I have a character analysis ask! :) (Although, it's not from the list you shared.) What would it take for Albedo to get really angry? Like a huge outburst? I have some ideas but I'm curious about your insights. - @mimi-cee-genshin

[Character Analysis Ask Meme]

This is a really interesting ask and I’ve been thinking about it ever since you sent it. There are three answers I have for you, but two are copouts and the last doesn’t satisfy the requirements.

The first two scenarios deal with the same thing: you scare him in some way. This can be achieved two different ways: Klee facing imminent danger that he can’t immediately mitigate and, if he cares about you, doing the same to yourself. Nothing scares a calculated person more than a sudden situation they have no control over. What this accomplishes is putting him into a state of panic. And, should everything be alright in the end, you can rightfully expect him to snap in fury before pulling you in for a hug.

However, the reason why I consider this a copout is that I think this kind of scenario would get most people to react in this way. And while he would be angry and have an outburst, I don’t really consider this scenario “anger.” It’s more panic, you know?

So that being said, I don’t really think it’s exactly possible to get Albedo angry to the point of having an outburst, at least in the typical sense. Albedo is not a burning fury kind of person. He is cold fury. When he gets truly mad, his emotions shut down and he turns into a heartless machine. Think of Scar killing Mufasa, except without the smile and glee. He’d look down at you with ice-cold eyes as he ever so casually pushes you back to lose your grip.

To get him into this state, though, I think it would take work. One possible scenario would be betraying him and then having everything go wrong. Not a cold calculated betrayal (he’d sense your untrustworthiness), but maybe one from fear? For example, he treated you as a friend, but upon getting threatened by the Abyss, you betray Mondstadt in fear of your life, and then whoops, people get hurt and/or killed. In that case, you both betrayed his kindness and ultimately disappointed him. He was wrong about you. You are no better than the dirt beneath his feet.

Less a request and more a musing but, I imagine while Vergil is in general not a physical person, for the first few years the /absolute/ no go zone is his neck, especially after everything he's been through, it's a sure fire way to make him bristle and shut down, so the day he lets you touch his throat is a special one indeed, for both of you- not only is it a unique thing only you can do, it ends up having a disarming, almost gentling effect on him, as opposed to the antithesis from others.

I absolutely love that thought! That’s definitely entirely possible; Vergil doesn’t like being vulnerable, doesn’t like letting anyone into his bubble, and his throat would be the one thing he protects with his life.

You know Vergil absolutely hates it when you compare him to a feline. Or rather that you tend to associate most of his behaviour with that of a cat’s. The way he prefers to sit in the same room as you but apart from you, giving you your space while enjoying your presence. The way he sometimes begrudgingly accepts your fingers threading through his hair, the way he sometimes comes and presses up behind you and refuses to look you in the eye while he begs for affection. Absolutely cat-like. But the most feline behaviour of his is the way he fiercely guards his neck against friend and foe alike.

After the first time he flinches when your hand lands a little too close to his neck, you learn your lesson. Well, that’s when it really sinks in, anyway, because it’s easy to explain away his explosive reactions to anyone else who even goes near his throat. Heck, for the longest time, you’ve put off giving him a collar or even introducing him to one because you weren’t sure how he’d take it. It took Vergil rooting through your closet and fishing out your most elegant collar and putting it on himself to make you realise he’s okay with collars. Well, mostly okay at this point, anyway.

Ah, but the day that he brings your hand to his neck, your palm to his bobbing Adam’s apple with a face full of determination, that is the day you receive the greatest gift he could ever give you.

Vergil hides his nervousness well, but with his pulse thundering under your fingers he can’t disguise his tension. He’s got both hands on your forearm, like bands of steel circling your arm, as though ready to wrench you off at a moment’s notice. Good boy that he is, though, he doesn’t. Rather, he trembles as he feels your thumb caress his neck gently, gulping and anticipating pressure that you never apply. And when you pull your hand away, he lets you go with what you would think would be a crestfallen expression on anyone else. It’s subtle, the slightest downturn of his eyes, his lips, the barest tremble in his jaw.

“Ah,” he murmurs, leaning back and looking to get up, to escape. It’s a sad sort of ‘ah’, sad and lonely and assuming shit as always.

“Sit back down.” Your voice comes like a distant crack of thunder, jolting him and making him sit back down immediately.

He takes a deep breath, stiffening his posture. As though sitting before a judge. 

It frustrates you that he’s still so closed off, so unwilling to let you close, but you have to take it slowly. One day at a time. One step at a time. “Let’s try that again. Nice and slow, alright?” You take a seat in his lap slowly and enjoy the feel of his strong arms coming up to wind around your waist and rest on your ass out of reflex. With your hands on his chest, you undo the buttons of his shirt, expose his lightly scarred, alabaster skin. Knead his meaty pecs until you can feel him relax around you. Under you. “Relax, baby. That’s it. It’s just me.”

From where his lids have drifted shut, Vergil hums and sighs, cracking one ice blue eye to glare at you balefully. “I know. I am.”

Back into familiar territory, you roll your eyes and put a palm to his face and push him back until you feel him chuckle. When you pull your hand away with the help of his gentle grip on your elbow, Vergil looks a lot softer. That little laugh must have helped him settle down. He flashes a tiny little smile at you, more a quirk of the lips than anything, and tickles your inner arm in a subtle caress before he returns to clasp his wrist behind your back. 

Electing not to coo more at him lest he turns bratty again, you go back to massaging his chest and collarbones, tracing over every dip and hill until he takes a deep breath and deflates into the armchair, his head lilting to the side ever so slightly. Looking for all the world like a satisfied, contented cat. You wager that if Vergil could purr, he would. 

Your palms rub his flesh in wide circles, sometimes scraping over his sensitive nipples but otherwise staying clear of them. You want to relax him, not rile him up. Soon enough his shoulders have gone slack and his jaw relaxes, his lips parting to allow breaths to puff through. His eyes flutter open when you call his name softly, a little ‘mmmmrp’ bubbling in his throat just like a cat.

You calling his name isn’t just to indulge yourself in seeing his reaction. No, it’s your warning to him, to let him know you’re about to venture where no one else has been welcomed before. 

Like the wings of a little butterfly, you trail your fingertips over the hollow of his throat. Tracing figure eights and letting your nails scrape gently. Vergil shudders and his lashes flutter, but beyond his Adam’s apple bobbing, he does nothing. Thus encouraged, you drag the pads of your fingers up and down the sides of his throat, infinitely gentle and feeling, to him, more like the whisper of silk than anything he’s had close to his neck before. 

Vergil tightens his grip on his wrists behind you, his legs shifting, his hips squirming. It feels good. So, so good. There’s still that trickle of unease in him that expects fire and pressure on his throat. Still a faint sense of apprehension. But it soon melts away when you kiss the underside of his chin delicately, your lips pecking his skin so sweetly that it takes his breath away. It melts the last of his inner struggle and Vergil finally sighs and tips his chin upwards, exposing the rest of his throat for your exploration.

You cherish his show of vulnerability, of trust, and tell him so with your lips to his thundering pulse. Little by little, your fingers creep across his long, elegant neck, swirling and caressing and rubbing until Vergil doesn’t even realise that you’ve closed both hands around his thick throat. Of course, you couldn’t strangle him, not even using all of your strength, but you refrain from putting weight on his delicate flesh nonetheless. It’s a heady sort of power to feel him breathing, to feel his heart beating, under your touch. 

Vergil moans lowly in his throat and finally stirs to look up at you, his normally sharp blue eyes glazed over. “This…isn’t as bad as I had feared.” A deep breath in, long breath out. “It feels…good.”

Your thumb slips across his jaw, hands coming up to cup his jaw and head instead. No matter how good he says it feels, you don’t want to outstay your welcome around his vulnerable throat. “Yeah?”

Devoid of words, Vergil nods and takes one hand away from your back to nudge your palm back on his neck. He licks his lips, works the words in his mind before he speaks lowly, hoarsely, “Your hands are warm.”

A smile spreads across your lips. “Is your neck cold, darling?” You position your palm right over his pulse, your fingertips tickling the back of his neck and brushing against his hairline. “There we go.”

Another deep breath makes his muscled chest rise and fall against yours, the tension bleeding out of him until he leans into your touch, somehow contorting his head so he can press both against the palm on his jaw and his neck. “Mmm,” he purrs, closing his eyes. 

“There we go.”

@latimesent Kyle MacLachlan slips into familiar skin with his return to 'Twin Peaks' but adds in a few new layers

There had been many rumors over the years that David Lynch and Mark Frost’s landmark television series “Twin Peaks” would return in some form. Even though Lynch had been quoted as definitively saying the series was as good as done, that didn’t stop speculation regarding a comeback of some kind. So whenever Kyle MacLachlan, who played quirky FBI Agent Dale Cooper on the original program, got wind of a rumor he’d simply ask his good friend Lynch about it, who would insist that none of it was true.

“I would ask him if he had any thought or inkling or an idea about going back to ‘Twin Peaks’ or trying,” MacLachlan says by phone from New York. “Basically, it was me attempting to see if he would let me go back and revisit Cooper again in some way because I loved that character so much.”

Unbeknownst to MacLachlan, Lynch and Frost did actually start talking about ideas and latched on to some that they put to paper. That prompted a sit-down meeting at which Lynch asked MacLachlan if this was something he “really wanted to do.” There was no hesitation from his “Blue Velvet” star, but Lynch did tell him cryptically that there would be some “other stuff” he’d need to do if a revised series went forward.

I'm pretty much like all the fans. I would always like to see more, but whether that's going to happen or not I just don't know.— Kyle MacLachlan

He wasn’t kidding. When MacLachlan eventually sat down in a secure location to read the 500 or so page script, he discovered not only was he playing Agent Cooper again, but also Mr. C., an evil doppelgänger of the field agent, and Dougie, a Las Vegas man whose body Cooper inhabits after escaping from the alternate dimension of the Black Lodge and returning to this plane of existence.

Yes, it’s a lot to take in, even if you watched the original run of the show. But it was all part of a new, unexpected direction for the series that MacLachlan was enthusiastic about.

“In a way, it feels like a new incarnation of what was ‘Twin Peaks’ or a different realization of it,” MacLachlan says. “When they announced the return, the intent was never to go back and try to re-create something. I know David and Mark were much more keen on a new story, new direction, which they did and, I think, is kind of extraordinary.”

While stepping back into the fitted, black suit of Agent Cooper was comfortably familiar (“still kind of the same Cooper, but he's a little older”), MacLachlan had the most fun playing Mr. C, the antithesis of almost every character he’s portrayed over a three-decade-long career.

And the hardest? That would be the scenes as Dougie.

Upon his return from the Black Lodge, the show’s storyline finds Agent Cooper taking over Dougie’s body rather than that of his doppelgänger, Mr. C., as he intended. That leaves the altered Dougie in an almost catatonic, child-like state for much of the season.

“There wasn’t much dialogue, and the reaction time for Dougie was slowed down, so everything took longer. I found that element alone to be really challenging,” MacLachlan says. “You also have to really trust that you have a strong inner life and that you are processing everything that's happening around you; you just happen to be processing it with a really slow computer. That little shuffle, the look, and there was a lot of thinking about what a newborn, or what a baby is able to respond to, react to and take in and try to make sense of and to gradually learn those patterns.”

As with the series’ original run and the stand-alone prequel film, “Twin Peaks: Fire Walk With Me,” there are a number of different interpretations viewers can take from the final episode and, more important, the final few scenes. MacLachlan understands those varied reactions but believes Lynch knew exactly what he was doing and wanted to say.

“We shot [the end] fairly early in the whole process. That was while we were up in Seattle, which was the first five or six weeks of the filming,” MacLachlan says. “David was very specific with me about how he wanted the physicalization of the last few moments to go. He had seen it in his head, imagined it, and I was very much in the dark as to what was meant to have happened. It felt to me at the time that there was a shattering of a belief system in Cooper.”

The final product earned raves from fans and critics alike and found MacLachlan with his first Golden Globe nomination since he won the lead actor in a drama series in 1991. As for hopes that this isn’t the end of “Twin Peaks,” MacLachlan is keeping the door open, but only a smidge.

“I'm pretty much like all the fans. I would always like to see more, but whether that's going to happen or not I just don't know,” the actor says.

LINK (TP)

Emily Gaudette of Newsweek interviewed me and many other witches for her article (Sandy DeVito is me!). She gave me permission to post the initial questions she'd asked me and my answers here. Link to the article here: https://t.co/4j4ddg3u7A?amp=1 

 1. How do you define your practice? Which terms are you most comfortable with, and how do you use witchcraft or similar concepts in your life? 

 Regarding my religious beliefs, I identify primarily as agnostic--agnosticism is the belief that it's not possible for us to know (at least at the current time) with absolute certainty what the nature of the universe and "God" is, rather that the question is the nature of the belief--the question is the answer. I therefore define my personal craft as that of a "secular witch"--that is, a witch without a specific set of religious credo or ritual, but one who practices ritual that feels right to me personally, and gives tribute to effigies that I personally identify with. Basically I do rituals that feel right to me, and I have altars fashioned in a way that feels right for my personality, my beliefs, and my home: one of them functions as an open altar, and the other altar is a tribute to Santa Muerte--sometimes called the Goddess of Death. I don't believe Muerte is a physical being so much as I believe death is a strong energy in the universe, and my tribute is to the idea of death and Muerte's connotation with the feminine, rather than to any physical being. I have Puerto Rican ancestry on my mother's side, and I also identity with Muerte for that reason; and with "her" purported affinity for the working class, as I come from a long line of working class people, and have been working class for my entire life. My practice is also "solitary"--I do not subscribe to group ritual or to covens. I feel group energies in magick rituals are both extremely strong and very difficult to control. It can be hard for one to control one's emotions in such an environment, and I think the result is too unpredictable. I prefer the safety and control of a focused, personal craft. To me, my witchcraft is deeply tied to what most people would identify as "feminine" energy, that is, protection, empathy, the cleansing of negative energies, openness to wisdom and knowledge, and curiosity. I think anyone can be a witch, but women are born with an inherent aptitude to the craft's particular wavelength. I use my own to help the people around me--I focus on cleansing rituals, candle magick, and protection spells primarily, with some tarot and occasional vague premonition. I think it's a lifelong journey--I still feel I've only begun to truly tap into my own craft. 

 2. Do you remember the first time you saw a witch in a movie? What film was it and how did you feel? 

 It was Margaret Hamilton in THE WIZARD OF OZ. I'm willing to bet at least half of the people born in the United States first became acquainted with a "witch" through that film--it's part of the pop vernacular in this country. As a kid I probably had the same reaction to her as any other kid--repulsion and fear, though I honestly don't remember well. I do remember my little brother was so afraid of her he'd leave the room anytime she was on screen. 

 3. What's the worst depiction of witchcraft you've seen in film, and why is it so inaccurate or damaging? 

 It's still probably that one, though as an adult I've come to love her in that film, and feel protective of her in my own way, as I do pretty much all negatively-portrayed witches in media. That role is still what the average person thinks of when you say the word "witch"--green skin, crooked long nose (which is in fact a racist stereotype), conical hat, broomstick, black clothes. The "witch" in patriarchal society is a caricature of an "undesirable" woman--she is haggard, wicked, and unwanted. And since I began to personally identify with actual, intersectional, inherently feminist witchcraft several years ago, I've worked hard to reclaim those words from toxic patriarchy on a personal level. The Witch does not belong to men, she is self-involved in the most essential sense, free from societal expectation, firm in herself, always open to learning. Probably the most important idea that is inherent to witchcraft is the autonomy of women. And since we still live in a toxic patriarchy, the witch is smeared the way women are smeared--she is shunned, she is defiled, she is named evil, she is made ugly, she is nefarious. But actual witchcraft couldn't be further from the negative pop culture stereotype. It's about the natural world, the esoteric that is inherent to life, and freedom of the spirit. 

 4. Do you have a favorite witch character on film, or maybe even a moment in a film you identify with or appreciate? 

 One of the mainstream witch films I love the most is PRACTICAL MAGIC, which oddly enough was directed by a man (Griffin Dunne, who was a close friend of the late Carrie Fisher and is probably more well-known as an actor than a director), based on the book by Alice Hoffman. It's an antithesis to the negative witch stereotype--it's a movie about love, sisterhood, feminine energy, and independent, strong women. I particularly love the witch aunts, Jet and Francis, played by the amazing Dianne Wiest and Stockard Channing. In a lesser film, they'd have been degraded and made "crazy cat ladies", but in Dunne's film they reflect the bold, beautiful women I know in real life. Likewise Sandra Bullock as Sally and Nicole Kidman as Gillian are sister witches who love each other utterly, though they could hardly be more different. To me they've always reflected that every woman, and every witch, has her own unique path in life and in her own craft, and that path, whatever it is, had deep worth and must be honored. The whole movie is a breath of fresh air in a culture inundated with negative witch stereotypes, and it has a potent magical energy. And it has songs by Stevie Nicks, who I love so very much, another witchy woman who has always dared to be herself. 

 5. What would you like to see in future films touching on magic, spells, witchcraft or wicca? 

 I'd love to see more witches on film who remind me of women I know in daily life, rather than a constant indulgence in bad, old stereotypes and reliance on overt supernatural fantasy. Witchcraft deals with the esoteric, but it's also about learning about oneself and personal growth. There can't be real witchcraft without intersectional feminism, and I really want witch films that are written and directed by women from different walks of life. Women already get so few opportunities in Hollywood, but especially when it comes to witches, an area that inherently belongs to us, we've been constantly shut out from telling our personal stories. I was happy to hear Leigh Janiak is supposed to be doing a reboot of THE CRAFT, for instance, but I want at least ten more witch films helmed by women. We deserve to tell the story of the witch experience in our own words; because it's different for all of us.

Soul character analysis?

hoooo BOY you better buckle in because he is my favorite gotdam character and i have a lot of things to say about this boy

first off, let’s start out with a summary so ppl who don’t wanna read 4,000 words can still get something outta this: 

soul is a bit of an anomaly with his characterization in the beginning being VASTLY different from his characterization in the end: overall, he’s gone through the most change out of any character in the series. starting off, he was highly insecure and defensive, which likely could be the result of growing up under scrutiny: i have every reason to believe soul’s upbringing was not colorful or happy, but rather harsh and rigid. this is reflected in his desperation to scramble for an identity in the beginning (i have some theories about that). his turning point is when he’s infected with the black blood and begins to have more and more conversations with the Little Ogre- which made a few observations about him: he’s insecure. unsure. nothing like his partner. as the series progresses, he begins to gain confidence and lose that desperation to fit into a certain box and really starts to come into his own. he gains confidence in his abilities to think and analyze, as well as his abilities to support others. this shows his truly kind-hearted nature: a cool dude wouldn’t be a total jackass, right?

now for the REAL party (after the readmore)

just a warning, there will be a lot of mentions of mental illness (especially when it comes to his self-image) and unhealthy family relationships. if i need to add anything else to the warnings, please let me know!

let’s start off with soul’s past:

it’s a well-known fact that he comes from a rich, successful family of musicians- which is something he seems to be trying to forget. soul drops all of the aspects of his past life: he hides his skill and love for the piano, as well as redacting his last name entirely. again, this is common knowledge in the fandom by now. when he discovered he was a weapon, he took the chance to drop the Evans’s family tradition of producing musicians and started a new life.

but why? it’s never explicitly said that his home was a bad environment for him, only that he felt pressure to continue to uphold the esteemed family’s reputation. growing up under such a big shadow would produce that reaction in just about anyone. perhaps it’s soul’s running away that’s the most telling aspect of his life pre-DWMA. not only does he book it out of his home and into Nevada, but he completely tries to erase everything he was- the Wiki page on him states, “Memories of his past still affect him emotionally, so much so that he prefers to forget them entirely.” Pressure to be successful, while extremely stress-inducing, wouldn’t likely make him like this, unless his family was actively exerting this pressure on him. If his parents had reassured him that he didn’t have to fill in their shoes, he probably wouldn’t have run away, but would have rather gotten permission to enter the DWMA as per his request. But, that’s not what happened. 

parents who live vicariously through their children put them through a lot of stress and oftentimes, that results in the child feeling unable to live up to their expectations, which turns into a low self-esteem complex. the child will either try hard to live up to those expectations, or give up entirely: soul chose the latter. as for his self-esteem, you can see this just about anywhere: he often compares himself to other people. he compares himself to his brother when it comes to his music skill, and he compares his abilities as a weapon to that of Giriko and Justin, both of whom can fight proficiently without a meister.

so, soul evans left his home and his name behind, ready to re-invent himself into the total antithesis of what he was going to be raised to be. which leads us into…

the image of ‘coolness’

soul’s beginning personality and appearance is the most well-known- a laid back, chill dude that worshiped the idea of “coolness”. during this stage, he was impulsive like Maka was, but for entirely different reasons: where maka would often act on emotion, soul would try to take shortcuts to get things done a lot quicker- this is shown in the first chapter when he tries to full-on charge through blair’s window instead of coming up with some sort of battle tactic. this is also in-line with the typical cool guy archetype- the guy that doesn’t take any shit from anyone, and who doesn’t think before he acts because only un-cool nerdasses do that. when an event occurs that makes Soul seem anything other than detached and in-charge, he clearly notes how “uncool” the situation is in an attempt to save face. noting soul’s typical personality during combat situations (i.e. advising maka to keep her guard up, seeing situations about five steps ahead, stressing the importance of plans), the moments of impulsive behavior he does have seems rather forced.

his past easily explains why he does this: he doesn’t want to be like his family. he isn’t soul evans, he’s soul eater. his insecurity caused by a rigid upbringing turns him to over-compensate by building this “cool guy” image, which is also the epitome of ‘Western Masculinity’. 

here comes the speculation piece: while i don’t believe you need to justify trans headcanons with explanations to make them valid, soul’s narrative illustrates a very familiar one: a lot of trans kids who are first starting out often over-compensate to try to mold themselves into the cis-normative perceptions of gender in society. i definitely remember my first year of my transition, trying every which way to look and talk different, walk different, like different things, even changing the way i sat down: since i was trans, i felt that i had to over-compensate and make up for my transness. soul’s over-compensation when trying to be and act “cool” definitely parallels that.

as time goes on, Soul begins to come into his own, after the first Crona encounter gave him yet another pair of eyes to criticize him:

The Little Ogre

the circumstances in which he earned this pest serve as the catalyst for his change in personality. trying to protect Maka from Ragnarok after she’d refused to use soul to block the hits from the sword, he became gravely injured and infected with the Black Blood. it’s after this that his maturity begins to show, but isn’t quite as apparent until the Kishin Revival arc, and the Little Ogre is introduced. 

through the series, the Little Ogre serves as an internal conflict for Soul, harping on him through all of his decisions: he’s too patient, he plans too often, he’s too scared, he’s too anxious, he holds back too much. all of this are feelings that soul knew he had, but never had them pointed out (likely because he never confided in anyone about these issues). this causes Soul to try to prove the Little Ogre wrong by either doing the opposite of what he’s being criticized for, or carry on what he’s doing and try to be successful while doing it. considering soul’s past and his lack of motivation due to being pushed too hard, it’s strange to see the Ogre’s insults actually motivate him: but, perhaps since this conflict is internal, and the Ogre is a facet of his mind, he sees the end goal as less of an unattainable one and more of something to work towards. one of the criticisms that really got to him, though, was that he was lacking in something really big:

the courage his meister had

(yikes that was a really bad segue)

it’s easy to see that maka and soul were created to be two sides of the same coin- opposite. soul’s eyes are red, while maka’s are green- they’re contrasting colors. soul’s soul (i never wanna use that phrase again) is blue, while maka’s is orange, which are, again, contrasting colors. their approaches to battle are vastly different, as well. maka acts on emotion, on what seems like the best option at that very second, rather than detailed observation. soul, being the weapon, observes the situation from every angle, keeping calm in most situations so that he can think a way out of any predicament: a great way to balance out his impulsive technician.

however, it’s his tendency to overthink that holds him back. the Ogre had commented that he makes decisions by way of elimination, not daring to act until the only logical path is an option. there aren’t many examples in which this messes up maka’s or his ability to fight: after all, maka is a very smart girl. but, soul’s inability to act affects him personally. he’s shown to have no direction in his life or conviction of his own, which is probably left-over effects from his life as an Evans. after all, if every moment of his life was planned, how was he ever to learn that he had a will of his own?

it was the courage maka had that motivated Soul to take some direction in his life. in fact, she’s the reason he does a lot of things. albeit indirectly and in no way to blame, maka was the reason he was infected with the Black Blood- he’d acted impulsively and out of emotion in order to fulfill his duty as a weapon: to protect. soul was a source of sage advice for maka, someone who would see the plan out to ensure their safety at all times. maka, in turn, was a source of courage and motivation for soul.

it’s this dynamic that pushes both of them forward, up until they finally achieve the goal of creating a death scythe:

while i could go on and talk about all of the facets of his character, from his strong friendship with blackstar, to his struggles in the book of eibon , this analysis is already mcfucking essay length lmao

if anyone requests a part two tho, i’ll most definitely do it