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anthurak · 5 months

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One of the more subtle details about Hazbin Hotel that I’m particularly interested to see is what the actual Power Dynamics between the various characters are going to look like.

Because with everything we’ve seen from Helluva Boss, I have a hunch that there has actually been a bit of misdirection going on in the promotional material. Specifically in how the Overlords like Valentino, Vox, Velvette and even Alastor are presented as these very powerful and dangerous threats to the Hotel and that Charlie and Vaggie are probably in way over their heads trying to deal with them.

Buuuttt… then we ALSO have everything that Vivzie has mentioned behind-the-scenes about the class and power rankings of Hell. Specifically, the fact that apparently only the most powerful of the Overlords like Valentino and Alastor can be considered simply on par with the Goetic Nobility like Stolas in terms of power. Or even more notably, the fact that Charlie herself is apparently just as, if not MORE powerful than the Kings of SIN.

And thanks to Helluva Boss, we have a pretty good idea just HOW POWERFUL the likes of Asmodeus, Bee-lzebub and Mammon are. Which in turn could very well be giving us a hint of just how powerful Charlie might be.

Basically, I have a hunch that both the audience AND the Sinners (even those close to Charlie like Angel Dust) are MASSIVELY underestimating just how POWERFUL the Princess of Hell REALLY is. Like how her normally upbeat, friendly, ‘Disney Princess’, ‘Just wants to help everyone’ demeanor belies the fact that she may very well be fully capable of obliterating the likes of Valentino, Vox or even Alastor with EASE if she really wanted to.

Imagine if this ends up being a big reveal at some point? Like we get these subtle hints in the early episodes that Charlie may be quite a bit more powerful than she’s really letting on, perhaps by giving us a glimpse at what her parents are capable of. Until at some point one of the Overlords just takes things a bit too far. Say, Valentino is getting ready to full-on destroy the hotel, or about to straight-up kill Angel Dust for good with one of those Blessed Weapons we know are floating around?

Only for Charlie to just straight up DELETE Val with a metaphorical snap of her fingers.

And before I go into the broader narrative implications of all this, it’s also worth mentioning that this deliberate underestimation could apply to Vaggie as well. Because if Vaggie really is a former Exorcist, ie; a Fallen Angel like a lot of people are theorizing, this would likely mean that she’s fully capable of permanently killing Sinners, even the Overlords, if she really wanted to. Meaning that while Vaggie might not be as powerful as Charlie, she is no less DEADLY.

(As an aside, regarding the ‘mechanics’ of what could make Charlie so dangerous to sinners beyond simply raw power: We know that Sinners can only permanently die to Angelic Weapons. In other words, the ‘Holy’ power of the Angels and Heaven destroys them for good. And remember who Charlie’s father is? Not just an angel, but one of the most powerful angels to ever exist.)

What I find so interesting about all this is that it could completely upend a lot of the character and power dynamics we might be expecting. For example, totally recontextualizing Alastor’s motivations in supporting Charlie and her Hotel; as powerful as he might be, he’s still far beneath Charlie.

As well as introduce what could be Charlie’s real personal conflict and arc for the show. Because Charlie still wants to HELP the sinners of Hell, and almost certainly doesn’t want to be or act like some all-powerful being lording over subjects they consider fall beneath them. Even though she could.

And of course, being an ultimate overlord is very likely what Lucifer will be ENCOURAGING Charlie to be. Which in turn feeds nicely into Charlie’s conflict with her father.

Finally, let’s consider Charlie’s motivation, paired with what she could become: She wants everyone to be happy and safe and generally the best, and she has the absolute POWER to IMPOSE her idea of ‘happiness’ and ‘goodness’ on others if she really wanted to.

Now is it just me, or does that sound a LOT like what we saw of HEAVEN in Helluva Boss?

What if Hazbin Hotel ultimately presents Heaven, the Angels and possibly God him/her/themself as the TRUE antagonist of the show, AND a full-on villainous counterpart to Charlie?

#hazbin hotel #helluva boss #charlie morningstar #hazbin vaggie #hazbin alastor #hazbin valentino #hazbin vox #hazbin overlords #lucifer morningstar #helluva asmodeus #helluva beelzebub #helluva mammon #hazbin hotel theory #charlie is probably WAY more powerful than people give her credit for #charlie has MASSIVE 'cinnamon roll who could totally murder you' energy #i think anyone who seriously expects alastor to hold any kind of real power over charlie is probably going to be in for a BIG surprise

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wen-kexing-apologist · 4 months

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Symptoms of a System Error: The Manifestation of Myungha's Depression in Love for Love's Sake

Ok I will almost certainly have more thoughts about this when I go back to rewatch Love for Love’s Sake in the next couple weeks, but I’ve been thinking about the finale for the last couple of hours and I want to get some stuff out of my head. Before I get too far in to this, I want to say that I think most of the ambiguity in the show is brilliantly executed in a way that allows people to take whatever meaning they want to from it without contradicting each other, without stepping on toes, and without having to twist or bend the narrative beyond all recognition to make it make sense.

So I want to talk about the use of depression in this show, because the way Myungha exists in the world is recognizable enough to me that these moments of choice, and the system errors were extremely legible. That doesn’t mean my take is the correct one (and I honestly don’t think there is one right answer here anyway) but it’s what I got out of it, so with the needless ramble complete, let’s get to it.

Prologue

gif by @dramascene

I connected rather quickly to Myungha as a character from right near the beginning of episode 1 because of how passionate he was about the character of Yeowoon and how much he hoped for a happy ending for that character. As someone who processes a lot of my feelings, and who understands myself better through media consumption, I was quick to appreciate the fact that Myungha recognizes the parts of himself that speak to Yeowoon and to know that because Yeowoon is fictional, he has a chance not to suffer with merely a stroke of a pen. The Author could have chosen from the beginning to give Yeowoon a happy ending, and did not because he believes that there are people for whom bad things will never stop happening. But from the perspective of a fictional story, the Author should consider who he is writing the story for. Myungha connects to Yeowoon, and it sends one hell of a tragic message for how Myungha’s life will end up if even in fiction the people who suffer have no hope of happiness.

Myungha tells the Author that someone like Cha Yeowoon, someone like him [Myungha] with awful lives can still be happy. Looking back on that statement with the knowledge that Myungha kills himself, sends a very clear message, at least for me, of the hope that he was clinging to and finally lost his grip on. The Author asks if Myungha can change the outcome, and thus begins our story.

Debuffs

Now, I don’t know that I will have much more to say here than what @jemmo said in their very brilliant post, beyond the fact I agree with their interpretation of the debuffs. But I am thinking about the debuffs as it relates to mental health and to Myungha’s independence. One of Myungha’s first missions is to befriend Cha Yeowoon, and we see the difficulties associated with doing so when it comes to the Fondness Level meter and the debuffs that happen as a result. I love what Jess said about the dichotomy there: the debuffs mean that every time Myungha gets close to Yeowoon, something bad happens, Myungha uses that as a reason to stay away from Yeowoon to protect him when in fact, being around Myungha and increasing his fondness for him is the only way to really keep Yeowoon safe.

gif by @dramascene

And here again there is something recognizable to me in this dichotomy. Myungha likes Yeowoon, Myungha wants to be friends with Yeowoon, every time something bad might happen to Yeowoon, Myungha is there to intervene. But Myungha is convinced that the potentially negative events that might occur during a debuff are because of him, and so he avoids Yeowoon as much as he possibly can. To me this makes the debuffs a stand in for depression symptoms. Myungha has convinced himself that he is the cause of the bad moments in Yeowoon’s day. Myungha has convinced himself that Yeowoon would be better off if they weren’t friends, because he only makes things worse. And that is not something he can easily shake off, it’s not something he can logic his way out of, that’s the game, that’s just how it is. And so he withdraws until Yeowoon comes to him.

And honestly thinking about it, nothing bad really happens during those debuffs. The light doesn’t shatter, the boys back off on the bus, Yeowoon doesn’t punch Sangwon. Maybe the reason why nothing at all happens is because Myungha intervenes. Maybe if Myungha hadn’t been there, the light would have broken, maybe if Myungha hadn’t been there Yeowoon would have punched Sangwon. But that is not a lens that Myungha is capable of viewing himself through, that is never an option that crosses Myungha’s mind because he is too focused on feeling like the cause of Yeowoon’s problems.

System Errors

I know there is a lot of confusion or at least uncertainty around the system errors. Why are they happening? Where are they coming from? For me, I think the answer is Myungha himself. The first time we get a system error, it’s in Episode 6, what I think is the day after Yeowoon and Myungha have their first kiss and very soon after Yeowoon and Myungha kiss on the rooftop at school. The first error isn’t subtle, but it’s not explicitly stated. Myungha walks in to a room to take a phone call and walks in to the middle of band practice, falling through the world as he tries to remove himself from the situation until he (literally) runs in to Yeowoon. Myungha goes home that night and gets his first moments in the black abyss, and the first explicit mention via pop-up of a system error. I have not gone through (yet) to track every instance of what happens before a system error pop-up occurs from that point on, but I will say moment that was most legible for me in terms of indicating that these system errors were stemming from Myungha himself were when he gets the notification both times that Yeowoon looks directly at him and tells Myungha “I love you.”

gif by @dragonsareawesome123

That moment was a guy punch for me because I was not able to see it any other way except that Myungha is so incapable of believing that people could actually love him that someone telling him directly and sincerely that they love him cannot exist in his world. He literally cannot compute it, and thus an error occurs. Again from the perspective of depression, or trauma, or what have you, this is familiar to me. It is perhaps the most reflective part of Myungha to my own psyche. Neither of us know how to be loved.

Myungha is called out on this repeatedly, he is nice to everyone, he does so much for everyone and refuses to ask for help himself. I’m the same way, I will bend over backwards as much as I can to help the people that I care about, but it is a rare occasion where I can ask for help myself. I’m not sure if this is the case for Myungha, but for me at least a lot of that stems from needing to make myself useful to people in some way so they keep me around. And so I end up feeling like a commodity to the people that I care about and help, and merely tolerated by anyone else that I do not help but that interacts with me any way. Myungha is called out consistently by multiple people, real or NPC about this similar habit. Myungha does not want to be a burden, Myungha only cares about other people’s happiness, Myungha is not happy himself and has maybe never been happy and so he pours everything he can in to lightening the load for others.

He loves Yeowoon, but to be loved by Yeowoon is different. To experience any moments of joy cannot possibly be real. Maybe I am projecting too much on to the character, but it makes complete and total sense to me that Myungha’s worldview would break down upon having someone state wholeheartedly that they want to be a support system for him.

Cruel Choices

gif by @dramascene

With the enmeshment of depression and video game mechanics in mind, I want to talk about the scene at the end of Episode 6. I love this scene so much for a number of reasons:

It turns the game on a head for me as we slip further and further in to a nightmare scenario

It raises the stakes and attempts to get Myungha to make a hard choice

It forces Myungha to think about what is important to him

It’s ultimate purpose and who is posting the mission is ambiguous/uncertain

I’m going to focus on number four. I think it is a perfectly valid read to see this and all video game mechanics as designed by The Author in an effort to help Myungha change Yeowoon’s story in which case this mission feels particularly vindictive and cruel. @lurkingshan posed the question in a conversation we were having about Love for Love’s Sake, where she wondered why the game could not hold two sources of love for Myungha at once. I love that question because it made me realize how differently this show can be read and how important who you choose to read as the entity in control of this game is for what this scene specifically means and I love so many interpretations of it, I love the interpretation that is was simply cruel, I love the interpretation that in retrospect this was the Author being angry at Myungha for dying, I love the reflection from @jemmo that said this felt like a choice between staying rooted in the past (sparing grandma) or choosing a future (sparing Yeowoon)

For me, I think I am leaning heavily in to the pop ups are under Myungha’s subconscious control, his mind, the missions he thinks are important, the problems he thinks he is causing are what is driving the base game. Because of this my base instinct is to lean in to the depression/anxiety/trauma tent where things have been going a little too well for him lately and he has convinced himself that he is due for something bad to happen. I am happy to once again acknowledge that this probably projection, but I know that my own mental illness(es) does not let my peace linger for long. Myungha is spending so much time with Yeowoon, Yeowoon who grounds him when his world is literally falling apart. Yeowoon who cannot contain his smile whenever he is around Myungha, Yeowoon who is downright desperate to bestow love and support upon Myungha, Yeowoon who has accompanied Myungha to the hospital late at night to be there for his boyfriend in a stressful time, and Myungha can’t have that. He loves his grandmother, he loves Yeowoon, they both love him and so obviously means that something bad is going to happen to them.

gif by @25shadesoffebruary

[As an aside I am thinking about what the Author said in the final episode about wanting Myungha to be able to see himself from the outside, and how I took that to mean Yeowoon is supposed to be a reflection of Myungha and a journey to self love, and how Yeowoon told Myungha that something bad always happens to the people around him in relation to this hospital scene]

Secondarily, I do think being confronted with this choice at all allows Myungha to have a moment of reflection, and is clarifying for him to know that both Yeowoon and his grandmother are important people in his life that he doesn’t want to lose. That’s fucking huge, in my opinion at least. And for all this mission was cruel, it was the first time Myungha refused to complete the mission. He was asked to save one, he decided to save both, and the game could have been cruel and taken his grandmother and Yeowoon away for refusing to choose, but it didn’t. They both got to live, and sure Myungha’s mission to make Yeowoon happy was shortened significantly, but I do think fifteen days was enough time to be successful in his mission if the depression and the grief had not gotten to Myungha instead.

Grief

gif by @my-rose-tinted-glasses

Something about grief that my therapist told me once was grieving people love helping others. And I think that is the case of Myungha here just based on the way he throws himself in to helping as many people as he can, especially Yeowoon. He knows Yeowoon is grieving, he knows Yeowoon is struggling, and he can distract himself from his own shit by helping Yeowoon instead. But once Myungha is confronted with the possibility that either one of the people that he loves could die, the penality for failing in his mission to make Yeowoon happy looms over his head like a knife. Just like Myungha considered himself the problem with the debuff, he knows how high of a likelihood it is that Yeowoon would regress, would isolate, would sink into a massive low.

And it would be Myung’s fault (in his mind).

Especially because Yeowoon keeps saying that even thinking about going on dates with Myungha is making him happy but Myungha’s mission isn’t complete. Myungha has started to get low, he is not as engaged in his relationship with Yeowoon, he’s convinced himself he is going to fail, and is thus setting himself up for failure because he decides 15 days is not enough time to find happiness, but it is enough time to break somebody’s heart in preparation for a devastating loss. And maybe, maybe Myungha would have snapped out of it with enough time to spare initially, but any hope of that being the case was shattered the second Yeowoon admitted that he wasn’t happy because Myungha wasn’t relying on him.

Myungha is so used to be self-reliant there is no way for him to break out of that habit in just two weeks. Myungha knew his death would hurt Yeowoon, but the final nail in the coffin for him was learning that his life was hurting Yeowoon too. And he almost got there, he almost did it, he admitted that he didn’t know how to, but he withdrew at the last second. He has spent all this time, all this energy, all this focus in to changing Yeowoon, he does not have the space to do that for himself.

The Choice

gif by @supanuts

The last moment I will really speak to as it relates to my interpretation of this game being controlled by Myungha as a manifestation of his depression is the author’s pen. Considering the fact The Author asked Myungha if he wanted to try again, I do not think if the Author was controlling this game world that he would have had Myungha disappear from it. Because according to the Gaga subs, the change that Myungha writes is that he wants Yeowoon to be happy, and immediately upon finishing that request, Myungha starts to fade.

If we hold these game mechanics as manifestations of Myungha’s depression, which I do, it makes complete and total sense to me that Myungha would fall back in to the pattern of believing that Yeowoon would be happier if Myungha wasn’t there. Yeowoon has a modeling deal now, he has some modicum of fame, he has friends now, he has supports in place that he did not have before, so what need does Yeowoon have of him, when his inability to let people love him is what is now causing Yeowoon to feel sad.

And I think that massive server error at the end where the world is burning and the universe is melting in to the game is a result of Myungha realizing too little, too late that this isn’t what he wanted. But it can’t be undone. The line he says when he is sinking in to the water about how at the last minute before he died, he regretted it. The game, the drowning here are one in the same to me.

And for me there was just something so beautiful and hopeful from Myungha telling The Author that he wants to try again. We started the show with Myungha telling The Author miserable people can be happy, and we end the show with Myungha and Yeowoon finally getting the happy ending they never thought they would have.

gif by @junghaesin

God I loved this show.

#love for love's sake #lfls #love for love's sake meta #love for love's sake analysis #one thing about this show is that it almost certainly will lend itself well to a rewatch!#and I *love* rewatching shows #wka long post

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charismabee · 4 months

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I like STP swap aus in theory but I find how I've seen people do them a little strange (not bad tho they're still cool n stuff and I like them very much)

Like they're just... making the princess bird shaped without actually examining what swapping the Shifting Mound and Long Quiet's role in the narrative would mean. (Not meant to be negative)

Let's take the Narrator for example. In Slay the Princess he wants to kill the Princess because he wants to stop death forever. But the Long Quiet isn't death, he's stillness, lack of change. This completely changes the Narrator's core motivation. It can work though. Maybe he's in a world that has stagnated, no change, no innovation. It feels like rot, so he decided he had to find a way to be rid of it. Or maybe some other explanation. This would change his core world view, what he might consider a good end, how he acts a bit, lots of things.

Speaking of the good end, that's definitely not going to be an eternity of stagnant bliss, we literally just killed the personanification of stagnation. You could think around that too. Remember I the stranger route when everything was happening at once and it was the same as nothing happening? Maybe that happens. Without stillness the Princess is met with a barrage of constant change and stimulation, everything happening at once. The Princess could realise it is Nothing as much as it is Everything and that gets her out of it.

The Long quiet would be interesting too, because he doesn't change, it isn't in his nature to. Instead, he fractures. Perhaps instead of finding his multitudes you are shattering him. Breaking off parts of him so he can see them from the outside and know them. Once enough pieces of him have been broken off he will shatter completely and finally be able to see all of him, would talons pick up his broken pieces, would wings made of textured nothingness wrap around them and embrace them tightly? Would he reside on a hill of squirming hands or bodies, lost in the centre of the shifting mound?

Perhaps without a need for agency, or someone to make a decision the Voices would just exist as their own thing. First one that claims to be a Hero, who claims to have agency in their story (a part of reflected in her, the Long Quiet does not need to shatter to be able to see him), quickly joined by a Paranoid and terrified victim, an Opportunist Scammer, a Stubborn opponent. Different, but not changed. Not the one person molded into another.

Even the construct itself would be changed by who it is created to kill. Perhaps when the Princess first arrives on the path in the woods it is autumn, a sign of the seasons changing, there is life and death and nature and cycles, but on that 3rd Chapter, it is summer. The leaves are green and waxy, everything is preserved in a completely silent stillness. Maybe there is a horror in that no matter how you get there those silent woods are always the same, unchanging.

Unlike the Long Quiet, the Shifting Mound does change. She is naturally malleable. She has no need for voices because whatever action you take becomes what she would have always done. Perhaps her body changes, giving her new advantages, the body of a vicious Beast stalks towards the cabin, hunger tinting your choices through a cabin twisted to suit her needs. A goddess glides towards her temple, willing it to be large enough to fit her. A dainty Princess hurries to find her Prince charming in a fairytale cabin. The land twists under her will, whether she realises that or not, only giving resistance when too close to the 'monster' kept down there. She is change, it is only natural she causes it.

Even stuff like how to get rid of him would change, because can you actually kill the absence of something? The natural state of things before they shift? The shifting mound is motion and for everything to be in motion all the time means nothing can ever really happen at all. There is no fulfilment in anything you do if your opinion on what to do changes every moment you exist. Perhaps to truly 'kill' him she needs to make him smaller, change what cannot be changed to make the stillness that will be broken, the things to be changed. Perhaps he will break them out of there and thank her. Perhaps without a way to know himself he slowly fades into a nothingness, trapped in an eternity of stagnation that change herself refused to save him from.

It is still a love story, he is naturally inclined to help her, she will always love him, but things have changed.

Anyway this is just a dumb little ramble because I was thinking and it's nearly 3am so this is probably nonsense anyway. I do really like swap ideas they're interesting and stuff <3

#slay the princess #swap au #My stupid rambles again #stp princess #stp the shifting mound #stp the long quiet #stp the narrator #I'm going to sleep now

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jaynovz · 9 months

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In discussions about the finale of Black Sails, one of the things I often see is folks hard-focusing on Flint's fate, in an either-or binary fashion, usually presented as "Which do you believe-- that Silver killed him? or sent him to the plantation?"

Now, for posterity's sake, gonna mention a few things-- first off, that's simply not thinking broadly enough. There are farrrr more than two options here and I've come up with my share of the reallyyyyy bad ones for sure. Whatever your mind chooses, none of those are happy endings anyway, there are bittersweet, bad, and worse endings all the way down. (They are paused, they are in a time loop, and also all endings and no endings are happening simultaneously)

But also, the more cogent point is that, it doesn't actually matter what happened *to Flint* The story is... not actually about him at that point. We have transitioned from Flint as protag to Silver as protag, setting up for (the fanfiction that Black Sails has ended up making of, ugh, king shit) Treasure Island.

And so, I just, don't find it to be of particular interest exploring what we think Flint is actually doing or if he's alive for real. What is EXTREMELY interesting to explore though is how Silver's speech at the end to Madi is sort of giving Thomas back to Flint as a pacifier/comfort object, but how... Silver is giving Flint that thing in his own mind as his own type of pacifier/comfort object.

That's the REALLY chewy bit. What actually happens to Flint is not the purpose of that scene for me, of Silver's recounting of events to Madi. It's more about... projection. It's about how Silver is dealing with whatever happened to Flint/whatever he did.

And I just feel like it's missing the point to focus so hard on if Flint is alive or not.

He is the ghost of the story regardless, that's what's important. He's going to haunt the narrative for the rest of everyone's lives. No one has been untouched or unscarred by coming into contact with Captain Flint; he has a forever legacy. I'm not the first to call him this, but he's Schrödinger's Flint and he's staying that way.

But this?

"No. I did not kill Captain Flint. I unmade him. The man you know could never let go of his war. For if he were to exclude it from himself, he would not be able to understand himself. So I had to return him to an earlier state of being. One in which he could function without the war. Without the violence. Without us. Captain Flint was born out of great tragedy. I found a way to reach into the past... and undo it. There is a place near Savannah... where men unjustly imprisoned in England are sent in secret. An internment far more humane, but no less secure. Men who enter these gates never leave them. To the rest of the world, they simply cease to be. He resisted... at first. But then I told him what else I had heard about this place. I was told prominent families amongst London society made use of it. I was told the governor in Carolina made use of it. So I sent a man to find out if they'd used it to hide away one particular prisoner. He returned with news. Thomas Hamilton was there. He disbelieved me. He continued to resist. And corralling him took great effort. But the closer we got to Savannah, his resistance began to diminish. I couldn't say why. I wasn't expecting it. Perhaps he'd finally reached the limits of his physical ability to fight. Or perhaps as the promise of seeing Thomas got closer... he grew more comfortable letting go of this man he created in response to his loss. The man whose mind I had come to know so well... whose mind I'd in some ways incorporated into my own. It was a strange experience to see something from it... so unexpected. I choose to believe it... because it wasn't the man I had come to know at all... but one who existed beforehand... waking from a long... and terrible nightmare. Reorienting to the daylight... and the world as it existed before he first closed his eyes... letting the memory of the nightmare fade away. You may think what you want of me. I will draw comfort in the knowledge that you're alive to think it. But I'm not the villain you fear I am. I'm not him."

This is the speech of a man who is self-soothing, who is spinning himself a tale, who is projecting, who is coping.

and THAT is just, way chewier, innit?

#Now that's just from a canon point of view #once we start to delve into like fan fiction #Because fic must necessarily change the story and change canon because it's creating something new #so of course then figuring out what you want to do with flint post canon is necessary #but for me fanfiction is a different realm than canon only based meta conversations about the show #black sails meta #long post #black sails #john silver #james flint #thoughts #black sails spoilers #I was coaxed into writing my group chat meta into a post by the Committee mwah

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celluloidbroomcloset · 5 months

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I wrote a bit ago why Stede's coming-out narrative resonated with me, but I was considering more about how it's different from a lot of coming-out narratives in mainstream media.

Cinematic coming-out narratives tend to centralize the more public aspect of the revelation—often coming from a character who has known about or discovered their sexuality earlier in the story, followed by their coming out to friends or family members (often to disparate reactions). But Stede’s coming out is a simultaneous moment of self-knowledge and openness with the one person in his English life with whom he has been most intimate, and who has been most damaged (other than himself) by him.

I’ve seen it mentioned elsewhere that it’s interesting to have a gay man ask a straight woman what it’s like to be in love and to have her words help to bring his repressed feelings into form. The entire sequence is an acknowledgment of Stede and Mary's affinity with each other, reinforced by the combination of intimacy and distance that is a part of their married life. It happens in an intimate setting, in their bedroom, but we've seen how very non-intimate the bedroom is, where they either barely touch in bed or crowd each other out, get dressed and undressed with their backs turned, and where Stede refuses to talk about his emotions or desires.

But in the coming-out scene, for the first time, we see warmth in their room. There's a fire, and both are in their night clothes; Mary's hair is down, and Stede is without his nightcap. The effect is that they're more apparently comfortable with each other, despite the circumstances, than they've ever been before. Stede realizes that his existence has stopped Mary from experiencing her life. He sees that she’s found something to be passionate about with her art, that she's in love with Doug, and he wants to understand her.

There’s an open question of whether Stede has known about his attraction to men and simply repressed it or tried to ignore it, or whether he wasn't even aware of it. The sexual freedom fostered on the Revenge doesn’t seem to include his own sexuality. His relationship with Ed progresses like a friendship - and while they perform things like a divorce, it never appears that Stede is consciously aware that his feelings are not solely friendship, but sexual attraction and romantic love.

Which makes sense if we note that Stede has no friends, certainly no close ones, at home. He can sit in a pub and talk to people, but he’s not close to them (he’s isolated at the head of the table, rather than in the center of the group, and even mocked when he's the center of attention). The closest person he has to a friend is Mary, with whom he has to live and who also struggles to understand him. He doesn’t know what friendship really feels like, either.

Stede has no one else that he could be honest with, or even hope to talk to beyond superficialities. Even then, it takes an extreme act, starting with his rant at the art gallery and ending with her trying to kill him, to break down the barriers enough for them to talk. Where Stede is able to talk more intimately with Lucius and Frenchie and Ed, it takes near death for him to talk to his wife.

Certainly the coming out seems to be not a discovery of feelings but an actualization of them. Mary’s description puts into words what he's been experiencing, possibly his whole life. And for Stede, words and stories are deeply powerful—they're the way he enters into pirate life, the way he tries to understand himself and others. Talking, reading, and writing are fundamental parts of his self-expression, and so his coming out occurs through a story another person tells him. He plays pirates with his children, he reads to the crew, he asks for Ed's stories, he talks himself into roles like "the Gentleman Pirate." He participates in stories as a way of expressing the reality of who he is and who he wants to be. He needs to be able to put his feelings into words before he can ever fully express them.

So often cinematic coming-out scenes are framed as dangerous—how the other person, or people, will react. But there's no danger here. The danger is that Stede won't embrace the feelings that he has, which is put to rest even as Mary talks and we see the images of his past with Ed.

The scene centralizes Stede, not Mary, but it also does not ignore her. There’s no hesitation when he says “...I think I have,” or when he says, “His name is Ed.” Neither line is thrown off as an afterthought—he meets Mary’s eyes, he emphasizes his words. He’s clear that he’s talking about a man. He simultaneously comes out to her and to himself.

It is important that she's present for that, because Stede does need someone else to hear his words. He's a storyteller, and he needs to draw others into the stories that have formed such a part of his life. It isn't so much that Stede needs someone to perform to, but someone to enter the story with him, to make the words real.

Here, Mary draws him into her story of being in love. And he in turn asks her to hear the beginning of the story that he's concealed from everyone, including himself: "His name is Ed."

#ofmd #our flag means death #ofmd meta #stede bonnet #mary bonnet #gif #edward teach #gentlebeard #blackbonnet #rhys darby #claudia o'doherty #coming out narratives #coming out #queer community #queer

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completeoveranalysis · 27 days

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[9]

MOM HOLY FUCK THEY REALLY ARE SAYING IT

EXCUSE ME

WAIT WAIT WAIT WAIT WAIT IS THIS THE GREATEST THING

LET’S TALK ABOUT THIS

Clamp absolutely set the precedent for this with our visit to Shura/Shara all those years ago. We’ve SEEN the possibility of being in the past and future of the same world and teleporting between the two. We knew the feathers could appear pretty much anywhere in the timeline of a world, given how time works differently across the mutliverse, and we DID just straight up go backwards and forwards in time via Mokona, so it’s absolutely possible for them to appear in the Past of the Kingdom of Clow.

WHICH IS APPARENTLY ACID TOKYO????

WHICH JUST ABSOLUTELY BLOWS MY MIND WHAT THE FUCK

WHAT A WAY TO TIE IT ALL TOGETHER??

X/1999 IS THE SET UP TO THE CLOW KINGDOM?

THE CLOW KINGDOM IS IN THE RUINED ECOLOGICAL DISASTER OF OUR OWN CURRENT WORLD???

Tsubasa Reservoir Chronicle as a pseudo-not-really-but-kind-of-sequel-event to Cardcaptor Sakura but ACTUALLY ALSO being the sequel-kind-of-but-not-exactly sequel to X/1999???? Or Alternate Timeline X/1999? Where things are ever so slightly different but the world was ruined in the same way?

AND THE RESERVOIR

THE RESERVOIR IN ACID TOKYO IS THE RESERVOIR IN THE CLOW RUINS????

I’m REELING OVER THIS

THEY SET THAT UP

SAKURA WALKED THROUGH THE DESERT TO PURIFY THE WATER TO SAVE THESE PEOPLE AND IT MADE THE RESERVOIR THAT LOVED SAKURA SO MUCH THAT IT PROTECTS HER

AND WATANUKI! WATANUKI WAS AN ESSENTIAL PIECE OF SETTING UP THE RESERVOIR IN A WORLD BEFORE HE EVEN EXISTED IN THAT TIMELINE

And that’s Definitely the feather they’re talking about, isn’t it? The feather that Sakura left in Acid Tokyo is still in the Reservoir right now, and is the reason the water is magic and loves her so much - because it’s a piece of her, and -... well, a piece of her clone. But it’s a piece of SAKURA, and so they resemble and resonate with each other, and that's why the water is so close to her, but 'Sakura' can’t absorb the feather because she’s already a full person and those aren’t her memories, but the memories of her clone.

Meanwhile Sakura (ie, our cloned Sakura) is currently on the other side of the portal at a point in time that DIDN’T exist a few seconds ago, for Original 'Sakura', but the rest of the universe has moved on and decades have passed (even though no time at all has passed for her) and now the feather from her clone has ended up in the past that set up the reservoir potentially centuries before she was even born.

Timeline!

Oh my god?

Oh my god.

I’m going to be thinking about this forever.

No wait I’m not done ACID TOKYO WAS like THE point in the narrative where everything changed forever. And from a Tsubasa point of view it felt like a world picked at random for all the Important Narrative changes to take place - but it never was! It was the most important world of all! It was the Clow Kingdom!

So Syaoran lived his life in the Clow Kingdom, and then his soul collapsed in Acid Tokyo, which was ALSO the Clow Kingdom, and then he went and died defending Lava Lamp, in the Clow Kingdom. All at completely different points in the timeline but all in the exact same world.

Though I will say I am thoroughly baffled by the connection between the Tokyo Metropolitan Government Building and THE CLOW RUINS???

ARE THEY SUPPOSED TO BE THE SAME BUILDING?

Oh my god they’re in the same location aren’t they. The reservoir was underneath it and now it’s under the ruins. I suppose they have Magic so they could probably reshape them however they want but WHAT A CON CLAMP HAVE PULLED ON US

TO SPEND THE ENTIRE MANGA STARING AT THE WINGS OF THE CLOW RUINS AND THEY WERE SECRETLY WAITING FOR THE RIGHT TIME TO TELL US THAT WE WERE ACTUALLY LOOKING AT THE TOKYO METROPOLITAN GOVERNMENT BUILDING ALL ALONG

THE AUDACITY OF IT ALL

#I LOVE IT?#I LOVE IT!#OH MY GOD THEY PULLED THE WHOLE RUG AWAY #THE GREATEST NARRATIVE CIRCLE?#THE MOST EXTREME TWIST?#OH MY GOD #Liveblogging the reservoir chronicle #Tsubasa #Vol 212 #Lava Lamp Guy #Fai #Kurogane #ACID TOKYO? IN MY CLOW KINGDOM???#IT’S MORE LIKELY THAN YOU THINK!#Excuse me I have to stare at the wall for seventeen hours

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galacticlamps · 11 days

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ok I have A Lot of thoughts about the staircase confession (well really about Edwin's whole character arc, but all roads lead to rome) but for now I just wanna say that, yes, I was bracing myself for something to go terribly wrong when I first watched it, and yes, part of me was initially worried its placement might be an uncharacteristically foolish choice made in the name of Drama or Pacing or Making a Compelling Episode of Television but at the expense of narrative sense--

But I wanna say that having taken all that into account, and watched it play out, and sat with it - and honestly become rather transfixed by it - I really think it's a beautifully crafted moment and truly the only way that arc could've arrived at such a satisfying conclusion.

And if I had to pinpoint why I not only buy it but also have come to really treasure it, I'd have to put it down to the fact that it genuinely is a confession, and nothing else.

That moment is an announcement of what Edwin has come to understand about himself, but because it takes the form of a character admitting romantic feelings for such a close friend, I think it can be very easy, when writing that kind of thing, to imbue it with other elements like a plea or a request or even the start of a new relationship that, intentionally or not, would change the shape of the moment and can quickly overshadow what a huge deal the telling is all on its own. But that's not the case here. Since it is only a confession, unaccompanied by anything else, and since we see afterward how it was enough, evidently, to fix the strangeness that had grown between him & Charles, we're forced to understand that it was never Edwin's feelings that were actually making things difficult for him - it was not being able to tell Charles about them. 'Terrified' as he's been of this, Edwin learns that his feelings don't need to either disappear completely or be totally reciprocated in order for him to be able to return to the peace, stability, and security of the relationship with which he defines his existence - and the scale of that relief a) tells us a hell of a lot about Edwin as a character and b) totally justifies the way his declaration just bursts out of him at what would otherwise be such a poorly chosen moment, in my opinion.

Whether or not they are or ever could be reciprocated, Edwin's feelings are definitively proven not to be the problem here - only his potential choice to bottle it up - his repression - is. And where that repression had once been mainly involuntary, a product of what he'd been through, now that he's got this new awareness of himself, if he still fails to admit what he's found either to himself or to the one person he's so unambiguously close with, then that repression will be by his own choice and actions.

And he won't do that. Among other things, he's coming into this scene having just (unknowingly) absolved the soul of his own school bully and accidental killer by pointing out a fact that is every bit as central to his self-discovery as anything about his sexuality or his attraction to Charles is: the idea that "If you punish yourself, everywhere becomes Hell"

So narratively speaking, of course it makes sense that Edwin literally cannot get out of Hell until he stops punishing himself - and right now, the thing that's torturing him is something he has control over. It's not who he is or what he feels, but what he chooses to do with those feelings that's hurting him, and he's even already made the conscious choice to tell Charles about them, he was just interrupted. But now that they're back together and he's literally in the middle of an attempt to escape Hell, there is absolutely no way he can so much as stop for breath without telling Charles the truth. Even the stopping for breath is so loaded - because they're ghosts, they don't need to breathe, but also they're in Hell, so the one thing they can feel is pain, however nonsensical. And Edwin certainly is in pain. But whether he knows what he's about to do or not when he says he 'just needs a tick,' a breather is absolutely not what's gonna give him enough relief to keep climbing - it's fixing that other hurt, though, that will.

Like everything else in that scene, there's a lot of layers to him promising Charles "You don't have to feel the same way, I just needed you to know" - but I don't think that means it isn't also true on a surface level. It's the act of telling Charles that matters so much more than whatever follows it, and while that might have gone unnoticed if anything else major had happened in the same conversation, now we're forced to acknowledge its staggering and singular importance for what it is. The moment is well-earned and properly built up to, but until we see it happen in all its wonderful simplicity, and we see the aftermath (or lack thereof, even), we couldn't properly anticipate how much of a weight off Edwin's shoulders merely getting to share the truth with Charles was going to be, why he couldn't wait for a better, safer opportunity before giving in to that desire, or how badly he needed to say it and nothing else - and I really, really love the weight that act of just being honest, seen, and known is given in their story/relationship.

#dead boy detectives #edwin payne #the case of the very long stairway #im sorry this really IS the short version of my thoughts i swear #i didnt want to get long and rambley backing everything up and mentioning everything else this forces me to reconsider #i just feel like i've barely interacted w this fandom and still seen quite a few odd duck takes on this moment imo #i dont think he wouldntve got the nerve to say it otherwise #(he was already going to! & if anything his new experiences in hell only cement that being the right choice)#and as much as i get what fear can do to a person i still definitely dont think he was resigned to staying in hell if charles reacted badly #i truly think he just couldnt keep it to himself any longer #the show is upfront about his escaping hell being a testament to his own strength rather than a lucky break of some sort #so i think even being on the receiving end of a rescue mission getting out still must take a lot of strength in this universe #and telling charles that definitely made him stronger/in less pain #so yeah totally necessary it happened where and when it did in my book #also i hope it doesnt sound like im being dismissive of anything charles says in this scene #but the way i see it those were all things they both already knew #so reaffirming them just adds to the idea that the act of Telling Each Other Things is what's so important here #rather than counting as a truly separate thing this conversation achieves #just my two cents

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clockworkdragonffxiv · 7 months

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Further thought about the dragons in Final Fantasy XIV because my power has grown beyond control because I was bored at work and it popped in my head:

It's mentioned a lot in Heavensward that dragons don't remember things the way humans do. Their memories are perfect to a degree that memories don't fade so for them every trauma is this gushing fresh agony in their mind, like how Nidhogg is so incredibly pissed off because he remembers in excruciating detail finding Ratatoskr's butchered corpse and the Ishgardians gorging on her flesh.

Well, not so much remembers as he's actively experiencing it. All the time. Forever. Dragons live in the now with an intensity humans can barely comprehend, and I really think they don't process time in the same we do. We experience time linearly. Past, present, future.

Dragons don't. For them existence is experienced all at once forever. I'm not sure they even entirely distinguish between present and past and future, because it all feels the same to them, and I think that it impacts them in strange ways.

Like I don't think dragons really plan the way humans do. Everything is experienced in the Now. So I think for the vast majority of them, human tinkering and building completely baffles them. Oh they see the utility but it's not something they'd come up with on their own.

This extends to things like buildings. They certainly have the raw strength to repair the structures there, but it's not something they'd ever think of. Because repairing the castles means scouting out the proper stone, quarrying it, planning the repairs, etc.

Nidhogg's war against Ishgard is the closest thing to planning we see from them, and that was literally "torture them forever."

Also why Nidhogg was batshit insane. Because for him, he's always and will forever be at that one moment in time: finding his sister's corpse as the Ishgardians she'd been fascinated by and befriended feasted on her flesh like a pack of jackals. He never left that moment. I mean, the narrative flat out tells us that, but really holy shit is that a horrifying thing to think about. Like existentially.

It's probably the reason he could bodyjack Estinien so easily: because until the end of Heavensward, whenever Estinien closed his eyes for a second he could smell the ashes and roasting flesh from Nidhogg burning Estinien's family and entire village alive.

Also, consider that Midgardsormr went through far, far worse. The fact that the guy mostly comes off as grumpy and old should tell you about just how ridiculously tough he is. And why he spends all his time sleeping. Because whenever Midgardsormr was awake he was watching his world burn.

That and probably why he loved Hydalen and his alliance with her and devotion to her. She was as tough as he was, and had been through so much and carried on despite unimaginable woulds and pain. And she still gave him shelter when he had nothing left. That kind of compassion and strength was something he respected.

As a side note, I would be interested to hear from Middy about his thoughts on Hydalen's passing. Then again, he might not mourn her. After all, she'll live forever in his memories, as whenever he closes his eyes he still sees the radiant woman with the weight of the world on her shoulders meeting an exhausted and desperate dragon with the last eggs of his kind and providing them shelter and safety. And he feels the intensity of the sudden hope he felt then with every breath. How could he not love her?

She'll always be with him.

#ffxiv #final fantasy xiv #dragons #nidhogg #estinien #midgardsormr

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outlanderskin · 5 months

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The Thing About Rationality and Logic

Someone who was stopping shipping once told me that she was doing it because she was a very realistic and rational person and her life was based on logic. So I asked her if by that she meant that people like me live in fantasy or are irrational. So, I patiently explained that what made me a shipper was exactly logic, more than imagination or fantasy. Because the logical explanation for many events in S&C's trajectory would be that they are together, but they don't want the outside world to know that they are.

I'll cite some examples: when you have a best friend and someone in that person's family dies, what logically do you do? You see, we're talking about best friends, very close people who publicly say how much they value each other and are close. The logical thing would be for you to show solidarity, post condolences and behave publicly in a discreet manner, in solidarity with the loss of that person you love so much, especially because you (by logic) probably have known the deceased relative. The logic would be stay by your best friend's side, support the family. But what we saw in that sad august days, (showed ostensibly for us to believe) was something that no logical answer about "best friends/siblings" could explain. The only way to explain the narrative created in those days would be that they are two people with a cordial, but superficial, relationship and I believe that from what has been stated by the two all these years, not even the Antis deep down believe that they are not close. . Again I ask: what is the need to hide that you were supporting your best friend in an extremely painful moment in anyone's life? Many people (famous or not) do this publicly, because after all it is not a crime, it is the expected logical behavior. So... Why hide it? We know what really happened because this a logical thing, but the others believe firmly he was not there for her.

Let's move on to another point: the man of the year award (or something like that); How can you logically explain that you chose your mother, your best friend and your co-worker to thank, as the most important women in your life? You who apparently had many "girlfriends", who still gets along well with your discreet ex-girlfriend who lives on another continent, who has others close female friends, but didn't mention any of them along with your co-worker. I've seen several men receiving tributes and the Acknowledgments always include the mother, another older woman of reference and the wives, girlfriends, fiancées. The only time I saw a co-worker mentioned (and that was after his mother, grandmother and wife), was when the achievement was due to his work at the company, so it was logical to mention the department secretary. What would then be the logical explanation for that speech?

Something that also defies logic: if I have a best friend and that person is in a relationship, I will obviously include that person's boyfriend/girlfriend on my list of people with whom I am always cordial. I'm not going to publicly act like the person doesn't exist in my best friend's life. We have a wonderful example of how CD & LL treat each other's boyfriends/girlfriends and they don't hide it. This is how it is when we think logically.

Another little point where logic calls us: your male best friend might talk about a female artist with admiration...you don't need to tell him "behave", after all he's not your husband. The most you can do in the case of friendship is admire her or say you don't like her, never act like you're jealous.

Maybe it's just me, but I never went on my best friend's social media to complain because everyone in the photo was wearing a suit and he wasn't. I also never apologized or justified why he didn't wear a tie. I do this normally with my husband. Because it's logical for wives to do this.

These are just small points, where thinking logically justifies what we believe. So anyone who thinks that we are not rational, live outside of reality or do not have logical reasoning is mistaken, or has not yet stopped to think logically.🙃🙃

#outlander #shipping #samcait

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mintacle · 8 months

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My hot take is that the same people who call Jason copaganda, pr-gunviolence or etc are from the same vein as people who blame schoolshootings on videogame violence, who blamed crime on Metal and satanism.

Instead of taking a critical look at a system within which a symptom of a problem is making itself known, you look if there is an outside influence, a kind of "virus" that you can blame for making it "sick".

DC comics are a little fucked up. That's the agreement you entered when reading them. All characters are inconsistent and sometimes in the wrong. Jason is a Bat, so at least it feels like he's maybe substantial enough to blame for the whole batclans issues, in a way that Helena Bertinelli (for example) can't be, because she is less closely tied and has less appearances. Congratulations, you have an identified patient! Jason is the problem that is rippling out and causing all these nasty and unsatisfied feelings the readers have about how crime is handled in these comics.

We see crime being fought in imperfect ways and our current cultural consciousness goes off with warning bells to identify the problem. But what you were taught was to identify what outside influence happens to be present and connecting the issue, and how to justify that all evil stems from this malignant influence. So surely if we could just remove this bad thing, we could go back to the wonderful world we knew where everything was ok.

That world never existed. The thing we are nostalgic for, is the world before we became aware of it's flaws. The problem has always been there, has always been an integrated part of this whole you used to love and admire.

But because the kind of people blaming Jason for "copaganda" do genuinely and truly come from a good place of wanting social justice (I'm saying you are good people. I disagree and think you are making a logical error, but we do care about and want the same thing. Good People) because you come here with the right intentions, you use the buzzwords of copaganda. Or gunviolence. You know from what you have heard that the issue is systematic, but you are struggling to find what that system equivalent is in DC comics. You are falling victim to the fallacy of assuming a main narrative perspective. Just as irl cops are hard to identify as the problem bc you might have to first struggle through the cognitive dissonance that your old worldview of good cops was wrong (so so wrong), you experience cognitive dissonance if trying to read comics with someone like Batman being wrong and flawed.

Looking beyond any superficial similarities to cops Jason is called out for (uses a gun, kills, enforcing his vision of justice) he really doesn't have much more similarities. He isn't a figure of authority, he lacks the nigh god-given justification to do whatever he wants whatever the outcome and is questioned at every turn. Just the sheer instances of Batman or another Bat showing up to beat Jason up and lecture him on what he does.

Extending this, he does not have the pervasive and persuasive power to shape a narrative. Jason's narrative is so far out of his hands. Which has been a core truth about him since for ever. From his maleable origin story, to his death, the years of him being gone and having No Voice Whatsoever, his resurrection in utrh showing him trying, struggling to have a voice against Bruce's story and being drowned out and denied his perspective, the inconsistency of his character after, each writer trying to shape him into something. Now cops fucking have a narrative. Their narrative is the main one we are fed. Their violence is structured and oppressive. Jason is neither a structural systemic power, nor is he oppressive of anyone. If you disagree with his violence for the sake of the moral highground of condemning killing.... Then, just, there are other media, you know.

Cop violence is systemic violence. It is violence that is "justified" to the extent it requires no justification. It is above being questioned. I am genuinely willing to hear an argument how Jason is cop-coded. But to me he is the punk resistance based "violence" that is only organized in the anarchical but organical sense of caring to protect the community that surrounds you. He doesn't approach Gotham as a paternalistic force of protection shielding it from above, but as one of them from within, showing up for the people who are suffering the way he has suffered too.

#rambling #this got way too long and inceherent #man I'm just talking #jason todd

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symptomofgout · 1 year

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the narrative of kaveh being an idiot is so baffling to me because he is, quite literally, canonically considered a genius…? why is the popular consensus “6000 IQ alhaitham and his lovably stupid roommate kaveh” when every npc commenting on kaveh refers to his intellect & talent, the literal god of wisdom says kaveh has an “almost-perfect grasp of what it truly means for sumeru to be a nation of wisdom” (whereas she questions alhaitham’s wisdom in her line about him), and alhaitham’s own story profile calls kaveh a genius multiple times??? like the whole point is that he’s alhaitham’s intellectual equal despite having entirely separate worldviews and demeanors, which frustrates alhaitham to no end — ‘how can someone so smart do all of these things that, to me, are so evidently stupid?’ the takeaway from their dynamic should NOT be kaveh is dumb, but rather that empathy and emotion aren’t actually the opposites of logic and intelligence, but sadly both alhaitham and the realm of academia as a whole are too blinded by their own definitions of logic to fully realize that.

tl;dr kaveh is not dumb by any standards and i will prove it

(under the cut: quotes/screenshots/etc proving this + more. please spread the gospel and dispel ignorance. amen)

some npc voicelines (there are more but i’m lazy):

these are pretty self-explanatory — kaveh is a widely-renowned scholar, architect, and engineer throughout sumeru. he graduated from the akademiya with flying colors, students were desperate to take his classes, etc.

nahida’s voicelines:

both are intelligent but only one is wise: kaveh. alhaitham is too restricted by his narrow definition of wisdom (read: what he deems ‘logical’) to look beyond himself and grasp that there’s more to intellect and knowledge than pure cold rationality. he can’t comprehend that empathy and intellect aren’t fundamentally incompatible — in fact, they’re best when put hand in hand. kaveh is one of the few scholars capable of valuing emotions, empathy, and artistic endeavors, while the rest of the akademiya closes themselves off to that entire realm of knowledge from the get-go. this is what makes kaveh uniquely wise, and what alhaitham lacks. until you understand that emotions and logic can and should coexist, you won’t be successful in the true pursuit of knowledge.

last but not least:

alhaitham’s profile (worth noting that profile stories are pretty much the most reliable source of information on characters’ true beliefs and opinions — their voicelines are still them putting on acts in front of the traveler, but these stories are told from the perspective of an omniscient narrator and are likely closer to the truth):

“two geniuses.” and even after their falling out, “neither of them will deny the other party’s exceptional brilliance” — meaning alhaitham considers kaveh to be exceptionally brilliant. point blank. in the text bro

hilarious line — it’s basically alhaitham saying he doesn’t understand how someone with kaveh’s talent and intellect could have a personality/worldview so different from haitham’s. ‘how can someone that smart be so annoying!!!!!’ and ofc by values we know it’s referring to kaveh’s idealism, empathy, and affinity for the arts

alhaitham considers kaveh to be “another genius,” someone who is so much his intellectual equal that he’s “an excellent mirror” for alhaitham. it’s like an experiment for him — the initial question is “how can someone as smart as me care about all of these things i’ve always believed to be worthless,” the subjects are kaveh and alhaitham, the controlled variable is their intellect. because their intellect is the same, alhaitham is able to study their differences (can’t attribute said differences to varying intellect). alhaitham would never say it out loud — and luckily he doesn’t need to bc his character story tells us — but he’s deeply fascinated by kaveh bc kaveh’s very existence is a threat to haitham’s worldview, & he’s letting kaveh stay with him bc through kaveh, alhaitham learns about not just himself but the outside world and humanity as a whole, and as a scholar, there’s nothing more valuable. (also because he feels comfortable with kaveh [“he’s a familiar face”] and they’re both lonely [“similarly lacks familial attachments”] lol these two are never beating the We Know You Don’t Actually Hate Each Other allegations but that’s a different point so i digress)

IN CONCLUSION:

this is all just the TEXTUAL evidence — people saying “kaveh is smart” — and doesn’t even include all of the obvious implicit signs of kaveh’s intellect (no one who graduates from the akademiya w honors and teaches classes there could be anything other than incredibly intelligent, al “i don’t do anything that i don’t want to do” “i’m not going to bother explaining it to you because you won’t understand” haitham not only puts up with but actively seeks out debates with kaveh which he absolutely would not do if he didn’t respect him or consider him to be of roughly equal intellect, look at the debates he has w alhaitham on sumeru messageboards and TELL ME those messages sound like they were written by an idiot or itto or something [you cant], etc etc etc).

and also this is all from 3.3 (+ 3.4 alhaitham leaks)! we don’t even know kaveh’s rarity yet, that’s how far he is from being playable, but there’s already this much information on just how smart he is! it’s the main thing we know about him — 1) he’s smart, 2) he’s passionate/driven by what he feels is right! why does that keep turning into “LOL HOTHEADED HIMBO”??!

okay look. this is all so extra i know. BUT. i must set the record straight now (god knows it’ll only get worse the closer we get to kaveh’s release) because this sudden-onset mass illiteracy within genshin players is going to send me to an early grave. feel free to use as a resource and educate the ignorant so kaveh does not end up reduced to a one-note meme dumb guy when literally that’s just… not even in the game. i mean at least other annoying OOC fandom interpretations have basis in the game but genshin literally tells u every time it gets the opportunity that Kaveh Is Just As Smart As Alhaitham Because Cold Rationality Does Not Equal Wisdom/Intelligence and losing that would be such a crime because it is by far the most interesting n promising thing hoyo has done with new characters in ages! like, not only are they funny and entertaining, not only are they fascinating incredible foils for one another, but they’re used to make a much-needed argument against the prevalent hegemony of mindless rationality and our “logical” society’s illogical fear of emotion/empathy. but yeah sure, theyre just itto & ayato 2.0, i guess. god. the lack of reading comprehension among genshin players is literally an epidemic

#frustrating me to no end. miss the entire point of their dynamic and characters as a whole why don’t you #literally this isn’t ‘shipping goggles’ or anything it’s just … knowing how to read. not looking for subtext just literally reading the text #kaveh #genshin impact #genshin #genshin kaveh #genshin impact leaks #alhaitham #haikaveh #kavetham #kavehtham #genshin meta #i hope ppl see this bc it Needs To Be Said but sadly it will probably get like 10 notes. BUT STILL. i will try #fr the narrative needs to change i don’t think i can take five months of people on reddit characterizing him as th watson to hthm’s sherlock #yeah maybe if watson was a fucking genius too!!!#long post #(under the cut lol)#100 #500

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thedemonscrawler · 2 months

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I'm just gonna do this to Ruin

LIKE. YES I KNOW HE DID EVERYTHING WRONG. BUT HAVE YOU CONSIDERED HOW SAD HE MIGHT BE ABOUT IT

Like aaaaa I'm cursed to only like characters when they're losing I guess, and a Pyrrhic victory counts as a loss. I didn't CARE about this guy when he was the main antagonist, and then Eclipse 3.0 chucked him in the back of a car and kidnapped him and I was suddenly interested. And NOW, when everyone is very much upset about Solar, I'm off to the side shaking this bastard around because we finally got some concrete answers to what's going on in his head.

Just! This whole thing-- this is an exceptionally Moon thing for him to have done. To go 'I'm going to completely and totally remove this possible threat from ever occurring, and I'm fine with being the bad guy to do it'? That's some Old Moon kind of thinking. This wasn't a plan he came up with in the past few months, this took him years.

And speaking of years! Fifty years of playing pretend! Of acting like you enjoy hurting people, that you don't care as your body literally falls apart around you. I'm not a fan of the idea that he was never infected, I like the perspective better that he was infected, it just wasn't as responsible for his behavior as he made it out to be-- but still. At some point he had to have gone numb to it for the sake of his own survival.

What does that do to your mentality? Your outlook? What's it like knowing that your whole world was brought to its knees by your creator? What's it like being the only semi-stable person you know for half a century? What's it like realizing that you're also changing, and not for the better?

He's just... so painfully isolated, in a way that Eclipse doesn't even come close to touching.

And! And even after being 'cured'! He's still isolated! Like it was a good thing he WAS up to something-- can you imagine how crushing it would be if he'd been genuinely not doing anything, and he was still treated with suspicion for a solid like 4 months? By probably the most consistent group of animatronics he's had to talk to that weren't infected with a weird virus?

Like, the man didn't get repaired until 3 months after being cured, after Solar made a blueprint in his spare time. He didn't get a bed until Moon felt guilty about rummaging around inside his head-- and tbh I don't know if he ever got to actually use that bed. He let them call him Ruin.

Ruin never had a home in 'our' dimension.

And hhhhngh like I'm not even sure he cares, because he's past the point of caring. He's got one of Sun's worst traits as well, "There's no point in sharing what I'm thinking because no one is listening". He could have approached Moon and Solar with like "Hey okay so I started on this plan to do this thing like 10 years ago, I would like some input" and maybe an alternative could have been found!

But he didn't, because he's alone. He came up with the best plan he could, weighed the risks, and acted on it, all by himself. A single weird Eclipse against 5,000 Creators, because he felt like that was the greatest threat.

And like, lets be real-- Solar's death was 100% a narrative necessity. Otherwise we the audience wouldn't really care that Ruin had wiped so many dimensions from existing, it'd just be a number. That thing of like, you gotta make it personal to have impact. Very good storytelling right there.

(Though from a in-universe perspective, man it must have been an unpleasant shock to learn that of course the only other dimensional refugee was from one of the worlds you had to destroy. Like, come on, what are the odds)

He did something horrible. A multi-dimensional catastrophe to prevent a multi-dimensional catastrophe. He probably accepted the ramifications of it ages ago. He just... utterly lacks any hope, you know? No hope of forgiveness, no hope of improvement. He survived his world long enough to do this thing, and he has nothing else going for him.

He's just waiting for them to finally kill off his body, because he already died years ago.

Anyway I'm desperately trying to find an angle that can be used to maybe pull him out of his coffin here and so far I'm not seeing one qq but maybe future eps will give me something to work off of.

#the sun and moon show #tsams #the sun and moon show spoilers #spoilers #i guess?#also i have no idea if i wanna make rants like this on this blog or my main #ruin eclipse apologist tm #maybe not apologist maybe defense lawyer #your honor have you considered that my client's actions were not malicious and also he's really not okay inside

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queermania · 9 months

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hi i recently came across your blog and have been reading a lot of your posts about dean - your analysis is incredible. i was wondering... in your opinion, which arc is the worst when it comes to deancrits misunderstanding/critiquing dean unfairly?

so i'm 50/50 on whether this is genuine or bait. if it's not bait, i'm so sorry. you did nothing wrong. it's just that i get a lot of messages that are so very clearly not in good faith. if it is bait, well, joke's on you because i'm about to say a bunch of words and a bunch of people are gonna read them. so.

i think the most obvious answer to your question is the jack situation but i'm not sure it's the correct one. i think by the time we even get to jack (especially to the soulless!jack part of it all) a lot of people have already sort of lost the plot on why dean is ever behaving the way he is. there's this tendency to view his behavior as if he wants to control the people closest to him, not always because he's inherently malicious but often because he wants to keep them safe and keep them close to him to the detriment of himself and everyone around him (see look! it's not deancrit! we know he's not a bad guy. we're just being objective and he's just an abusive asshole who should burn in hell). and i get it. i see how they got there.

but it's frustrating because how they got there is by 1. taking every single thing the characters say at face value despite all evidence to the contrary 2. viewing every single thing dean does or says in a vacuum, removed from any and all context and 3. forgetting that supernatural is a fantasy show, not a family drama or sitcom.

take the demon blood story line for example. what we actually see is:

sam going on a mission for revenge regardless of the costs or consequences (which he's aware exist even if he doesn't know the exact details)

dean trusting his brother until he finds out his brother's been lying to him

sam being told that what he's doing is wrong on multiple occasions by multiple people

dean offering ruby his gratitude for saving sam's life and an apology for the way he's been treating her since he got back from hell

sam continuing to lie and act shady

dean telling sam that he doesn't care about the demon blood/sam's powers, he just cares about sam's behavior

sam draining an entire nurse and killing her

sam almost killing dean on purpose and telling him he's not strong enough, not like sam is

dean still being the one to offer an apology when all is said and done, twice

but all of that gets rewritten into a narrative that dean's just never trusted sam ever and sam was only doing something he thought was right because all he ever wanted to do was save people. how could he have possibly known something bad would happen? and now, even after the fact, even after sam's said he's sorry, dean still won't let it go and holds it against sam forever and ever.

this narrative persists throughout the fandom. why? because sam threw a few tantrums in which he rewrote what was happening and dean didn't protest and the fandom took it at face value. (1)

on top of that, deancrits treat each of dean's actions like they happened in a vacuum. one of the things deancrits fixate on the most regarding the demon blood plot is dean saying, "You walk out that door, don't you ever come back." in 4x21. they treat it as if dean was being controlling and manipulative; abusive, even. they treat it as if, out of nowhere, dean just decided to throw john's words in sam's face because sam simply wouldn't do what dean wanted him to do.

what actually happened, however, was that sam had been lying to dean for twenty-one episodes about what he was doing, despite the continued warnings not to do what he was doing, and now sam had beaten the shit out of dean, left him bruised and bloodied on the floor, to go do something that dean had been told repeatedly, from a source they all thought was the authority on the subject, that sam absolutely should not do. what actually happened was dean made a last-ditch desperate effort to stop his brother from doing something dangerous that would get himself and possibly a lot of other people killed. (2)

the deancrits also tend to magically forget they're watching a genre show, not a family drama, when it comes to analyzing dean. the source of conflict wasn't that dean just didn't like sam's new girlfriend because sam trusted her more than him. it was that sam's new girlfriend was a demon and dean had just gotten back from forty years in hell being tortured... by demons. it was that dean had angels of the lord, before he really knew that the angels couldn't be trusted, telling him he needed to stop sam. it was that the angel that rescued him from an eternity of torture and becoming a demon himself told him that he needed to stop sam. (3)

so the deancrits frame this conflict between sam and dean as if dean just didn't trust sam, for no reason other than sam was hanging out with somebody else, and dean was being irrational about it. after all, sam was only trying to stop lilith, right? dean was being irrational and controlling. and it sounds reasonable when you look at it from their perspective. but their perspective is not anywhere near the reality of what was actually happening.

and that happens over and over and over again. we see it with the idea that dean is the one who is codependent to a toxic degree, despite all evidence to the contrary*. we see it with the idea that dean thinks all monsters should die and sam wants to save/help them. we see it with the conflict in s6 being framed as dean just being angry that cas dared to do something without his permission. we see it with the fractured relationship between the brothers in s8, both regarding dean's return from purgatory and the trials. we see it with the gadreel arc and then the one with cas leading the angels. we see it with the mark of cain and the darkness. we see it with mary's return. and then we see it with jack, and most especially we see it with soulless!jack.

it's all so exhausting. by the time we get to jack, the deancrit has piled up the same way the narrative circumstances weighing on dean have, and so it feels like deancrits are fundamentally misunderstanding the situation more severely than they have anything else but i think in reality it's just the last straw.

so i guess what i'm trying to say is that the misunderstanding isn't necessarily about the individual arcs but about the way a genre story is told in general. they're not just unfairly critiquing an arc. they're mischaracterizing a whole ass dude and fifteen seasons of a show.

*dean dragged sam back into hunting. how do we know that? because sam said it. what did we actually see? dean bringing sam back to stanford for his interview. sam going back to hunting because of the fire that killed jess. dean wanting to take a break from hunting several times while sam kept pushing them to keep going. dean wanting to split up and stay away from each other for awhile after the demon blood thing. sam leaving amelia before he even knew dean was alive/back from purgatory. dean telling sam to go back to amelia. sam choosing, all on his own, not to go back to amelia. sam basically threatening suicide because dean had other friends. sam unleashing the darkness because he didn't want to be alone. etc. etc. etc.

**also i think there is a conversation to be had about dean's coping mechanisms and trauma responses being less palatable though not anymore harmful than both sam's and castiel's but that's a different conversation for a different day

#replies #anonymous #dw

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the-gateway-to-madness · 4 months

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It sorta bothers me that post-series people are still complaining about 3Below being disconnected from the rest of Tales of Arcadia. For me, it was a refreshing break from the densely-packed fantasy lore and an intriguing peek at the way the universe beyond Arcadia and Earth functions. I liked the character arcs and interpersonal connections. And there was ample room for me to come up with a bunch of my own headcanons, which I love! I absolutely love being able to slot pieces of my own mind and soul into an existing world! I don't like shows where I'm told how every little detail works, that's way too much to remember. Instead I want enough to create an idea of the rules and how things might have gone/might continue to go and fill in whatever else I want.

Also, I think 3Below was SUPPOSED to be a lot more connected before Wizards got cut down. Tons of ideas didn't make it into the limited series run- I remember hearing stuff about Mordred being involved, a lost Krel arc, and I'm sure a lot of lore that would have bound the worlds together more closely. When they mentioned Gaylen's core came from Earth, there was clearly supposed to be more to that, but it got cut out. I'm like 93% sure Gaylen was a being who was part of or similar to the Arcane Order, but was drawn to the cosmos rather than to a part of the Earth. That would indicate that Akiridion tech and magic are compatible because Akiridions' energy-based life was initially magical, but those roots were largely forgotten because of how old a civilization Akiridion is. They've been spacefaring since humans were cavepeople. If the Order existed from the primeval dawn of the world, and Gaylen left not long after that, Akiridion could be millenia ahead of Earth. Or, heck, maybe Earth was the first or only livable world, and Gaylen created the Order to look after it before going off to try to find or create life elsewhere. I always headcanoned that Seklos was more powerful than most Akiridions or even the Royals that came after her, given the fact her core alone was enough to stop Gaylen while in the modern era it requires two royal cores. Maybe she was created by Gaylen to be Akiridion's version of an Arcane Order type being, and she created normal Akiridions, which she then had kids with, diluting her power in the Royals that followed. There's so much ancient history to unpack from just the tidbits we were given.

As for the modern era, there seems to very distinctly be a major intergalactic connection. The drunk ship operator in episode 3 of 3b s1 that the Zerons interrogate talks about ship classifications, which indicates a universal or at least an interplanetary system of ship ratings. We also see interplanetary tourism, and signs that Akiridion is one of the most advanced and influential planets out there.

3Below doesn't need to continue the plot of Trollhunters to be a valid part of Tales of Arcadia. It brought an energy to ToA that was somewhere between Star Trek TNG and Babylon 5, and I love how it expands the weirdness of Arcadia. If it was supposed to be a continuation of Trollhunters, they would have made more Trollhunters. But it's not Trollhunters, it's 3Below. And Wizards isn't Trollhunters either! I honestly think that Camelot, Douxie, and the world of wizards could have been written such that the Trollhunters cast was much less focal, and that if they'd given the show the time it needed and deserved to tell its story, it would have been fleshed-out and fascinating all on its own, with or without the TH gang. Where are the magic users beyond the reach of Camelot? Are there merfolk, sirens, harpies, dryads, more dragons, or other sapient races living on Earth with their own civilizations and magic and cultures? There are so many worlds and so many potential stories out there, on Earth and beyond, in the Tales of Arcadia universe. Arcadia just happens to be the narrative meshing point of them all. And I think that's a really cool way to build a universe.

Anyway, thanks for coming to my TED talk, here's more Akiridion development as a treat for making it this far.

#Tales of Arcadia #3below tales of arcadia #trollhunters tales of arcadia #wizards tales of arcadia #toa #jim lake jr #toby domzalski #jim lake junior #toa trollhunters #claire nunez #hisirdoux casperan #douxie #toa wizards #trollhunters #toa 3below #3below #krel tarron #aja tarron

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