@theneutralmime

I assume you mean the Coruscant Guard and not the GAR as a whole. We do see Fox during the Fives arc responding directly to an order from Palpatine, but he's also IN PALPATINE'S OFFICE already because they're playing bodyguard in the moment. The GAR would be subordinate to Palpatine obviously, because he is the Chancellor of the Republic. Everybody is subordinate to Palpatine, that's kind-of how it works, it's just that most of the other clones seem to sort-of report more directly to a Jedi General or a civilian officer of some kind before they report to Palpatine.

So whether the CG reports directly to Palpatine or not is sort-of up to speculation as far as I can tell. It's possible that a reference book might have something more to say about it, but what we're shown in TCW isn't conclusive. There's never any indication that the CG have a Jedi General of any kind, so they presumably have to report to SOMEONE and most people just assume that this is Palpatine. It's just as possible though that there IS someone else they report more directly to normally, like Mas Amedda maybe or someone like Tarkin perhaps. The CG just aren't explored enough to really give any sort-of definitive answer as to who they report to directly. Palpatine is the ultimate authority so his orders would supersede anybody else's no matter who they came from.

As for Fox's personality, I have basically the same answer. He really isn't explored enough as a character to really say he has a "murderous" personality. He's in all of a few minor scenes across the entire show and he's always working and he never even has his helmet off, so figuring out his personality is a little difficult. Most of what people know his personality to be comes out of fanon, not canon. The closest I can think of to something he says that might give a hint as to his personality is when he tells Ahsoka that he understands why she'd kill Letta Turmond but that he still has to arrest her for doing it. It's not murderous by my interpretation, but it does show that he has empathy and is willing to treat Ahsoka with kindness despite what his duty requires him to do. He does help chase her down after she escapes from her cell and a bunch of his men seem to have died at her hand, but there doesn't seem to be anything particularly personal or vindictive about it, it just means he doesn't have the time or motivation to offer her the same empathy he did earlier.

So sure, he seems focused on work and pretty professional, but we also only ever get shown him WHILE WORKING, we never see him in any kind of downtime. And the one line that seems to showcase a little extra personality is actually intentionally empathetic towards someone he should see as a criminal. He doesn't have to extend that empathy to Ahsoka in the moment, but he does, and that seems to go forgotten quite a lot.

tmagp 13 relisten notes!!

there are spoilers for episode 13 below the cut!

celia:

- admits to sam that she asked alice for advice and general information about him. this implies she has a pretty friendly relationship with alice (evidenced by alice buying her a mocha) and seems relatively unthreatened by her past with sam so far.

- "no one, im mysterious" -> evidence for her not being from this dimension, if no one can give a lot of information about her

- reveals jack is her baby! (not followed by a glitch)

- says the past couple years "since the move" (between dimensions?) were weird for her

- believes the incidents they work with are real, and im certain shes in the same boat as the audience rn, trying to categorize them with background knowledge that isnt accurate anymore

sam:

- easy to make blush, doesnt know how cute he is, is an overachiever, obsessive, a but repressed, nosy, kind of a recluse, and very easy to wind up

- gifted kid syndrome poster child; he seems to view being turned away by the magnus institute as the beginning of his rejection streak (not admitted to oxford, didnt get first, got fired from his legal firm). i think this will be a major point in his motivations and a fear of rejection and need for validation is going to drive him to receive the greatness he wants (and believes he has earned). i can already see a corruption arc brewing for him, poor thing

- did NOT tell celia about his experiences in the institute or what his "incident" was (referring to lena's interview where she asked him what the worst thing he's seen/experienced was). this isnt super sketchy considering its a first date, but is interesting since he was the one who wanted "all the baggage" out early

- he doesn't want to accept that the incidents are real, but i think he does believe in them. he brought the topic up to celia and has asked alice about it before too, so he may be aware that the incidents are real, but is unwilling to fully conceptualize what that means for himself and his world view

- says that alice doesnt love the idea of him seeing celia, which means he may have picked up on her feelings for him

gwen:

- feels guilty over instigating the mr.bonzo incident -> whats really interesting is that she doesnt threaten to quit or not be involved, she accepts that she gas another email to look through and another external to interact with, but it seems to upset her

- she asks lena why this (externals and mr bonzo murder) is happening, implying that she can stomach the work if its for a reason

lena:

- gives gwen the ABCs of genre-awareness:

- this dimension also has "opposing forces- most of them meaning to be harmful.

- these "forces" need to be "balanced" and controlled in order to maintain order in the world/system -> still working off of a smirke-esque theory that retaining balance will keep the world secure. i dont know if she means balance between forces of good and evil or forces in the supernatural sense

- says the OIAR is managing the bad guys, as in monitoring their actions and directing externals to "balance" things

alice:

- actually offended that sam doesnt want to share information with her and isnt having a good time knowing sam and celia are seeing each other

- tells sam "he cant prove anything" about the cases being real, but doesnt tell him hes wrong

- i would fling myself from a sky scraper for you, miss dyer, but please never say bussin or fire again

- "stop trying to make an impact" -> the more she tells sam to cut the x-files shit out, the more she stops protesting his suspicions. her scolding has gone from "nothing is going on, chill out" to "sure, theres a conspiracy, but we are paid to ignore it"

-

alice/sam's past:

- dated at uni, previously stated they were together for several years. it seems to have been a decent split since they stayed in contact afterward.

- sam was there for her when her parents died, but lost contact after

- she contacted him w the OIAR job details after he made an exceptionally pathetic vague post

incident:

- centered around gambling and self harm to achieve success- this draws ties to episode 2 (self harm) and episode 9 (luck). i expect this is more aligned with ep 9, as the self harm seems to be in the interest of changing his odds/luck, and the incident is primarily about gaining external success, not physical change. though, ep 2 could be a personal experience with ink5oul that is not representative with their "force"

- the narrator of this statement was quick to actively sacrifice his own well being to achieve better luck, which is a pretty stark contrast to other people who looked to harm other people in their own interest (violin guy and dice guy, i forgot their names sorry!!)

- zorro trader may be a reoccurring organization in relation to gambling

- the narrators options for his debt were to either pay it back or have a personal adjustment, once he completes the voicemail he is transferred to the adjustments apartment, which was not an option on the original call log and something he did not request

- he is promptly adjusted :)

- i think this could be related to the theme of keeping balance, since the incident narrator claims it isnt wrong to play with the loophole, and it ends with him getting what he owes, which is a nice connection to lena's explanation of the OIAR's purpose

glitches/lies:

- "im happy you're happy", alice (she is not happy that sam is with celia!!)

extra comments:

- i really didnt expect an explanation of the OIAR and its position in this so early, and im surprised lena was the one to reveal it. this exposes that shes pretty open with the staff she feels are on a need-to-know basis, and it also changes my expectations for how we'll come across a big reveal in this series, since information is being given in a more open way

- i think alice and celia definitely know something but in opposing ways- acting as foils to each other with sam (information seeker) in the middle. celia knows about how the fears work in the tma dimension, and alice knows why and what the OIAR are really doing- together, they solve the puzzle that sam is trying to piece together.

I have mixed feelings about Wally possibly dying in Lights Out- cause like he's my absolute favorite, my baby!!!! ... but then i also think that him dying after watching over everyone as they slept is just *chefs kiss* He's finally getting rest!!! lmao

Also i wanna see Barnaby go apeshit hehe

oh i missed this ask! hm. this is funny

3l!grian is frequently depicted as a tragic figure and sometimes i wonder if we even watched the same series

I have connected two dots... yamato kaido and momo (and kinda shirahoshi with her top) have clouds above their shoulders... and luffy in gear fourth has them also.... I can see the signs

leafpool should’ve been the fourth cat. it starts with her getitng told by starclan that squirrel and bramble were meant to be together. something they only did because they knew about her eventual kits with crowfeather.

it’s established that starclan uses her for their bidding. she’s even named after the place where starclan communes with them. so why wouldn’t they make her be the fourth? she is where it began so she must be the end.

she would essentially replace firestar’s whole role in po3 and oots. she is given the prophecy of the three instead of him. although she immediately understands why starclan told her the prophecy. so she could make them as strong as powerful. so instead she tries to play down their powers as much as possible, just wanting lion and jay to be normal kids.

but she’d know that holly wasn’t the third. she knows her daughter is not a dove. she is an owl. she is silent, and watching. waiting. for her moment. when it’s finally confirmed that holly is powerless her heart breaks for her and desperately wishes to comfort her but knows she cannot. 

she loathes starclan for what they’ve done to her. for what they stole from her. and now making her the fourth cat? why couldn’t they do that for holly? 

when she goes to starclan. be it through the moonpool or in her death she lets loose on them. there’s nothing she can do at that point but she doesn’t care. she’s infuriated at being a pawn in their game. she is alive. she has a family. how dare they treat her like a toy to be played with and thrown away when bored. 

she forsakes them and chooses to wander the world as a ghost, watching over the futrue generations. desperate to warm them about starclans ways and to not trust them under any circumstance. starclan cares for no one.

not getting over this one...

I love Izutsumi. She's got a great design, she's a fun addition to the main party, she adds some new tension, and she's honestly one of the reasons I read dungeon meshi in the first place. I mean, "the most cat to ever girl" is an extremely appealing hook to anyone who loves cats and girls (me, I love cats and girls).

However, while I have always liked Izutsumi, I finished the story kind of feeling like I didn't really get her. I felt like I had a decent grasp on her character an character arc (she's a traumatized teen given space to feel safe and open up, and because of that she realizes that she can't grow without letting go of the coping mechanisms she once needed). But I didn't feel like I really understood her role in the story as a whole.

She follows the group of her own accord, after a coincidental meeting and a misunderstanding of what they can do for her. She's never super invested in saving Falin, at least not compared to the rest of the group. Though they do help her escape Maizuru's shackles, and are clearly good for her in general, she doesn't really have a healing Moment with the group the way that Senshi does with the hippogriff soup.

And yet, she gets an entire chapter, the third-to-last chapter, dedicated to exploring her growth and future. She's the one who frames much of the falling action, who lets us check in with everyone. She's the one who helps talk Laios into accepting his role as king. She may join the story part way through, but she is there for most of it. So Izutsumi! What's your deal!?

Well, I think I've come up with an answer, at least for myself, that I really like. Two of them, even! Though they both really work together to form the overall point - Izutsumi is the character that most helps the story face towards the future. Here's why I think that.

So the first of these "ah-ha" moments was when I realized that Izutsumi really is the best supporting evidence for Laios' point about the good things that wouldn't have happened if Falin hadn't died.

If Falin hadn't been eaten by the dragon, Izutsumi probably would still be a slave. It was because of Shuro and Laios' parties both being in the dungeon to rescue Falin, as well as Marcille's use of ancient magic in the resurrection, that she got the chance to escape. None of that would have been the case if Falin hadn't died. Shuro wouldn't have separated from the group and joined up with his retainers, Marcille wouldn't have revealed her knowledge of ancient magic, and Izutsumi never would have even met any of them. They are only part of her life because of Falin's death.

Though this isn't explicitly pointed out by Laios or Izutsumi in the scene, I do think you can very much feel the presence of it. For one, when Marcille reflects on the journey and how much it made her realize she didn't want to lose everyone, her relationship with Izutsumi is prominent:

It's the main original group at the top and center, but when you read it right to left, it’s Izutsumi and Marcille who might catch your eye first. And it's specifically Marcille and Izutsumi's relationship on display here, not just Izutsumi's presence in the group in general.

Also, after Laios' statement about how none of their adventure would have happened without Falin dying, it is Izutsumi who gets the final word:

Izutsumi is also the one here who is the most forward-facing. Chilchuck is trying to correct Laios, Senshi is focused on the immediate future, and Izutsumi is talking about her new goal.

And I want to talk about that goal in general as well, because it’s also interesting how it comes up. In that moment, everyone is trying to remind Marcille of her less destructive desires - to eat food, to share it with them, and to meet Chilchuck's family. All of which are previously established, existing desires. When prompted by Chilchuck to join in, however, Izutsumi offers something new:

That's interesting, isn't it? It's kind of funny, of course, to see her rambling on about a completely new thing, her own personal motive, in the middle of everyone working together to reach out to Marcille. Izutsumi doesn't even know who Yaad is! But at the same time, it’s kind of meaningful. Amidst the focus on desires that everyone already had, she adds a completely new one to the mix. It’s even the final bridge that lets Laios reach Marcille.

It is, in fact, even an idea that comes back later to help out another lord of the dungeon. The idea of finding new goals and feeling new desires... this is exactly how Kabru reaches out to Mithrun, after the Winged Lion is gone

So yeah, Izutsumi's presence here, both in what she's actively choosing to say as well as what she represents of the consequences of Falin's death, supports the story's ideas of moving forward. Of accepting the past, and finding new reasons to live.

Which is all really good, and that alone works pretty well as an answer to what Izutsumi's role in the story is.

But oh, oh. There's more. Something I realized after having thought of all this, because I still couldn't let go of the feeling that there was still something I was missing.

And as I reviewed the things I loved about Izutsumi - her sometimes unhealthy ways of coping with trauma, her struggles with isolation, her skill with fighting, her selfishness contrasted with the ways she grows to care for and protect the group, her perpetually guarded nature, born from the seeming impossibility of ever fitting in or finding a safe place to just be herself - I realized something.

Izutsumi...

is a foil to Falin.

Where Falin copes with isolation and trauma by being eternally caring and struggling to say no to people, Izutsumi copes by constantly saying no to everything she can. Falin is often considered selfless, but does have selfish desires that she can’t easily express until a moment of crisis. Izutsumi is delightfully selfish, but chooses to stick by her friends when they need her. They are both transformed, against their will, into partly monstrous hybrids, and they both will have to live with that - there is no undoing what has been done to them.

Falin anchors the group in the past. Izutsumi pulls them towards the future. Neither would find freedom without the other - it is Falin's death that leads to Izutsumi joining the party, and likewise, it is Izutsumi who inspires the realization of how they can save Falin.

And Falin is her future, as much as Izutsumi is Falin's. Both learn to be a little more like each other, even though they never meet. Falin gets a little more selfish. Izutsumi gets a little more willing to bend.

In this context, I feel like I have finally started to understand just how important Izutsumi is to the story. She is a proof that they cannot just go back, and she is a clawed, happy-to-scratch-anyone-who-pisses-her-off reminder, at that. In any conversation about what the group wishes would have happened with Falin, she cannot be ignored or brushed aside.

She is a reminder that, even in the midst of a tragedy so big it feels like a shadow you will never escape, you have yet to met all the people you will love. Hell, some of those people might even be catgirls. We should all be so lucky.

Gee, thanks DC! You Just Turned Bruce Into An Irredeemable Ass.

So, at the end of Gotham War Bruce has officially lost everything. Alfred is still dead, Selina is "presumed dead" and Bruce is both financially and morally broke. Why, you may ask, is Bruce so much worse off this time? Let me count the ways.

He preformed a psychic lobotomy on Jason

The "it's for your own good" excuse only makes the mental rape undertaken by Jason's own father that much more heinous.

Just when you think Bruce can't sink any lower he does. When Dick recognizes that Bruce has lost it, he attempts to use a failsafe disconnect that Bruce himself built into the system. How does Nightwing get thanked for that? Well that brings us to number two on the list.

Batman attacks up his eldest son for doing what he's supposed to do when Batman has gone rouge.

Bruce beats him up because nothing proves you are in control of your sanity like hitting your children. While Dick is holding back, Bruce does no such thing. He hits Nightwing hard enough to send him flying. It could have gotten even worse if Tim hadn't shown up.

Tim arrives and attempts to talk some sense into Batman.

Tim tries to talk Bruce down. It doesn't go well. When Robin is trying to help, as he always does, Batman uses the attempt to reason with him to put the smack down on his son. Bruce could have killed Tim but apparently feels no remorse or guilt.

If there was any teeny tiny little doubt that Bruce will not win the Father of The Year award in 2023 it died a horrible screaming death when Batman abandons his children to potential arrest. Yes, he left a batarang for Dick and Tim but any glimer of possible hope associated with that action was instantly extinguished by Damian's reaction to Batman's callous betrayal.

Bruce abandons Damian.

Look at Dami; he's devastated. Since he came into Bruce's life, Damian has struggled with feelings that he can never earn his father's love and respect. Well, that negative self-image was reinforced in way that may never be repairable. Bruce just utterly destroyed a 13 year old child because of his inability to feel any kind of empathy.

And how does this all end? The best part is that Bruce takes all of his parental responsibilities and dumps them onto Dick.

Thank you Chip Zdarsky and Trini Howard. You've taken Batman from being an edgy anti-hero and made him into a callous monster. Part of me hopes that Bruce never comes back because he doesn't deserve his family.

The only positive aspect in this convoluted mess is that Damian and Tim will be far better off with Dick than with Bruce. Yes, Tim is mostly independent but he still needs guidance (particularly since Tim's first instinct is to try and save Bruce). Damian is essentially Dick's son emotionally anyway so this might help to sustain the positive character growth we've seen in him as of late.

The point of this rant is to wonder what on earth DC thinks they're doing. This story arc has been pure character destruction as far as Bruce is concerned. It's bad storytelling too; rushed, frenetic and massively disappointing.

Hasn't the popularity of Good Dad Bruce in Wayne Family Adventures proved that fans are tired of Bruce being a dark depressed and brooding edge lord? We all accept that Batman is a character with deeeeep issues who is in desperate need of therapy. I, however, draw the line at Bruce being an abusive a**hole.

In years to come when fans wonder when Batman jumped the shark, this is the plot line they'll point to.

Everything Is Meant (long S2 analysis, part 2)

Part one here

Okay, so that's how I think the pre-creation scene and Gabriel's arc connect to Aziraphale's choice. I also think the ineffable bureaucracy speedrun exists to prove totally different things to Aziraphale and Crowley: Aziraphale loves that they can love each other but notes they have to run away to be together; Crowley sees this and immediately thinks "hey, we can do that too!", forgetting that running away is not a solution Aziraphale has ever been interested in. It's the mentality of an individualist vs a group-oriented mind, and neither of them is necessarily wrong, it's just that their priorities are different and they HAVE TO TALK ABOUT IT, which they don't.

Continued analysis under the cut:

3. Let's take the Job minisode. Why include it? We already mentioned that it proves Aziraphale remembers Crowley as an angel, since he mentions it. And he believes Crowley is the same person he always was, and that he doesn't want to harm Job's crops or animals or children. Crowley tries to convince him he's a Big Bad Demon who is all in on this assignment, but fails utterly to kill even a single goat, soooo... Aziraphale comes to the conclusion that he knows what Crowley wants. Alert! Alert! This is a big problem! Crowley says, "What do you know about what I want?" Aziraphale: "I know you." Crowley: "You do not know me." But because Aziraphale got it right this time, he goes ahead assuming he'll always get it right, which is a crucial failure when it comes to the final reckoning. He doesn't ever ASK Crowley what he wants, he just assumes. When you assume you know what someone wants, you usually assume their priorities align with yours... he couldn't be more wrong about that. The Job minisode sets up this dynamic for them, and they never really manage to change it.

The other thing happens at the end of the minisode. Crowley acknowledges two crucial points: 1) he's lonely ("But you said it wasn't!" "I'm a demon. I lied"), 2) he doesn't think Aziraphale would like Hell. Aziraphale DOESN'T like Hell. Aziraphale hates Hell for what they've done to Crowley. He doesn't see Heaven as innocent or benign, but importantly, Heaven has never tried to hurt Crowley directly. They never threatened his safety. They never tortured him (as it's heavily implied that Hell did). Fast forward to the last ten mins of season 2: Aziraphale excited to tell Crowley that he can be an angel again BECAUSE: he never has to go back to Hell. They can never hurt him again, not the way they did before. And he doesn't have to be lonely anymore.

Last point before I leave Job: Crowley has the chance to cause Aziraphale to Fall, here, probably. ("I lied to Heaven to thwart the will of God!" "You did, but I'm not going to tell anybody. Are you? ...good, then nothing has to change.") He doesn't take it. He doesn't want Aziraphale to be a demon. He loves Aziraphale as he is. "Angel" as an affectionate. Aziraphale certainly doesn't use "demon" as a pet name for Crowley. I think they set up this scene to contrast the final one, and show how deeply hurt Crowley is that Aziraphale suggest he change.

4. Moving on to Victorian Scotland. This one confused me at first. I was delighted that they brought back the "the lower you start the more opportunity you have to rise" dialogue from the book, but apart from that I didn't really see the point of it. It seems like the statue of Gabriel and the fact that he and Beelz ended up at that pub in the present were more or less coincidental.

The point, I think, is actually not the girl, but the doctor. He's a person who is trying to do good by working in a system that's deeply flawed, and engaging in questionable moral practices for the greater good. (Cadaver dissection is still an essential part of medical school. You need dead bodies to understand living ones.) He shows Aziraphale a tumor he removed from a child who died, and Aziraphale clutches it to his chest. The camera zooms in and lingers to tell us that this is a guardian through and through. He wants to protect people. He wants to do good with every fiber of his being.

To Crowley, it's enough to just "be an us" with Aziraphale. He doesn't really want anything more than that. That's an issue! For one thing, it fosters unhealthy codependency, and for another, Aziraphale would never be happy without the opportunity to help and protect people. It's an essential part of who he is. Metatron knows that, and he plays Aziraphale like a fiddle. The doctor showed Aziraphale that you can make a difference even in systems that are flawed, and even if you have to do things you'd rather not do. Aziraphale doesn't want to go back to Heaven, but he truly thinks he can change things; thinks he can be a guardian with some real power. In his mind, that's the right thing to do.

Last thing that happens in Scotland: Crowley saves a soul from Hell, arguably, by preventing a suicide. He gets in Big Trouble. Whatever happened to him downstairs resulted in him coming back up, leaning on a cane, and asking Aziraphale to give him holy water. Go back and watch that scene knowing what we know now about the Victorian minisode. Ask yourself how Aziraphale must have felt. He likely blamed himself for what happened, because if he hadn't meddled then they never would have been there in the first place. He knew where Crowley was, and why he was there, and he had to sit with that knowledge for years. He desperately wants Crowley to be safe; is perfectly willing to push him away to keep him safe-- which is what he does do, the minute Crowley gets back.

Now think again about what Metatron offered him. A chance to keep Crowley safe forever. He'd never be harmed again. Aziraphale is going to take that offer, no matter what else is asked of him. He's shown over and over again that he'll sacrifice his own happiness to make sure nothing happens to Crowley. And he'll do it without talking to Crowley about it first, because he is a moron who doesn't know how to use his words. Leading Crowley to assume that Aziraphale doesn't love him. The idiot angel is doing it all out of love, but because he doesn't make himself clear Crowley doesn't know that.

Part 3: Maggie and Nina, and their roles as mirror couple/ Greek chorus!

SxF Crack Theory: The Identity Of [REDACTED]'s Father

Hear me out here.... but, maybe, Twilight's father could be Yuri's boss, aka, the SSS Lieutenant.

Now, this might be a crack/joke theory, but here is the evidence I have to back up my claim (yes, I'm presenting it because I'm just Like That):

(Warning: Manga spoilers ahead)

Exhibit A: Physical Characteristics

Here is a picture of Agent Twilight:

Here is a picture of Yuri's boss (who, from now in, will be referred to as YB, for my own convenience):

We can see that Twilight and YB have very similar facial characteristics: bluish-grey eyes, blond hair, and a similar face shape (nose, jaw).

We never see Twilight's father's full face: only the lower half, because he has presumably forgotten his face, along with his mother's (King of Emotional Repression™️), but we can see that his jawline and shape of his mouth are very similar to Adult Twilight.

Oh, and look at that- rather pronounced cheekbones, if I do say so myself. Where else did I see those? Hmmm

Exhibit B: Ambiguous Fate

During the War Arc, we're never told about [REDACTED]'s father's fate. We just know he never returns to his family: and the reason why he left for the very last time, was that, "Things have been heating up at the border. I need to take a little business trip." The fact that his, a (presumably) rather important man's, body was never recovered: nor were [REDACTED] or his mother informed of his death. Of course, his body could have been lost in the bombings, or the part of [REDACTED] finding out about his father's dead could have been omitted, but for most of the part, we're left to assume about his father's dead. And... this sounds familiar to another instance...

Like the instance of [REDACTED]'s friends. He (and we) assumed they'd died in the warehouse as children, but later we see that they're alive and in the army (only to die a second time, RIP), but this time, for their deaths to be confirmed: for [REDACTED] to only receive their dog tags after the failed campaign.

This may have been a setup: for Endo to reintroduce [REDACTED]'s father, later in the story, as YB.

Anyway, one thing I've learned after reading and watching so many books, comics, and TV shows: never assume a person's dead, not unless their body/proof of their death has been explicitly shown. This belief was only reinforced after [REDACTED]'s friends.

And, [REDACTED]'s father's last known place was around the Westalian-Ostanian border. He could have escaped in the crossfire, theoretically...

Exhibit C: Fatherly Nature (?)

We all love a good found-family dynamic in the workplace. It's there with WISE, it's there with Garden, and it's kinda there with the SSS.

My main argument about this stems from the chapter which focuses on Yuri's work.

We see YB continuously worry about Yuri's physical health, in panels like:

Obviously, this doesn't happen only in this chapter. Whenever Yuri's there, YB is also there, yelling at him to a) go to sleep, or b) STOP GETTING HIT BY BUSSES OH MY FUCKING GOD IT CAN'T HAPPEN SO MANY TIMES TO ONE PERSON-

And, of course, there's the Yuri Sick Fic chapter:

Not gonna lie, this point is extremely weak, if I brought this up in court I'd be laughed out of there-

Anyway, I just wanted to put this in.

If it does turn out that YB is [REDACTED]'s father then. Bestie. Buddy. How are you managing to be a better father-figure to some insolent kid who gets hit by busses than you were to your actual son, like 20 years ago. Maybe he learned along the way.

Exhibit D: Symbolism (???)

Oh, look, another point I'm pulling out of my ass! But whatever, you're reading it <3

During the War Arc, we see Twilight sustain two major injuries:

One, as a child, when his home is bombed:

And two, as an adult, in the army:

and these injuries are both to his left eye.

Of course, this has given rise to theories of him not being able to see his left eye, it being his blind spot, and Yor guarding his blind spot on missions, etc., etc., which I love bc ✨Twiyor✨

Getting back on point, if we look at YB, we see that he has injuries too... or rather, remnants of them, what with the scars he has...

which, are also on his left eye. Huh! Interesting... this might just be me, but could this be parallels to how similar he and his father were? Are? His father also wanted peace between Ostania and Westalis: but he taught his child that in a very harsh manner (by slapping him), but Twilight wants to teach Anya that in a kind manner. Whenever we see him teaching her, he never loses his cool with her (of course, he loses a lot of hope, but this man's a pessimist, what can we do).

Also shows how much kinder Twilight is, compared to his father.

---

Of course, these points are very weak, and it might just be that Endo reused some character designs for efficiency, but let me be, ok!! This is a crack theory!!! Let me be a clown!!!! AKDFJSJF

If I'm being honest, this post was inspired by a convo I'd had with my friend, around the time Chapter 86 was released. She was theorizing that [REDACTED]'s dad is the Shopkeeper, and I was theorizing it was this dude. Of course, our theorizing was sidetracked by Chapter 86, and a certain panel within it, but... WHATEVER.

So, what are your thoughts? Obviously, my own theory is very weak (for example, why would the SSS accept a Westalian citizen into their ranks? Why would he even join the SSS? Could he have defected? Abandoned his wife and kid?), but this was fun to think about, lol. What are your theories? I think the Shopkeeper-is-the-dad theory and the YB-is-his-dad theory are both cool, so, what do you think?

(Also, yeah, I know, his dad could very well be dead. I just refuse to believe it, bc I'm just Like That <3)

We're going to scream about Nandermo all week, but right now I need to talk about Baron Afanas. Because the Baron's arc, so to speak, always felt like a big part of the series DNA for me - and oh fuck did this episode deliver on why.

I think we can agree: in the show, vampire society is fucked up, right?

Vampires on their own have plenty to deal with that can make them crazy. They have to live by killing. They lose everyone from their old lives. They have to find new reasons to keep going on, forever, so shit can get decadent really fast.

But holy shit, what that's turned into in vampire society? Where you actively put cruelty over mercy, and violence over solving your problems? Death cults and scam artists roam free, but if someone has depression the best thing to do is ignore them. Someone can get their mind wiped or be locked up for centuries, and that's just what you do to your species.

--

So: the Baron's arrival is the first conflict of the whole show. The joke is about an ancient powerful creature of pants-shitting terror, vs three lesser vampires who just want to live their lives and not get murdered for being too lazy to conquer humanity. There's a lot of talk about how to please him: do you keep to the old ways, or pick up some new traditions? Decorate with flayed skin, or with glitter? And the Baron says: who cares, you're all soft and useless. All that matters is getting more control over this world, until people are cattle and we have no reason to hide anymore.

But later he confesses: that shit stopped mattering ages ago. He's not even real nobility, he's literally impotent, and he talks about doing horrible things because he doesn't know what else to say. He's angry and half-crazy from boredom. And admitting that, owning those feelings, means suddenly he has three new friends and a whole new world of things to enjoy.

There's the Baron the rest of the vampire world knows, but for one night we see the ancient, unknowable terror was just a guy. Maybe he's always been just some guy.

That fun puts him in a vulnerable position, and he's killed by the most unwitting vampire slayer in fiction. But Baron Afanas is changed. He sucks dirt for a year and still comes out of it with a new lightness and joy to him. He saves the Sire, another ancient terrifying monster everyone was eager to kill or send away. They adopt the hellhound. They get cozy and give advice. They make popsicle stick houses and go on walks. They live.

And that seemed like the end of the story until last night - when the Baron suddenly felt like the butt of a joke everyone knew but him. Spurred on by someone else who feels lonely and ignored, the Baron felt vulnerable. And he snapped back to how he lived for centuries.

'What the hell are you all doing, enjoying yourselves? We're supposed to be unhappy. We're supposed to live centuries of unhappiness, bringing pain to everyone in our path, and we're definitely not supposed to cheer up our friend who's sad.'

--

Nobody liked the Baron before Guillermo killed him, not even other powerful vampires we meet; they saw the Baron as a crazy far beyond their own crazy. But this is also how vampire society values you. It's how they measure Nandor's worth when they think he's dead, too: how old and powerful you are, how much you've been able to conquer and kill.

Vampire pods are both cliquish and aren't expected to last in the first place. If someone dies, you literally paint them out of your lives and forget. Everything we see discourages feelings, sincerity, or even basic companionship. The only way to earn respect is to be cruel. The more cruel you are, the more powerful you are. The more powerful you are, the more feared you are - the lonelier you are, the crazier you are. It's practically designed to create the Baron, or worse.

But new vampires don't behave that way. And the vampires we follow in the show don't behave that way - because they have each other, because they've been encouraged to have each other, often by Guillermo. (Holy shit, Nadja saying maybe she'd be fine dying, and Nandor immediately asking if she's okay? Nothing changes in this house, except everything does. They're not going to almost lose one of their own ever again.)

The vampires in the heart of vampire culture never seem happy to be like this. It doesn't have to be like this.

--

The Baron doesn't become a tyrannical monster for long. Because he never actually was one - and because he spends two evenings and a fireball to the face, watching Nandor and Nadja fight for Guillermo. Watching them plead and cling and defy, seeing Guillermo's earnest feelings in spite of his bloodline and the mistakes he's made. Seeing Nandor's perfect trust, and then his grief, the way he insists that Guillermo was never 'just' anything. The Baron can't find real fulfillment in hurting someone (because that ship sailed ages ago). He can't deride them for caring, because he's cared for a long time now.

And when the Baron admits that's who he is, when he says it out loud, he only gains more in his life. He finds new depth in the happiness he'd felt for a while now, because he's admitted and allowed himself to be happy. And now he has the children he's always wanted. Living together, the Baron and the Sire are still ancient and powerful - and they're also family, finding real joy together in a world that was ready to dispose of them.

"I suppose with the right company, it can be beautiful, this eternal existence."

--

There's an inherent selfishness to being a vampire, taking from someone else in order to live. But there doesn't have to be inherent cruelty, or lack of love.

They're all ready to admit they care. The Staten vampires have all cared for Guillermo or each other in their own ways this season. And Guillermo doesn't lack for flaws, but loving his monster family has never been one of them. (When he and Nandor work their shit out, they're gonna be insufferable.)

Now they just have to let the Guide in. Because she's absolutely starved for love, and vampires get pretty fucked up when they're on their own.

SPOILERS FOR GOTG VOL. 3 - DON'T READ IF YOU HAVEN’T WATCHED IT YET!

I have a feeling that everyone (who calls themselves fans) that didn't get the meaning of the ending in GOTG Vol. 3 has never read a single comic of them or is only a fan of some characters/relationships. Many complaints I've seen are about the end and Gamora and Peter’s romance, which sounds kind of childish. You don't need to agree with me, but I’d like to elaborate on that.

James Gunn's writing is always about the detail of things and he is not afraid to do something “bad” if it is the best for the STORYTELLING. This is what most of these people don't get: the most important part of these movies is the story they are telling. The characters help the movie tell the story, it's their story after all — but there's no protagonist or greater good that puts them above the narrative.

(This is different from Gamora’s death in IW btw. It was not the only way they had to make the story flow; they just wanted to “humanize” Thanos and by that, they chose to kill her character. It was an action ADDED not CRUCIAL to the story.)

Vol. 3 is about found-family and growing up; finishing cycles. They will always be family, as we will always be part of their story (that’s why we understand Groot now). However, life chapters end just like in real books, and these Guardians as a TEAM “chapter” has ended for them and for us.

This is very common in the comics. Most times they are all separated, doing solo missions, until something goes wrong and they reunite again. They never stop being friends, why would it be different in the movie universe?

But the end suggests they are not family anymore.

Did we see the same film? No, it doesn't. We can see that in James’ subtle writing: the way they all still respect each other, their understanding of one another, and how they all would die for themselves if needed. That won't change just because they are not physically together — just like when you finish school you won't ignore your best friends, even if you create new relationships (which you will).

But Gamora is not part of the family anymore.

Well, if you see it this way, I can't change your mind. What I can say is that the story IMPLIES that she still is, in fact. And the number one clue is that she (in 2 days) understands Groot. Remember, we also understand him because the fans are now part of the Guardians family — so understanding him and being family are correlated.

Anyhow, I know this is not enough for most people, so hear me out: Gamora’s arc is about respect and healing. She starts the movie skeptical about working with the guardians — she just wants the money— when in reality, she acts like this because she is AFRAID and feels PRESSURED to be around her “old” family.

Imagine: you died but then another version of you comes back without knowing anything of your present life. People will expect you to act in a certain way that maybe you started to act after you met them; they will expect you to like certain things you don't know of; people will EXPECT you to attend to their needs. It is a lot to swallow at once. You are afraid because you don't know them, you don't think you deserve all this love and commitment out of nowhere. So you run away. You run away to find things on your own, to grow out of this pressure you feel and discover the whole universe of possibilities you have ahead.

That's what Gamora did. But then, the mission went south and now she is stuck with her “old” team. The film shows us her character exploring the ship, listening to music... trying to understand them. At one point she even says to Rocket “You must be a very loyal pet for them to do all this for you” (or something similar). This is her way of putting into words how she visualizes the current scenario she was put in. Slowly she recognizes that they are a family, and by the way they act she finally gets how and why she also must have loved them in the past.

She goes from “I don't give a fuck”, not open to them, afraid and pressured to “I bet we were fun”, understanding and respecting them, even fighting for their family to survive.

(If she still didn't give a fuck she wouldn't have fought for them and with them when she could have just run away again.)

But she has already created new relations, so she goes back to those for now. It is what she is familiar with in this timeline. Does that mean she will never contact the guardians ever again? NO. Remember: James’s writing is about DETAILS, nuance. She is open to them again, and the final part of the movie shows this to us, especially her last interaction with Groot, Peter, and Nebula being friendly.

Oh, but Peter and Gamora will never be a couple again, their romance ended when she went back to the Ravengers.

… Again, if you see it this way I can’t change your mind. What I can confirm is that she doesn’t close herself to the team — especially to Peter — in the end.

When she says “I bet we were fun” it's the first time she acknowledges their former relationship without distancing herself from it. She could've said “I bet you were fun” or “I bet she was fun”, but instead she prefers to include herself with “we”. She pauses before letting go of Nowhere, stopping before entering her ship — what moves her forward is Nebula, who can see her sister’s changed attitude but still encourages her to take a step forward and go explore the galaxy, because she knows Gamora is not mature and ready yet for those feelings; just like she wasn't ready to be openly sentimental when Gamora joined the Guardians back in 2014.

And Peter is also not ready. Just like Gamora needs to find herself again and discover who she is, Peter needs too. He is lost without her after IW, we can see it during Holiday Special and in the beginning of Vol. 3 when he passes out because of alcohol abuse. Both don't know who they are in this new reality — and they will only find out with time. Time heals and reveals.

In the end, Peter doesn't have the same thought as in the begging: he doesn't want her to be who he once knew, he wants her as she is, this new version whom he still loves so much and wants to know more of. Although he wishes she could stay, he knows that she has her own time and while she learns about herself he will go do the same.

So yes, they’re not explicitly together as a couple in the final scene — neither they kiss nor make out, whatever you believe a relationship is made of — but they’ve changed and are open to one another. The last scene does not appear to me as an “I’ll never see you again”, but as a “Goodbye, see you soon”.

(Aside from all the small bits we had through the movie of a developing relationship between them; my favorite one being when Peter activates the auto-destruction code and Gamora smiles at him.)

Besides, you can't force anyone to fall in love in 48 hours!!

Yes, I also have some minor complaints about the story, but I can recognize that — with all the turbulence the characters and the production faced in the last few years — it was a satisfying end with a limited amount of time to a badass trilogy. The end is definitive but also open to future possibilities for all our favorite characters in their universe — some we might never see and it will only be to our imagination.

Again, you don't need to agree with me, but I had to do this, or else I would implode with thoughts. Thank you if read up here! My ask box is open if you want to talk more <3

Tumblr refuses to let me reblog a post referencing Wyll saying that as a child his father told him that their dead love ones were always watching over them and Wyll's reaction was to be scared. He thought he was haunted.

The idea of Wyll being genuinely scared of wide-eyed ghosts in response to what probably was his father's attempt to console him over his mother's death is. His loved ones not as a consolation but as a reminder, as an audience - possibly as someone judging him, because ghosts cannot move on until their unfinished business is resolved. Especially because his mother also haunts the narrative, in her own way? She's first defined by her absence, Wyll doesn't talk or think of her much because she died giving birth of him. Except he reveals that he has been thinking of her recently, specifically contrasting her to his father. He's been thinking about how his life could have been different had she been there. Wyll is always very adamant that he doesn't regret anything, he can't, because it means regretting all the good he has done and all the lives he has saved. Is his mother's death one of the things he is not supposed to regret, because had she been alive then none of this would have happened and he would still have been in Baldur's Gate with his family, not a hero but happy and whole...but then dozens of people would have been dead and dozens of devils would still be living? Are his good deeds, like his dead loved ones, haunting him? Especially since he keeps contrasting his father and mother, public vs private, duty vs personal happiness, throught the whole of Act 3, culminating with his romance scene in Act 3, where his mother's memory is directly tied to his proposal. I know some people said the writers just straight up forgot he never met her, but I just assumed he is simply recalling what his father used to say abut her, just like he always repeats his father words, which instead are curiously absent from the whole thing. We are never told why his father never married his mother while Wyll will marry the person he loves no matter who that person is - Bhaalspawn, vampire spawn , Great Liberator of the Githyanki people, former Sharran with a degree in torture and interrogation - and it would have been so easy to bring his fathers' words in his romance, to say anything at all about duty, but no, only his mother's words matter in his romance. I know this probably IS a result of the rewrite, but the complete absence of his father in favour of his mother in his romance arc, which is the ONE arc that is entirely all about Wyll's personal desires? Like The Blade of Frontier is a hero from the legends, Wyll Ravengard is someone who wants to be in a romance. It's perhaps his only indulgence, to have a love story as he wishes. On some level he compares it to his childhood dreams, and he says it's his greatest wish, as if the idea of the person he loves staying at his side forever cannot possibly be something he actually gets to keep. And not only then he does, but his romance scene only triggers after Ansur after he (in his good ending) has just refused his father and the world of politics to remain the Blade The themes in his arc. don't get me started on mizora being a dark mirror version of his mother

Okay we all know that I love Five Kage Summit arc but what's interesting is about what happened NEXT after Naruto and Sasuke talked under that bridge. Naruto went ahead and told his friends that he'd handle Sasuke alone and naturally their reactions were how can you expect us to agree with that, we can't give in to your stubbornness, and it's pretty much an issue for the village and Naruto is like nope I'm not being stubborn and Kiba really called him out like thought you'd give us the details but I did not expect it to be this, we all made up our minds to kill Sasuke then Shikamaru really hit the nail in the coffin like you say that you'll take Sasuke alone when you're actually planning on protecting him. Naruto is like no intentions to protect Sasuke here and Neji is like Sasuke was weak at the time so why didn't you take him out and Sakura defended Naruto by saying that Madara was there then Kiba says you're a hero dude you can take him down like you did with Pain and Naruto sullenly replied that he wouldn't be able to defeat Sasuke the way that he currently is and then Choji is like what is it that you found out then Naruto fucking proceeds NOT TO EXPLAIN FURTHER and persistently says that no one should take Sasuke on and HE'S THE ONLY ONE THAT CAN FIGHT HIM as if that explanation would satisfy everyone (it doesn't) and keeps on giving them the runaround as he would tell them when the time comes. Even Sakura who was there when it happened has been mentally deliberating about what's Naruto has been hiding.

Now the interesting part is Naruto could've just explained WHY. Neji would've understood where he's speaking from as he also dealt with darkness, Shikamaru would at least try to see his point in sheer rationality making the others see his perspective but HE DOESN'T. It was a choice. Might be speaking out of the box here but with the way that everyone collectively decided to kill Sasuke behind his back, it was like a slap in the face realization for Naruto that no one really understands Sasuke like he does. And no amount of explanation would convince them otherwise--he wasn't exactly protecting Sasuke but he won't let them kill him either because killing him won't save Sasuke from his hatred. Naruto never intended to exist in a world where Sasuke dies and he made that clear in the bridge. People around them would look at their relationship like they're fucking insane but what's amusing about it is they never explained their bond to others--how can you even put into words the connection that transcends even the ninja system that fosters hatred and pain? And how can you expect the same people that unconsciously adheres to the same system to understand that?

you know that post thats like you need to understand the rules of something before you can meaningfully break them? you need to understand the rules of classic tragedy to understand how genshin is purposefully breaking them with furina.

i've seen ppl complaining that furina doesn't have agency and should've stayed an archon when like. first of all, thats the point, tragic heroes don't. doomed by the narrative, all that shit. this is why a lot of tragedies use prophecies, which genshin references as well. like not even getting into how furina is playing off little mermaid narrative, its hard to miss that she's opera themed.

but where it starts subverting the genre, is that furina KNOWS she is a tragic hero. she is given the choice at the very start, focalors told her that she will need to suffer and PERFORM in order to finally save fontaine from the prophecy. Furina is a tragic hero who is given knowledge that she IS IN TRAGEDY PLAY and also given AGENCY TO CHOOSE TO PERFORM. bc it's not a single choice at the start, she has to keep choosing it again and again every day, the game focuses heavily on her distress and she could break the role at any moment, but she doesn't. there are so many moments of game showing her conflict! her confrontation with neuvillette, her grief in Poisson, her wavering at the traveller's offer bc it can be a loophole, then the trial, where she went all the way, where she put her hand into primordial water, thinking it will dissolve her. like! she had so many moments where it would be understandable for her to break, but she didn't, she stayed true, and it was not easy for her at all. that was a choice, a dedication that she had to make again and again, and it only became harder and harder

but where genshin really gets into breaking tragedy rules, is that it lets its tragic hero cheat death using the rules of tragedy itself. this is why i referenced an essay on classic greek tragedy here, because in tragedy, gods have absolute power, but they are also immutable, unable to change, while humans are weak and fickle, but they CAN grow and change. as an essay says, tragic hero achieves something like divinity in a moment his face solidifies into an unchangeable mask, and that moment is death.

fontaine arc is breaking the tragedy rules without disrespecting them, because it does not diminishes the sacrifice and heavy price of death, but instead allows furina to escape bc in the moment when she should have died, focalors put herself into spotlight instead, and she already had an unchangeable death mask of divinity. and her death, her sacrifice allowed furina to achieve greater agency to choose to live how she wants. she escaped the tragedy! she was saved from the narrative! she's a little mermaid who didn't have to die to receive a human soul.

and tbh saying that furina should have stayed an archon is first, conflating power with agency, and second, disrespecting her own choice, because the game goes to excruciating length to show that she hates ruling and being a movie director makes her happy. furina wanting to self-actualize through art is not somehow lesser than her being a ruler.