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ino-tamukas-baggy-sweater · 4 months

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The Blessing to Your Curse - Part 1 (Ryomen Sukuna x Reader)

Hey y’all I’m back again so soon with another fic, Sukuna’s lover reincarnation (whatever you call it) has me in a chokehold right now and I thought I’d share this with the world. Would like to warn you there is a lot of strange jumping around/pov changes which are indicated by the change in pronouns, I would mark each change but it would get a bit messy after a while so I hope it’s not too hard to follow! ^-^

Reader’s powers involve something I like to call ‘blessed energy’ which is the opposite to cursed energy and is mostly used for healing (reverse blessed energy is used to harm in the same way reverse CE is used to heal) and it’s something I created to use with my writings in the JJK universe. (sometimes I write it a little op because im a self-indulgent piece of shit so for most of what I post I’ll probably dial it back if I use it hehe) The reader has a similar situation to Maki/Mai (MANGA SPOILERS AHEAD) where one twin is restricted and the other has all the energy, and when the one with the energy dies the living twin gains all the power, so I hope that makes sense in context of the story

(PLEASE DON'T HESITATE TO SEND A REQUEST!!!! I'M ALWAYS IN NEED OF NEW PROMPTS AND CHARACTERS TO GO WITH THEM ❤)(I have a post which outlines characters I mostly write for but I'm open to adding to that list!!)

Warnings: mild description of mutilation (sukuna’s transformation), main character death (not described), fluff

Word count: 2.4k

“Ryomen!” You laugh, trying to keep a few steps ahead of the young man who chases after you. Your legs tire easily, body frail and sick despite the immense power flowing through your veins. “I’m coming for you!” He growls playfully, “Better run!” He’s holding back from his top speed, this you know well, but you refuse to let that stop you from trying to keep up with his childish play. Still young, 16 and 17 with him being the older one, you insist that you would rather spend the rest of your life here with him than being shepherded around in the village like a priestess.

This is your only escape from the temple on the hill, only solitude, your time with Ryomen Sukuna is precious and you treat it as such, thinking only of him and his rare smiles. You refuse to let the village’s words taint your view of him, as powerful as he is with his cursed energy there is good in him and you seek to nurture it, for both simple selfish gain and so he doesn’t turn on everyone like they did him. You reach the treeline and race out into the meadow, the grass tall and soft around your waist having stripped down from your daily ceremonial robes into just modest loose undergarments.

He does eventually catch up near the middle of the meadow, springing out of the grass and tackling you to the ground, making sure to roll so you land on top of him and he takes the full force of the fall. The last time you returned to the village after a long day of simple play with bruises and scrapes you weren’t allowed to leave the village for a few weeks.

He’s grown quite a lot larger than you during his time in exile, to be expected when you have to fend for yourself against wild animals and build your own shelter, “You’re getting stronger every day,” You smile, pushing yourself off him and laying in the grass, staring up at the beautiful pink of the sunset. “Well I have to, to be able protect you, I’m not the only thing out there you know,” He says, his tone almost too blasé for what he’s implying. You tilt your head and trace the lines of his tattoos with your eyes, “I know you’re not, but you’re not a thing to me Ryomen,” You murmur, “Please, you’re the closest thing I have to a friend, you’ve always been human to me,”

He meets your gaze, his eyes used to be brown, but the red no longer worries you like it used to, “One day I’ll get you out of that village,” He says softly, his words for your ears and the rustling grass only, “I will take you far away from here and we can live somewhere untouched by the rest of the world,” You sit up, looking down at him as you hug your knees to your chest, “I’d like that,” You say, smiling, “Just the two of us,” Nothing could touch you while you were together, the world stood still for you, not even the scathing remarks you sometimes got from the other young girls of the village could hurt you.

The world is volatile, things can change so quickly. Curses are still so new to the world of humans, sorcerers that act as protectors are only just starting to appear among humans and spread themselves between villages when the day finally comes. The wave of hatred and anguish that came with the curses suffocated everything in its path. You were outside the village when it happened, returning from a visit with Sukuna, and you returned to find nothing but death and destruction. More than half of the village had been killed with no discrimination towards age or gender, and it only soothed you a little to see your old family home empty when you wrenched the door open. No blood nor bodies of any kind. Your parents and sister had made it out alive, but the temple atop the hill that you resided in was completely engulfed.

You weren’t naïve, you did not attempt to return to the temple, but they came for you all the same because your energy was like a beacon for them, and they were programmed to destroy. Running with Ryomen had improved your strength over the time you spent together, you supposed that was one of the ways he took care of you in his silent brooding way, but it wasn’t enough to get you all the way to him. He must have sensed your fear as you grew nearer, your breaths shallow and your chest tight, his eyes are the last thing you remember seeing before your soul was harshly liberated from your flesh.

The smell of blood permeated through layers of warmth that held you in suspension beyond life, but you felt yourself being dragged back to the ground, standing over your own body as you watch the only person outside of your immediate family who ever truly cared for you cry. You had never seen him cry before, it was cathartic to know even he still felt human somewhere inside while holding your weak broken body to his bare tattooed chest.

You felt his cursed energy filling the air like smoke, almost able to see it in the purgatory state you’re trapped in, his body shaking and his muscles twitching. It was like watching someone turn themselves inside out when it finally happened, his body began changing before your eyes, an extra pair of arms sprout from the top of his ribcage just under the normal ones. His face contorts with an agonized cry and one half becomes unrecognisable, the flesh pink and hardened into some sort of twisted mask, and to finish the monstrous transformation a second pair of eyes open under his regular ones.

Drenched in sweat and breathing heavily as he cradles you, you hear him make one last promise, one that locks around what remains of your essence like chains and puts you into a deep sleep. “I will burn this world for taking you from me, I will become the King of Curses, and when you are reborn I shall make you remember, make you my Queen, I will bind myself to you to protect you,” It’s the final part that reassures you he isn’t losing himself as the darkness consumes you, “When I find you, the world will be right once again,”

Now it had been over a thousand years since the light in Sukuna’s life had gone out, reducing him to a killing machine that punished the world for snuffing it out, and he had returned once more in the body of a naive 15 year old boy with pink hair. Having been preserved as twenty separate cursed objects since his untimely death he was eager to resume his self-assigned purge, but the boy had more control over his body than Sukuna could break through, leaving him trapped within his innate domain watching through Yuji Itadori’s eyes like they’re windows.

“I had to do it at least once,” He grumbles to himself as the boy sits up, stark naked, on the morgue table, surprising the three sorcerers in the room with the formerly dead boy. “There’s someone I’d like you to meet, Yuji, come,” Gojo instructs as the boy slips on some clothes handed to him. “Another sorcerer?” He asks. “You’ll see when we get there,” The taller man beckons him and they make their way to a house on the furthest outskirts of the Jujutsu high campus, small in size and surrounded by forest on all sides except for the path leading up to the entrance.

A fire burns in the chimney and the house is warm when the pair steps inside, “L/n!” Gojo calls out. Sukuna’s attention is elsewhere as around the corner down the hall out walks a pure angel, her energy blinding and her form strong. “Gojo!” She smiles, “Who’s this?” “This is Yuji Itadori, Ryomen Sukuna’s vessel,” She bows politely, “Welcome to my home,” She looks back up into Yuji’s eyes as he smiles, “It’s nice to meet you!”

“Enchain!” Sukuna shouts, and suddenly he’s thrown violently to the forefront of Yuji’s mind. His trump card, wasted. He hadn’t considered the potential consequences, it had been instinctual and foolish of him. The girl didn’t know who he was, but he wanted to speak to her all the same. He would make her know. He cannot stumble, he cannot falter, not when she’s right there and all he has to do is show her, “Y/n,” He murmurs. “That’s not Yuji,” She frowns, her voice soft, “That’s-” Before the two can react Sukuna is on his knees before her, holding her hands in his and hiding against her soft clothing. “I’ve…” Gojo trails off, “I’ve never seen that before,” The girl doesn’t let him go, and he feels her power reach into him, feeling around in the darkest parts of his soul, “My Queen,” He mutters, feeling the metaphysical chains around his heart tighten, “Please, remember,”

A fast surge of energy from Gojo causes the man on his knees before you to react just as quickly, pulling you tighter against him and then seemingly teleporting out the open door into the clearing, “It’s rude to attack ROYALTY!” He roars as Gojo steps out the door after the pair of you. Sukuna has planted himself firmly between the two of you, “You sorcerers never learn manners!” Something happens when your skin next touches his, his hand shooting out to catch you by your wrist as you fail to keep your balance.

A flood of memories that don’t belong to you, in fact, ones that belong to him. You see yourself, weak and frail but smiling widely, Sukuna as he is in front of you now not as he is described in sorcerer texts. A regular human man with an abnormal amount of tattoos, fiercely protective and full of love for the only person who still sees him as human. You vaguely feel yourself fall to your knees as everything from the day he was exiled to the day you died returned to your mind. You knew that despite the life you had lived for twenty years, you were in fact over a thousand years old.

This wasn’t your life, this wasn’t your body, it was hers, but you are her. You can feel the chains, too, the ones he put there the day you died to ensure that you would return. “The world took her from me, and the world paid the price, now BACK OFF!” His words shake you out of your visions, his hand still clutching your wrist as your head hangs weakly.

“Come now, Sukuna, taking hostages isn’t your style, you know that,” Gojo bargains, “Let her go, and we can fight like men,” You shake your head, “No,” You murmur, “No, Gojo,” You finally look up into his eyes, slightly uncovered as he prepares to fight, “He’s right, I know who I am, I know where my clan comes from,” He doesn’t make a move towards you and you take the opportunity to speak again, “My mother was blessed, her child would calm the beast, but she had two and one was weak in body strong in energy, the other was lacking in energy but strong of body,” Your sister had been the one the clan records mentioned, nobody remembered the girl who died alone in Ryomen Sukuna’s arms.

“I am the Queen to Ryomen Sukuna’s King,” You breathe, feeling his grip on your wrist go lax. His energy dies away and he falls to his hands and knees, but the tattoos are gone. “Yuji!” Gojo’s shoulders finally relax and he recovers his eyes, “What happened? How did he get through?” “Don’t ignore me, Satoru,” You state firmly, “Sukuna will not be a threat while I am alive,” “Can you guarantee that?” He’s always been intimidating, but this man was a part of your training as a sorcerer, and he can be rational when he wants to be.

“You’re an imbecile if you think I’m going to go back on a binding vow,” Sukuna spits from Yuji’s cheek, the boy not even having a chance to get a word in, “She is the only thing in this forsaken world I care about and you’re not about to take that away from me just so you can pretend like you’re the saviour of humanity,” You don’t remember ever being as harsh as Sukuna is right now, but his rage fills you with confidence and admiration, “I can guarantee humans will not fall as long as I am alive, his vow makes sure of it, though I’m sure he would not need it either way,”

The secondary eye on Yuji’s cheek closest to you locks its gaze onto you, “Ever so cunning, I wish I’d had the chance to nurture your hatred towards the village, maybe you’d be more open to killing,” He sounds almost wistful, “But alas, I did make a promise, and I intend to keep it, no matter how idiotic I think you sorcerers are,” You finally move to stand back on your feet, helping Yuji up with a tentative smile, “It’s nice to meet you Itadori,” You murmur, “I’m sorry you have to listen to that punk, you come to me if he gives you trouble alright?” The boy nods, his previously cheery demeanour replaced with something mellower and he seems deep in thought as he looks into your eyes.

“He really loves you,” He murmurs in disbelief, “I didn’t… I didn’t think he was truly capable of love, after what he did to me,” You shrug, “It’ll make sense one day, but I’ll let him be the one who opens up, it’s not my place to air out thousand year old dirty laundry with people who are long dead anyway,” Your words hang in the air as Gojo finally sighs. The discussion and conclusion are finalised when he leaves, Yuji will live with you and you will suppress Sukuna’s energy. You will keep the world safe by preserving your life, lest another binding vow come down upon your departing soul and the King of curses be forced to unleash his merciless fury once more.

Sukuna is a little shit and out of character because it’s my fic and I get to write the male love interest however I want (I tried besties :( I don’t like mean Sukuna but I do love “I hate everyone but you” so that’s what you get) also I wrote this instead of sleeping at 2am, the brainrot is real and this will probably end up being a series because I can’t control myself

Part 2 here!

Post dividers from @cafekitsune

#jujutsu kaisen #ryomen sukuna x reader #sukuna x reader #true form sukuna #ryomen sukuna #yuji itadori #satoru gojo #jujutsu kaisen x you #jjk sukuna #heian era #jjk x reader

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halemerry · 8 months

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The thing is. When people look at Book Omens and Show Omens there are a few different things that can happen. Sometimes you get people who try and shove them into one universal true canon. Sometimes you get people totally dissociating them from each other into two separate entities. And, to be clear, I don’t think either of these options is inherently bad to do - I myself defaulted to the latter for quite awhile after season 1 aired - and I always think folks should choose to view these characters in the way that makes them happy. For that matter, I think that there's nothing wrong with disliking a version or preferring one over the other or even ignoring one exists. But, I do think a lot of analysis I have seen has a tendency to remove the characters from their context in a way that does them a bit of a disservice. Because their context matters quite a bit.

Book Omens and Show Omens were made in two very different worlds facing two very different problems and two very different futures stretching out in front of them. The Book belongs in the context of a world on its way out of the Cold War while the Show belongs to a world starting to buckle under the weight of capitalism’s pressure. The evils in the story reflect these two world states - which I think is a good thing. As much as I love the book, if the show had just done the Cold War allegory, I don’t think it would’ve hit quite the same way and could've easily felt dated.

The most notable impact narratively from this shift is the fact that Heaven and Hell both have a more constant presence. Show Aziraphale and Crowley feel far more watched and actively monitored than they do in the book, especially in Aziraphale’s case. His relationship with Heaven especially is far more ‘boss checking the quarterly numbers’ or ‘oppressive family head checks in on their younger sibling’ than it is ‘spy reporting his findings’. And this shift is a huge one as far as what it means for our characters and their context.

Take for example, a small exchange of dialogue in the book where Crowley and Aziraphale do something that we know for a fact would never happen in the show - where they discuss the admittedly slim possibility of each other’s side granting of each other asylum. This is dialogue that works quite well if you’re looking at them as two spies with wavering loyalties but does not work for the show version of our protagonists, because the pressures they face from Heaven and Hell are different. The same thing goes in reverse for the Bandstand scene - a scene that is not in the book at all because it works far better in a show interested in a character facing pressure from a toxic family than it would in a book where Heaven’s presence is a very distant one.

And this right here is where we end up with the question of character consistency. There’s traits that each version of Aziraphale and Crowley have that the other does not, which leads to them feeling like two sets of characters in a way that can make them feel like the show is occasionally out of character. But it’s not really that, I don’t think. I think that's just a side effect of viewing them out of context. And I think a lot of those differences and the ways they manifest make a lot more sense if they're viewed like aus - because that's what they are in a lot of ways. The Book is a Cold War au and the Show is a modern au. They’re different, yes, but still undoubtedly them.

#good omens #book omens #crowley #aziraphale #show omens #good omens season 2 #rambles #just been rotating this in my head for a few days #one of these days ill ramble about crowleys optimism but for now have this

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iridescentmirrorsgenshin · 2 months

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Alhaitham referring to kaveh in ways which acknowledge his skill, and kaveh perceiving it as sarcasm, even though alhaitham refers to kaveh in the same ways when kaveh isn’t present is driving me a little bit insane - especially what this prompts the player to question!!

When we first meet kaveh in the archon quest the relationship between him and alhaitham is presented to us as “terrible” (courtesy of npc geoff who introduces kaveh’s return to sumeru city), and the cutscene in the house of daena demonstrates what this entails, being that the two cannot see eye to eye, and, seemingly don’t hold each other in high regard.

Alhaitham seemingly refers to kaveh’s genius in a sarcastic light and kaveh claims to despise talking to alhaitham because of his arrogance.

Looking to kaveh’s hangout, however, when the player has a one-on-one with alhaitham, the player gets a glimpse into alhaitham’s personal understanding of kaveh, and with this, his own views on kaveh.

Within this exchange between him and the player, Alhaitham uses Kaveh’s title without sarcasm, sincerely praising him and his skills, elevating him over ‘less skilled’ architects and asserting that Kaveh should have more confidence in his work.

The reason that Alhaitham does not openly praise Kaveh is stated here, being that “admonitions” will serve no purpose due to people being prone to fall into “similar pitfalls”, and that people should have the right to lead their own life, rather than have it interfered upon by others

The reading here is that even if Alhaitham did openly praise Kaveh, no difference would be made in Kaveh’s thinking. Yet, by refraining from praise, and instead goading, by this logic, this also makes no difference. Therefore, the question is raised, ‘why can Alhaitham praise Kaveh to the player, and not to Kaveh himself?’

When Alhaitham praises Kaveh’s work within Kaveh’s hangout it is through there being no record of issues in the reconstruction of port ormos, which is something kaveh states first - in this context, alhaitham notes the work as an “impressive achievement”, which kaveh assents to, as there is no standing in which this can be debated. Kaveh cannot resent a compliment steeped in fact, even from alhaitham

The problem, then, is rooted in alhaitham’s delivery, which relates to their core issue of miscommunication. Referring back to their exchange in the House of Daena, it is observed that Alhaitham uses similar descriptors of Kaveh to Kaveh, similar to the descriptors he uses to the Traveler in Kaveh’s hangout, however, Kaveh perceives these words as sarcasm.

This highlights the miscommunication between them and can aid in answering the question why Alhaitham cannot be open with Kaveh, as he will be misconstrued.

Through Alhaitham’s repeated elusions to Kaveh when he is not present and his open esteem of Kaveh and his work to the Traveler, Kaveh’s assertion that Alhaitham holds him in a negative light is proved incorrect. This serves to highlight the miscommunication between the two, causing the player to question why they hold such contrasting views of the other.

Clearly, there is a reason why Alhaitham cannot openly express his regard of Kaveh to Kaveh, but this reason is obscure to both kaveh and the player.

In terms of queer subtext it’s pretty interesting that alhaitham’s high regard for kaveh is shown within the surface text and yet the reason for this secrecy is never made explicit within the story’s surface and is only to be inferred from alhaitham’s and kaveh’s character stories.

In terms of the two functioning as mirrors, the fact that the knowledge that alhaitham cannot outright compliment kaveh 1) is not only due to their past argument and lost friendship and 2) is also due to his awareness that kaveh cannot accept goodwill, is only obtainable by reading both kaveh and alhaitham’s character stories shows how intertwined they are as characters - you cannot fully understand one without the other

(Update: For more analyses like this, the essay this is taken from is now uploaded! It can be accessed here and here as as a pdf <3)

#haikaveh #kavehtham #kavetham #alhaitham #kaveh #okay i think my thoughts got derailed in the end but pretend they didnt #some of this is from the essay and you can probably tell because of writing quality #but i think it is so interesting that what alhaitham chooses to share with the player clearly highlights his regard and respect for kaveh #but his reason for hiding it from kaveh has to be inferred by digging into their lore #and when you realise that alhaitham doesnt want to cause a repeat of their past argument by encroaching on kaveh’s fortified boundaries #it only shows how MUCH alhaitham cares about him #im sick!!!#they make me sick!!!#and also that part in kaveh’s hangout when kaveh says he’s so used to sarcasm he cant tell what genuine praise sounds like #my boys #you need to talk #I AM BEGGING!!!!

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dalishious · 4 months

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Varric Tethras and the Centrist Agenda

According to David Gaider in a Game Informer interview, Varric Tethras in Dragon Age II was originally a character who the player had to question if they could trust or not. But because of the political tension embedded in the game’s story, his role changed into someone that instead, the player felt was always on their side no matter what. While I can understand the motivations behind this change, I can’t help but sometimes wonder what Varric would have been like, had he been given defining viewpoints of his own. Instead, what we have is a character who has very little distinction outside of his relationship to Hawke. While this improves somewhat in his place in Dragon Age: Inquisition, he still falls flat compared to all the other characters who at least have a backbone, whether you agree with them or not. Because Varric tries to separate himself from the mage-templar conflict by equating them, he just reads as an ignorant centrist at best, or actively harmful towards the mages at worse. Pretending that an oppressed group wanting to end oppression is just as bad as their oppressors wanting to continue the oppression, is at the end of the day, only benefiting the oppressors.

Compare Varric’s centrism to Sera’s centrism: In Dragon Age: Inquisition, the very first conversation you have with Sera after recruiting her is asking her which side she’s on in the mage-templar conflict. When she says she’s “in the middle”, you can challenge this. You can repeatedly challenge her views throughout the game, to in the very least be able to express how your character feels differently. But when Varric share his “both sides have a point” nonsense, there is no such opportunity. Varric is a vehicle for Inquisition’s overall centrist messages, with his established fan-favouritism used to steer this.

I certainly believe it’s possible to write a centrist character in an interesting way, if their centrism is treated as an intentional character flaw that they are forced to confront at some point. But Varric’s centrism is treated like a positive; like he’s simply above the conflict and everyone else is being silly for caring about it. Not once in any piece of Dragon Age media he’s been present in, has he been forced to question his views. Even at the very end of Dragon Age II when Hawke asks for input from all the companions on Anders’ actions, Varric’s response is just “I’m sick of mages and templars.” This would have been a perfect opportunity to finally force Varric to take a stand, but instead he still sees the conflict as being an annoyance rather than an issue about equal rights. With the added context being the intention to create a character that the player can rely on no matter what, the result is BioWare telling the player they should feel the same.

#anti varric #dragon age #da2 #dai #meta #stuck at home due to the storm so i finished this lol

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thebibliosphere · 3 months

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Hi! How are you doing? Sorry to bother you, but i dont know many scottish people and idk who to talk to about this book I found on audible. It's called Imogène, by french author Charles Exbrayat. Do you know him /the book? I've started reading it but I had to pause because, while being sold as a "humorous spy story" I find the protagonist, a "very proudly scottish" woman, to be... an offensive caricature? Like she acts like a fool, honestly. This book contains some interesting points about sexism (it was published in 1959), and ridiculous british habits (such as employees forced to give money for princess anna's birthday or being socially scorned). I'm sure the shared dislike / distrust the protagonist and her british colleagues feel are (were?) realistic. But she is so extra, and the story keeps telling how lonely she is, even after working 20 years in london. She has No friends, most acquitances dont talk to her for various motivations, her bosses hates her ... idk I feel this book is actually mocking scottish people? Or scottish women??? I was SO there for a "strong woman protagonist who gives cutting remarks to her boss or peers", but this looks wrong. Idk. I didnt know whom ask for inputs. Maybe i'm reading too much into it. Feel free to ignore this mega rant. Have a good day!

I think cultural and historical context and time of publication-- which was almost 70 years ago --are important factors to take into consideration when we look at fiction through our current expectations.

I can’t speak to the book as I’ve never read it, but speaking as a Scots woman who worked for an English publishing house for a while, being made to feel alienated by my boss and others due to being Scottish was unfortunately still something going on in 2011.

I’d get lots of “Oh but you sound so eloquent” remarks regarding my thinned-out accent (something I did on purpose to avoid being told to “speak properly” which was also something I heard a lot in school if I ever used my native Scots language instead of “Queen’s English.”) and one time my boss referred to me as “their civilized Scot” to an American author, whose Scottish romance book I was supposed to be fixing the dialogue on.

The phrasing was along the lines of, “Don’t worry, you’ll be able to understand her. Joy is our civilized Scot.”

The author laughed and made another derogatory comment about how they just loved Scottish accents even if it was unintelligible a lot of the time. I kept my mouth shut because I didn't want to lose my first career job.

I kept my mouth shut a lot in that job.

In that regard I could very well empathize with the character being lonely and not engaging with anyone, even after 20 years.

The proud Scottish woman can be a bit of a caricature, but that doesn't necessarily mean it is intended as mocking.

Again, cultural/historical context matters.

I wasn’t alive in 1959, but I know there was a lot of Scottish media about the time that leaned into the stubbornness and pride of Scots women both for humor and to make societal commentary on the fact that women were strong and more independent than they’d ever been following two world two and a lot of men weren’t happy about it and wanted them to go back into their boxes. As a result the mouthy, proud Scots woman became a mockable caricature that turned women into shrill, over proud scolds.

Get back in your box or we’ll make fun of you, basically.

So is this book being mocking, or is it employing popular tropes of the time, knowing that audience will understand what it means and that the female protagonist is being subversive despite what others expect from her?

I can’t say. Again, haven’t read it. It could be utter dogshit and making total fun of my culture. But I do think when looking at older media we need to put our thinking caps on and think, “How would the audience of the time, 1959, have viewed and engaged with this?”

Expecting a “strong female protagonist” as we know it from media today isn’t going to work with media that’s almost 70 years old.

Hell, the “strong woman protagonist” wasn’t even something any piece of media could agree on when I was growing up in the 90s.

Times change. Literary tropes and preferences change. It helps to keep that in mind.

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shinehalley · 1 month

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I think between the most common misinterpretations of Pride and Prejudice that irritates me the most i can say the one at the top is when they say that the story is about a woman fixing a complicated guy and this becomes references in terrible romances. I've heard this so many times and as a person who grew up with the 2005 film and reads the book at least once a year I need to get it off my chest.

Starting off, Darcy is not a "complicated man". He's not a bad guy who takes out his traumas on other people, he's not a guy who's waiting to be saved by a woman who "silences his demons" and even less a guy who mistreats the women he's with. Darcy is actually a rich man with rude manners and some class prejudices. The point is that Darcy is a man with moral convictions and feelings that make him a good man despite these aspects. His rude manners are a reflection of his class prejudice, but they do not dictate how he treats people for whom he has feelings of affection. The way he would be able to move the world for those he cares about and seek the closest thing to what is considered justice in the temporal context of the story reinforces the goodness of his character. This is even more evident in the comparison that is made between him and Wickeham, where one is unpleasant but good and the other is pleasant but a cheat.

And what Elizabeth does is far from correcting him. Darcy doesn't realize how his class prejudice affects the way he communicates with people and the view he has of himself because everyone always justifies his arrogance as fair because of his wealth. So he believes that Elizabeth admires him when, in reality, she despises him for these characteristics. And what she does is just say it to his face, something no one has done before, and that's it. This is Elizabeth's contribution to any development of Darcy, to say how arrogant and prejudiced he is. It is Darcy himself who reflects on her words and realizes that she is right and that he is not being as fair as he thought he was. He realizes his own prejudice and realizes his own arrogance and of his own free will decides to change because he wants to be a better and more pleasant person.

It could be said that it was fate that put him and Elizabeth in each other's path and made her realize, now with more pleasant manners without prejudices obscuring her actions, what a good man Darcy is and become enchanted by him. But if they hadn't met again, Darcy would still take on this challenge of re-educating himself and being a better person and Elizabeth would still continue to think of him as an arrogant man in whom she feels no interest.

The other issue is that Elizabeth is not perfect. She has her own prejudices that are overcome throughout the book thanks to her coexistence with Darcy and not because of Darcy. The fact that she lives with both Darcy and Wickeham at the same time is what makes her understand how unfair she was in her first impression and how foolish she was in being guided by that to define the characters of both. Kindness and amability are not synonymous with integrity and she learns this the hard way. It's a lesson that if she hadn't learned through her time with Darcy, she would have learned it in some other way because life has things like that.

Finally, they were essential in each other's lives because of the teachings they left to reflect on their actions in relation to the world and not because they depend on each other. Both are confronted with their prejudices and realize that they were not fair and try to change for better people regardless of whether they are together or not. Their meeting after realizing their errors in judgment is purely accidental. They don't change for each other, they change for themselves, because they realize how proud they were and want to be more fair, and after that they end up being placed back in each other's lives by chance. That's what makes them such an interesting couple and makes us wish we had what they have.

Reducing the story of Darcy and Elizabeth to an asshole man who is fixed up by a woman is a mistake so grotesque that it is noticeable that it could only have been said by a person who has never seen the story or seen it with their ass.

#This is long but I needed to talk about #because I'm tired of people putting fake hoods on them #the way Darcy and Elizabeth are not made for each other but become made for each other unintentionally is so superior to anything else #they just want to be decent people who recognize their mistakes and end up falling in love #how can this be fixing anyone???#I just love them so much and seeing them put on an asshole look on Darcy and a heroine look on Elizabeth is irritating #as if Lizzy Bennet had the patience to fix a man #pride and prejudice #pride and predjudice 2005 #fitzwilliam darcy #mr darcy #elizabeth bennet #lizzy bennet

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ilikekidsshows · 5 months

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The Totally Spies-ification of Adrien

Okay, it's been long enough that I can actually discuss how Adrien's slavery is depicted in the show without anger-fueled exaggerations and hyperbole. I want to discuss how Miraculous treats Adrien's slavery very flippantly and how it is, like everything in this show post-retool, all about Marinette. The show has a lot of stuff that hints that the writers intend for Adrien to be viewed a very certain way. I believe the writers made Adrien a slave for Marinette’s benefit and I will explain how I came to this conclusion.

I’ve joked before about how Astruc has worked on Totally Spies, “one of the kinkiest cartoons ever made”. I’d like to tackle this idea and how it relates to Miraculous more seriously. I’d like to tackle the topic of titillation and how it relates to how this show approaches slavery with such flippancy. My claim is that Adrien being a slave is not meant to be horrifying, which is why the story doesn't treat it as such; it's meant to be titillating.

I usually don't use Read Mores, since they can lead to broken links later, but this is really long. Strap in, folks.

Titillation for the context of this analysis means “content with the intention to excite romantically or sexually”, basically it’s about “kinky” stuff. The purpose of talking about sexuality in relation to Miraculous is not to paint the writers as some kind of fiends, but to present the fact that many teenagers are curious about romance and sex and will think about sex unprompted. This means titillating content in cartoons doesn’t even need to be related to sex to be titillating. And Astruc has a history of putting titillating stuff in his work, with Totally Spies being a very notable example of how you can include non-sexual titillating content in a kids’ show.

It all comes down to expected audience reactions. Adrien is meant to be sexy. I don’t mean that in a “the writers think this is sexy” way, but a “the writers think the projected audience of straight teenage girls will think this is sexy” way. He gets put into bondage three times in ‘Copycat’, ‘Anti-Bug’ and ‘Reverser’ and all three times the camera seems to like to show him off. He is meant to be an object of attraction for the audience. The people criticizing this show have been pointing out how Ladybug's costume accentuates her butt for years, but this is not something that occurs with just Ladybug. When he isn't posing for the viewers, Cat Noir gets whacked around by Akuma’s a lot, but a lot of the time it ends with him in a prone position that is also titillating, in ‘Pixelator’ it goes as far as having his butt jut out. However, the idea that Cat Noir is the one who gets hit when an Akuma needs to show off how dangerous they are is also part of the power dynamic where Marinette or Ladybug gets to show off, so it’s not purely for titillation, which is why other examples, like ‘Stormy Weather’ are more comedic.

It’s likely that Adrien-as-Adrien doesn’t get to participate in the show’s slapstick much, since that aspect of the character is presented as the perfect beauty, a role usually reserved for female characters who only ever get a little bit flustered or banged up to make sure they keep looking attractive. Marinette screams "waack" and runs face first into a wall in the same episode where the silliest thing Adrien gets to do is sneeze (Mr Pigeon). Adrien is meant to be attractive, sexy, titillating, in different ways in his different forms. As Cat Noir he is more active and more sexy, as Adrien he’s more passive and pretty, much like how female love interests can fall into these categories. It’s the Betty and Veronica dichotomy; in the Archie franchise Betty and Veronica are shown as the wholesome and sexy romance options and the reason the writers go out of their way not to resolve the love triangle is to keep the appeal of these both options going. People’s tastes differ, so it would alienate some audiences to pick one over the other. With Miraculous they solved the problem by having the two romance options be the different identities of a single character.

Frankly, as of the season five finale, Adrien is approaching “sexy lamp” levels of replicating sexist ways of writing a female character but just changing the gender. What else do you call him lying on the floor in despair while his love interest gets his superpowers and uses them to beat up his abusive father, while somehow being perfectly fine and happily kissing Marinette later after said father is dead and gone? Adrien’s trauma is debilitating when it serves the writers’ purposes, but stops being a problem as soon as they need him to smile and look pretty. The main reason Adrien’s trauma is so inconsistent is so that he can act as Marinette’s trophy so that Marinette has somebody to kiss in the final shot. If Adrien was despairing about not being good enough for her, or grossly crying about being an orphan, Marinette wouldn’t have a fun time kissing him. And if Marinette isn’t having fun, the members of the audience projecting onto her aren’t having fun either.

Speaking of how Adrien’s depiction relates to Marinette, here comes the controversial part of this post: while Marinette is not depicted as a literal slave owner in-story, narratively, she is very much treated as Adrien's owner from a meta perspective. We, the viewers, are meant to see Adrien as Marinette's property, and the twist of Adrien being a part of a slave race in a dynamic where Marinette holds all the cards is meant to be a good thing. We have been primed to view everything about Adrien to actually be about Marinette, because Marinette is the center of the universe of Miraculous and Adrien belongs to her because he’s the main character’s love interest. Adrien being revealed to be a slave that Marinette could control but then chooses to “merely” manipulate is meant to be glorifying to Marinette and titillating to the viewer. I will elaborate.

Marinette has been incredibly possessive of Adrien since day one and she is only occasionally depicted as being in the wrong about this, when she goes too far by the show’s standards. She stalks Lila and Adrien whenever she sees them hanging out together and she’s unreasonably jealous of Kagami. The only time she is depicted as being in the wrong is not when she's sniffing Adrien's pillow after breaking into his room, but when she actually bullies Kagami out of jealousy, and even that is depicted as more of an unfortunate misunderstanding than Marinette actively doing something wrong. Marinette is more sympathetic towards Kagami when she finds out she and Adrien aren't as close as she thought, that Kagami’s pursuit of Adrien is more hopeless than hers. Basically, Marinette is only in the wrong because Kagami isn't a threat, not because she was doing anything wrong by bullying her to defend her “territory”.

This gets flipped near the end of the season, though. When Adrien and Kagami do start dating, it's depicted as this big tragedy even more so than Master Fu losing his memories. Master Fu going missing is an afterthought, while Adrien choosing someone else over Marinette is the big “darkest hour” moment of the season three mid-finale, the cliffhanger moment of her crying in Luka’s arms while all hope is lost. Marinette isn’t directly crying about this, she is crying from “all the pressure”, but Marinette breaking down happens immediately after a scene of Kagami leaning in to kiss Adrien that has a somber dirge playing in the background. The first part of the finale has everything going wrong at the end; Master Fu is missing, Chloé gets willingly Akumatized, Marinette breaks down, and Kagami leans in to kiss Adrien. These scenes being put closely together is telling us that these are all bad things to happen.

Adrien ending up with Marinette is a given, but it's also taken for granted. Every girl with an interest in Adrien is depicted as an antagonist, while Marinette can do whatever she wants in pursuit of Adrien and will still be morally correct. Chloé and Lila, even Kagami to a degree, are villainized for their attraction to Adrien in a way Nathaniel, Luka or Zoé are not with their attraction to Marinette. Chloé and Lila are full-blown villains while Luka and Zoé are some of the most selfless members of the cast. Kagami is aggressive and socially awkward in a way that is used to justify Marinette's initial distrust and dislike of her (in ‘Ikari Gozen’ Alya voices her pity towards Marinette for having to spend time with her) while Nathaniel is just the pitiful bullied loner who’s still a liked member of the class friend group. Girls who want Adrien are bad for trespassing on Marinette’s territory and trying to “steal” something that “belongs” to Marinette.

The writers thinking Adrien belongs to Marinette is also not just subtext. Later in season five, when Marinette and Adrien finally start dating, Marinette even outright states that Adrien “kinda does a little” belong to her when she’s scared that Zoé has a crush on him. The fumbling of the line means that the writers are aware of how toxic it is to consider your partner your property, but they want to include that sentiment anyway, because that’s how they view the situation. Marinette’s boyfriend is her property and other people can’t even look at her property. ‘Emotion’ continues on this increased possessiveness by having the entire Marinette plot happen because she can’t conceive Adrien keeping things from her, because he isn’t allowed privacy from her while Marinette lying to Adrien (or Cat Noir) is a show staple.

This same attitude of Adrien not being allowed to have romantic options outside of Marinette has also been in the fandom for years. Every time a new female character was introduced, there was a worry that she’d “try to steal Adrien from Marinette”. Marinette and Adrien are endgame, the writers know this and the fandom knows this. The characters don't know this, but it doesn't matter because Adrien was already seen as Marinette's (future) boyfriend even back in season one when he barely knew her. And this attitude the writers and audience have is extended to the characters more and more as the show goes on, as almost every single character becomes an Adrinette shipper in support of Marinette in season five, while no one thinks to ask Adrien what he thinks about this. Only once, in ‘Desperada’ did Alya suggest that Adrien could make his own choice on who to date, but it was implied the choice should be Marinette specifically (Marinette smiles at this, while Kagami frowns). The cast is lucky the writers have decided Adrien already is Marinette's, or he’d be really uncomfortable.

Season five episode ‘Pretension’ goes as far with this as having Marinette basically ask Gabriel for permission to be with Adrien, convinced that she and Adrien can be together with no problems if she can just get him to approve of her. And then Gabriel tells her he’s promised Adrien to Kagami. You know, like a piece of property women were treated as before women were allowed to live without a man to control them. The finale then ultimately does have Gabriel agree to hand Adrien over to Marinette by dying and leaving her in charge of Adrien. Just because she uses the privilege to do some things for Adrien’s benefit doesn’t make what happened any less of a patriarchal transaction. In fact, the writers wrote it that way on purpose, with the knight and princess parallels they set up between Marinette and Adrien earlier in the show being something they are prominently proud of (the “reverse fairytale” as they put it). Adrien is the princess the dashing hero Marinette gets to earn with her feats of bravery; he’s handed to her like a piece of property and Marinette is too happy with her acquisition to even be outraged on Adrien’s behalf. And Adrien wasn’t even allowed to know about any of this, instead it gets handled solely between Marinette and Gabriel, like his opinion on the matter didn’t even matter. And why would his opinion matter, since he already is ready to promise himself to Marinette, even as the writers deny him the agency to actually make such a promise.

The goal of making it obvious that Adrien is cool with being objectified like this is probably why they make Adrien so obsessed with Marinette in season five, constantly repeating her name to himself and saying stuff like: “I can’t stop thinking about you” in ‘Pretension’. They need to drive it home to the audience exactly how okay Adrien is with everyone forcing him to be with Marinette. After all, you can’t force the willing. As of ‘Confrontation’, Adrien’s official goals for the future are: “I love Marinette Dupain-Cheng.” I guess, from the perspective of the writers, the childhood dream of wanting to be what his parents wanted from ‘Wishmaker’ wasn’t sad because of Adrien’s lack of agency; it was sad because he wasn’t forsaking all of his personal pursuits for Marinette specifically. As far as the writers are concerned, Adrien should only care about Marinette and nothing else.

This same entitlement is also present in Ladybug and Cat Noir's relationship. Every time Cat Noir is upset with Ladybug, like in Frozer, Glaciator, Syren, The New York Special or even Kuro Neko, they never talk about what caused it. This is especially blatant in cases where Ladybug has wronged Cat Noir personally, like Kuro Neko or the NY Special, where she never has to face up to what she did wrong because Cat Noir comes back because she “needs him”. Cat Noir will always come back to her without her having to do anything because she is the main character and she says she needs him. He exists for her and her needs. He exists for her; it’s just another way he’s hers.

Speaking of how Adrien is treated affects Marinette, even Adrien’s trauma actually belongs to her in the writing. I pointed out earlier that Adrien’s trauma shows up when the writers need to put him out of commission, but disappears as soon as he needs to be Marinette’s trophy, but it goes further than just inconsistency. The early seasons spend several episodes on how Adrien is being locked up by his father and unable to hang out with his friends and, between him and Marinette, Marinette is the one shown to be more upset and hurt by this. They don’t do this in every episode, as ‘The Bubbler’ actually does a phenomenal job of making Adrien’s upset actually about him, but the big point in ‘Glaciator’ is that Marinette is so upset that she can’t see Adrien that she accidentally leaves Cat Noir on read so he’s upset about that. Adrien is only upset because he didn’t get attention from Marinette, while Adrien’s literal abuse at the hands of his father is only important because it makes Marinette upset. Even Adrien himself gets in on this action in ‘Conformation’ when the writers go as far as having Adrien chastise himself of not being more worthy of Marinette’s love when his dad is once again busy ruining his life. Even Adrien himself makes his abuse about Marinette; him being abused is bad because it’s inconveniencing Marinette and inconveniencing Marinette makes him less worthy of her.

‘Cat Blanc’ is possibly the worst offender of all, though. This episode should be all about how Adrien is abused by Gabriel, culminating with Gabriel turning him into a monster that destroys the world. And yet, what is the episode actually about? It’s about Marinette. The worst thing that could happen to Adrien is about Marinette. Only Marinette gets to remember or even know about the possibility of Cat Noir getting Akumatized and only Marinette is traumatized by it happening. After all that the writers later dare to use this event that didn’t actually happen anymore, that Adrien doesn’t know about, to justify him giving his powers to Marinette, because he’s “scared of getting Akumatized” when something like that has never happened as far as he knows. But the writers had him reason this way anyway, because apparently the culmination of Marinette’s character development in the show means taking Adrien’s power as her own and then failing to win even with that at her disposal.

Another note about ‘The Bubbler’ that has to be pointed out is that it’s also the first example of Marinette being presented as good for Adrien simply because she treats him better than Gabriel. The final scene of Marinette giving Adrien his best birthday present yet and letting him think it comes from Gabriel is done to show how selfless Marinette is by letting Adrien keep thinking good things about his abuser. This idea that Marinette is morally good simply because she’s better than pond scum Gabriel is also present in the season five finale, where Marinette manipulates, gaslights and keeps important information from her abused slave boyfriend. Marinette is presented as being in the right because at least she didn’t literally control him with a magical geas like Gabriel did and gave him the object with which to do so (while notably not telling him what it does). Marinette will do the bare minimum of not taking literal ownership of Adrien and we’re meant to see her as a paragon of goodness for it, while she still has no respect for Adrien’s autonomy and hasn’t had any since the show started.

The way the Sentimonster “reveal” is handled shows this utter lack of respect for Adrien’s autonomy that the writers, and Marinette by extension, have. The reveal is not for Adrien, but for Marinette, just like every other piece of Adrien has been made to be about Marinette. Marinette gets to know and she gets to decide if Adrien gets to know, and she decides “no”. She will manipulate him and lie to him to keep him happy for herself, she will keep important information about him to herself that he might never find out if anything happens to her, because Adrien is hers and no one else’s and she has the right to make that decision because the world revolves around her because the world of Miraculous was created to be her playground. “Adrien” is just a toy on that playground for Marinette to play with as the writers see fit.

Now we’re coming back to Adrien’s role as the sexy, titillating love interest character that I talked about at the start of this essay. If Marinette granting Adrien the bare minimum of freedoms as a slave while manipulating him “for his own good” is meant to be a good thing, why is Adrien even a slave? Well, outside of the writers wanting to add a plot twist that doesn’t come with any messy plot they’d have to write about characters other than Marinette, Adrien being a slave is also meant to be titillating. What really is magical super slavery than very, very off the wall bondage and power play stuff? The idea that Marinette could rob her love interest of his free will with ease but won’t because she cares about him so much is very empowering in two different ways. It gives Marinette all the power in the relationship and it makes her out to be such a good person that even having ultimate power over another person won’t corrupt her. Adding to that, we have Adrien’s people pleaser abuse victim personality, which makes him fawn over the people he loves. If Marinette ever wanted to have control over Adrien, Adrien would give it to her of his own volition, no need for magical super slavery or unbreakable geases.

As I stated earlier, Marinette is meant to be the point of view main character the audience of teen girls projects themselves onto. So, really, Adrien’s slavery and abuse responses are all about that fantasy of having a cute boy you have all the power over but not needing to use it because the boy is so nice and devoted to you anyway. Adrien really is “perfect”, the perfect object of attraction, a being who technically has free will but whose free will you never have to take into account because he’s been designed and trained to value other people’s wants and needs over his own.

Marinette doesn't literally own Adrien within the story, but the writers make it very clear that they think she should. In fact, in all ways except the literal, she already does.

#ml critical #ml writing critical #miraculous ladybug critical #ml meta #ml salt #zagulous fandom #adrien agreste #just like with my 'adrien gets disrespected' post none of these things would be THAT bad by themselves #but it's this much stuff all at once

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general-cyno · 5 months

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apparently it's the 15th anniversary of zoro's sacrifice in thriller bark (not sure if manga or anime though) so yknow. time for more zolu of course

one of the many things about zoro and luffy is that despite how their approach to certain situations might differ at times, they're still pretty similar at their core, sometimes to a comical degree (see: their definition of what a hero is back in fish man island arc). and this understanding of how the other works is what leads to moments like jaya,

this little one in water 7/enies lobby,

and follows consistently all the way to wano arc.

and I was thinking the other day about how their childhoods too kinda mirror or parallel each other's in a way that emphasizes (to me, at least) how special zoro's particular protectiveness toward luffy is, and why luffy relying on zoro that way is just as special.

the specifics of their childhood stories are different but both luffy and zoro have a turning point of sorts that's marked with the grief and loss of sabo and kuina, respectively, which leads them to say these:

(I cropped the panels, but luffy's also crying here)

it's important to note zoro and luffy had dreams/aspirations before this, to become the greatest swordsman and luffy's secret thing that we've yet to learn about (that ace, sabo and the crew now know). however, losing kuina and sabo is what prompts them to, on top of that, strive to become stronger for other people's sake. for zoro, it's his way to honor his friend and fulfill their shared dream. for luffy, it's to avoid losing the people he loves.

throughout the story, zoro and luffy end up expressing similar frustration and sentiments due to this. there's zoro innerly chiding himself for being too weak as he trains in the aftermath of arcs like little garden, alabasta and thriller bark, where the crew get stuck in situations in which zoro isn't able to help as he wishes he could (the wax cake, the sea prism stone cell, kuma). there's luffy swearing he won't lose a single member of his crew even if it kills him (the davy back fight) and reproaching himself for not being able to save any of the straw hats in sabaody, with the worst of it right after losing ace in marineford.

(and man do I have thoughts about bon turning into zoro, out of all the straw hats, back in impel down.)

anyway. as to why all of this is meaningful - when zoro agrees to join luffy, he mentions that his goal to become the greatest swordsman is all he has. yet as the straw hats go from journey to journey, and with a certain emphasis in luffy, you can see how zoro's view slowly shifts. he's now driving himself to become strong to protect them as well, to the point he's willing to set aside his ambition and offer his own head in exchange for luffy's, if it means he can ensure luffy's life and safety. that's huge. as mihawk inwardly points out, zoro has something, someone he values even more than his ambitions and pride. and it's through his adventures with luffy and the crew that he becomes closer to achieving that initial dream of his.

whenever people wonder why zoro's as loyal as he is to luffy, aside from all the reasons why luffy as a character has earned that loyalty through his actions, I also remember that one line koushiro said to zoro in a flashback: "the pinnacle of swordsmanship is the power to protect what one wishes to protect and cut what one wishes to cut. a blade that injures all that it touches isn't really a sword." while sure, it works in the context of later power ups like haki, imo it perfectly captures zoro's character growth too and what luffy's given him. the current zoro isn't lost or directionless with only one purpose in mind or to live for, bounty hunting as a means to survive. he has a home to return to, people to cherish, to protect and keep getting stronger for, people who nurture him in turn. kuina's death is something zoro couldn't have prevented, and losing people in accidents like those is something that could happen again, but still within the limits of what's preventable - zoro can protect his friends now.

as for luffy... zoro kinda steals the spotlight when it comes to grand gestures of loyalty/devotion and being the MC of the story means luffy fights for different people (both crew and non crew), carrying their wishes and hopes as if they were his own. he gets help and learns from others as well and all members of the crew are important for luffy to achieve his dream one way or the other, but the way he relies on zoro specifically is so subtly meaningful to me. we don't get as much insight on luffy's inner thoughts, still, we do have context.

for someone like luffy, who is at his innermost genuinely terrified of being alone and losing the people he loves, the fact that he trusts zoro to protect and keep everyone safe (even luffy himself) is so good. as shown above, luffy vowed to become strong in the first place to ensure he'd never go through loss like sabo's again and this vow is all the more renewed after ace's death. luffy has to be strong for everyone but... the fact that he can trust zoro to follow his lead even when others might not understand his reasons to do x or y, that he's so unwavering in his faith that zoro will protect the others when luffy can't, entrusting the people he cares about to zoro, whom luffy also cherishes - it's all pretty special. everyone in the crew has their strengths and zoro may not be the only fighter, but all of them, including sanji, fall under his protection whenever it's needed.

it's not only about raw strength though. zoro's also there to set luffy straight and remind him of what's important when the circumstances arise, like in water 7 or punk hazard. and even when they don't necessarily agree, like wrt vivi's situation after the reverie in marijoa, luffy knows when zoro's right and acquiesces (albeit grumbling a little) because, once again, he's also aware that zoro wouldn't just risk everyone's safety. luffy listens to him. and their reunion in wano too, luffy's sheer happiness at the sight of him again, is a very clear example of how much luffy adores zoro even beyond all that.

although luffy isn't aware of what happened in thriller bark (that we know of), zoro's actions are proof of why luffy trusts, has faith in, and relies on zoro as much as he does and why it's so important for luffy to have him by his side, considering how afraid he is of being unable to keep his loved ones safe. this is more on a speculative note, but I can imagine how comforting that must be for luffy - to not shoulder that on his own.

happy anniversary!

#zolu #tp #long post #yeah it's me. again #happy anniversary to zoro reinventing love and devotion for luffy y'all #I meant to add but I would've gone on a longer tangent if I had AJSJ #that yeah you could count whiskey peak as the one time luffy didn't trust zoro but eh it's like #1) I'm not sure how much of it was meant to be serious 2) their chemistry is so ridiculous they can't even fight properly #without falling into sync with one another and 3) luffy doesn't doubt zoro's intentions after that again #aaand you could argue this whole unwavering faith in zoro may have its drawbacks (sabaody) but #within the story it's not really something he holds against luffy but it is something that at least motivates him #to tell luffy to get his shit together. which is tasty imo #jay reads op

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cheapshrimpysheep · 11 months

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First Date - Scarabia

SUMMARY: What would your first date with him be like? I know first dates might not go so well, but let's pretend these are different. ;)

CHARACTERS: Kalim Al-Asim & Jamil Viper

TAGS: Fluf; GN Reader; Flirting; Kissing

WARNING: Spoilers from: Book 4 AND A Firelit Sky: over the Sands

WORD COUNT: An average of 670 words per character.

Heartslabyul / Savanaclaw / Octavinelle / Scarabia / Pomefiore / Ignihyde / Diasomnia

COMMENTS: I managed to write this one in one day. First because there are only two characters. But second, because I feel that Kalil is relatively easy to write and because I'm similar to Jamil in many ways, what I write about him tends to flow easily.

I hope you enjoy ;)

Kalim's already taken you on a carpet ride, took you to Scarabia’s Oasis, taken you to his homeland, showed you the fireworks of Al'ab Nariya. What the heck is he going to do for your date?!?! JAMIL HELP!!! First of all: No animal parades!

They both discuss it for some time until Jamil says that it’s not a bad idea to do something you've done before but in a different way. Kalim's taken you on a carpet ride before, but not in a romantic context. And you two have been to the Oasis, but not alone.

He still wants to do something new, something bigger, but he trusts Jamil's opinion and advice. After all, he knows you too, maybe he's right and that's enough for a first date.

He surprises you one night. You hear someone knocking on your bedroom window, which is on the first floor. When you draw the curtains, he's there, sitting on his flying carpet. And he invites you to go with him, somewhere. It's a surprise. Do you trust him?

You ride around the NRC for a while, enjoying the view of the campus at night, before he takes you to Scarabia, to fly once more through those skies, this time at night. And it's Beautiful! The sky was clear, revealing all the stars surrounding the large half moon. And this time, you weren't talking about Jamil, but about each other.

He talks and smiles a lot. He asks a lot about you, you likes, your world, etc. He's so curious about the person he has a crush on. And he ends up getting very close to you without realizing it. Your shoulders touching. Maybe the carpet fakes a little turbulence to get the two of you even closer, to the point where you're in each other's arms. If you don't show yourself uncomfortable, or on the contrary, even smile about it, then you will stay that way for the rest of the ride.

You arrive at the Oasis. The moon reflecting in the calm waters. He helps you get off the carpet and starts looking around muttering something like “Where was it again?” The carpet flies to one of the nearby palm trees and returns with a basket and picnic blanket, and Kalim thanks it. Needless to say, it was Jamil who put the basket in there and prepared the food.

The two of you continue talking as you eat, sitting on the picnic blanket by the water. He looks like he's having as much fun as you are, until his expression gets slightly less excited because he's remembered something: “Um... (Y/N)?... Are you enjoying the date? I mean, I think you are, you're smiling a lot. But... is this really enough? It doesn't feel enough.”

You tell him that this is enough, of course it is. The two of you being together is enough to make you smile. Being alone with Kalim like this, on an official date, is more than enough. And he's so glad about that! He is so relieved that he can make you so happy with so little. That means he can always make you happy and see your wonderful smile.

He hugs you and tells you how he’s felling, how happy he is that you are happy by his side. Then the carpet nudges him in the shoulder. He looks confused for a moment, until he realizes what the carpet brought him that he had already forgotten about. “AH! Yeah, I was having so much fun I forgot. You're a lifesaver.” he says to the carpet.

He gives you a big bouquet of jasmines. At Scalding Sands, he told you about the story of the thief who gave jasmines to the princess he loved, remember? You look at the beautiful flowers and Kalim's big and sweet smile. You have nothing to give him... except for, maybe, a thank you kiss.

Jamil is always busy and stressed. Yet somehow, he managed to arrange a night for the two of you. He's managed to get some Scarabian students responsible enough to take care of Kalim while he's with you. However, if something happens he won't be too far away, because he took you to Scarabia anyway.

He took you to the empty room where you stayed when... well, he kinda kidnapped you... You had no idea what he had planned until he opened the door. It wasn't empty. It had cushions on the floor, a small table for eating, opaque and translucent fabrics decorating the walls. It reminded you a little of his dorm lounge, but more romantic. And it was night, so the only things illuminating the interior were the moonlight coming through the small window and the lighted lamps. He did all that for you?

A quiet and comfy place where he can have a dinner and rest with you, this is what he prepared for you two. You enter and sit on the cushions in front of the table full of food prepared by him. He made your favourite foods, his favourite foods, new foods that you said at some point you wanted to try, an authentic feast to the taste of both of you.

He will look at you discreetly while you eat something you like, to appreciate the face you make when you're delighted by it. When you try something new, he will offer to feed you, again because he wants to see your reaction. Of course everything is delicious, he doesn't have to worry about you not liking the dishes and he knows it. After all, he was careful to make things he knew you would like, removing all the ingredients you didn't like.

You're on a date, which means you have a crush on each other and which makes him allow himself to be more cheeky. At the end of dinner, he will take advantage of you leaning back a little and lay his head on your thighs. When he sees your blushing face he smirks a little. Truth being told, he's blushing a little bit himself. You can see he's tired, despite his attempts to hide it from you. That and you can feel his body relaxing. After all, it's his date too.

You start petting his head his head and playing with his hair, and you see a smile so sweet and so rare that it warms your heart. He reaches out to caress your cheek. “Can I ask you something?” you nod and he smirk once more “Could you feed me some grapes?” you raise an eyebrow, still smiling a little “Please? I've always been curious to know what it felt like.”

You take the bunch of grapes and bring them close to you so that you can take one grape at a time and feed it to Jamil. You see his expression is a little smug, but grateful and appreciative too. You two chat while you feed him the grapes, until he gently takes your hand before you can take it back to the bunch of grapes and kiss it.

His kiss was so soft and caring, you couldn't help but wonder what it would feel like to have them on yours. He gets up, sits beside you, and look you in the eyes. Your first reflection? After what happened when he took you to Scarabia the first time? Quickly look away, as if dodging something.

He lets out a low gasp. “Wait, no, I’m, not...” he gives you a moment, until he brings his hand to your cheek “I'm sorry, really sorry. But I promise you I won't do it to you ever again. It's different now. I didn't know you. But now I do.” with his other hand, he takes yours “I don't do that to people I care about. And know I care about you. Please... let me see your eyes.” You give in and look into his eyes. And you feel nothing but your heart racing. And his face comes even closer to yours.

If you would like to read more from me, you can find it in my pinned post: INDEX

#Twisted Wonderland #twst #twisted wonderland x reader #twst x reader #disney twisted wonderland #twst imagines #twst wonderland #twst fluf #Twisted Wonderland Fluf #Kalim Al-Asim #Kalim Al-Asim x Reader #Kalim x Reader #Jamil Viper #Jamil Viper x Reader #Jamil x Reader

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drconstellation · 4 months

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First-Order Archangels

Part 1: Maybe You'll Spot An Archangel

GABRIEL: I told you you could ask. However, I am the only First-Order archangel in the room, or, you know, the Universe, so I'm not gonna answer so much. But you feel free to knock yourself out with all the asking.

While I was writing my meta series The Passion Of Jimbriel it became fairly obvious to me there was something more going on between Crowley and Gabriel in S2 than just the numerous pointers to Crowley's pre-fall angel status. They are acting as both parallels and foils to each other, and in places you can swap their characters and get the same story at a different time – and that just opens up a whole new window of context and insight into things. For pre-reading, see this meta from @vidavalor that nicely lists some obvious parallels. It doesn’t mention everything though, so I’m going to discuss parts in more detail.

A foil is a character who contrasts with the protagonist, to highlight or differentiate certain qualities between the characters. Crowley and Gabriel do this because they have come from essentially the same place, and share some story elements, but they still end up in different places.

There is a lengthy original discussion about Crowley's pre-fall angel status here, for pre-reading. It points out the obvious and some not so obvious points that ops have noticed in S2 telling us about Crowley's pre-fall status. Rather than just go through them all again, I'd like to look at some other scenes in S2 that also tell us something about both the similarities and the differences between these two high-powered entities as I go along. In addition, I’ve done a series of posts looking at Gabriel as a shoulder angel (links at the end of post,) because quite often he’s on the demonic left-hand side – which makes sense when you realize he’s a Crowley parallel.

Take the arrival of Gabriel to Whickber St and the bookshop. I’ve already mentioned this parallel story line a couple of times now, but lets look at it again in more detail. It mirrors the opening of S1E1 where the serpent climbs the wall of the Garden of Eden, morphs into a demon and starts to converse with the angel standing on the wall.

Back in the present day, we have a Gabriel, who also tends to present on the sinister-side, walking up to the gate of the present day Garden (the bookshop), which is still guarded by the same angel as it was 6000 years ago, and basically tells Aziraphale he has “fallen.”

How to we know this? It is a reference to the Fall of Man, when Adam and Eve ate the apple the serpent offered them, they suddenly became aware of their nakedness, and hid from God. Gabriel has already upset the love-apple tomato cart on his way to the door of the bookshop, its a sign of the chaos to come.

The fallen angel is not sure of his name, so he prompts with a question…

And asks for shelter under the (reluctant) angel’s wing..

But there is one thing he does know, the one thing that drew him to Aziraphale in the first place:

AZIRAPHALE: Then why did you come to my shop? GABRIEL: I don't know. I just thought I should. You know what it's like when you- when you don't know anything at all, and yet you're totally certain that everything would be better if you were just near one particular person?

Later, Aziraphale realizes that he must give Gabriel a new name to hide him – because fallen angels take on a new name, don’t they? Just like Crowley did.

Then we get a confession:

Which is what Crowley loves about Aziraphale as well - that bit of unpredictability, because you know how humour kind of works? It throws the unexpected at you.

Early on in S2 we find out they are both in trouble: first His Royal Smugness, then Our Hero himself. Our view is turned upside down, with the angel made the bad guy and the demon the good guy who needs to win. But both of them are being hunted by Shax.

Then we get one of the early clues pointing to Crowley's high status as an angel:

SHAX: A miracle of enormous power happened last night. The kind of miracle only the mightiest of Archangels could've performed. CROWLEY: Mm? SHAX: Somewhere very close to your friend's bookshop. Are you telling me you don't know what caused it? CROWLEY: How'd you know I didn't do it?

Shax stalks and threatens both of them, sometimes at the same time:

Another parallel Gabriel and Crowley shared in S2 were associating their identity - no, lets rephrase that - "essence" was one description I've seen - with boxes.

Gabriel arrives with a box that strategically covers his front, and quickly tosses it aside once Aziraphale opens the door to the bookshop. It lies forgotten until Gabriel mentions it a while later. Inside it is the fly from Beelzebub - an object from Hell - so it really needs to be 'invited' across the threshold of the bookshop by Aziraphale to be able to enter. The box initially appears to be empty, Once inside, the fly is free to roam. It has a message written on one side of it.

The same goes for the matchbox. Message included.

ah, wot? you say. Yep.

The matchbox represents Crowley, probably in more ways than one, but I'll just go through the stuff relevant to this meta here.

I notice I'm not the only op to connect the line from the Book of Job on the side of the matchbox with Crowley. The line is from Verse 41, which talks about Leviathan. Among the various shapes it is described to take is a great sea serpent. This deserves its own meta for further discussion, which I plan to do after this one, because yes, Crowley is Leviathan in disguise, but there is much more to it than that. But for now, just know that the matchbox is Crowley.

Once you know this, it makes sense that Muriel finds it - a discarded cardboard box by the front door to Heaven - and deals with a material object that shouldn't by rights exist in Heaven. Then a certain demon finds Muriel lurking outside during the siege on the bookshop at the end of S2E5, and talks them into letting the certain demon be escorted up into Heaven where he doesn't belong, where he's free to roam around - only he needs a guide because he's not sure where to go. Ah Muriel, you poke the Serpent, he's going to poke you back. Good thing he likes you, and it just was a gentle nudge.

Two empty boxes, two cases of memory-loss. That is what S2 seems to suggest to us at first glance.

Gabriel's seems to be the most straight forward in hindsight - find the fly and restore Gabriel to his original "Gabriel-ness." But its more complicated than that. When pushed to remember, his lilac eyes return and another voice can be heard speaking through him of the past. This happens twice, with the second one being part-prophecy. What is really triggering these episodes of channeling? Is it God or someone else speaking through him? We really aren't sure at this point in time.

Then there are questions around Crowley's memory. Did he have his memory wiped when he fell? Was it wiped repeatedly? Was it not wiped at all, and he just pretends he doesn't remember? Neil has even said he is an unreliable narrator about his own Fall, so who are we to trust at this point? Crowley does seem to understand in the end some of the problems Gabriel is having with his absent memories and that brings them to a temporary truce.

Both Aziraphale and Michael inspect their respective "empty" boxes, and neither notices anything obviously amiss. Gabriel's box just seems empty to Aziraphale, he takes no notice of the fly container in there, and archangel Michael tentatively inspects the matchbox brought to them by Muriel but nothing seems out of place there either.

Crowley's change in costume in Heaven during his little infiltration caper with Muriel is also another clue to his past status as an archangel. He has a silvery-gray suit, similar in style to Saraqael's to reinforce the link with them, but at the same time he is also mocking the other archangels and their elite status. We've assumed for a while now that the appearance of the tactical turtleneck signals that Crowley is up to something sneaky or spy related, but I'm starting to think it also relates to a bit of a power play (and Crowley certainly laid the power on for Mr Brown in the pub!) Looking back at S1, Gabriel's not adverse to wearing one either when he needs to be at his worst (or best. Your choice.)

The way one dresses is a way of expressing and reinforcing authority, and its something both Gabriel and Crowley do without much thought. They have been used to being in a position of power and/or independent authority for much of their existence, and I would say that even if Crowley is a few steps down now from where he started, and he's more cautious around those higher ranking than him than he used to be, he still retains that knowledge of what its like to be at the top.

Crowley's usual near all-black costume is a form of power dressing in itself. Whether is was in the past, when black was an expensive color to buy and maintain in clothing, or in the present day, we are still respectful of those in a stylish cut of black.

Gabriel's impeccable tailoring as Supreme Archangel also commands respect. So it's no wonder that one of Gabriel's first requests on regaining his memories was to ask for new clothes! He wasn't just being the vain archangel we believe him to be (although, I think there is still some of that) you also need to consider the elements of the reference characters that went into his shop assistant character: Granville, the belittled shop assistant nephew from the sitcom Open All Hours, who got stuck with all the shop duties from his uncle and felt like life was passing him by, and the silly Monty Python gumbies, that complained of hurting brains - lovable and much loved characters, but not ones you'd really want to be forever. We all want to be loved, but we want to be respected as well.

For all his fierce posturing around Gabriel, there is a brief moment in S2E3 where Crowley backs down and treats Gabriel as an equal - and that is reflected in a change of dress as well. His outside jacket off and sleeve-garters on, Crowley sports a look we haven't seen since S1 when he was home alone in his Mayfair flat. He patiently explains gravity to a curious Gabriel and then describes his "Operation Lovebirds" plan to his puzzled companion. He admits he hasn't "done weather in ages." It's just a quiet, charming moment, watching two ex-archangels get along together.

You're smiling, aren't you?

This meta continues in Part 2: Foils of War, where the differences between Gabriel and Crowley get explored in more detail, and how Aziraphale and Beelzebub act as mirrors to each other a few times as well.

This meta is part of a series on Gabriel: Gabriel as a Shoulder Angel: S1 Study S2 Study Part 1: Ep.1 The Arrival and Ep. 2 The Clue S2 Study Part 2: Ep.3 I Know Where I'm Going and Ep. 5 The Ball S2 Study Part 3: Ep.6 Every Day

First-Order Archangels Part 2: Foils of War

First-Order Archangels Part 3: Seeing Eye to Eye

#good omens #good omens 2 #good omens meta #crowley #gabriel #the only first-order archangel in the room #or you know the universe #aziraphale #garden of eden #fallen angel #his royal smugness #how will our hero cope #maybe you'll spot an archangel #book of job #vavoom

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let-us-cultivate-our-garden · 8 months

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The reason why the toh fandom can have such wildly diverging interpretations of the Wittebane story is because the show did not do its job. How old was Philip when Caleb left? Did Caleb truly believe in witch hunting or was he just playing along to what the town expected? Did Caleb ever tell Philip anything? Did he ever talk to his brother and try to change his mind? How long was Philip searching for Caleb? How did he get cursed? How exactly did the knife fight start? Did Philip kill Caleb accidentally or on purpose? Did he kill him only because he married a witch or because he left him? Or both?

The fact is, we don't have definitive answers to any of these. We only have educated guesses based on portraits barely glimpsed in the show that lack any context, Masha's barebones version of events, and Belos' self-justifications. Casual fans shouldn't have to be knee-deep in fandom just to get the main villain's backstory, especially when said story is the literal basis of the whole plot.

Plus, if you're going to spend the final half of your last season barely exploring the villain's origins, only to completely ignore it in the series finale, then you've written a bad ending.

Update: This is getting some notes so I'm including additional thoughts to the original post. The rest will be under the read more:

Just to add onto this because some folks argue that we don’t need his backstory because we already have the essentials or it’s not really important to the plot. The thing is though is that Belos’ story launches the entire plot of the show, his character and motivation are the direct result of actions that happened centuries before the main characters were born. It needs to be depicted and not largely inferred.

His story is important to creating a more fleshed out character and can strengthen the themes of the show (the rivalry between Eda and Lilith and Luz struggling to fit in at home are parallels to Belos). Instead the show gives little kernels of his story and character that make him more interesting than just Evil Emperor (the fact that the brothers became witch hunters to fit in, the fact that Belos worst memories are of killing Caleb and making grimwalkers are never touched on again). The first (and last) time we see Caleb in a full scene is in For the Future and it has huge implications for the dynamic between the two brothers. But again, nothing is done with it. It seemed like the show was building up that Belos’ lies and self-justifications would lead to his undoing but it doesn’t. So him dying with his ideology and self-delusions intact feels empty.

The worst part of how the Wittebane story is handled is that since it’s largely inferred and you have to be pretty involved in fandom to have a more nuanced take of it, a casual fan can easily just accept other characters’ views on the matter. Masha says “looks like little bro was jealous of big bro” and it undercuts the story of the Wittebanes (to say nothing of the tonal whiplash). The Titan dismisses Belos as only caring for himself and to be the hero, which while technically true, misses a lot of context and makes it easy to dismiss Belos as a whole as simply being evil and crazy instead of a more layered villain. And it can’t be argued that these are just the characters’ perspectives and we shouldn’t take it at face value because there’s nothing really in the show to pushback against that.

Now, yes, it is fun to imagine how the Wittebane story played out and in hindsight, it’s probably better that the show didn’t depict the entire story because they probably would have botched it. But the point remains that the handling of this storyline was a mess (and don’t give me the cancellation excuse, the show learned early on about this and wrote all of 2B with it in mind). The Wittebane story and Belos as a whole showcase why setup and payoff matter. You show the villain feels guilt about their worst deeds? What’s the payoff to that? The villain was originally an outsider who tried to fit in and conformed to a town’s toxic ideologies? What’s the payoff? The villain continually lies to himself and commits atrocities to justify his actions? What’s the payoff?

If you’re going to raise interesting and thought-provoking questions then don’t give the audience a simplistic answer.

#toh critical #toh criticism #the owl house #emperor belos #philip wittebane #caleb wittebane #I don't want to hear any nonsense about belos not “deserving” a proper ending #if you spend two episodes adding new information and context #then that needs to pay off for the audience somehow #long post #post update

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genderkoolaid · 4 months

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I don't know if you know blue eye Samurai, but I hate how people talk about the protagonist.

I'm a non binary Trans man, and I actually identify a lot with Mizu (the protagonist), but I go here on Tumblr and I see a lot of posts that say: "I know everyone can see Mizu however they like, but I want everyone to know that the right interpretation is that she is a woman pretending to be a man... but everyone can think whatever they want, not forgetting that she is a woman of course."

And it's a bit annoying because when I see explanations of why is "wrong" to see Mizu as a Trans man, I see people going "Why can't there be representation of gender non conforming women!?" And "she wouldn't pretend to be a man if it wasn't for the society she lives in!"

The last one makes me especially angry, because of how many Trans men get erased from history with that same argument.

I don't know, I think it makes me mad because that fandom feels like a micro cosmos of the anti Trans masculinity a lot of Trans men have to face.

And it's not like I think it's wrong to see Mizu as a woman, but when everyone goes "of course she is a woman, why would she want to be a man for anything other than necessity?" I don't know how to feel.

I'm gonna steal my own words from that post about jeanne d'arc:

And the best part is, we can say all of this and also see her as part of women's history! Because women's history, too, does not have to be exclusively about woman-born or woman-identified women. It can be about a larger cultural experience. And Jeanne d'Arc suffered because of transphobia which is always fundamentally misogynistic. I would argue it even makes sense to say her death involved transmisogyny in a very literal sense. The thing about transfeminism is that it can free us from the need to view personal identification with the role of "woman" as vital to feminism. Being a woman, in whatever sense, is certainly not unrelated to feminism, but one can be a feminist and have any kind of personal or communal relationship with womanhood. Anyone can be inspired by the story of Jeanne d'Arc and her bold defiance of both misogyny and transphobia, no matter how she may have personally understood her gender.

People have this idea where if a character or historical figure (or even currently living person) is anything but a woman, then any kind of Feminist Story falls apart. Especially when it comes to misogyny! People act like someone being a trans man means all their experiences with misogyny are like. gone? Or the story is now, essentially, about a cis man being mistaken for a woman, and thus women are Not Allowed to feel any connection at all.

All of this on top of the fun hypocrisy that is "we can't say this person/character is a trans man because they wouldn't have that concept, but we can say they are a cis woman because those are both the only options and ciswomanhood is a natural and universal concept we can apply regardless of any other context :)"

& with Mizu its like. you literally can see her as a GNC woman. people calling him a trans guy or transmasc or genderqueer or anything else are not taking away your experience of her as a GNC woman. Transmasculinity is not just Negative Womanhood, the idea that transmasculinity is something which saps away representation/power/dignity/identity/value from (cis) women is like ATM 101.

But the whole way people treat trans men and misogyny really annoys me, I guess because the assumption is that for women, having to dress as a man to get respect inspires anger at one's position in society, but trans men are incapable of having any complex feelings about that. Like trans men must fully enjoy not being able to have sex with others, or go to a doctor, and having to live in fear of being outed and facing the brunt of transphobia and misogyny, and trans men also couldn't possibly be angry about misogyny that they experienced, and also nonbinary people don't exist and no transmasculine person could possibly be anything but fully comfortable being seen as a cis man all the time. Sure, some trans men are perfectly happy passing as cis men, but like. there is more than one trans man. & ignoring all other transmasc experiences besides The One is a form of erasure, it just passes as something else because technically you are acknowledging A transmasc existence.

#m.#ask box

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