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#but other than that we have no real idea who she was

elementroar · 3 days

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Question about Paracelsus, does he actually like aba? I’m guessing in the older game, he mostly tolerated her because she can fight (except for the fact he deliberately chooses not to control her) but in the new one, I’m pretty much confused. When he ends his transformation, He says “That’s my answer, ABA, As your partner.” Problem is that I have no idea which meaning of “partner” he meant. It could be just fighting partners but him having a whole emotional speech and transformation for a “business partner.” If I try to look at the view of actually going for ABA’s dreams for marriage, it feels incomplete and odd because she is slowly transforming him into what she sees fit. Please I really want to know what he meant!

Side note: ABA’s feelings of jealousy and abandonment are completely valid as Paracelsus has done that! To her face! WITH A RANDOM STRANGER TO HER!!! In night of knives volume 2.

Life partner, since Paracelsus no longer really wants to fight on principle, so 'fighting partner' like he used to regard A.B.A as and originally hoped she would regard him as, that's out of the window. So if he's still resolving to stay with her, it's as a life partner. The extent of what that means to him is prolly different from A.B.A, but that can evolve over time.

Because Paracelsus, as he has stated, is an axe. He understands relationships in axe terms, which is he acknowledges his wielder (which he did acknowledge A.B.A as at the end of Night of Knives) and he kills other people that threaten them. His whole situation-ship with A.B.A has forced him to be involved in roles he was never equipped to deal with and was forced to adapt to - being an emotional support, being an actual object of attraction, having to constantly protect his wielder from herself, having to be a counsel on social norms that he shouldn't know all that well to begin with as an axe but he's expected to, having to communicate on behalf of his wielder to navigate social situations and dispel conflict - quite literally none of these are on the checklist of 'being an axe that kills people real good.

Yeah he wanted to leave A.B.A in NoK, and honestly who wouldn't? From his perspective, she was hellbent on not treating him as the weapon he wanted her to treat him as. She was figuratively and literally emotion dumping on him constantly, what with the empathetic bond prolly not helping matters. And he kept trying to dispel every delusion and assumption she had about their relationship constantly. As he was being sexually harassed despite his protests and mid-battle, constantly.

But even back then, Slayer implied that Paracelsus never hated A.B.A personally, but her constant advances, the situations they got into, it was all frustrating to him when he really wanted to be 'just a weapon' back then.

We kinda skipped Paracelsus character development up till STRIVE but IMO, I think he figured out he had to be proactive with A.B.A, cause sticking with his "I'm a weapon, and only a weapon" principles wasn't helping. He accepted that he needed to be the responsible one of the two, that he had to kick his blood habit because it made him lose control and also got them into fights etc. He accepted that he had to change for the sake of A.B.A.

Thinking about marriage for them is kinda falling into the trap that A.B.A fell into IMO. Her theme hints that being bound by specific definitions of words or expectations may have prevented her and them from organically growing their relationship, whatever it can or would be.

Part of her major development is that she acknowledges she's been obsessed with the idea of love, but not actually truly understanding what it is. Her obsession with Paracelsus is more of her playing the part rather than understanding the feeling. Part of her growth was choosing to let go of Paracelsus for his own good, and in fact it was an expression of true love, even though she didn't realize it. Paracelsus is also learning about love and Elphelt suggested that looking out for someone is in fact a form of love, and that surprised him. He didn't seem to realize that the steps he's taken to take care of A.B.A are expressions of love themselves either.

As Paracelsus explained to A.B.A, he's not sure where their relationship will go or what the future holds for them. How their feelings will develop is still up in the air, but he tries to show A.B.A that if he could change so much, then she can too. The idea is that they're finally free to be whatever they're going to be, and they're choosing to stick together to that end, and that's the most important thing.

#my reply #long post is long #a.b.a guilty gear #paracelsus guilty gear #guilty gear strive

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scintillyyy · 2 days

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actually. i was thinking, though. what exactly *is* the metric of a tim civilian friend. as in, what exactly makes a character tim's friend vs a kid he goes to school with who he happens to friendly with (because tim is generally friendly with everyone). what's the distinction?

and i think the answer falls on "does tim's civilian life and robin life intersect in a significant way around this character"

because, listen. we all know that tim is a compartmentalizer who tries to keep the ideas of "tim" & "robin" separate. however, we also know that it's not one or the other with tim--he's both. and the closer you're allowed to that narrative intersection of both tim & robin, the more the civilian in question can then be seen to have importance in *tim's* life and a reciprocation of friendship interest by tim.

because you think of the gotham heights high crew--not only does tim use his skills to investigate what's wrong with ives at one point (he got an embarrassing job), he's also used the W&W crew for unknowing assistance against the joker, hudson leads him to a case at one point, & he runs into a case whole hanging out with them to see a play at the park. despite tim's best effort to seperate parts of himself the close interactions of his other life to his friends is not just tim accepting friendship, but tim narratively showing friendship in return--they are narratively allowed to be a part of his life as robin though they'll never know it.

and the brentwood boys are no different. though they're not allowed the secret, their lives are affected and improved by tim as robin. as they give friendship, tim gives friendship in return. and when tim leaves his friendship and reunion with ives is marked by a case, the one with charaxes.

and even later, with zoanne, her life and relationship with tim is complicated by tim's life as robin, but she is allowed that narrative closeness to his life as robin, closeness to the entirety of his life. she even makes a cameo as having spoken to vicki vale about tim, and vicki's story during that era is finding proof of the hidden life of the batfam.

louis grieve is interesting because darla is the friend of the era who meets this metric--her life as a mob daughter is doomed to return tim to his true life. her resurrection as warlock's daughter is what intersects her with whole of tim's life, not just tim. and bernard surprisingly doesn't have any narrative markers that would indicate these kind of particularly close feelings from tim towards him--tim does not help him on a personal level with his personal life, there's, hm. like bernard does bring him the news of steph being robin, but there's really no personal intersection of *tim as robin* with bernard or because of bernard or for bernard. they do interact during the school shooting but it's no more personal than tim and the rest of the kids. in post-crisis, at least, the lack of tim's as robin having any sort of notable personal connection to bernard narratively indicates a fundamental distance between them where tim is not shown to have any significant personal investment in/towards bernard unlike all the other civilian friends. i would say bernard does make in on account of his presence at the school shooting, however when tim's true self is both robin & tim, for him to not have any significant personal narrative connection to the real tim, it does makes him a notable outlier among the civilian cast.

#okay NOW i'm done.#i do think this is intentional btw there absolutely was room to put him + his trauma post the shooting #in a way that tim would have had a chance to intervene as robin and thereby connect bernard to the true tim #but the notable absence of tim having any sort of personal robin connection to him #does narratively indicate a functional disinterest in him on tim's part

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jq37 · 8 hours

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Are we sure Sandralynn wasn't cursed with like. Shit taste?

It's def a real mixed bag, though I think besides Bobby it's more just wild choices than straight up bad choices.

Bobby Dawn: Regular Freak. Liar, Frumpy, Wrong. Cheated on his wife and then ruined another woman's life over it. This is not a a ranking so I'm not giving him a score but I almost wish it was so I could give him a comically low number. Actually, there aren't any rules here. I still can. Negative infinity and kick rocks. If I was Sandra Lynn's friend I would be *begging* for her to love herself (or at least have a better sense of self preservation) and RUN GIRL.

Gilear Faeth: Gilear was a successful, hot elf before his loser energy kicked in because of his curse. Wasn't he like a diplomat or something? Like, Gilear now is a loveable loser but Gilear then was probably kind of a catch. And hell, Fabian's mom likes loser Gilear and she's a pretty hot commodity herself. As Sandra Lynn's friend I would be doing cartwheels if she moved on from Bobby to be with Gilear. 1000% improvement. And, for what it's worth, so is loser Gilear. Most guys would be frankly.

Gorthalax: Def seems a bit reactionary to go from a cleric of Sol to one of Sol's fallen angels turned devils. But Gorthalax is a nice guy from what we've seen and as a devil of gluttony he prob can conjure up some killer date night food. I think that if I could get over the shock of him being a MAJOR DEVIL, as Sandra Lynn's friend, I could warm to the idea. And he's not Bobby Dawn so instant improvement. However, as there was infidelity involved this would be another GIRL WHAT? reaction from me. But again, less about the guy himself, more about the decision to cheat.

Jawbone: OK so the thing about Jawbone is that I think he's great and a super good person and he's Brennan's semi-self insert so of course I love him. But he would also be an insane person to know IRL. Like, the stories he tells so casually. I think I'd be like, uh are you sure about this one? But he seems to have at least mostly chilled out now that he's working with kids and I think he's a really great guy. There's maybe a risk of contracting Lycanthropy but I'm sure they're using whatever protection you use for that. Solid guy as long as you're cool with his past.

Garthy: When Garthy was introduced, 80% of the fandom was instantly thirsting over them so objectively, "Garthy is hot" is a pretty mainstream opinion. And even if you (like myself) were in the 20% of people not thirsting over them, they're still very clearly a good person between raising Ayda and being super into self care (I loved the scene with them and Mercer's char in PoL). Also they're just really cool conceptually. So again, very normal person for Sandra Lynn to wanna hook up with. The problem, once again, is the infidelity. Especially because Jawbone was willing to have an open relationship! He closed the relationship for her! She took an L here for no reason!

So, to recap: shitty guy, good guy (who was cursed), devil (who is a good guy* and also an affair partner), good guy (with a wild past), and hot pirate (who is a good person* and also an affair partner).

*I don't remember if they knew Sandra Lynn was in a relationship when they were hooking up with her and am not factoring that into my judgement.

Besides Bobby Dawn, the rest of her choices were pretty OK (unless I'm forgetting stuff). Wild and with no obvious connecting thread--she absolutely has a rogue's gallery to rival Batman's--but it seems like the problems she had with relationships came down more to stuff other than, "She picked an objectively bad guy."

She really has the most inconsistent taste ever. I can't even begin to categorize what her type is. Gilear and Garthy should never been on any list together besides, "NPCs with G names."

#dimension 20 #fantasy high #a-salty-alto #asks

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bestworstcase · 1 day

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the only purpose of the shock collar was to subjugate, enforce cinder’s status as an object the madame owned. she neither chose it nor wanted it—and in the end, it was just a necklace. cinder breaks it with ease, with one hand. anyone might have set her free at any time with, literally, no more effort than it would take to lift a finger.

(do not try the bullshit nonsense about cinder’s enslavement being legal with me. slavery was abolished after the great war, and when the madame is displeased she brings cinder into the kitchen to torture her behind closed doors. adopting an impoverished orphan from a foreign country and using a collar made to look like a pretty necklace is how she gets away with it, enabled by the complete indifference of her wealthy patrons to the plight of the "adopted child."

the thematic point of rhodes is that he enforces the law only when it’s convenient for him to do so: he knows cinder is being abused, but he’s a regular patron of the hotel and he chooses not to say or do anything to intervene until he recognizes cinder as a threat to the madame. “hurting them won’t make your life any easier.”

we see this pattern reoccur again and again in atlas, that those who hold political or economic power flout the law without consequence or contort it to work for them while those beneath are subjected to strict, unforgiving enforcement. everything robyn does before the election is legal and above-board but the ace-ops openly treat her like a criminal and hound her about obeying the law, while ironwood misappropriates construction materials earmarked for mantle. this is the idea that rhodes embodies.)

so the greatest injustice of the collar is that it had no real power, by itself, over cinder. she could take it off whenever she wanted, except that she was not allowed to; no one willing to help her, no safe haven where she could find refuge after, and when she becomes desperate enough to resort to violence to free herself she is immediately prevented from doing so by a huntsmen—exemplars of moral virtue as they are intended to be—who tells her that in order to be good she must endure seven more years before she is allowed to leave without her guardian’s permission.

as an instrument of control, the collar can exist only through the willingness of the hotel’s patrons to participate in the fiction that cinder, having been lifted out of poverty by the madame’s generosity (look, she even gave the girl a lovely necklace!), is now earning her keep, learning the value of hard work. pay the scars no mind. rhodes intervenes to keep protect the madame, and his fondness for cinder is circumscribed by that motive.

the first time he leaves after he begins to train her, rhodes says goodbye by placing his hand on top of her head; cinder flinches—

—and the scene cuts right to the collar:

in the same mode, the madame electrocutes cinder in a panic as cinder strangles her, and rhodes’ final act is to place his hand on cinder’s head, scaring her—

—after which she cuts him down and stands upright to remove her collar:

the collar and the gentle (unwanted) hand are one and the same, two faces of a single instrument. carrot, stick. neither figures cinder as a human being. rhodes is only gentle until she disobeys him, whereupon the covert violence of their first meeting is reified: he enters her only ‘safe’ place to catch her in an unlawful act; his first action is to pass judgment; his second, to draw his weapons.

now, that’s not yours, is it?—huntsmen are called to embody a heroic ideal, to protect others who cannot protect themselves. rhodes places his own weapons into cinder’s hands and declares that he will train her as a huntress on the condition that she agrees not to protect herself; he releases himself from his duty to protect her by moving her into the category of people who do not need to be protected, and thereby makes her both guardian and grimm: as a child who will become a huntress it falls to her to protect her family from the monster of herself.

thus she’s forced to become an active participant in her own abuse; before she can break free of the collar, she has to bite the hand that held it in place.

now to the grimm. during the montage of cinder’s training-and-abuse, there is a particular sequence that goes like this: rhodes and cinder spar with wasters late one night, he disengages and gives her an approving nod; we cut to cinder kneeling before the madame in the empty lobby, dusting a glass statuette of a sabyr for inspection. her work is found inadequate, and the madame finds quiet satisfaction in reminding cinder of the power she has over cinder:

then the madame walks away, and although cinder strives to maintain the performance of being unaffected—indifferent—she can’t:

in contrast to the scenes preceding cinder’s bargain with rhodes—wherein the larger-than-life glass statues looming over the lobby alternate between prominently visible or just protruding into frame and cinder’s face is an open book of angry resentment—this is the only instance of a grimm figurine being clearly visible and in focus during the montage, and also the one time cinder’s mask slips to reveal her anger.

similarly, in the time-skip at the end of the montage, the glass sphinx sitting on the coffee table in the mid-left is removed to signal the passage of time, with no other changes made to the decor:

but guess who’s back as soon as the situation reaches critical mass?

glass wolf. glass dragon. glass shoes.

the point is, throughout the flashback midnight leverages these glass-grimm to symbolize cinder’s true self, her anger which protects her and which the gentle hand demands she extinguish. the fantastical gilded opulence of the glass unicorn depends on cinder staying quietly in her cage. no, it isn’t fair—the gentle hand admits this—but it is her moral imperative to serve others. in this distorted unreality the defenseless and the indefensible become commingled. a huntress, as salem would have it, is a defender who lives and dies to protect a lifestyle. or she is, as ozpin defines it, one who guards the peace by killing monsters.

cinder’s instinctive understanding that this is not fair—that she is not nothing—that she has been wronged—is the monster she must slay to become the hero of this story, the story of the glass unicorn and madame and rhodes and all of atlas. and in the end she can’t.

rwby has never been precious about depicting blood, but there is no blood in this scene: not not on the floor, not on the bodies, not on her weapons, not a single drop upon her white shirt. her hands are clean. in shadow, the monster snaps the chain around her throat and turns to looks up at the moon—and its light reveals what is true. her tears, her scars. a child who deserved better than she was given. a child who did nothing wrong.

ahem.

Keeping [grimm] in captivity has proved to be an understandably difficult task, as the creatures tend to either die, or kill those who imprisoned them in the first place.

hm! anyway. the narrative function of this flashback is to provide context and contrast with the scenes that follow.

to review:

the collar’s power is enforced by communal indifference and complicity.

the madame, though unaware of him, depends on rhodes to keep cinder under her control; rhodes intervenes to protect the madame from cinder.

the gentle hand is an equal to the collar, a mechanism of control by which cinder is made to participate in her own abuse, and when she disobeys, it turns to iron and inflicts violent punishment. even when he is gentle, cinder flinches under his touch.

by training cinder to fight but forbidding her to defend herself, rhodes casts her into the role of both guardian and grimm: she is expected to protect the madame by slaying her anger and turning the other cheek.

the glass grimm figurines symbolize cinder’s anger, which protects her. when she defends herself, cinder metaphorically becomes grimm: the monster of the glass unicorn is destined to be hated and hunted for the rest of her life, and the monster of the glass unicorn is a blameless child who refused to let herself be hurt. grimm, in this story, are good.

also note

the similar framing here.

now!—from the moment cinder wakes up, it is abundantly clear that she expects to be met with brutal punishment for her failure. “you—you brought me back here… we failed.” she’s horror-stricken at finding herself in this place and that hardens into terror as the reality sinks in that she is within salem’s reach.

later, on the bridge, she affects calm until salem pauses in front of her; her eyes snap open. she shrinks into herself at the sound of salem’s voice but hangs on every word. when salem mentions the winter maiden, cinder grits her teeth and braces herself.

cinder associates salem with the madame: that is why without you, i am nothing falls out of her mouth so easily when salem tears her down in 8.1 and again when salem threatens her in 8.4—those are the words to make the pain stop, to appease, to demonstrate that she is contrite and repentant and grateful. she believes that this is what salem wants to hear when cinder has displeased her. and she is, at the top of the bridge scene, waiting for the torture to begin so that she can choke it out again and survive this humiliating ordeal.

except that is not what salem wants to hear.

by now salem knows beyond any doubt that “without you, i am nothing” is what cinder believes she wants to hear, and it is obvious to anyone with eyes that cinder expects to be tortured. whether salem knows cinder’s history or not—i don’t think she does, not in any great detail—she knows people well enough to put two and two together. salem knows, then, that cinder expects to be tortured into groveling self-denigration.

she doesn’t want cinder to expect that from her. there’s no other reason for salem to be so thorough in dismantling the expectation.

if she wanted to make cinder afraid, the more effective way is to decline to torture her at all: cinder is so certain that salem will hurt her that withholding punishment entirely will only convince her that salem intends to wait until the moment she lets her guard down, or some other form of deferred retribution all the worse for being delayed.

whereas the most efficient way to puncture cinder’s terror of being tortured is—somewhat perversely—to actually torture her a little bit. because cinder does not BELIEVE there is any possible outcome in which salem spares her, if salem wants to introduce the possibility of mercy she first needs to enter cinder’s reality, where mercy doesn’t exist, by proving she can and will inflict pain to answer both defiance (“you chose to disobey my specific instructions”) and failure (“just to fail again…”)

a brief burst of pain to express displeasure instead of holding cinder under torture until she breaks isn’t really merciful, but it’s the lower bound of what cinder will be able to trust and it eases her into the idea that salem is lenient.

then, “and i’ve realized it’s all my fault. you’ve fought your whole life unwaveringly for what you want, and here i am holding you back, instead of lifting you up; you deserve so much more than i’ve given you.”

aside from being a straightforward subversion of cinder’s clear expectation—cinder thinks she will be abused without mercy until she breaks, salem stops and absolves cinder by reframing cinder’s disobedience as a natural consequence of her own failures—salem has a few specific things in mind here.

the most obvious is the reversal of what she said to cinder in 4.11: “i thought you were the girl who wanted power. did you lie to me? then stop holding back.” and she’s also pointedly walking back things she said yesterday, in 8.1 and 8.4: “all you need concern yourself with is your ability to act when i tell you to” and the “she thinks; she wants…” bit are here flipped into implicit praise for cinder’s tenacity in pursuing what she wants and implicit apology for standing in her way.

but the most interesting angle to consider is that this is salem’s response to “without you, i am nothing.” salem does not verbally respond either of the times cinder says that to her in 8.1 and 8.4; the first time, she dismisses everyone with a gesture, and the second time she just walks away. both reactions are in line with what cinder expects—after all, the point is to remind cinder that she is nothing.

however, cinder has—from what we’ve seen—never spoken to salem this way before, and given she seems genuinely taken aback when salem shuts her down in 8.1 i do think it’s likelier than not that salem has never demeaned her like this before, and that together with having been in atlas for months is what surfaces the trauma association with the madame and thence the appeasing behavior.

so consider how this looks to salem.

the last time she spoke to cinder, she said “you’re free to speak your mind,” and cinder whipped around from the window without hesitation, outraged: “i don’t understand! working with bandits? leaving ruby alive? what’s the point? we’re strong enough to take what we want by force!”—not even a ma’am in there. cinder addressed her like she saw herself and salem as equals, notwithstanding that salem had final say, and salem clearly didn’t have a problem with that.

several months pass. salem is displeased about the loss at haven but trusts that cinder will make an effort to recover the lamp; she is also worried enough for cinder to toss her plans and divert nearly everything to atlas, not that she’s willing to admit that’s why.

cinder walks onto the bridge and the first words out of her mouth are “my queen.” a few minutes in salem curtly informs her that no she will not go rampaging after the winter maiden and cinder’s answer is a demure, “of course; without you, i am nothing.” and then a few hours later they quarrel about it and cinder repeats those exact words in exactly the same tone again.

unless salem knows cinder’s history in far more granular detail than i believe cinder would be willing to divulge, that’s… a really strange shift in behavior with no clear reason; yes, she had to make up the loss at haven (and she did), and yes, salem was unusually mean to her, but neither of those things add up to this plainly well-practiced self-abasement from the girl who only a few months ago did not appear to have a humble bone in her body. once might have been sarcasm; but twice within a few hours?

whereafter cinder ran off to attack the winter maiden and almost died again and salem had six hours to pick all of this apart in her head while cinder lay unconscious.

why didn’t she respond to cinder saying “without you, i am nothing,” if that is not what she wants from cinder? well,

“you disobeyed my specific instructions, just to fail again, and i’ve realized it’s all my fault.” both times cinder said that, it was in response to the specific instructions that cinder disobeyed when she went after penny: you will act when i tell you to, and you will remain here. six hours, salem had to think about this. “you’ve fought your whole life unwaveringly for what you want, and here i am holding you back, instead of lifting you up; you deserve so much more than i’ve given you.”

salem does not think of cinder as nothing. even when she is deliberately being mean, she makes a point to say that she values cinder (“just because you’re more valuable to me than a pawn–”). cinder holds the key to her victory and cinder is also important to her in ways she cannot bring herself to admit except that she keeps bending her plans further and further for cinder’s sake. the first time cinder says “without you, i am nothing” to her, she seems bemused (brows up) and then wry. the second time, she doesn’t react at all.

then because she left it there, cinder nearly dies and is unconscious for hours. and once she wakes up salem hits her with:

this is my fault

what you want matters

i should be lifting you up

you deserve better

i will help you

IN A CLASSIC SALEM MOVE she does not actually say what she means, which is “you are not nothing,” but she finds an impressive number of ways to say it without saying it in just a handful of lines. and:

she doesn’t touch cinder, but instead she offers, gives cinder a choice to take her hand or not, and this matters because no other character has ever given cinder that.

in 2.1 cinder touches roman’s face to assert her power over him; she does the same to pyrrha in 3.12 right before killing her; she slaps emerald in 3.7.

in 5.9, cinder reacts to watts grabbing her wrist like this—

—and then sets his hand on fire. in 8.1, emerald starts to run over to embrace her, cinder snaps her head around and snarls “quiet.,” stopping her in her tracks. and after she wakes up in midnight, when emerald rushes into the room and grabs her, cinder tenses and verbally lashes out before jerking her hand away.

cinder really does not like to be touched and that all traces back to:

rhodes patting her head. which is what he’s reaching down for when cinder kills him, because this time she senses him moving to touch her and can’t take it.

cinder bristles and retaliates whenever anyone touches her, and outside of grappling during fights the only times cinder ever touches other people is to hurt them or to remind them of her power to hurt them, because that is what touch means to her; it’s something those with power do to those beneath them, and something the weak must endure.

for salem to offer her hand to help cinder up is strange and unsettling; it breaks the rules. and cinder is very hesitant to take it—her fingers shake—but she does, and it isn’t a trick, salem pulls her to her feet without hurting her.

whereupon cinder’s whole demeanor transforms from terrified incredulity to calculation. she doesn’t understand what just happened, but she knows touch is an instrument of coercion and a way to inflict pain. if salem were like the madame, she would not have done any of that; if salem didn’t touch her with the intent to harm her, then there are only two possibilities:

one, that salem’s resemblance to the madame is superficial and she is actually much more like rhodes; or two, that salem is the weak one and cinder holds some unknown degree of power over her.

the instant this thought enters cinder’s head, it becomes urgently important to figure out which it is, hence the murdering of colleagues and stepsisters and lying to salem’s face that cinder gets up to immediately afterward. BUT THAT IS NOT WHAT THIS POST IS ABOUT THIS IS A POST ABOUT THE GRIMM ARM. AND THEMES.

wheeze. okay

in the glass unicorn, cinder has two parental figures—the madame and rhodes—who act in synchronicity to keep her in her place. shock collar, pat on the head. stick, carrot. she is tortured and made to refract this violence inwards, against herself, by turning the other cheek. within this narrative, the symbolic purpose of the grimm is to protect cinder and cinder herself is symbolically identified as grimm; just as black glass is her signature in in the present, the white glass of the hotel’s grimm figurines reflects cinder’s starkly white-and-grey uniform.

glass, cinder. glass grimm, glass shoes.

unicorns, classically, are said to be ferociously wild and dangerous beasts tamable only by the touch of a maiden. those who hunt unicorns, then, should solicit a maiden’s assistance. she goes out into the woods alone; the unicorn finds her and docilely, fearlessly lays its head upon her lap and goes to sleep; and thus the hunters take it. this manner of hunting unicorns is called entrapment, and among medieval and renaissance depictions of unicorns it is by far the most common motif.

in the world of remnant, if unicorns are real then they are undoubtedly a kind of grimm.

gestures at cinder, the fall maiden, who can tame the grimm. who feels for them. maiden. unicorn. maiden. unicorn.

the story of the glass unicorn is a story about a maiden-monster whom a huntsman instructs to tame herself lest she be hunted forever; an entrapment of the self; in the end she hears the baying of hunting dogs in the distance and awakens to the truth that she too will be killed, in spirit if not in body, if she obeys the huntsman. the unicorn is not to blame, and the maiden is right to protect it, and the unicorn is, has always been, grimm.

bearing all of this in mind,

is the grimm arm another collar?

i don’t think it…is, actually, in any sense except that cinder forms an association between the madame and salem in 8.1—the collar and the arm are diametric opposites, mirror-images of each other:

where the collar was fragile and easily removed, the grimm arm is part of cinder’s body. where the collar derived all its power from pretense (it’s only a pretty necklace!), the grimm arm is impossible to mistake for something other than what it is. where the collar’s sole purpose was to inflict pain and remind cinder of her place, the foremost purpose of the arm is to replace cinder’s missing limb. where the collar was forced upon her and she hated it, cinder trained hard to master her new arm and has grown more comfortable with it in every new volume.

paired with the way grimm function symbolically within the glass unicorn narrative, as representations of cinder’s justified anger and desire to protect herself… well. maiden, unicorn. lol

is it then an iteration of the gentle hand? that’s a more interesting question, because salem’s abuse of cinder is really quite a lot more like rhodes than the madame, but then there’s also… the reversal. rhodes’ affection for cinder is restricted by his interest in protecting the madame, and when cinder disobeys him he attacks her presumably with the intent to arrest her for murder. whereas salem has repeatedly and increasingly rearranged her plans for cinder’s benefit, and when cinder disobeys her, she reconsiders her treatment of cinder and offers an apology.

and obviously—

—we have the way rhodes touches cinder’s head, which at best makes her tense up in discomfort and at worst scares her so much she kills him to make him stop, mirrored in the same episode by salem offering her hand and cinder choosing to take it.

salem is not by any stretch of the imagination good to cinder, but midnight places her in juxtaposition with the madame and rhodes in order to clarify the difference between salem and the parent-figures of cinder’s childhood. it’s salem who tells cinder that she isn’t nothing, that she deserves better, that she was right to become defiant when salem was cruel to her. it’s salem who gives cinder a choice to let salem touch her or not.

everyone who gets where the wind is blowing with cinder understands, because it is obvious, that her turnaround is going to be incited by someone showing her mercy, which will shatter her view of the world and open a door for her to change. but… that “someone” is salem. it is literally already happening.

the first crack is salem telling her you deserve so much more than i’ve given you, as she pulls cinder to her feet.

and cinder doesn’t know how to parse that, she has no frame of reference except the madame and rhodes and she’s superimposed them both onto salem; the discrepancies, the pieces that don’t fit, are small right now. they will get larger, and the cracks will keep widening until the looking glass breaks.

which is why the grimm arm is related to the collar in the specific way that it is, with cinder flashing back to her childhood and the pain salem inflicts ending when cinder shifts emotionally from helpless fear to defiance and salem then explicitly affirming the rightness of cinder’s anger. the moral of the glass unicorn narrative according to rhodes is that what cinder did is unforgivable, and she will never escape it; the moral according to salem is that cinder did the right thing, and deserves better. the symbolic function of the grimm figurines in the glass unicorn narrative is to represent cinder’s self-protective anger. salem, grimm, uses cinder’s grimm arm to make a point that cinder should get angry when salem mistreats her, and then rewards her for being defiant.

is that a really fucked up way for salem to make that point YES OBVIOUSLY but no one else is even trying. lol

little steps.

(whispers into a cup) the grimm arm is also a metaphor for learning to be vulnerable and trust others not to harm you

cinder feels its pain. when it’s severed, it hurts, but also grows back. it’s both powerful (superbly strong, inhuman flexibility) and vulnerable (aura can’t protect it). salem can use it to hurt her; it connects them both together, so salem knows she’s alive and cinder knows when she’s back. it refused to bond with cinder until she let go of her fear and welcomed it.

the shattering trauma that made her what she is now was rhodes telling her that defending herself made her an irredeemable monster. the grimm figurines in her childhood story symbolize cinder’s desire to defend herself. the grimm arm is part of her body that connects her to salem in a way that salem can abuse to hurt her, but salem is also the first character to look cinder in the eye and tell her that she is right to defend herself. both cinder and salem are in the early stages of developing villain -> hero arcs.

your newfound strength brings with it a crippling weakness, salem says. remember that it comes with a cost. take care to protect yourself; there is only so much i can do to aid you. cinder wants to be strong, but she is terrified of weakness, and it is the terror of weakness that drives her, that must be faced, that must be resolved before she can find peace. her story isn’t about “learning to be satisfied with the power she already has” it’s about learning to be okay with being vulnerable. with having weaknesses.

like an arm she can’t shield with aura, that grows back when it’s severed, which she feared and then hid in discomfort and now accepts as a part of herself. just because salem can hurt her doesn’t mean that salem is incapable of choosing not to. salem could also, like, smash cinder into a gory pancake with a snap of her fingers.

it’s a story. about trust.

#blah blah blah ''but her shoulder—''#cinder doesn’t care.#v8 is HER volume and not one #single solitary HINT that cinder is #even a little bit concerned about #this thing putting up roots?#none of you would survive sirin hárohȧm lmfao

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purgemarchlockdown · 13 hours

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Ah what the heck I'll post it through here

So in some discord servers, you've seen me specualte that Amane's uniform is inspired by the private Catholic Fukuoka Kaisei girl's school affiliated primary school (福岡海星女子学院附属小学校)

Now, because of the name, I assumed this was an all girls primary school And that the picture above was of 4 girls and the school simply allowed children to wear either skirts or shorts (its uncommon for Japanese elementary schools to have uniform to begin with so I could see a laxer dress code when it comes to stuff like this)

However After a bit more reading of their website Turns out that the Fukuoka Kaisei girl's school affiliated primary school Despite the name Has in fact been a co-ed/mixed gender primary school for the last 50-so years And while I can't find a dress code on their website It does seem like all the students in pictures on their site who wear shorts are boys

Anyway to cut a long story short: Amane's uniform actually resembles the boys one more than the girls (shorts instead of skirt + no ribbon + more central buttons)

And I know you like the trans girl Amane theory so I figured you'd enjoy this info

The only disclaimer I have to give is that the long haired child whose father tattles on Amane is in the same uniform (shorts and all)

So like if this is a girl then occam's razor is that girls at Amane's school just wear shorts (also it'd be strange for Amane's cult to follow gender rolls Except for hair?? idk maybe im overthinking)

TRANS AMANE BELIEVERS WE MIGHT STAY WINNING!!!! It would be weird if they did follow the entire dress code Except for the hair. Additionally those buttons are tripping me up since their Buttoned like the girls so this actually comes somewhere more in the middle of the Both of them...if it does turn out my insane "Amane perceives gender in the same way a cat does, it's just there" catthing Amane idea is real I'm going to explode.

Regarding the girl though...I can't believe I can unveil my insane Queer Infighting Amane idea- okay so in cults it's generally heavily encouraged to outright spy and tattle on people who misbehave:

(BITE)

Information Control: Encourage spying on other members a. Impose a buddy system to monitor and control member b. Report deviant thoughts, feelings and actions to leadership c. Ensure that individual behavior is monitored by group

I think, and this is pure speculation there's is very little supporting this I just like the idea. It be fun if they were BOTH trans.

My reasoning behind this is, first of all Amane doesn't seem to have many friends. Her T2 distorted voiceline has her say:

Father is a very praiseworthy person. Once his virtue increases, he'll come back home, right? It's a little lonely, but I'm fine!

Which, okay it's fair that her homelife is lonely, this doesn't necessarily inform her school life. But if we go to the Prison she's rather isolated overall.

Even in T1. Yuno and Mahiru are people she considers "close" but that's after mulling it over a bit due to being asked.

T1Q10: Is there any prisoner you're close with? A: If I were to say, I guess it would be Yuno and Mahiru.

It's not for a lack of Trying, she tries very hard actually. It's just that people tend to note the way she acts is weird and that gets exasperated in T2 where it's said she's pretty isolated.

But also, I was discussing with a mutual about her relation with this peer and they said that it's possible that this question:

T2Q11: Did you love the person you killed? A: I loved them.

Is referring to a Second Victim (This child) and Not her mother because...well one Amane has shown Very Little Fondness for her mother, and two it's entirely possible she killed multiple people because her staff in Purge March has blood on it Before she gets to her house.

Second thing: Cat Symbolism, Cat Symbolism stay winning forever. There is substantial amount of subtext you can wring out of the Cat being representative of sin and impurity, and Amane taking care of it and also being the Cat. Same with having her be "found out" by a peer and then sold out to, to her Religious Fundamentalist parents.

So now we go into my insane, circumstantial evidence, idea of Queer Infighting. I love WKTD and a big thing in that game is that even if your a "bad kid" if there's someone "worse" than you, you can live another day. And this kid can be anyone, the devil can be Anyone.

Amane has stated an inability to be a good girl:

Only if, only if, only if I could be a good girl

And a lack of desire to exactly "be one" since it requires her not being...herself, and she's happy with who she is.

T2Q20: How do you feel about you not being like everyone else? A: Nevertheless I was born as myself, so I'm happy

So, I'm just saying on a purely speculatory "this would be fun" basis. If we got queer infighting 12 year olds who are trying their best to be "good." I would explode.

Also, she is paralleled with both Mukuhara Kazui and known Genderless Freak Es so, yknow.

#asks #other analysis #doctorbunny #sorry if this is all over the place I have a lot of disconnected thoughts on this

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rikeijo · 2 days

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Today's translation #617

Newtype 01/2017, Otsuka Manabu interview

Part 1.

-- Please tell us about the circumstances, in which this project started moving?

Otsuka: I first got to know about this project, when I was told about it by the Director, Yamamoto Sayo, when we were working together on a different project. At first, I was very uncertain, if I and the studio have enough power to keep up with Yamamoto Director's TV series, because she always has been known as being very particular about quality. But inspired by the charming characters created by Kubo (Mitsurou)-san that I saw later, and Yamamoto Director insatiable love for figure skating, I decided 'let's try to do it!" and accepted the offer to work on this project.

-- When was it that you started to be sure that this project would be fine?

Otsuka: Maybe it wasn't that I was 'sure', but after we showed the second PV at 'TV Asahi Natsu Matsuri' event, I was able to think that I would trust Yamamoto Director's intuition and just run with what she feels is right. The last cut in that PV was the scene, where Victor puts his finger on Yuuri's lip and the two look at each other. When I saw it for the first time, I thought "[if we are going to show this scene in the PV] won't men not want to watch the show?" and I was considering removing that one scene from the PV. But I've talked about it with female staff members, who thought it would be a shame to not include it and I decided 'Let's [with force] put it in then!". People at the 'TV Asahi Natsu Matsuri' event venue cheered when that scene was shown. In this show, there is a lot of things that my senses did not cover, but at that time, I was able to think that [working on the project] I would realize all those ideas that Yamamoto Director and Kubo-san come up with without fear.

[Notes: It's really interesting how in almost all his interviews, Otsuka mentions this idea that including in an anime what your average otaku perceives as 'fujoshi fan-service scenes' (regardless of the creator's intentions - like, in even in YoI, a huge number of people in Jp fandom still sees those scenes as nothing more but fan-service, because that's the default) will give the anime reputation of pandering to fujoshis, and men (anybody other than fujoshis really) simply won't even consider it worth checking out. Otsuka doesn't even try to hide it here or in his other interviews, and like I've mentioned in the past, the way they were promoting Yurio so much, when Otsuka himself was claiming that thanks to Yurio, men could watch the show and enjoy it, shows, imo, what was the committee's real problem with YoI and why it may seem like they fumbled the bag and failed to capitalize on its potential so much (very little official side content, very few Y&V official arts etc...) - they wanted YoI to not be a 'fujoshi-pandering anime', but 'a serious sport anime for everyone'.]

#yuri on ice #yoi translations #yuri on ice translation

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mattzerella-sticks · 7 months

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We know the lasso of lies makes any lie the user holds come true, makes people believe the lie.

What if that is how Lizzie was born?

Someone, or even Diana, says that she has a daughter while holding the lasso and because she's holding it the lie becomes 'truth'.

It would also make sense why she would even keep the lasso of lies as maybe she needs to hold it to stay tethered to reality, to stay alive. Especially since it's wrapped around her more like an accessory than equipment.

And also why she feels so disconnected from her 'mother' Diana, because Diana is a woman of truth and she was born of lies.

Plus this would also make it so Diana doesn't have to 'spend time' pregnant in the world of comics, people will believe she had already been pregnant, and also do away with any questions of who Lizzie's dad is (unless she makes the lie while holding the rope with someone, or the 'King of America' created her to burden Diana and so he is technically her father).

I hate that I'm thinking of this. I blame all the artists I like announcing their own variant covers for the Trinity special dropping in 2024. Shows how much DC really wants this to be a success + want to sell as many as possible using variant covers to point to as proof of concept (like they're doing with the WW series rn - why wait until NOW for Jim Lee to do the final piece of the triptych).

#dc comics #dcu #wonder woman #trinity #anti-trinity the daughter #if she is a lie then we can get rid of her much easier #but also it shows how controversial DC knows this idea is and only a small pool of people are excited for it #with the amount of creatives they've had talking about tk's ww run and lizzie #i dont doubt they asked gail simone to say something nice so they can use her credibility #and all the art covers have such a poor ratio of likes/retweets comparative to other posts by the artist and their follower count #im hoping late 2024 we can put lizzie to bed a final time #diana realizing the truth and going 'you aren't real' and lizzie disappearing #that's what id do lol or something similar to wipe the slate clean #also just thinking about marvel's jean grey who sold out as well #and like you can argue the jean grey and ww revamp runs are very similar and they both sold out #and it felt like there wasnt as much Press regarding jean as there was ww but more people were excited for it #granted this is a solo series years in the making for jean whereas this is the umpteenth ww reboot #i feel like more people see the ww more as a cash grab than an actual important series that loves the lore

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navree · 2 years

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i’m sure someone’s already talked about this but i’m tipsy and rewatching the first episode of hotd and i don’t wanna say i liked it, cuz i didn’t like anything about that scene, but i did appreciate that aemma defies the tropes we see a lot of the time in media when women have difficult pregnancies and deliveries where it’s always “save my baby over me” that without fail happens every single time. but instead, aemma is very very clear on the fact that she’d really rather not be in the position she’s in right now, and when the men around her make the unilateral choice to perform a caesarean to save the baby at the expense of her life, she doesn’t do the Fictional Lady thing of lying back and saying she agrees, she’s fucking horrified and fights against it after having spent the majority of her screentime reaffirming her autonomy as a person, as more than a human incubator. and never submits to it. she doesn’t just accept the idea that her life has ceased to have value and that she should accept dying (in a brutal and horrible way), she very clearly wants to live and that choice is being actively taken away from her.

#personal #house of the dragon #yeah i think this is wildly incoherent but i've had a couple kir royales #but the point is i do appreciate that we're getting something other than the constant 'it's fine if i die but The Baby Must Live' thing #that we CONSTANTLY see in any fictional pregnancy #like this isn't about real life when that choice actually presents itself that's a very nuanced topic #that i am not qualified to discuss as i've not been in any facet of that situation #but in fiction it is literally always just long suffering women smiling and saying that they will gladly die #for The Baby To Live #and it's not a bad thing to see a woman who wants to put herself first and wants to be able to live and enjoy life #and is terrified and furious at the idea that she needs to die in order for The Baby To Live #and refuses to accept it as something that needs to be done and fights it as much as she can #i mean it's still a horrifying scene and until the season ends i'm going to avoid judgments on how much of the feelings i have about it #are intentionally put there by the writers and how much is just 'this is still a show made by a man and a network that'#'has already shown to have an almost perverse level of enjoyment for the brutalization of women when it comes to this specific franchise'#but this bit was........not good but at least smth i can nod my head at #anyway i hope rhaenyra finds out what viserys did and beats his ass

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keets-writing-corner · 3 months

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Thinking a LOT about Lucifer in the latest Hazbin episode. Idk what I was expecting but not this??

As I was watching my immediate thought was just "huh... Lucifer is kinda of weird..." but as the episode went on I realized the issue

the dude is off the chain depressed, like he says it as a joke but holy cow it is SO BAD

He's manically just creating rubber ducks cuz his daughter really like it that one time but it's empty, it's never good enough but he keeps doing it, maybe cuz he doesn't know how to pass the time otherwise.

like I get the feeling he HAS better things he SHOULD be doing than making rubber duck after rubber duck. At first I was like, "Bruh why isn't the king of hell doing anything?" aaaaand then it became clear...

The dude is disassociating so bad he can barely hold a conversation let alone remember information. He clearly WANTS to, he wants to be involved with his daughter so bad, he wants to care about the things she's doing so bad, but his depression keeps interfering. It's like he can only hear every other word and he grasps onto the ones he does hear semi-out of context. Like you can see every time he catches something that he hadn't before and he just "well shit I didn't catch that part"

and that's why he reacts so weird when people talk to him. He is struggling so bad to engage with the conversation he's only getting 50% of it

does that look like the face of a man who knows what the hell the conversation is even about??? he is STRUGGLING

like Charlie spent so long telling him about the hotel, and he STILL didn't understand what she wanted. Yeah it comes off as ditzy but literally I've been in that position where your brain just "nope, not doing this right now" and nerfs your conversation comprehension. So as someone who's BEEN in that position, to me it feels exactly like what he's dealing with. He's sorta engaged with the conversation, but only as much as his brain will allow

For example, when I'm dealing with this, this is what someone talking to me feels like this where the crossed out parts are what I missed and bold is what I catch, "Hey! You know I was thinking for dinner we could either make some chicken with rice? But if you don't feel like cooking, pasta is super easy and you love that right? What do you want to do?" you can kinda get that someone is trying to talk to you about dinner, and towards the end you get the impression that they asked something that needs your input so you can decently put 2 and 2 together and try and pass off, but crucial bits were left out, I would have no idea that either chicken or pasta is in the conversation only having heard "rice". When someone is just talking at me, I can decently pass off as being engaged but the second I'm required to participate in the conversation I'm screwed. Seem familiar? At which point I have 2 options, try to give a bullshit answer, or admit that I missed what they were saying and ask them to repeat

Lucifer, unfortunately, is trying so damn hard to hide that he's dealing with like 24/7 dissociation, so he can't admit that he's missing entire chunks of the conversation, hence his really weird replies. He does eventually get the full picture and then he and Charlie start having the real conversation

Also, the Alastor/Lucifer rivalry was hilarious but also really indicative of more of what Lucifer is dealing with

Alastor is, unfortunately, really good at picking up people's insecurities, and thanks to Charlie's description earlier and watching Lucifer clearly trying to overcompensate, he immediately picks up on the fact that Lucifer KNOWS he struggles to be a good dad (we know cuz it's cuz of the depression, hard to be engaged when your brain keeps turning off) and decides to rub salt in the wound by pretending he's been acting as a surrogate father to Charlie. Now why Alastor decided to pick a fight with the king of hell is beyond me, I do not understand Alastor (and I LIKE IT) (maybe it's cuz Alastor thinks he's hot shit and was expecting Lucifer to at least have heard of him but Lucifer just treats him like a nobody? who knows)(why would Lucifer listen to radio anyways when he can't even pay attention to a conversation it'd just be white noise)

But yeah I just was expecting someone who oozed either charisma or presence and instead I got a depressed dad who's dissociating so bad he can barely function and be present in his life. The only thing it seems he CAN do is make rubber ducks cuz his daughter really liked it that one time

Idk Lucifer is tragic to me. Whatever the full details of what heavan did to him absolutely broke him and he can't deal with it. He's aware of it, and he doesn't know how to fix it, so he tries to over compensate and sorta makes an ass out of himself but no one says or does anything cuz this guy is supposed to be THE king of hell

Suddenly it's making a lot more sense why he just rolls over and lets heaven do what it wants and even told Charlie to go in his place the start of the show. He's not in any headspace to hold a basic conversation let alone negotiate! He didn't even know who Alastor was, he's been so out of touch

idk I like him, he seems sweet, I hope Charlie brings some light back into his life. He really needs to get out of that rubber duck room

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