POV: you are 14 years old and utterly doomed by the narrative) (and so is the main object of your ""affection"") (puberty is a bitch ain't it!)" something something

To Himiko, the consumption of others becomes a way to "become somebody else"-- someone the world will treat more kindly than they treat "Toga Himiko." She feels the urge to completely drain the blood of anyone who has the life and relationships that she desperately wants for herself. Before that, drinking blood was simply her way of expressing admiration/affection and fell under the banner of MHA's definition of "pure love" (i.e. love as imitation). Himiko showed no inclination towards completely draining the blood of those she loves until her psychotic break with Saito, and she is notably able to restrain her supposed "urges" around the LOV despite loving them deeply. The "urge to drain those she loves completely" isn't actually tied to her quirk, but to her desire to "become someone else."

To AFO, the consumption of others became yet another way to rob them of their autonomy-- by taking away "a part of them" and forcibly turning it into a part himself in the most base, unsettling, and crude way possible. Before that, his consumption of others was simply driven by his instinct to survive. AFO's "urge to take" is tied to the preconception that no one will provide for him or look at him UNLESS he is taking something from them-- like Himiko, his quirk merely makes it easier for him to act on urges that don't actually stem from the quirk itself. AFO's warped perception of other people balloons wildly out of control by the time he reaches his teens, and finally cumulates in him ""eating"" the glowing baby out of jealousy:

*Kills someone over their follower count* Man, AFO is nvr gonna beat the "was a tiktok e-girl in his previous life" allegations

AFO and Himiko both "consume" other people out of jealousy and a desire to make up for what they feel they lack as individuals-- but an important distinction between the two of them, I feel, is that Himiko's consumption of others is ultimately driven by her desire to connect with other people while AFO's consumption is instead based on fear + mistrust of others. It's the difference between "Consumption as wanting to become a part of someone and become a part of the world they live in (+ consumption as a way to become a part of the world by living vicariously through someone else)" and "consumption as forcibly making someone a part of you and forcibly taking away their connection to the world."

Speaking of "consuming someone who has traits you envy in an attempt to make those traits your own" *pointedly looks at AFO's dynamic with Tomura* ...........yearp.

It's only after Himiko's human needs are finally addressed by Ochako, that Himiko learns the desire to "give" rather than take. I feel that this is probably one of the core take aways of the series while more or less being the "end goal" of the OFAFO plot-- "endless giving without ever taking" (All Might becoming the number one hero at the steep price of himself and Izuku almost destroying himself in the process of trying to emulate All Might) and "endless taking without ever giving" (AFO full stop, as well as society itself towards both the heroes and villains) are both extremes that only cause more people to get hurt. There has to be reciprocity. It has to be "One for All -AND- All for One." Give -AND- Take.

Side note: Himiko's favorite food being pomegranates also strikes me as ironic when you remember that Hori is gigantic mythology nerd-- In both art and mythology, it's not uncommon for pomegranates to be used as a visual for "flesh" and for their consumption to be used as a stand in for cannibalism. In greek mythology, pomegranates are known as the "fruit of the dead", and are believed to have originated from the blood of Adonis. There is also the legend of Persephone, who was cursed to remain within the underworld for six months each year as the price for consuming six pomegranate seeds while in hell.

The Buddhist legend of Hairiti/Kishimojin also stands out for framing pomegranates as a "cure" for cannibalism, by offering them to man-eating demons in lieu of flesh:

As for AFO-- it's been pointed out by several different people that he shares several parallels with the greek titan, Cronus, who is most famous for having devoured his own children whole.

With that in mind, I feel like the act of consuming blood has an almost mythological edge to it for these two (outside the obvious reality-based social stigma of it lol)-- the act of "eating" others, regardless of intent, is what condemned both AFO and Himiko to hell. But Himiko is offered a way out of that hell and ultimately finds salvation in allowing herself to be "consumed" in turn, while AFO just doubles down on eating every rando beefcake he can get his hands on while giggling like a school girl (and yet, when the chance to eat Toshi finally presents itself, he totally fails to capitalize on it. mfer can't even "cannibalism as a metaphor freaky gay sex with your dramaturgical foil" right smh 😤).

As an aside, when I say "people generally read into MHA too literally and expect entirely too literal conclusions for what is largely a fantastical story about abuse/trauma/coping mechanisms," how MHA depicts ""cannibalism"" through Himiko is actually one of the examples that comes to mind lol. So many people think that death or jail is the only appropriate conclusion for Himiko's character because it's the "only realistic conclusion" like they aren't reading a story where people have tape dispensers for arms lmfao.

OMNOMNOM-- (On Mouths)

Not much to elaborate on here, mouths (and smiles) are AFO and Himiko's shared body motif in MHA's narrative. AFO's mouth is his only distinguishable facial feature during Parts 1 & 2, Himiko's smile/mouth is her defining feature and how others perceive it is a source of trauma for her. Her villain outfit is notable in how it covers her mouth/hides her smile while also resembling AFO's act 1 mask:

*squish*

During the final war, Himiko puts her mask on and hides her mouth immediately after being rejected by Izuku. This is symbolic of a lot of different things, but mostly, it drives home how she is no longer interested in talking things out and has "fully embraced being a villain." Ochako understands what's at stake and spends the rest of the fight trying to "take the mask back off"-- she understands there is something behind Himiko's villain mask that she needs to save.

Meanwhile, Toshi smashes past AFO's mask during Kamino and finds there is simply nothing underneath it-- reinforcing the idea that AFO has made "being a villain" his entire identity and that there is nothing worth saving behind his mask. However, Toshi was also the one who "smashed" AFO's facial features away in the first place. AFO definitely deserved getting his head popped, but in the context of MHA as a whole, I feel like AFO and Toshi's dynamic only highlights the overall tragedy of the hero/villain system and why it's a good thing that the new generation is starting to challenge it.

It is worth mentioning that mouths are frequently used to mask and dehumanize within the context of MHA's narrative, but this isn't something exclusive to AFO and Himiko ('sup Toshi) (''sup Tomura).

(I don't actually have anything else to add here lol)

Demon Child, Demon Lord

AFO and Himiko also stand out in how they're both framed as having been "born bad"-- Himiko by her parents, AFO by himself and the narration. Discerning readers already know that this is a crock of shit.

Child for One sees the Demon Lord being surrounded by people who provide for him out of fear while he's stuck living in isolation and squalor with Yoichi, and decides the only appropriate reaction to this is to make a children's comic book his entire personality (he's just like me fr)-- He embraces the idea of becoming a demon and shedding off his humanity, and immediately starts self-styling himself off a generic biz-caz corporate shmuck (lmfao).

Unlike AFO, Himiko resists the label of "demon" as much as she can-- she styles herself as "a cute high school girl" despite being a middle school drop out because she realizes the world will treat her a little more kindly this way (but only a little). Himiko longs to be seen as human, but is made to feel like a monster instead.

What I find interesting is that AFO himself outright admits that he lacked the ego/awareness necessary to "consciously" take Yoichi's quirk when they were children-- yet, both he and the narration continuously frame the siphoning of his mother's life, quirk, and Yoichi's nutrients as though they were intentional, malicious acts. AFO leans into this framing and builds his whole identity around it until that framing is finally pulled away from him literal seconds before his death.

Being "human" to Himiko means going back to a time where she was loved and accepted unconditionally. Being "human" to AFO means going back to being that screaming infant who no one would look at.

Like it or not, everyone is human in the end little dude.

Other Miscellaneous Similarities:

This one doesn't require much explanation-- through prioritizing their own needs above all else, AFO and Himiko both dehumanize other people the same way other people dehumanize them. Himiko is still a child, however-- and she is ultimately saved by her desire to be accepted and form genuine connections with others. Her final fight with Ochako is as much about getting Himiko to see Ochako as "human" as it is Ochako acknowledging Himiko's humanity. Once again, it's all about reciprocity/give-and-take.

""join our family and let me raise you! :D *hard cut to a burning orphanage*" AFO being genuinely puzzled that ppl aren't jumping at the chance to raised by him is my favorite running gag in mha.

Both AFO and Himiko also have a habit of being.... inappropriately intimate with other people, often to the point where whatever "relationship" they have with others exists almost entirely in their own head. Himiko calls Tsuyu by her first name and gets told to cut it out because this is a privilege Tsuyu reserves for her friends, and Himiko immediately interprets this as Tsuyu offering to be friends. AFO calls his worshippers his "friends" and his cult "his family" and asks that his young victims call him "uncle" like he's a kindly family friend and not the dude who is blackmailing them into betraying all their friends.

Also, neva 4get.....

To think AFO could have also had fun yuri times if he had just stopped being a dickhead for five seconds. Tragic. 😔

(/j)

#sophie.txt #mha.txt #all for one #toga himiko #thank you for the ask!#threw in some stealth ochako-toshi parallels for good measure bc tbh it makes AFOmight as a ship even funnier #just two guys who fumbled each other so hard it changed the trajectory of the whole story lmfao 😭

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cerastes · 10 months

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i have not gone through the stream vod of arknights, but did you enjoy eblana and her not-quite-that-much-fucked-up-evilitude?

We didn't read that in the stream but I did read that after the stream by myself and I Liked The Event quite a bit!

It goes without saying that I went into it with a lot of enthusiasm because I've loved Reed as a character since her release, and I really wanted to know What Was Her Deal. We get some of it in the main story, since she's tied to the Victoria arc, but her getting an event specifically as a new character in another class is fascinating because it would, logically speaking, serve as a character piece more so than a big stakes event. This is what was delivered, so I couldn't be happier.

It's not that I dislike big stakes or grander scale stories in Arknights -- the Abyssal Hunters arc and the Sui arc are my favorites! -- it's just, sometimes, I really want to know more about the characters more so than everything that surrounds them. Character pieces help understand the grander scale with a lot more emotional weight, because if done right, I'm now emotionally invested in the character and their overarching goal, not just the goal as the framework for the story. For example, 'Maria Nearl' was first and foremost a character piece, which then informs the overarching Kazimierz arc, so by the time Near Light rolls in, not only do I know what we're fighting for, I know who we're fighting for and why we are doing so, I know Maria's motivations, efforts, struggles, and trials, and so, I am invested in wanting to see her succeed. 'Maria Nearl' being a character piece doesn't mean it ONLY centered on Maria and nothing else, it sets up the scene and the cast, but through the lens of someone in the story as opposed to through the effects of events in the story.

What The Firelight Casts does a little inversion in the overall structure compared to 'Maria Nearl': It's a character piece after the bigger scale narrative. We know what the bigger picture is... But what about this key character in the whole story? And will knowing about this character recontextualize or add even more meat to what we already know? With this in mind, let's talk about it:

Reed detests her circumstances, because Reed had very simple, domestic desires: She wanted a simple, quiet life reading and writing poetry, immersing herself in words and stories. She didn't have any grander aspirations, experiences, or desires beyond "loving poetry" because she was a simple child when she got her head pushed under an ocean of conspiracies and was drowned in them. Since she didn't have the strength of character to really do anything in such a horrifying world, her sister, Eblana, endowed with far stronger character, made her her body double. Reed never questioned it, because she had nothing else going on for her, but the more atrocities she was forced to commit as "The Leader", the more she hated it, and herself for not having it in her to stand up to Dublinn.

Hence why she attempted suicide via standing in an open field that was currently being bombarded. In a turn of events she couldn't have predicted, she was saved by Outcast, and was sent to Rhodes for recovery. She then spent some time in Rhodes Island, recovering, but also, learning. It's noted in her Files that she'd spend a significant amount of time pestering the medical teams in RI for knowledge in the clinical fields. She also requested a new weapon to her specifications, because she hates her spear. This may seem a matter of preference, until you realize that the spear is just Eblana's old weapon, just furthering exactly how much of an un-person she was. She'd use her sister's name, her sister's title, her sister's reputation, her sister's authority, even her sister's damn weapon.

Her chosen codename, "Reed", comes as no surprise: She explicitly says it's because that's how she is: Bland, an accessory, unremarkable, insignificant, like reeds by the river. In this event, we also learn another reason why "Reed" is apt for Loughshinny: Uncontrollably flammable if set ablaze.

Reed was terrified of her own powers. She is a direct descendant of the Red Dragon of Tara, and has insane innate power, namely, power over life itself: The way her flames work is explicitly not fire-aspected Arts: Her Arts allow her to inject pure life into objects and creatures, and the consequence of overcharging skin, muscle tissue, etc with so much life energy so fast and strongly is that it becomes unstable and explodes into raw energy, generating fire as a consequence. It's also why parts of her body, like her tail and her chest, seem to be constantly "ablaze": She is literally overflowing with the essence of life at all times, to the point it hurts her, and coming into contact with her means exploding. She is an almost perfect weapon. She hates it. Even her Rhodes Island evaluation files basically describe her as a stupidly powerful individual.

There's only one thing she doesn't regret about her time in Eblana's Dublinn: She really does care for Tarans, and wants to do anything in her power to help them. The reason she put up with being used and abused in Dublinn (about the only person that showed Reed any kindness in Dublinn was Harmonie, and even then she claims it's because she's interested in Reed and that she may have use for her) was because, Reed told herself, "at least it's for the Tarans". But Reed is not stupid, and over the time, realized that Eblana doesn't mind sacrificing countless Tarans that trust her if it means securing an advantage. That's when Reed decided she'd rather get blown to pieces by artillery rather than continue doing horrible things for someone that doesn't even care about the people that she claims to fight for.

Reed in the event is trying to help this very "little guy", this very scorned Taran, find a foothold. Her story here is, by all means, low stakes for the most part, but it's important in understanding who Reed has finally resolved to become: Her time in Rhodes Island and her new Arts unit allows her to far, far more precisely control her Arts, and now she can use VERY controlled bursts of her Arts to inject life into others without sending their living tissue into disarray, effectively becoming a potent healer. The wounded Tarans even remark that while she didn't give them the most involved treatment for their wounds, they still felt as good as new: It's because Reed isn't doing more than basic first aid, and using this as a disguise to her carefully injecting their wounds with life energy. For Reed, this is massive: She's finally able to like her innate Arts, an intrinsic part of herself, for the first time, because she's finally not using it to turn people to ashes or make them violently explode. She can finally do things differently, and without Eblana pulling her strings, she's finally able to do as she wishes. She ends up creating her very own "Dublinn", with a few Tarans, and looks to the future to do what she never thought she could do, and that's what I really loved: It's a small scale event, but it makes it very clear that from here on, Reed not only has a purpose, she has agency over herself, and finally, finally, she is her own person.

The final "map" of the event was fantastic, narratively speaking: It's a fight with Eblana entirely within her mind, with Eblana wearing a mask in the first phase. Eblana's mechanics involve killing her own units to empower herself, representative of how she's completely willing to kill Tarans for the purposes of Dublinn without any regret, then, in the second phase, she discards her mask and sets every reed in the map ablaze: No matter how much Eblana speaks of loving her and saying she's important to her, Reed has finally come to terms that Eblana WILL simply sacrifice even her when the moment comes, just as she has no issue setting the world on flames if it furthers her desires. The entirety of the map is just Reed finally coming to terms that if she wants to help the Tarans, in her way, she inevitably will come to blows with Eblana at some point, and that there's no space for hesitation, because Eblana sure as hell won't hesitate.

What The Firelight Casts is ultimately a high-impact bildungsroman in which our protagonist finally finds herself, perhaps for the first time ever since she was a toddler, and finally has agency over what she does and why she does it.

There's other parts to the event that I'm not covering that I think were great as well, such as Bagpipe's characterization being pretty damn good and once more winning me over (I started not really caring for her in any way, but her writing is something I like a lot) with how she's clearly not book smart, but is sharp as all hell, and most would call her "naive", when in reality, it's that she has a rock-hard moral compass and will NEVER stop going where it tells her to go, as well as the Taran survivors having plenty of nice scenes, including the incredibly chilling scene where the older lady that can't see in the dark is holding onto Selmon's hand and suddenly she can feel Selmon's blood all over her arm... We just never know what actually it is that killed her in that night skirmish. Fionn's characterization as this cowardly but good chum that will take responsibility no matter what is... Honestly, man, if you hang around sectors with low education and wealth, you know a Fionn or two. Especially when it comes to oppressed and displaced peoples... And the way the narrative portrays the opportunistic and almost callous nature of a bunch of the Taran runaways at times without vilifying it? It's great, the narrative immediately points out, through Reed and Fionn, that yeah, it's just natural because of how awful they've been treated their entire life, there's always people like that in such groups, doing it not out of cruelty, but simply because, damn, they have to survive, and nothing guarantees to them that this stranger with good intentions actually had good intentions. Trying to survive does things to people. This all becomes water under the bridge after Reed properly bonds with them.

I focused on Reed with this post because she's a favorite of mine and I'm happy to see her growth and where she's aiming for, and how she's grown narratively through her experiences and how that reflects on her Arts: True, Arts are a cool power in the narrative, but for Reed, it's more about how her Arts are intrinsically to her self-loathing in the past, and how they reflect her growth as a person: She went from a reluctant walking nuke who could only destroy and justified this by simply saying "it's because my sister knows better and she's doing it for the end goal of the well-being of Tarans... The end justifies the means" to someone who uses her almost unique powers to soothe others after learning some control over them, control that causes physical pain to her, as controlling her immense power feels as if she's searing from the inside, as if her organs were on fire, and comes to believe that, no, the means do in fact matter a whole damn lot, and that she'll one way or another achieve the end while being mindful of the means, even if it means suffering, if it's for her people. Eblana, who also can control life, uses her powers to 'resurrect' and control the dead like puppets, whereas Reed now sears herself from within in order to precisely control this power in order to help those she wants to protect, and drive away those who would hurt her or her friends. In what's a bit of a segregation of narrative and gameplay, whereas she's known for Explosions in gameplay, in the event, Reed exclusively fights with martial arts. In fact, the only time when she actually uses her Arts, she has to suppress them instantly or she was going to just completely incinerate everyone around her. She turns her surroundings to ashes so quickly that Ch'en can only just stare, wide-eyed, at how she completely incinerated a complete installation of military tents in less than a second, with just a small release of her power.

It's great! I love Reed! I wanted to see her growth, a piece focused on her, and it's what I got. I want to know more about the most loving and caring walking nuclear missile in the world with the most hypnotic tail swishes.

#flamyex #arknights #reed

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canonmisogynyvictimstournament · 7 months

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PROPAGANDA

CHI-CHI (DRAGON BALL)

1.) okay so to start at the beginning, she was introduced as a young kid but they put her in a super revealing bikini styled outfit. pretty sure it was supposed to be armor too, so besides just being a disgusting design choice even in-universe it’s impractical. but besides that she was pretty charming as a kid, she was cute and funny and pretty tough, and had a cool gimmick in her blade/ laser helmet. even when she reappeared in late Dragon Ball, she was a bit abrasive but was overall rational and kind. she was strong enough to make it into the World Martial Arts Tournament, one of only 16 to qualify.

but come Dragon Ball Z and on, she’s reduced to just a shrill, nagging, aggressive wife and mother. all she gets to do is cook, worry, and berate her husband and sons. her physical strength is only used so she can comically hit Goku. sure its played for laughs, but he’s shown to be afraid of her. I only recall her leaving her house once or twice in DBZ. just the worst mother character stereotype, with nothing left to make her likeable. she’s portrayed as irrational but despite her aggressiveness, half the time her wants are completely reasonable. can’t blame a woman for not wanting her husband to die every other day!! her writing us ass but I still love her and she deserves better!!!

2.) So in Dragon Ball she wasn’t the BEST character to start out with. Toriyama hasn’t ever been the best at writing women or not making stupid fucking sex jokes about them. So she had to deal with that. The outfit she wore as a kid was… NOT GREAT. Let’s say that! Then in late Dragon Ball her entire character revolves around Goku and trying to marry him, which she gets by tricking Goku and getting beaten by Goku in a tournament in one hit. Not off to a great start. Then Z started and Toriyama just… gave her an ENTIRELY NEW new personality, and that new personality was just a stereotype of a tiger mom. Regardless of how correct she might’ve been about letting Gohan fight (and she WAS completely correct, he was 5-6 for a HUGE chunk of Z) the narrative frames her as a hysterical and unreasonable woman nagging at the menfolk and not letting them do things. So naturally people hate her without even considering why she’s upset because the story itself frames her as in-the-wrong. The whole franchise also just forgets that she’s a martial artist and never has her DO ANYTHING.

This is only scratching the surface, there’s a LOT more because the franchise is like 40 years old and we’d be here all day.

3.) GODDDD okay so full disclosure i guess shonen is such an easy pick but like. out of every shonen wife she was and is THE most hated by the narrative and creator (maybe tied with sakura omfg). shes always made out to be a beast, got her fighting skills shafted after she got married, was always played like she was hysterical for worrying about her kid dying in battle, and not to mention the creator actively HATES her. like toriyama just straight up hates writing her. its bad. its really bad. shes just “bitch wife” but for no reason :(

BUMBLE (WARRIOR CATS) (CW: Domestic Abuse)

1.) Back with another Warriors submission, I bet you’ll be getting a lot from other people too LMAO. Bumble is a kittypet (housecat) who befriends the male protagonist Gray Wing’s girlfriend, Turtle Tail, and lets her stay in her house. This gets Gray Wing all pissy because he’s controlling of Turtle Tail and shares most of the wild/clan cat’s proclivity for looking down upon kittypets. Turtle Tail gets pregnant by another kittypet, Tom, who tries to control her by hiding the fact that humans take away kittens after they’re born. Eventually Bumble comes clean about it so Turtle Tail returns to the forest. Some time later, Bumble is found in the forest seeking refuge because Tom has been physically abusing her, scratching her where the humans can’t see. So, she’s CANONICALLY ACKNOWLEDGED as a domestic abuse victim (unlike Squirrelflight who meets all the textbook signs but the narrative and authors deny it). How do you think our good guy protagonists, i.e. Gray Wing “The Wise” and Turtle Tail, respond to an abuse victim seeking refuge? They tell Bumble to go home, thinking to themselves that she’s fat and soft and therefore would be useless in their group. Bumble stands up for herself and asks to speak with the leaders of the group. One of them asks if Bumble could just get along with Tom better (bro???) and when Bumble says it’s not within her control, the leader suggests being nicer to the humans instead. Another rival leader butts in and verbally abuses Bumble again by ripping into how fat and lazy and useless she would be. Despite Turtle Tail having been friends with Bumble and Bumble had helped her through her own hard times, to Gray Wing’s approval Turtle Tail chooses not to intervene as Bumble is forcibly escorted back to her abuser. But that’s not all. Later Bumble is found in the forest maimed and dying, and it seems likely that Gray Wing’s brother Clear Sky, a male with a long history of violence, is the culprit. Rather than mourn the dying innocent cat, Gray Wing’s primary concern is how other cats might be mean to Clear Sky if they think he’s a murderer, and reassures himself that refusing to help Bumble in her time of need was still the right decision.

2.) I have no idea how she managed to be written so horrifically from an abuse victim and woman (/she-cat I guess) standpoint but here we are. Okay so my memory is a bit fuzzy but basically Bumble was a character in Dawn of the Clans and a close friend to Turtle Tail, a major character, as well as a character who lived close to Tom, an abusive dickhead of a cat. Bumble was largely depicted as just a really sweet cat. Turtle Tail was very briefly the mate of Turtle Tail, but once she got pregnant, he became super violent towards both her and our gal Bumble. Tom actively hid the fact that, once her kits were old enough, Turtle Tail’s kits would probably be taken from her, and made Bumble keep quiet about this too, but Bumble eventually told Turtle Tail the truth, Turtle Tail left and Tom became extremely violent towards Bumble because of this, and was extremely abusive towards her. Eventually, Bumble ran away from him to where Turtle Tail and co were and begged to stay, since the wilderness as a whole was genuinely more safe than being around Tom was. Naturally, this meant kitty xenophobia from cats who had only arrived in that area recently, because everybody was insistent than, since she was a kittypet/house cat, things wouldn’t work out, and even her friend Turtle Tail denied her on this, insisted she was too soft to live in the wild and only sent her towards a cat Bumble wanted to convince because she was absolutely certain she’d be denied. Also our good old protagonist Gray Wing got to spend this scene being all upset about this soft cat wanting to join them to escape an abuser and was all bitter about the fact that Turtle Tail lived with her for a short period of time, and he also got to have a sweet romantic moment with Turtle Tail after denying an abuse victim an escape from her abuser. Also as much as I like Tall Shadow usually she sucked ass in the following scene because she was essentially telling Bumble to go find a way to make peace with Tom as if she was not the one being abused (Bumble pointed out that Tom was the one who would need to make peace for it to happen, not her) and that she should just make life better by going back to being a housecat and being spoiled despite the fact that she was actively at risk with her owners because of Tom. Then she leaves after being threatened by several cats there and is called soft on the way out. The next time she appears she is literally dying, and her death is just a plot device to create a stupid little mystery which is solved in a very stupid way. Also her abuser does continue to be a shithead and for some reason is fully permitted to kidnap his own children but he also gets a heroic death and the only reason I will not rant more about him is because this is too long already. Long story short Bumble deserves the world and everybody who decided not to let her escape her abuser just because they thought she was soft sucks

3.) Is nice to the group of starving, feral wild cats that left the mountains so their friends and family could have more food to eat and befriends one of them to the point of opening her home to her after she leaves the group because the guy she likes is too dumb to notice she likes him and keeps falling for his brother’s love interests.

Unfortunately, because Bumble is a house cat who lives in a house with people and not a Wild and Free cat, this is a grave and horrible crime (luring a wild cat into the safety and comforts of domesticity) and is villainized for the rest of the arc, including for things wildly out of her control

I.E.

Her owners taking in an aggressive male cat that bullies and abuses the two female cats already living there

When Bumble’s friend leaves and goes back to the wild cats, Bumble leaves her home (as the abuse as has gotten worse) to see if she could either get help or have her friend return so the abuse isn’t as bad again)

Bumble eventually dies in the wild because the feral cats all hate her for ‘stealing’ their friend and tricking her into becoming a kittypet for awhile and refuse to help Bumble adjust to wild life or even teaching her how to hunt.

They are littl e to no hard feelings at her death beyond ‘good riddance’ but the aggressive tomcat that chased her out of her home is later regarded with good feelings and regret at such a ‘good, heroic cat’ passing when he dies despite him literally never doing a good or kind thing in his life and actually causing trouble for the wild cats right before dying

#polls #round 3 #week 5 #new #cw domestic abuse

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bylerpolls · 1 month

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For those who believe gay mike makes more sense/ ties up more loose ends, would you be satisfied if the show went the queer/unlabeled route (which IMO is more likely for a confused boy in the 80s than Mike using a specific term), but framed it in a way that could fit in with both gay Mike and bi Mike (especially if he has a heavy male lean) in which:

1) He genuinely did have a puppy crush on El in Season 1. He didn’t use El as a beard or go to her because he confused platonic feelings for romantic ones. They were romantic (lots of people who identify as gay now have had genuine early childhood crushes on the opposite sex, and obviously this would work if you see him as bi too).

2) In Season 2 he genuinely had a crush on both El and Will, but since he was already best friends with Will, he didn’t realize this. The Snowball dance was fully sincere. He wasn’t hiding behind El or anything.

3) In Season 3, during puberty is where everything went haywire. He found himself being more physically and romantically drawn to Will than El. Whether or not he has the hypothetical ability to be attracted to other girls is not even the point. It’s El or Will for Mike. And the point is that the gay feelings were overwhelming. Internalized homophobia was at all time high. Maybe he still liked El, but the puppy crush feelings were waning and he was realizing new things about himself.

4) In Season 4, his queer awakening becomes more pronounced, and he doesn’t like El like that anymore. He’s fully in love with Will AND checking out other boys. Again, Mike wouldn’t have to explain whether he’s ever liked girls before. The point is the queerness. The point is that he feels broken. The point is that he worries everyone will hate him.

With this, Mike could say he genuinely liked El at the beginning while also detailing his feelings for boys/Will in a way that can fit in with either theory. He doesn’t label himself specifically. The audience can interpret the nuances however they want. Mike’s sexuality still gets focus, so it’s not like he just moves from being El’s bf to Will’s. But it doesn’t bog itself down in the weeds of trying to put a concrete label to human sexuality. Many gay kids can relate to his story, many bi kids can relate to his story, and so can unlabeled kids. Thoughts on this?

A) Yes, I’m a gay Mike truther, but I’d be fully satisfied with something like this

B) I’m a bi Mike truther, but I’d be fully satisfied with something like this

C) I truly don’t care as long as he loves Will!

D) No, I’m a gay Mike truther and believe this would be a cop-out. He needs to be specifically, unquestionably gay for his story to be satisfying and make sense.

E) I’m a bi Mike truther and this wouldn’t be satisfying to me. Bi Mike is important to me and makes more sense with the narrative of the show.

F) I’d be fine with something like this, but with a few tweaks to make it make sense (say what those tweaks are!) But it’s overall fine for him to be unlabeled if his sexuality is given proper focus

#byler #byler tumblr #byler endgame #stranger things #byler nation #mike wheeler #will byers #gay mike truther #gay mike wheeler #bi mike truther #bisexual mike wheeler #bi mike wheeler #stranger things 5 #st5

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luciftixs · 10 months

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the yi sangela post

I’m having autistic zoomies right now

I want to talk about Yi Sang and Angela because I like them both A Lot and I just think it’s fun to do comparisons. My partner made this lovely checklist with a few similarities I jotted down in a notesapp on my phone before I passed out and I will be cooking a meal thats geared solely to me but ur welcome to try and eat it if u want

Let’s get into it. There is no structure here but maybe we will find it as we go along!

I wanna start w a disclaimer that this is FOR FUN its not actually that serious and ALSO its obviously not a 1-to-1 comparison because these two are also so starkly different in not only their circumstances but also their overall personality when it comes to having deal with said Issues. I feel like tumblr users are more chill these days but after some shit ive seen on projmoon twitter I am covering my bases this is just a Post by a Stranger Online LOL

Let’s take a look at our first point on this silly little chart. That point is:

Bird

Angela’s black dress heavily resembles the feathers of a bird; specifically that of a corvid like a raven or even crow.

Even her head librarian outfit has some bird motifs to it. I’m going to get into corvid symbolism in a second but first

Yi Sang also leans heavily into the bird motifs. His base EGO is named Crow’s Eye View after a poem by the RL Yi Sang, and the narrative draws some inspo from the short story The Wings by the same author.

Wings show up often in some of his EGOS and CGs

Now, it’s not simply generic birds either of them are inspired by; Angela’s black feathers, Yi Sang’s EGO title, they are specifically invoking corvids. Corvidae include many different species of birds, such as magpies and jays, but the most commonly thought of corvids would be the ones with black feathers; ravens and crows. Corvids are incredibly intelligent birds, and they are rich in symbolism and meaning.

Specifically, crows have a heavy association with death and the afterlife. Both Angela and Yi Sang are impacted by heavy losses; Angela is made from a woman who took her own life and is forced to oversee countless loops of people suffering and dying; Yi Sang witnessed his friends being driven apart in a violent manner. His two childhood friends die before him, he wishes he could kill himself and die, and is trapped in a purgatory state with his current coworkers where bloodshed is as common as breathing. Death has marked both of them.

But! That is not the only thing corvids symbolize! In more modern times the birds are said to also symbolize transformation. In a way, that ties into death, as what is death if not the final transformation in life? But neither of their final growths end in their deaths; rather, both learn to find a way to free themselves from the shackles of their past, and to push forward.

THEN WE HAVE

Book as weapon

This one is just silly.

*beats you to death with a book beats you to death with a book beats you to death with a book*

Next point

Narrative haunted by a female figure

This one is in that “not a one-to-one comparison” territory, but it’s still just fun to poke at imo. In Angela’s case, she can never truly escape Carmen’s influence over her. For Yi Sang, Dongbaek is a ghost from his past. Both these women are integral to the overall narrative at hand.

Not only do these women haunt the narrative, but they also mirror the person they haunt. Angela’s desire for life is so strong because, in the end, Carmen wished to live. Dongbaek admired Yi Sang and his dream of flying. She yearned to bloom in a way not dissimilar to a bird spreading it’s wings for the first time. Angela’s Lobcorp design invokes Carmen- her hair color is Carmen’s inverted. She wears the hair time Carmen wore. Dongbaek’s hair has become white from the trauma- the inverse of Yi Sang’s black hair. Yi Sang takes up a Dongbaek identity in a mirror world to further drive home the similarities. These women play a major role in the overall identity of these two characters.

And this is just my brain going “hehe neat” but Carmen’s whole like. Brain stem mimicking a tree and its roots. Dongbaek becoming flowers. Visually very similar vibes.

Onto the next point

Loomed over and controlled by a male figure

This one probably seems second most self explanatory. Ayin meet Gubo Gubo meet Ayin ect.

The deal is simple: you do what we want you to do, and we have employed dubious methods to ensure that you do what we want you to do! Both Ayin and Gubo are self serving when it comes to the end goals. The levels of agency at play here are different; Angela truly had no choice, but Yi Sang’s mental state is not Great and that is being capitalized on him to help perpetuate his isolation and dependency.

Another thing: Ayin and Gubo are just really fucking mean to Angela and Yi Sang. Ayin actively dehumanizes her and neglects her; Gubo verbally and mentally abuses Yi Sang. Fun stuff.

Now, the penultimate point:

Yearning for freedom

This naturally comes with the territory of being a bird. Angela longs to not be confined to a place (Lobcorp or the Library). She wants to experience the world and be free. Yi Sang is similar; that desire to spread his wings and fly. For both to accomplish this, they have a talk with the ‘self’. It’s only by confronting their pasts, and themselves, that they can finally get that push to live life on their own terms.

MY FINAL TALKING POINT

SEXY

Like wow hot a what? And yes I chose fourth match flame because it ties into the whole post like they’re sharing an EGO that’s basically having your hopes burnt to a cinder and also an intense longing for a better life whoa thats crazy

Concluding thoughts

I just like them both a lot. My little caged birds getting out of the cage and mending their broken wings in order to take flight. Very kino. I love them.

If u actually read this thanks ur pog

#project moon #library of ruina #limbus company #not spoiler free #yi sang #angela #long post #perhaps they should... no i shant say it

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ravenalla · 1 year

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I think overall the main problem season 3 is having is the same as TBOBF, which is not giving the audience a well-established storyline and so not giving them a reason to care. This is probably gonna be long so bear with me.

Throughout the first two seasons, we had a clear goal for our main character. Sure Din did other things all the time, the “side quest” as the fandom liked to joke, but it always made sure to remind us what the motivation behind all of this was, keeping Grogu safe, finding him a Jedi. The story still introduced other characters concepts, but it made sure to always keep Din tied to them in some way that made us understand why this would affect him and why we should care. The side adventures never felt random, they all had a clear step by step progression as Din tried to get closer towards his destination. Moff Gideon was also not just a threat against Grogu, his rule under the Empire was responsible for the destruction of Din’s people. The conflict between them was personal, both because of Din’s newfound love for the baby and because of who he is. It all tied together to give us this intriguing but fun and adventurous story.

On the other hand, stuff in Season 3 just feels like it’s happening at random. It began looking like the main drive this season would be Din trying to regain his identity and the restoration of Mandalore as a whole. Instead, the former was solved in a matter of two episodes with little fanfare compared to how serious they made the situation out to be. No we get pirates both we and the characters have never seen before and have no reason to give two shits about. They’re gone for a while. Then suddenly back as a big threat we are suppose to take seriously for some reason. Din and the rest of the covert do not show any indication they are ready to rally the Mandalorians and take back their planet up to this point. Oh nevermind now they want to. Like there’s no motivation for our main character happening between episodes behind the random monster of the week stuff, nothing the covert is working towards.

Things are just happening out of nowhere, nothing feels like a cohesive narrative and Din isn’t getting any new development or character moments to make up for it. Aside from two things that have nothing to do with the actual Mandalorian, Bo and the New Republic.

Bo-Karan’s story is interesting, and I like her developing a relationship with the covert, but this is not her show. You should not be ending every episode with a shot of her like this has always only been about her journey, at least not here. It’s fine to have more than one main character, but you can do that without throwing away everything you spent two seasons developing with another one. I don’t even know why Din and Grogu are here to be honest. Are they really any different from the background Mandos at this point? Din’s speech was cool, but there’s not really been tight moments of friendship this season for us to get super emotional about him coming to Greef’s rescue from these random Disney channel villains on planet gentrification. It’s obvious now that Bo’s going to be the one to lead, so him showcasing traits of leadership probably also won’t even matter. Din is obsolete, and the heart-wrenching relationship between father and son is now being used for cheap Grogu brownie point moments when they actually remember they have to include them.

As for the New Republic, yes, as people have said this does expand the world and relate to stuff that is going to happen later that we don’t yet know about. The problem is, this is a completely detached event from the main character. Nothing (aside from the random reveal of Moff Gideon’s escape) relates to our main characters situations at all, and it is so clearly ideas from rangers of the new republic shoved in so they can squeeze already established plots they didn’t want to abandon. Because we don’t know why this matters at all towards Din, there’s really no reason to care at this point. Again, you can say there’s plot happening, but it’s all disconnected in a way that doesn’t keep us anticipating any type of ending. And look I’m not saying the show needs to spoon feed its audience or explain everything right away. My problem is everything is that Din is given nothing to do anymore. All of his problems that were built up for two seasons have been solved instantaneously, and we don’t even get many conversations between Din and Grogu as we use to, the driving force of the show. Neither do we get simple explanations for things like where the hell did all the new Mando’s come from or why they decided to settle there. It is both so busy and so empty.

The Mandalorian was never just about finding Grogu a home as quickly as possible, it took the time to show us Din’s personality, his relationship with himself, and the new relationship he formed with his son. So why is the show treating it like none of that stuff was important enough to take up screen time? That Din and Grogu had to take a backseat because showing two former Imperial officers having a meaningless conversation about a planet’s history was more important, that dedicating every emotional beat to Bo-Katan’s changing feelings left no room for exploration of the main character’s own when he is suppose to have been his most changed and isolated self yet, that setting up major plot lines and characters which will bleed into other shows was worth sabotaging what made the show so popular in the first place? The Mandalorian can have a bigger plot, it can have more characters, but when those elements feel like they can exist without that main character being there? That is just bad writing.

#the mandalorian #din djarin #grogu #the mandalorian season 3 #the mandalorian spoilers #bo katan kryze #god sorry there’s probably a million typos in this

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markantonys · 2 months

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I'm curious how the show is gonna handle Rand's relationship with the Aiel. It should be very interesting. Bookwise he kinda rejects their culture/seeing himself as Aiel cause of him clinging to his old life. They might just frame it differently, maybe he just doesn't feel a right to it cause he wasn't raised Aiel. Overall it seems like the show might be going in the direction of people in general being more receptive to learning about Aiel culture over them just handwaving them away as weird (like Perrin's interactions with Avi when book Perrin wouldn't have done that). Maybe Rand is more willing to learn cause he wants to learn more about his birth parents

yeah i don't know what to expect in this regard! my only particular annoyance with aiel-culture-related stuff in the books is that the books would introduce something as culturally or thematically important, but then shuffle it aside once it became inconvenient to the plot. i.e:

the aiel are introduced as very anxious to tie rand to them so that he doesn't destroy them. but when later plot prevents rand from having aiel hanging around him, they stop hanging around him and aren't overly concerned about him ignoring them (bar complaints here and there, with little attempt to actually Do Anything to make him stop ignoring them).

avirand's relationship is introduced as a crucial binding cord between rand and the aiel and as significant to general aiel-wetland relations, but this is dropped once later plot prevents them from spending time together, and aviendha is never used as a mediator in rand-aiel conflicts when by all logic she should be since that was one of the main narrative purposes of their relationship upon introduction.

the maidens & wise ones are so concerned about keeping avirand together for binding cord reasons that they chase off any wetlander woman who tries to hit on him, but once RJ decided that a) he wanted min to hook up with rand without being obstructed by the aiel surrounding him and b) there would be no opportunity for her to become first-sisters with aviendha before doing so, then suddenly the maidens & wise ones are all about min and becoming top min/rand shippers and aviendha is saying it's totally fine to make an exception to the first-sister rule for min even though she is very adamant about upholding it for elayne. when by all logic, the maidens & wise ones should NOT be happy about another wetlander woman with no connection to aviendha trying to get with rand (they'd have no reason to think min is any different from isendre, cairhienin nobles, etc in this regard) and aviendha should be much more resistant to making exceptions to rules we've been told are hugely culturally significant to her.

so my one wish for all aiel-culture-related stuff in the show is that if the show introduces something as culturally or thematically important, it should commit to that importance for the rest of the series rather than sweeping it aside once it's no longer convenient to the plot. that doesn't mean rand/wetlander-aiel relations needs to be a major theme or plot point of every single season for the rest of the show, because ofc it should naturally fade more into the background as the story goes on and other things come up, but it's gotta be either a) rand is tied securely enough to the aiel by the time he has to go off and do other stuff that it makes sense they're not concerned about things like him ditching them and getting a new wetlander girlfriend, or b) if he's not tied securely enough, then make the aiel react accordingly and actually try to use aviendha to intervene with him on their behalf.

hopefully this ramble makes sense djkjfg and it didn't even end up having much to do with rand's personal attitudes towards aiel culture, so i got off topic a bit! but for me, i am good with whatever show!rand's personal attitude ends up being as long as things remain emotionally consistent throughout the course of the show.

#anonymous #answered #wot book spoilers

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gawrkin · 21 days

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Morgause' Innocence

I once said in the tags of one of my reblogs that Morgause needs to be blameless in the conception of Mordred because of Lancelot and I felt I need to clarify:

Morgause must be fundamentally innocent any wrongdoing regarding the incest with her brother, so that Arthur alone is responsible for Mordred's existence - The Fall of Camelot must be Arthur's responsibility in some capacity.

This is because one of Arthur's fundamental pillars of his narrative: King Arthur is a divinely chosen ruler. The whole of point of "the Sword of the Stone" is to physically prove to both the in-story characters, and to the Medieval readers, that Arthur has the backing of God himself. Therefore, for narrative purposes, Arthur's sovereignty and properity as a ruler is because of God's Favor and anything bad that happens to Arthur and his Kingdom, has to have some measure of "Arthur must have broken his relationship with God somehow" (This is why during the Galehaut War arc, where Arthur is losing, he consults with a wise man to confess his sins, in order to reestablish his rapport and standing with God)

The problem that arises with Lancelot's inclusion into "the Fall Narrative" - that is, the collapse of Arthur's reign - is that the "Exposure of Lancelot and Guinevere's Affair" negates and replaces the Conquest arc, where Arthur engages in the moral grey zone of conquering all of Europe, thus at least providing at least a passable rationale for why Arthur lost favor with God.

With "the Affair Narrative", Arthur is innocent overall and totally in the right to defeat Lancelot and win. With all the bias and favoritism Lancelot gets from the French writers, having Lancelot lose would not only be humiliating but also defeats the whole purpose this version of The Fall was written in the first place - the real reason Lancelot is even part of this story: to enshrine him as an unquestionable element of Arthurian history.

So, what did the French Writers do? Simple: they retcon Mordred from nephew to a bastard born of incest (perhaps inspired by certain Charlemagne stories, where Roland is secretly his bastard son).

This is their out, their clever little plot device: having Arthur commit such an abominable act - even if unwittingly - removes whatever favorable ties he has to God, and thus, Arthur has his kingdom collapse from right under him while he's fighting Lancelot.

Which ultimately brings us back to Morgause. Making Morgause evil defeats the whole point why incest!Mordred was introduced in the first place. Evil!Morgause absolves Arthur of wrongdoing.

And if Arthur's squeaky clean, then he can't Fall and God would prevent any negative narrative consequences from occuring to Arthur.

Lancelot would lose (hah!), Camelot/Logres would be perfectly fine and Arthur would move on with his life.

This is why Tennyson's and T.H. White's narratives never made sense to me: Why is Arthur being punished for the actions of others? It makes God look incompetent in punishing those actually responsible and the Sword in the Stone/Excalibur of the Lake end up looking like pointless gestures.

(It's worse in Tennyson's because he's trying to portray Arthur as a semidivine figure unrelated to Uther) (Ughh)

Their stories feel like they ignore God as an active force in Arthur's royal life and in the lives of others. *Points to the Post-Vulgates' version of the Mayday Massacre, where God protects all the infants - They SURVIVED, unlike Malory's*

#my thoughts #off my chest #reblogs #arthuriana #king arthur #sir mordred #morgause #sir lancelot #t.h. white #alfred tennyson #once and future king #idylls of the king

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class1akids · 3 months

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Hi, I know you really like Shouto, but I am wondering if you think his story and him overall is objectively well written, and where would you put him among not just MHA characters but compared it to general fiction, writing wise, and development wise. I personally think there could be things that make his development and personality more prominent and make his character stand out more, nevertheless I still think he is above average when I read the story again and again and see the nuances, tiny but important details. It is sad to see when it's MHA, people assume the character is less valuable in every way no matter what manga/show you are comparing it to.

I think people often confuse things like power, fight feats, art panels, fandom appeal, popularity when they think about "well-written". For example, many people think Mirko is "well-written", when she's more well-designed and has flashy fight moments. Several, more underrated female characters are better written than her.

When I think about "well-written", I think about these things:

What is the overall narrative role of the character in the story?

How well and consistently are the character's themes represented throughout the story and how do they connect to the "main plot"?

Does the character have an arc? How is the arc progressed?

Does the character have well developed relationships and dynamics with others?

Does the character get meaningful conflicts and challenges to his/her worldview and grow from these?

So if you translate this to Shouto:

Shouto is a "bridge" character. Because of his dual design, he connects well the different worlds / ideas in the story. He's got the genetic lottery / strong potential like Bakugou, but he's also an abuse victim like Izuku. His personal history and family drama connects the world of pro heroes to UA Class A. He's foiling with Iida on family legacy. He represents change, healing and 2nd chances. The Todoroki family is a microcosm of what is happening in the wider hero society and Shouto is the protagonist of the story, perfectly placed to be able to understand the pov of the heroes and of the family villain, Toya.

In the overall plot, the Todoroki plot becomes prominent in the SF arc and Shouto's part is "frontloaded". We learn his backstory before we know much about Endeavor or Dabi. However, even if his biggest moments come early, Shouto keeps growing. His quirk growth is tied to his emotional healing. Every time he takes a step towards overcoming trauma, he "unlocks" something new in his quirk. Taking steps towards his different family members, peaks in Phosphor which is narratively a perfect culmination of his quirk and journey. But his other themes - figuring out who he wants to be, claiming a part of All Might's legacy, the importance of being authentic, etc. also get important beats throughout the story.

Shouto's arc is foremost a healing journey. It's about overcoming / letting go of his well-justified negative emotions and pour his energy into building bridges with his family and making friends. The two worlds interplay well. The friends Shouto makes remain relevant in saving his family (Bakugou saving Natsuo, Iida taking him to Gunga, etc.), but the steps he takes towards his family also benefit his friends (most notably with Bakugou and Deku interning with Endeavor and learning things from him). I also like that his arc is not linear. He takes steps back (provisional license, JTA), but he keeps growing from his mistakes / failures. His growth as a hero is interwoven with his growth as a person, a son, a brother, a friend.

Shouto has actually a really wide circle of important and meaningful interactions. He has a distinct dynamic with every member of his family. We know more about the Todorokis than any other character's family and Endeavor and Dabi are also well-developed characters. He's most prominent friends are important Class A members (Deku, Bakugou, Iida), and he has good moments with a number of others, notably, Momo, Sero and Kirishima. He's the bridge character between UA and Shiketsu (Inasa). He's got a couple of good scenes with All Might. So he is well built into the core of the story, with diverse and interesting interactions and dynamics.

Shouto is challenged a lot. He is allowed to be wrong, fail, learn, get up and try again, which is crucial for a well-written character. His view of his own quirk and overall goal is challenged by Izuku. His confrontation with Bakugou brings out his flaw of relative aimlessness compared to his main rival. His repeated confrontations with his father force him to learn to see Endeavor as a complex human being and also to try to sift through the bits of his inheritance he wants to keep. The Stain fight gives him an early reality check on relying too much on his quirk. His confrontation with Inasa is crucial in understanding that to become a hero, he needs to process his trauma. The first family dinner allows him to connect later with Natsuo. Tetsu pushes him into a corner from which he learns flashfire and understands why he wants to be strong (to be reassuring). Failing to win his fight make him go for a 2nd internship with Endeavor and stand up for himself and lay down clear boundaries. His repeated confrontations with Touya give him the perspective of wanting to save his family, which helps him unlock his full power in Phosphor.

Overall, I think Shouto is one of the best and most consistently written characters in the manga. I think he's a bit underrated, because a lot of people think of redemption arcs when they think of a well-written character. But all kinds of arcs can be well-written and I feel like Shouto's is quite unique in this kind of medium with how much attention it's given and how well it ties in with his themes.

I mean people may not connect with his character more because he's relatively quiet, plain in tastes, doesn't get the flashiest fights, etc.

I get that it's not everyone's cup of tea, but his story is objectively a well-rounded part of the manga, and I think Shouto's endgame is one of the best parts of the final arc, where all previous threads came together quite satisfyingly, without it needing a lot of explanations.

There are of course parts where Shouto, because in the end he's not the MC, got shoved off to the side, where I expected more. This came mostly in the post-Dabi reveal era, where I think if Hori wasn't in a hurry to cut the story short, we would have had a proper fall-out for Shouto for the scandal, along the lines of what Bakugou got post-Kamino. A kind of emotional peak / release. But post-war, Hori dropped the ball on everyone, I think including Deku (despite having his solo arc).

Now, I don't read a lot of manga, so I can't really judge that well, but I think Shouto is one of the best-written characters of his own kind. If you think wider literature - I mean Horikoshi's writing is decently entertaining and his art is very pleasing, but it's not high literature. I think he excels in character design and in playing with the tropes of shonen. But when he tries to tackle more complex issues, those tend to fall flat. Actually, I think the Todoroki plot is one of the few places, where he does a fairly good job of showing nuances of abuse, trauma, victim responses, but I think it's better written in Acts 1 and 2 than in Act 3.

#c1a asks #todoroki shouto #bnha meta #todoroki meta

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