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baixueagain · 3 years

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The Gendo & Rei Question, Part III

For the Intro and Part I, go here.

For Part II, go here.

Part III: The Gaze of the Prodigal Son

Both Rei I and Rei III are “alive” for only a short period, and it is Rei II—the clone active from roughly 2014 through most of 2015—that we as the audience get to know the best. This is also the clone that has the most developed and complex relationship with Gendo, and we learn most of what we know about how Gendo views Rei as a whole from his behaviour with Rei II.

Rei II and Gendo’s relationship during 2014-15—especially how they feel about it for themselves—is nevertheless one of the more difficult relationships to understand, since they’re two of the most mysterious characters in Evangelion. We rarely get glimpses into Rei’s point of view, and Gendo only truly speaks about his own emotional and psychological state in the final moments of his life during EoE. Even then, he only speaks of his feelings about Yui and Shinji, not Rei. In fact, he virtually never speaks to others about Rei unless he is talking about her involvement with piloting or the HIP. We only get a few glimpses of their direct interactions, and while these are highly charged with multiple layers of innuendo, those same layers of innuendo make the situation all the more opaque.

One of the best perspectives we have on Gendo and Rei’s relationship, I argue, comes from Shinji. Granted, he’s the main character and most of the story of Evangelion is told from his point of view, but his perception of Gendo and Rei is just as valuable for another reason: he’s an outsider. NERV is by its very nature a place of secrecy and high strangeness, and it stands to reason that most of the people working there have long since become desensitized to their Commander’s odd personality quirks and the strange, solemn girl serving as his first pilot. Even Misato, who has only just recently started working in Tokyo-3 proper, has been in NERV/Gehirn’s general orbit since her childhood and thus seems fairly used to Gendo Ikari’s personality and the odd way things are done under his supervision. But now we have Shinji in the picture, who’s had minimal contact with his father and who has spent most of his life in the “normal” world, sequestered from the truth of the family business. His perspective is that of the everyman, and he is thus primed to see the unusual parts of NERV that other characters take for granted. Moreover, unlike virtually everyone else at NERV (except for Ritsuko, whose perspective I will be addressing in the future), he is uniquely invested in both Gendo and Rei as people: Gendo being his estranged father, and Rei being his co-pilot and thus someone with whom he feels a sense of camaraderie (even if he barely knows her).

Shinji arrives at NERV shortly after Rei has a serious accident—one that he does not yet know about. His first-ever interaction with Rei happens in tandem with his first interaction with Gendo in years, and this consists of Gendo dangling a wounded, crying girl over Shinji’s head to manipulate him into piloting Unit-01. It is a brutal, cruel tactic, and Shinji seems to recognize this for exactly what it is. He has already accused Gendo of just using him (something to which Gendo openly admits); from his perspective, it at first seems that his father cares just as little for the poor young woman on the gurney who can barely stand, much less pilot.

This viewpoint is only challenged when, unknown to Gendo, Shinji spots the burn scars covering his father’s palms in Episode 5. His reaction to being told the truth—that Gendo freed the wounded Rei from her overheated entry plug bare-handed (a scene I will discuss in later essays)—clearly stuns him after seeing the cold, calculating way Gendo used her condition to manipulate him earlier. “Father did that?” he blurts out. The concept clearly seems unbelievable to him, defying everything he thinks he knows of Gendo being a heartless, cold, selfish man.

Interestingly enough, as Ritsuko describes Gendo’s heroic deed to Shinji, the “camera” momentarily moves outside the limits of Shinji’s perspective and shows us what Gendo is doing at that very moment. He is bare-handed (a rarity for him during the A-plot) and for once he has an open, receptive expression on his face as he examines the Angel’s core in obvious wonder and fascination. His lips almost form an excited little smile and the harsh lines of his face are softened. His naked hands touch the core gently, practically caressing it with just his bare fingertips. Considering Evangelion’s repeated use of hand- and touch-related symbolism, it is likely meant to reflect something of his inner emotional world. This is the first time during the A-plot (that is, the plot following Shinji’s perspective and experiences) in which we see Gendo with his emotional guard down. And it comes at the exact moment Shinji learns of his father’s act of self-sacrificial vulnerability for Rei’s sake.

The idea that his father might allow himself to be hurt for anyone is utterly alien to Shinji, and this in turn is what prompts him to become more curious about Rei. Notably, the next scene is one of immediate contrast: “The burns on his palms are from then,” says Ritsuko, recalling the searing heat of the plug. The shot instantly cuts to a young girl’s body plunging into water. It’s just a small touch, but yet another masterful moment in the way Evangelion uses visual language and careful word choices to create an unspoken discussion on themes. This, we are being told, is going to be an episode about contrasts and subversions. It will also be an episode about sex.

The poolside scene is the first in which Rei is first explicitly treated as a sexual being—at least from others’ points of view. Shinji is teased twice about his interest in Rei, the first time by his friends Toji and Kensuke, both of whom clearly see Rei as a beautiful (if unapproachable and intimidating) girl. The two of them (being high school boys) describe her body in explicitly sexualized terms, much to Shinji’s embarrassment. At the same time, we’re treated to shots of Rei sitting quietly in her bathing suit, oblivious to their chatter. She is small and vulnerable, but her bare skin and curvy form has still been made into something with sexual energy and potential.

Back at NERV HQ after school, Shinji watches Rei without her knowledge, still clearly curious about her. Notably, up until this point he has never seen any emotional expressions from her (unless you count her agony in Episode 1). She has kept her distance entirely, and he realizes that despite working together for at least a couple weeks now, he knows virtually nothing about her. There are no relationships in which he can observe her behaviour with others…except for Gendo.

As he secretly watches within his cockpit, Shinji watches his father approach Rei. Rei suddenly begins acting her age in her body; instead of moving stiffly, she skips and hops eagerly down onto the walkway and begins chatting with Gendo, a cheerful smile on her face and her eyes bright and alert.

What’s even more shocking to Shinji, however, is Gendo: unlike the scene with the angel core, here Shinji can actually witness his father’s change in demeanour for himself. The Gendo that Shinji knows is a stern, unfeeling man whose rare expressions are that of irritation or a cruel smugness. But as Gendo chats with Rei, his eyes are soft, and a happy smile is on his face. His cheeks even look a bit flushed. Just as important is the way they’re both speaking to each other: although we can’t hear them, we can see their body language and their interaction. They are standing face-to-face, gazing into each other’s eyes, each speaking in turn. They are practically interacting like equals.

Is it little wonder that Shinji’s jaw is on the floor?

As always, Anno’s masterful direction creates an unmistakable atmosphere laid across what might otherwise look like a pleasant scene. Shinji’s hidden vantage point, the oblivious radio chatter from the control room, the low single chord of background music, and the fact that we can’t hear a word that Gendo and Rei are saying: all these things contribute to the sensation that we, along with Shinji, have just witnessed something intensely private. Something that neither we nor Shinji were meant to see.

The scene immediately following this is, once again, Shinji being teased for showing an interest in Rei—this time by two attractive older women. Again the pressure to see Rei as a sexual being is mounted, and the additional overtones of a discussion about sex between a teenager and adults is added. This rapid switch back and forth between Shinji learning about the relationship between Gendo and Rei and being repeatedly asked if he’s interested in Rei himself (all the above scenes take place over the course of about ten minutes) creates an uncomfortable dissonance that charges the episode with a confusing, unnerving sexual tension. At the same time, Rei and Gendo are explicitly brought up and compared to one another: both are terribly awkward, we are told, at life in general.

And that’s when the climactic scene of the episode drops on us like a N2, bringing all these interweaving themes to an awkward, disgusting, hilarious, and horrifying head. Shinji goes to Rei’s apartment to drop off her new NERV ID card. Nobody answers the door, which he finds unlocked, so he enters. The room is filthy and spartan; the girl who lives here clearly does not care much about her surroundings or her possessions.

But Shinji is drawn to the room’s one treasure: a pair of broken glasses carefully set on top of Rei’s dresser. We as the audience are let in on a higher degree of discomfort by knowing something Shinji does not: those once belonged to Gendo, who dropped them when he recklessly pried open the plug door to rescue Rei. Gendo is thus made extremely present in the scene to the audience, even if Shinji cannot sense him.

I should note here the significance of Gendo’s glasses as a part of his personality. I have noted before that they are an additional layer that he puts on himself as a means of separating himself from others. Though he used to wear clear lenses, after those break he switches to tinted ones, making his expressions even harder to read and representing the increasingly rapid withdrawal of his personal investment and motivations from the rest of NERV and SEELE. His glasses frequently reflect the light, making it difficult to see his eyes even when he’s wearing the clear lenses. The direction of his gaze is thus frequently hidden, and with it his thoughts, feelings, and motives.

And yet the glasses reflect other things on occasion, too, informing the audience of what Gendo is looking at and what he’s concentrating on. Shots of his face thus have a doubling effect of simultaneously hiding and revealing his gaze: we can see glimpses of what he is gazing at, but only by looking directly at his face and into the glasses which reflect his vantage point. His perspective is simultaneously revealed and hidden.

So as Shinji approaches the broken glasses on Rei’s dresser, his face is reflected in them—something we rarely (perhaps never?) see happen when Gendo is actually wearing them. His gaze on his son is thus simultaneously present and absent, accentuating the deep dichotomies of their relationship.

That’s when Shinji does something that feels even more shocking (almost taboo) from the viewpoint of the audience, based on our prior knowledge: he puts them on. It is an incredibly childish gesture, reminding us once again that he’s nothing more than a curious fourteen-year-old boy, but at the same moment he—in the audience’s eyes—becomes his father (emphasized by their similar physical appearance).

And what is the first thing he sees through his father’s eyes after he turns around and looks behind himself?

It’s Rei, fully naked, staring back at him.

Yet at the same time, his view of Rei is blurred and cracked, reminding us definitively that these are not his glasses.

This, the shot suggests, is not his sight to see. This sight of Rei’s nakedness “belongs” to someone else. Already we are being told exactly what Gendo has seen, how much of it, and that he owns this sight—or at least thinks he does.

The events that follow are on their surface hilarious due to the awkward nature of the situation, but the staging and shots used (for lack of a better word) are a recollection of the scene down in the cage: Shinji has entered in on something that he should not be witnessing, something that is not for him. Rei strides forward to seize the glasses from him, Shinji slips and topples onto her, his tote catches on her dresser drawer and sends bras and panties flying everywhere. He lands on top of her, covered in her private items, in a slapstick missionary position with a hand on her breast—and in showing us this, the introductory focus in the pan is of her own hand clutching the glasses. Gendo’s presence is again invoked, even in this deeply awkward, intimate, and violating moment. He is the third, invisible character in this deeply sexually charged scene.

At the same time, this is the moment where we as an audience begin to see what makes Rei tick. She seems to have no reaction to Shinji seeing her nakedness (leading us, of course, to wonder why), but it is the first moment in which she has a direct emotional reaction to Shinji: anger. But instead of hiding herself, she walks towards him and seizes the glasses away. Shinji walking in on her bathing was not a violation in her eyes, but his wearing his father’s glasses is. Once again, we are given the uncanny message that Rei’s body is treated as a commodity—including by Rei herself. This time, however, we are given an alternative source of her identity. She does not derive her sense of self from her embodiedness, but from something more intangible, represented by the one item in her life treated with reverence: the glasses. She is given her sense of identity through Gendo’s gaze, and it is Shinji’s appropriation of this gaze that she finds violating. Even as Shinji lands on top of her, a hand on her chest, her anger is gone because the issue is resolved: she has the glasses back in her possession and Shinji is no longer invading that space (even as he inadvertently invades other spaces).

Shinji’s next violation provokes an even stronger response. Despite the horrifically awkward event, it has at least broken the ice, and as they travel together to NERV HQ he begins trying to make conversation about their commonality: Eva piloting. This then invokes the silent third party in this entire exchange: Gendo. Rei asks if Shinji has faith in his father’s work, and when he furiously denies it, she turns, looks him square in the eyes, and slaps him hard across the face.

And this, of course, seems odd (even humorous) until one realizes why she perceives this as such an insult: she is his father’s work. An insult to her person is of no consequence in her eyes, but an insult to Gendo is an insult to something far more intrinsic to her identity and her emotional world. Between these two scenes, we have seen just how wrapped up Rei’s sense of identity is in Gendo, and in further essays I will argue that the reverse is true as well. Gendo cannot conceive of Rei as existing outside of himself, her identity is so deeply wrapped up in his own. If he ever did conceive of her as a separate being, he will have lost this ability by time Instrumentality arrives.

Yet at the same time, between all these questions of identity and sexual violation, we see toward the end of the episode that there is a layer that is far more simple and human: Rei takes Gendo’s glasses with her into the entry plug when it’s time for her resynchronization, and she hangs them where she can look at them when she feels afraid.

Because she is, in the end, also a fourteen-year-old who wants someone to make her feel safe.

To be continued in Part IV: Green-Eyed Monsters

Like my meta? Buy me a coffee!

#gendo ikari #rei ayanami #shinji ikari #neon genesis evangelion #nge #meta #bai xue writes

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animatedarchives · 4 years

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hi, hon! i absolutely adored your katsuki imagine, so i thought i’d request a shoto imagine. could you do an imagine where the reader’s in a quirk marriage with shoto, but the reader’s actually happy with it cuz they love the idea of love, and they think shoto’s really cute? thank you! ❤️

author’s note: HIIII CLARISSAAA i’m sorry this took so LoNG i really tried my best to write this so i really hope you like it!! thanks for requesting and for all your support I LOVE YOUUU ❤️❤️

MARRIAGE WITHOUT LOVE

— 𝐓𝐎𝐃𝐎𝐑𝐎𝐊𝐈 𝐒𝐇𝐎𝐓𝐎

genre: fluff with a little bit of angst (because who am i without it)

warnings: unrequited love

word count: 2.3k words

“Will you marry me, Y/F/N?”

Shoto’s words echoed in your mind, the nostalgic feeling of butterflies returning as you fondly remembered his proposal. A warm smile settled upon your beautifully drawn face, your bright orbs looking tearfully at the magnificent double doors in front of you.

It was finally happening.

A warmth bubbled in your stomach as the doors finally swung open, welcoming you in with a shower of delicate rose petals. Time seemed to slow and the world faded into the background; the melodious music never reached your ears and the uncountable stares and open mouths went unnoticed. Your eyes - made up with beautiful eyeshadow and a light coat of mascara - focused on one thing and one thing alone: him. You didn’t even remember kissing your father’s cheek as he left your side to take his seat. All you knew was the feeling of your small, dainty hands slipping into Shoto’s gentle but strong ones.

A small voice inside your head nibbled away at your consciousness, trying to drag you out of the clouds and back into the harsh reality. But as you looked at the man standing in front of you, the very same one you fell in love with, your heart began to swell and you pushed those thoughts aside, wanting to remain in your rose-coloured world for a little while longer.

The officiant’s words passed by you soundlessly, your heart fluttering at the thought of being wed to the love of your life for the rest of eternity. Barely able to contain your excitement, you examined your fiance’s perfectly sculpted face to distract yourself from the burning anticipation. But as you did so, the whispers in your head grew louder, harsher and more incessant. Their words clouded your mind, and the glimmer of hope you held onto slipped right through your fingers.

This was just a quirk marriage-

No.

You didn’t want to believe it. You wanted this to be the love you had always imagined, the ones in the fairytales you had always read growing up. But as you scrutinised every detail of his face - his less-than-elated expression and the small smile that never fully reached his eyes - the truth slapped you in the face. Your heart began to sink as you realised that the love you had always wanted just wasn’t yours to own.

This was just a quirk marriage.

And Shoto didn’t really love you.

You tried for so long to pry your heart from his hold, doing anything to convince yourself to stop loving him. But no matter how hard you tried, your eyes would always drift back, for it knew where your heart belonged. That was why you agreed to this loveless marriage; your heart refused to be swayed and you just could not imagine spending the rest of your life with anyone else, even if he didn’t love you. In any case, you would much rather love and not be loved back than to be loved but not be able to feel anything from it.

“Upon request, L/N will be sharing her vows first. L/N, please,” the officiant said, allowing you to take the spotlight. Before the wedding day, Shoto had asked if you were alright with saying your vows first. You thought it was rather uncharacteristic of him to suggest, especially considering how traditional he was, but you didn’t overthink it and agreed without a fuss. Clearing your throat, you looked adoringly into his eyes as you recited your love letter aloud for everyone to hear.

“Todoroki Shoto, the only man my heart has ever belonged to,” your voice trembled. You paused to take a breath, calming yourself and focusing on the feeling of Shoto’s comforting touch.

“I’ve always idolised the idea of love, dreaming about how it would feel to have my prince charming sweep me off my feet as he kissed me passionately. When I met you, I thought you were the furthest person from that ideal - you were cold, emotionless and unpassionate about everything except yourself because you wanted to be the best,” you said. You shook your head amusedly as the words left your mouth, your past thoughts seeming so ridiculous now, as you stood at the altar. “As I got to know you, I slowly started to understand. I began to see the determined boy who worked so hard to protect those he cared about. I treasured each rare smile and precious laugh that graced your stoic face. I caught a glimpse of the steady fire burning in this icy cavern and I couldn’t help but be drawn to its warmth. And slowly…” you trailed off, hoping your veil concealed your blush as much as you wanted it to.

“Slowly, you became the prince I had always dreamed about.”

The audience sighed dreamily as you publicly confessed your love for him. Even Shoto’s expression softens as he smiles at your sweet words.

“I know going from a platonic relationship to a romantic one is difficult, even impossible for some people,” you said, glancing at him knowingly. “But it was definitely not impossible for me,” you smiled, praying it didn’t look as sad as you felt.

“Shoto, I promise to love you unconditionally, with all my heart, my soul and my strength, for the rest of my life. I willingly give you every piece of me because I wholly trust you with everything that I have. I promise to be there whenever you need help and to never leave your side or let you face things alone. I vow to always give you the affection you deserve and I will never ever stop loving you, both in this life and the next.”

The tiniest bit of wetness coated your lashes as you finished your speech and you tried your best to blink them away before they ruined your makeup.

“Thank you, L/N, that was absolutely beautiful,” the officiant smiled, genuinely moved by your words. “Todoroki, your vows, please,” he probed before stepping back to let your fiance speak. Shoto spared a quick side glance at his father who sat proudly at the front, his massive form blocking the poor audience’s view of this magical moment. His father was the only other person in the room besides the two of you that knew about the pretence of this marriage. Taking a deep breath, he braced himself to say the words he had so carefully crafted and memorised weeks before.

“Children grow up by learning from their parents and their teachings,” he started, avoiding direct eye contact with his parents, who were sitting at polar ends of the front row. “Mine didn’t have the best relationship and every night, I would hide under the blankets in my room, wishing for better days I wasn’t sure would ever come.”

You had heard this story a million times before, yet your heart still broke every single time he told it.

“I never knew what love was, but I knew what it wasn’t,” he continued, trying to bring some hope back into the audience’s hearts.

“Love wasn’t selfish; it was about giving to the other person and always putting them first before yourself. And the one who taught me all this wasn’t my parents… It was you,” he said as he gazed into your eyes.

“When we first met, I felt strangely inferior because I knew you were a better hero than me, but I didn’t understand why. However, on the second day of the internship we did together back in UA, I realised what it was,” he said, recounting the memory.

“It was love,” he smiled softly.

“I remember watching how much you cared for others, putting your life on the line to protect them even though you were injured,” he recalled. You could barely remember all this happening, but it touched your heart that he treasured the memory so much that he remembered every little detail. “Your selfless actions opened my eyes to what I was lacking,” he continued. “It wasn’t power that would make me the best hero; it was my heart for those I wanted to protect.”

“If I were the number one hero, I would be defeating villains left and right, and have all the fame and money in the world. Yet after a long day of work, I’d still return home unhappy and purposeless. Without people I loved, who would I be fighting for? But if I didn’t have power, if I were quirkless even, it would be the people I loved that would give me the strength to face the world every day. Even without any powers, I would not be powerless at all. And…” his voice softened, barely a whisper. Emotions swirled in his eyes as his next few words ghosted his lips.

“... I would be happy.”

You never expected Shoto to be this vulnerable; he had rarely shared this much in private, let alone in public. Even so, you couldn’t help but hope he continued, the curiosity within you eagerly craving for more.

“The lesson you taught me is something I will cherish forever, and something I want to pass on to my children: the source of your strength does not come from your physical capabilities, but the purpose inside of you, the reason you fight, and the people your heart burns for.”

“That’s why I could never just marry for power. The pretence of a quirk marriage was just so I could get my father’s blessing,” he finally admitted.

Discourse shook the crowd as people murmured amongst themselves. Even you were completely floored by Shoto’s confession. You looked worriedly at Endeavor who was fuming in his seat, outraged by the revelation of his son’s blatant lies, and understandably so. Declaring his true intentions and exposing his false claims to his father in front of everyone at his own wedding? Truly the ultimate act of rebellion. Endeavor was about to storm right up to the altar when your friends held him back in his seat, quieting the crowd in the process.

Suddenly, you felt Shoto’s fingers under your chin, gently guiding your face back to his. Your thoughts were completely muddled, everything happening so fast and all at once. If he wasn’t marrying you for your quirk… then…

Your breath hitched as realisation dawned upon you, his next few words being the only thing you could hear.

“I’m marrying you because I love you, Y/N.”

You didn’t know how you were still standing when all your brain was doing was malfunctioning and trying not to spontaneously combust.

“You are my purpose. You are the reason I fight. And the fire within me, the one you said you were drawn to, is the same one that burns brightly for you.”

Your heart was pounding so furiously against your ribcage, you thought it would explode. For so long you had convinced yourself that your feelings were not returned that you couldn’t possibly believe it was true. And yet, every fibre of your being wanted to believe it, hoping so dearly that it wasn’t just a dream. No amount of joy could ever compare to what you were feeling in that moment.

“L/N Y/N, I promise to never hide my true emotions from you anymore. I will openly and wholeheartedly love you with every piece of me, and I will not hold back ever again, no matter what anyone says. I will always be by your side, protecting you and our love as we face the world together.”

Despite mustering all of your willpower, a tear still slipped from your eye, but was effortlessly wiped away by the man you would now call yours forever. All those years of wishing and hoping had amounted to something: your dreams had come true, and fantasy had become your reality.

“That was truly touching. Though it came as a surprise, it was not unwelcome in the least,” the officiant smiled at Shoto, who returned it gratefully. “You may now present your rings to each other.”

Shoto gracefully extended his left palm. “May I have your hand, my princess?” he asked with the same gorgeous smile that had first captivated your heart. Still high on euphoria, you grinned and gingerly placed your left hand in his. The warmth of his hand contrasted beautifully against the cool metal as he slid on the glittering diamond ring. It was absolutely flawless, just like everything else about that day. Reluctantly, you pulled your eyes away from the stunning jewel to return the favour, slipping the ring onto his left hand. It fit perfectly on his finger as if it were made for him, just like you were.

“Finally, the moment we’ve all been waiting for: I now pronounce you husband and wife!” the officiant announced proudly. “You may kiss the bride,” he said under his breath, a cheeky smirk evident on his face. You barely had time to register the hollers and whistles in the background as Shoto scooped you up in his strong, muscular arms and planted a passionate kiss on your lips. It was everything you had ever imagined it to be and more.

As he broke the kiss to admire your gorgeous face, his eyes sparkled, brimming with abundant love and adoration for his new wife.

“I’m sorry your prince charming took so long.”

You beamed at his sweet apology, forgiving him as you wrapped your arms around his neck and gently pushed his head down to close the space between you. You loved the taste of his lips against yours and could hardly believe you had unlimited access to it for the rest of your life.

“Finally, you’re no longer my princess, but my queen.”

You couldn’t do anything but smile, the butterflies in your stomach finally bursting free from the cage they had been contained in for so long. As you walked down the aisle for the second time, you couldn’t help but think of the stark contrast between both times you graced it: first, the bittersweet feeling of entering a one-sided marriage and now, the overwhelming joy you currently felt knowing it was no longer one-sided.

The fresh breeze outside complemented the new air of romance between the newly wedded couple. Jumping into his arms once more, he spun you around as you both laughed in pure bliss.

This wasn’t just a quirk marriage.

And Shoto really loved you.

Certainly, this was your happily ever after.

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m0srael · 3 years

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The Fourth King

2k | T Rating | Implied death

This is the second in what will be an ongoing series about H&D as stage magicians, in love and in trouble like all good magical duos. Read the first here! This is for the @drarrymicrofic prompt: King. Thanks to @phoebedelia for the beta!!! Read on Ao3.

“No, no, for fuck’s sake Harry, I’ve explained this a hundred times--”

“You explained it exactly three times, Draco, and each time has been different!”

“Yes, well, I’m trying to find a way that penetrates your thick skull--”

“Fuck off, all the way off, out of England if you can. Sit down, let me try again, I think I’ve got it…”

----

The room was more opulent than any other Potter and Malfoy had performed in. The vaulted ceilings were crusted in elaborate crown moulding, the Baroque frescoes painted there almost blindingly bright. Any surface that could have been gilded, was. The air was warm and still--Harry thought he could hear the distant tinkling of a pianoforte.

They were set up at the front of the room, staring down a phalanx of uncomfortable-looking wooden chairs occupied by even more uncomfortable-looking aristocrats. The ladies were all breathing shallowly, fanning themselves with lacy fans clutched in gloved hands. Harry couldn’t help but notice the way several of them fluttered their eyelashes at Draco. The gentlemen each clutched a crystal glass of dark liquor, their eyes glazed and distant.

Jones had managed to procure them each a second-hand tuxedo, fine enough that they wouldn’t insult their hosts by their mere presence, but not so fine as to suggest they didn’t know their place. Draco thought Harry looked quite dashing in a tailcoat. He might tell him later, if they found one another again.

Potter and Malfoy had been booked for an hour-long performance and judging by any one of the seven ornate clocks scattered about the large room, they had ten minutes to pull off their final trick. It was more than enough time.

----

“Listen to me, Rose got her hands on the guest list, they’ll all be there. We will never have another opportunity like this, Harry.”

“Yeah, I get that, but--”

“No ‘buts’. My love--Harry, please. We’ve gone over it a hundred, a thousand, times! We will not...cannot...fail.”

“You can’t guarantee that, Draco! What if something goes wrong, what are we supposed to do if we can’t get it? What do we do if we can?”

“We’ll get it. Harry, we’ll get it. We’ve been patient for so long. I need you to trust me.”

----

“Ladies and Gentlemen,” Malfoy’s deep voice resonated around the cavernous space. “I’m afraid the time has come for our final act. It is a simple, but elegant, illusion. Are you watching closely?”

Potter stepped forward from where he’d been leant against the vanishing cabinet situated on the far left of the low stage, opposite the second cabinet on the right. “We’d like to tell you a story,” he said in a soft voice. The thick blanket of stale air seemed to ripple with the low, wooden creak as the audience leaned forward as one. Potter flicked his wrist and a deck of cards appeared, pinched between the pads of his thumb and first two fingers. A woman in the third row gasped, softly. He fanned the cards out and extended his arm, moving it first to the left, then to the right.

“Your Grace,” Malfoy said, bowing and gesturing expansively at the Duke to invite him onstage, “This act requires your...particular participation.” After a moment, the Duke made his way onto the stage, accompanied by polite applause.

Potter bent at the waist, extending the deck out toward the Duke. “If you please, Your Grace, examine these cards and confirm for us that this is a complete and unaltered deck.” The Duke took his time. He fingered every card, turned them this way and that, counted silently. After a minute he looked at the audience, “Yes, this seems to be a perfectly normal deck of playing cards.”

“If it pleases Your Grace, would you remove the four kings from the deck--yes, hand them right to Potter here--and then give it a good shuffle?” Malfoy asked. The Duke complied, plucking the four king cards out of the deck one-by-one.

“This is a story about time...and greed; about four kings driven by selfishness and consumed by avarice.” Potter paced the length of the stage with the four cards splayed in his hand, slowing here and there as an audience member leaned in for a closer look. He stopped to the left of the Duke.

“You see, these kings,” Malfoy continued, coming to stand opposite Potter, “have stolen something that does not belong to them. Something priceless and very important. They are under the mistaken impression that this item will bring them wealth and influence.” Draco turned to face the Duke, holding his eye contact.

“What would you do,” Potter said as he, too, turned to face the Duke, “if someone took something from you, something precious? Would you...call the police? Confront the thief? Would you ask your neighbors for help, or keep quiet out of fear and shame? Would you do whatever it took to get it back?”

----

“Draco, I know I say this every bloody day, but you’ve finally lost your mind. It’s too risky. We don’t have enough time...the dinner is tomorrow night!”

“Look at me, Harry, bloody hell, stop and look into my eyes--”

“Stop it, you always do this…”

“Yes! Harry! Because someone has to ensure that we...that our family...that we make it back and unless you have a better suggestion--”

“Jones said! He said he’s got a lead on a series of gigs and sure, it will take longer, but it’s better than risking our bloody--”

“A SERIES OF GIGS? You would rather...keep doing cheap illusions for a bunch of drunks who couldn’t care less, getting beer--OR WORSE--poured over our heads every night…”

“WE NEED MORE TIME, DRACO! We need...you haven’t thought this through properly!”

“Hah! More time! Time is all we have, now, Harry!”

“I can’t lose you...again…”

----

Potter and Malfoy walked around the Duke in a slow, tight circle, heads bowed to the floor as if contemplating their own answers to the question. They came to a stop in their original positions, making eye contact with one another. “The kings have learned that the rightful owners of their pilfered treasure are planning to break into the palace,” Malfoy said gesturing with his free hand at the kingless deck he held in the other, “and steal it back. They form a foolproof plan to thwart them.”

“The first king decides to set a guard on the ground floor of the palace, surely the thieves will try to enter through the portcullis,” Potter slid the king of clubs into the deck near the bottom card.

“The second king thinks that the thieves can’t be so stupid as to walk right in through the front door, so he sets a guard on the second floor of the castle. They will scale the walls and enter through a window, surely!” Malfoy slid the king of spades into the deck just below the middle.

“The third king knows that the treasure has been stored in the vaults on the top floor of the palace, he intends to set a guard there and catch the thieves red-handed.” Potter slid the king of diamonds into the deck just below the top.

“The fourth king, however, thinks himself cleverest of them. He sets his guard on the roof of the palace.” Malfoy lifted the final card, the king of hearts, and placed it gently on the top of the deck before holding it out in front of the Duke’s chest “From his vantage point, he can see everything: the portcullis, the palace walls, the windows in the highest towers, the lands surrounding the palace. He will watch closely and raise an alarm as soon as he sees movement in the dark. He can gather his brethren so they can rain arrows, stones, and boiling fat down on the intruders before they ever breach the palace walls.”

“In the small hours of the morning the fourth king hears what he has been waiting for,” Potter nearly whispered, cupping a hand around his ear as if he, too, could hear it, “the sound of hoof-beats echoing through the trees near the palace. The fourth king called down to his compatriots, urging them to hurry to the roof.” Harry tapped the top of the deck in Draco’s hand, hard, with his middle finger. The gentleman sitting closest to him jumped at the solid thud the gesture produced.

Malfoy fluttered the long fingers of his free hand over the deck before lifting the top four cards. A wave of surprise rolled through the audience as they realized that he held all four kings. They began clapping, hesitantly at first, then more enthusiastically.

----

“Draco, please, we can call it off now. We can just do the gig, get our money, and go home. There will be other--”

“There will never be another opportunity like this, I’m not going to say it again. It’s too late, anyways, the triggers have been set and the charms can’t be reversed.”

“That can’t...but you PROMISED! You said, if we changed our minds we could--”

“I know what I said, Harry, I know. I’m sorry. I love you so much. I love you so much and we have to do this. I had to be sure that we have no choice but to go through with it. This is the only way.”

“You also promised you would find me, will you break that, too? How can I trust you to do that now?”

“Because I will always find you, Harry. I always have. It’s the only thing I am ever perfectly certain of.”

----

Potter held up a silencing hand, never taking his eyes off the Duke’s face. He waited until the room fell quiet once more. “What the fourth king failed to consider was that the men--back to retrieve what was rightfully theirs--had been inside the palace all along. They divined the kings’ plan before the kings themselves concocted it.”

“In fact, the men had already taken back their property, long before the kings set their watches that night,” Malfoy felt the right pocket of his jacket sag under a sudden weight. He tipped Potter a gentle wink as he handed over the four kings, then waved his free hand over the deck. Malfoy used both hands to fan the cards, face out. They were blank, every one. The audience began to murmur, ladies’ fans fluttered and men gestured with their now-empty glasses. “Your Grace, I believe this is yours?” Potter said, handing him the king of hearts.

Potter and Malfoy began to walk backwards, slowly, toward the vanishing cabinets. “As I mentioned, this story--like so many--is about greed.” Potter said loudly over the cheering audience, “More specifically, this story is about what happens to men so eaten up by greed that they no longer care who they hurt in their pursuit of power.” The king of hearts burst into flame in the Duke’s hand, drawing another collective gasp from the audience.

They opened the doors of the vanishing cabinets at the same moment. Harry turned to face Draco, his gaze hot and pleading, tears stinging his eyes. Draco nodded quickly at him, his smile watery and wavering, before stepping inside. As Harry pulled the door closed behind him he heard the unmistakable sound of a body hitting the floor, followed by a high, piercing shriek, before the dark consumed him.

#drarrymicrofic #drarry fanfic #drarry fic rec #Where does the fake magic end and the real magic begin #Will they ever make it home? Tune in next week to find out #Maybe #minimose

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theotheroccassionalfanficwriter · 3 years

Text

Written in the Stars

Summary: Mammon reflects on the parallels of between the Lord of Fools and his lover Geldie, with his relationship with you. On the other hand, the Musical was a great way to not stop the audience from realizing how much you love Mammon.

Tags: Henry and the Seven Lords Event, Reader is out there fueling the Henry x Lord of Fools shippers because we as Mammon stans simply can’t help but be in love with him, The yearning and longing is strong in this one, Fluff

Rated: G for General Audiences, I’m surprised too

A/N: I’m failing two subjects lol

1. “Money is my dearest friend and closest companion”

The first time Mammon heard the words of the Lord of Fools, he gave him a nod of approval. He wasn’t close to you yet back then, still a little bit distant but Mammon wouldn’t deny that he liked how you treated him; Gentle, kind, and something almost like you were fond of him. Which was the reason why he had let his guard down for a moment when you asked,

“Why did you agree with what the Lord of Fools said?”

“Stupid human, don’t you know? Money is the only thing in the world that won’t betray you” He answered, a smirk on his face as he made plans to ensure that his scheduled marathons with you wouldn’t be rescheduled.

You had hummed at him then, and Mammon thought that the conversation ended.

It wasn’t until later on, when the whole fiasco with Levi ended did you share your thoughts.

“I think, the Lord of Fools only said that because he lost Geldie” You told him, head resting on his chest as both of you lied down on his bed and watched the TSL movie again.

He made a noise of confusion, somewhere between a hum and soft purr.

“When he said that money was his dearest friend and closest companion, I think he only said that because he lost Geldie and couldn’t do anything.”

He blinks and gives it a thought, “I’m surprised you can say something like that.”

And then he feels like smacking his mouth, risking a glance at you and seeing your bewildered face.

“I-I mean-”

You laugh softly and only curled further into his chest as you smothered your laughter with his body and Mammon feels something warm and tender unfurl in the middle of his chest.

“So mean, Mammon! Just because I’m on autopilot most of the time doesn’t mean I don’t use my brain” You teased him, peeking softly from his chest and as the Lord of Fools start to recount to Henry about Geldie, Mammon felt that the could understand why the Lord of Fools had fallen for his lover.

“I have seen all the treasures the world has to offer. And all of it pales in comparison to a single smile from my her.”

A single smile from you was enough to make him feel as if he had seen the greatest treasure in all 3 realms.

Now though, as he practiced his lines with you, Mammon can’t help but be torn between wanting you as Henry and wanting you as Geldie. He wanted the camaraderie and soft fondness that Henry had for the Lord of Fools directed towards him, he wanted Geldie’s loving and affectionate words be said by you towards him.

“Mammon?”

“...I don’t like the replacement for Geldie...” is what he stupidly said. Almost whining and Mammon hoped, as he sought for your affection, that you wouldn’t realize what he actually meant.

“Hmmm~” You ran your fingers through his hair as Mammon breathed in your scent, sweet like cotton candy, “

“You don’t actually have to like them, just treat them like they’re a customer we’re about to scam.”

Mammon blinked and looked at you through his lashes, “Sometimes...I think that you’ve been holding back from us back then.”

You smiled at him and said, “Maybe...you’re just the only one who knows this side of me.”

The two of you return to practice but Mammon couldn’t help but feel abashed as he repeated the lines the Lord of Fools said to Geldie when they had reunited,

“I loved you once, but now... I understand that I had never stopped loving you.”

He took a deep breath and let out a soft shaky exhale as he placed his hand a top her face, the thick ice separating him from the softness of her skin,

“I could not bare to hide you away from the world but if I knew this would harm you more, I would have kept you close to my side.”

Mammon looked at you and somehow, he felt that he could understand what the Lord of Fools meant.

2. “It is everything to me”

Mammon would never deny the fact that he enjoyed being your sounding board. The easy way you’d just ask him for his time, just to ramble out your thoughts about TSL, more specifically the Lord of Fools whom you had declared to be your husband right off the bat when he was introduced. He liked how regardless of who accompanied you home, you’d make your way to his room and hang out.

It didn’t matter whether or not the two of you had already spent most of the day, you would always go to his room, homework or laptop in hand, making yourself at home by his side, be it on his couch or on his bed. And Mammon would always find himself discussing with you about his day, his thoughts on the Lord of Fools, and whatever scam he was thinking of.

You listen to him, attention solely on him, and something in his heart flutters as he reminds you how the Lord of Fools and Geldie were when they were together.

“But you can’t deny that there’s some similarities with Geldie and Henry tha-that’s probably why the Lord of Fools is soft for Henry!” He stuttered as he felt the weight of your interest, oddly similar to his familiars that you were so found of.

“It’s the novelty isn’t it? That the Lord of Fools is fond of Henry and Geldie,” You pointed out, “Both of them treat him almost the same way, beloved.”

You looked at him as you said the word ‘beloved’ and Mammon felt his heart stutter to a stop. As if time had stopped in this precise moment, with both of you staring at each other’s eyes. It felt like, to Mammon, that the universe was now composed of only you and him.

He wanted to cross the space between you and him, to hold your face in his hands and kiss you, gently and with all he had. He wanted to know what your lips felt against his, what your tongue would taste like, he wanted to hold you close in the way lovers do. He wanted you in the same way he wanted all the precious and most valuable treasures in the world. He wanted you all to himself, all of you, your selfishness, your greed, your kindness, your gentleness, your love, your pain, and everything else that made you human.

He wanted you so much that it no longer felt like greed but something else, something good and pure. And then he blinks and the moment is gone, not entirely, but his opportunity had passed and Mammon let it be. The two of you settle in comfortable silence.

It was easy to understand why the Lord of Fools gave Henry a simple answer. Because as complicated as his feelings are all of it could be condensed in a simple words.

He loved you.

3. “The blood bonds I share with my brothers are like the weak, wispy threads of a spider by comparison. “

“Hey Mammon,” You called for him as both of you got out of your costume “have you ever wondered what would happen if the Lord of Fools had to choose between Henry and Geldie?”

“Is this for your fanfic?” He side-eyed you.

You blushed and denied it but Mammon had known you long enough to see your tells. Before, this sort of realization would have caught him off guard but now...it just filled his heart with warmth and this intense feeling of wanting to hold you in his arms for being so precious.

“It is, isn’t it?” He teased you and you turned to glare at him but his soft eyes and even softer smile knocks you breathless and the words are caught in your throat.

You love him, most ardently, most deeply but you won’t tell him. Because it isn’t time yet, now wasn’t a moment for fierce love confessions, for confessions about how he had taken over your thoughts, how every waking moment is spent thinking of him, his idiosyncrasies, his sublime eyes that is like the morning sky just as the sun rises.

A million thoughts and a million words condensed into 3 simple words that weigh heavy on your tongue and in your heart.

You avert your eyes from him but your hand reaches out to his, an instinctive need to reassure him and yourself, to say the words that you can’t speak out loud.

“I think that the Lord of Fools would choose them both” Mammon answered as he carefully fixed your clothes, and then your hair. Gentle and caring, that it makes you want for time to stop, for the world to wait just so this moment would last, “Because isn’t he a greedy bastard?”

“But what if he only had to choose one?”

“Then he’d find a way to have both.”

You risk a glance at his eyes and you find yourself wondering who would Mammon choose between you and another version of you from another timeline. Sometimes, you felt that you were Geldie, a lover forgotten and yet remembered all the same. Sometimes, you felt like you were Henry, a breath of fresh of air and held dearly.

And Mammon was your beloved Lord of Fools, well-meaning but unlucky, a bastard with a heart of gold so fragile it had to be hidden behind sharp and hard edges.

“...sometimes...I wonder if Henry was Geldie’s reincarnation...” You tell him softly, “...no one can just be that kind and forgiving unless they’re fond of the offender...”

You don’t know what you’re trying to get at, if this was a metaphor or if it was what it was, but you had always felt uneasy of where you were in Mammon’s heart, of what you meant to him and you can’t help but want to label this relationship you had with Mammon. You want the certainty beyond the pact, a bond that goes beyond a pact.

“Maybe,” Mammon’s voice was soft as he leaned closer to you “Maybe it’s a bit like meeting someone for the first time and knowing what it feels like to be home.”

The two of you gaze at each other’s eyes and you can hear the thump thump of your heart. Your face inches closer to his and Mammon’s hand cradles the back of your neck, you could feel your two breaths mingling with each other, the warmth of his body as his lips touches yours and you feel yourself melting in his arms.

Kissing Mammon felt too much and too little, your senses being overwhelmed by the heat of his skin where it touches yours and the intensity of his emotion. You cling unto him, hands moving from his chest to embrace his neck with your arms. Soft and intense all at once, you don’t know when you’ve closed your eyes but once you opened them you see Mammon looking at you.

He gives you a look that you can now name, it was the look of someone completely and utterly in love.

“Hello” You greet him softly as his forehead touches yours.

“Hello” He greets you back, face flushed and yet utterly besotted with you.

And Mammon kisses you again, chaste and sweet as both of you catch your breath. He thinks back to everything that had led to this point, and he knows that no matter how alike he is with the Lord of Fools there was a difference between him and that Lord. His bond with you and his family isn’t as weak as a spider’s thread.

‘Home,’ Mammon thought as he held you in his arms and basked in your presence ‘was neither the Celestial Realm or House of Lamentation, it’s you.’

rottenpoisonapples.com

Reviews for the Tale of the Seven Lords Musical

Removing the B in Bromance ★★★★★

Honestly I had low standards when I came to watch the musical but honestly the entire cast despite being newbies really gave the series justice. But what caught my attention isn’t the acting skills or the awesome singing talent and dance moves, yeah they were superb, but the low key romance between Henry and the Lord of Shadows. There were moments when I thought the two of them would kiss and honestly I wouldn’t have minded it because there’s just so much chemistry between the two, I used to thought that Henry was just friendly towards the Lord of Fools but seeing how the new actor made Henry especially soft towards the Fool was eye opening! the way the Lord of Fools cradled Henry in the Last Act? Gay! The way Henry smiled at him in Act 2 Part 1? Gay! The jealous side eye when the Lord of Fools began talking about Geldie? Gay! The pining and longing when the Lord of Fools saw how close Henry and the Lord of Shadows was? Hella Fucking Gay! I watched to show my support but I stayed because of the romance between Henry and the Lord of Fools - Warlock Dowling

★★★★★

Not a fan of Henry x Anyone but seeing how Henry and the Lord of Fools interacted on stage made me reconsider. There’s just something between the two that makes it work unlike other adaptations that forces romance to the audience - F.H. Death

★★★★★

five stars just for the fact that Henry was totally gay for the Lord of Fools and it was reciprocated. Fool’s Gold - Reprised- was definitely meant for Henry and no one can change my mind - Ligur

★★★★★

There is something beautiful in the sub-arc of Henry and the Lord of Fools falling in love, the contrast of how the Lord of Fools loved Geldie and how he loves Henry shows the growth of a being who has learned love beyond the ideal. The contrast between the fairy tale romance of Geldie and the Lord of Fools, and between Henry and the Lord of Fools is that Henry showed the Lord of Fools the sort of love that stems from understanding and not based on feelings alone. The Lord of Fools may have loved Geldie but it’s Henry that made him feel at home. - Dantalion

#mammon x reader #obey me mammon x reader #obey me mammon #obey me mammon x mc #mammon x mc #obey me!#swd mammon #swd mammon x reader

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chikabika · 4 years

Text

I wanna talk about Whole Cake Island too!

So, I’m reading Whole Cake Island right now. And I have THOUGHTS about Sanji and Luffy’s “”””fight””””. And it’s probably nothing anyone hasn’t said before but I’m gonna write it out anyway.

(TL;DR Sanji and Luffy fight and it hurts because they both go for the throat. Also Nami has been through this shit I am surprised she’s putting up with Sanji trying to leave in the slightest.)

So first, yeah, I’m screaming into a pillow because this shit is rough. Let’s get those personal emotions out of the way first.

Sanji’s whole thing is that he cares and serves, right? His love language is acts of service and that’s primarily shown through feeding people. When we meet the Vinsmokes (I shall not be referring to them as his family) we see pretty quickly that they are the antithesis to everything Sanji is.

The men are literally said to lack the ability to sympathize or empathize. Not only do we see this is the case, but Reiju says so herself:

They do not value cooking nor food. Judge tells Sanji to never cook again, Niji wastes food.

And, of course, the brothers have no qualms about hitting women. The whole chivalry/won’t hit a women thing is a huge can of worms I don’t feel like unpacking in part because I don’t feel like I could talk about it without discussing women’s power levels and roles in One Piece. And I’ve already digressed too much.

So yeah, the Vinsmokes are the opposite of Sanji and hold none of his values. In fact, they may be why he holds some of his values, because they are as far from the Vinsmoke’s values as possible.

Okay so the two chapters in particular when Luffy and Nami find and confront Sanji!

Pretty immediately we see that 1. Sanji was not expecting them, 2. He’s distressed that they’re here, and 3. It complicates things for him.

Like, that is not a face of someone happy to see his friends who have come to save him. That is an “oh fuck” face. (And as a sidenote, yeah, it’s a whole lot harder to sacrifice yourself when you’re confronted with the people you’re leaving behind, HUH, SANJI????)

Luffy’s all happy to see him, feels like they’ve accomplished their goal, doesn’t question that Sanji would want to come back. And he’s got things to do! Like save Wano and beat up Kaido! Chop chop Sanji let’s go on adventures! Plus, I would think that Luffy would also have the expectation of his crew that they understand that no one gets to leave if they’re doing it to sacrifice themselves. He’s already shown he’s gonna come get you and Sanji knows this. Sanji’s first arc with them after Baratie was going to save Nami from Arlong and her self-sacrificial bullshit! Luffy’s modus operandi is saying “Oh, you thought you were in a lose-lose situation and the only solution was to sacrifice your happiness and well being? Fuck that! You’re my nakama, let me save you!”

Both Luffy and Nami aren’t questioning Sanji’s wanting to come with them. They’re here, it’s time to go!

And so then we see the surface level reasons why Sanji would say “No, I can’t go with you.” And we also see that he knows Judge is watching him.

I don't think Nami's buying it either. She's done this. She knows what it's like to be trapped by circumstances, to have your loved ones held hostage. And she did this shit too! She fuckin laid it down, lied to her nakama about it all being a farce in her efforts to keep them out of her dangerous situation! Maybe the words sting, but I think this face of hers is even more from her thinking about how they all know eachother so much more, and know how Luffy wouldn't leave one of them behind. So Sanji must be under some real duress right now. Like, I feel like she could extrapolate a lot from what he's saying because she knows that's not who he is. And because she's tried the same shit. And, I wonder if she’s hurting for him because she knows what it’s like.

Every chance she gets, she reiterates that there was nothing between them, that she doesn’t care about them, that she tricked them, and even uses her supposed killing of Usopp as support of her betraying them. She is desperately trying to get them off this island. Arlong is well covered, we all know what’s up.

And, the parallels are pretty clear for Sanji. He’s got family being held hostage (Zeff, and the Strawhats too), and he couldn’t leave anyway because he’s got explosion bracelets on. Plus he’s got his own self-sacrificial streak (which I could guess comes from being raised in a household where you’re told you don’t have any value and everything you do is wrong-the fact that Sanji still cried at Judge’s rejection of him right before his escape speaks to how as a child he still wanted Judge’s approval and love as a father).

So, he comes out swinging with the thing that we previously established would be the shittiest thing to say, that Luffy rejected the possibility of him saying.

And then he starts on this buckwild speech that is so fucking hammed up I almost questioned if Sanji meant for them to understand the opposite of his words, and was just putting on a show for the Vinsmokes.

Nami only says he’s going too far when Sanji starts insulting Luffy’s dream, which the whole crew believes in and supports.

Also, as a side note, it doesn’t really make sense to me that Nami would just take on the role of “you’re going too far, you can’t believe what you’re saying!” Maybe Chopper would do that cuz he’s gullible and shit. BUT NAMI FREAKIN DID THE SAME SHIT. I would almost expect a “...” speechbubble from her and later her saying something like “He really tried his best to make that look convincing, didn’t he? He’s not very good at it.”

Nami’s savvy!

But anyway, yeah, Sanji tries to go for the throat to push thme away saying shit about Luffy not being able to become the Pirate King. My first reaction to this whole thing was:

“WOW HE'S REALLY DOING IT, HUH? HE'S LYING THROUGH HIS TEETH TO SAY THE MOST HURTFUL SHIT HE CAN TO HIS LOVED ONES SO THEY'LL STAY AWAY SO HE CAN SACRIFICE HIMSELF TO STOP ANYONE FROM GETTING HURT”

Usopp has tried to leave too, but his situation was different. His reasons were stated clearly and he didn’t try to pretend that all the shit they’ve gone through together and the bonds they’ve formed were fake. Nami, Robin, Sanji? They try to do the “ah, I never loved you” bullshit.

But Sanji’s is the first time that from the get-go, the audience knows before the confrontation everything that’s going on for the crewmember trying to fake betrayal. With Nami and Robin, we didn’t learn their backstories until after they tried to push people away. With Sanji not only did we get it beforehand, but when Luffy and Nami show up, we are shown the three pieces of information that Sanji thinks about and that motivate him to push his crewmates away:

His hands (his treasures) are bound and threatened.

His nakama are threatened.

Zeff is threatened.

He’s backed into a freakin corner! And he know’s Luffy’s track record on crew members trying to leave! So he goes for the throat and when that doesn’t work (or for the whole performance he’s putting on for the Vinsmokes) he attacks Luffy.

Luffy says he won’t fight Sanji, and I wonder if this is because of Water 7 and Usopp. That fight was so fucking painful, I wonder if Luffy vowed to never fight someone like that again?

Clearly he isn’t getting through to Sanji, even though, to him, Sanji should know what the deal is by now.

So he goes for the throat himself! Which is honestly just heartwrenching on Oda’s part and pretty unfair on Luffy’s part. Though, when has Luffy ever been fair lol. His whole crew agrees his selfishness levels are above emperor!

This page pretty much sums it up:

Also, throughout this entire encounter we get glimpses of Sanji thinking about the crew and meeting Luffy, which is cool to see his internal world somewhat.When Luffy first shows up. I mean. Look at the pain on his face.

This is not a “we have a difference in ideals and are fighting over it and I’m thinking about how we met because I regret that it’s come to this.” fight. It’s not even a fight. It’s Sanji desperately saying “Please leave before you die because of me!”

Actually, maybe it is kind of a fight of ideals because Sanji is fighting to say “leave me behind I’m not worth it” and Luffy’s saying “yes you are.”

For all the extremely clear things going on emotionally for people in this scene, I’m surprised Oda just left Nami’s responses at this. But, since he did, it means I get to interpret them how I please!

This could simply be read as her feeling betrayed and shit. But again, they all know the history of the crew. This could just as easily be her saying “You went too far.” or “I can’t believe you wouldn’t believe in Luffy enough to come back with us.”

I said she could probably guess at him feeling like he’s stuck, backed into a corner. And if I remember correctly she is aware that the Strawhat’s lives are threatened if Sanji doesn’t comply with Big Mom’s wishes. But she probably wouldn’t guess at the bracelets being bombs and doesn’t know (but might guess) at the Baratie being threatened too. Nami knows all about people who claim “family” as an excuse to hurt and bind you.

But basically, I would think for her, it would be a situation of her feeling like at this point Sanji should know Luffy well enough to know he won’t give up, and to trust Luffy enough to take Sanji home. So why the fuck would he try to play this game when they’ve all seen that it doesn’t work? Why say the most hurtful things he can think of? And why not just come home now?

I don’t think she’s angry at him for the betrayal he’s trying to act out, I think she’s angry at him for the betrayal he’s committing for not trusting the crew to get him out of there.

(Again, haven’t read past this part but I could absolutely see later Nami saying “do you think we acted hurt enough for them to buy it?”)

And then of course, the last four pages of the chapter where Luffy clearly calls bullshit on Sanji, saying Sanji felt the pain of his kicks more than Luffy did. And Sanji is just starting to fucking lose it. (panels from right to left)

Like, Luffy. Chill. It hurts so much! But no, he can’t just call Sanji out. He’s gotta go for the kill, present Sanji with an unacceptable situation he knows he can’t refuse. Or at least hopes he can’t refuse. Because for Luffy, Sanji leaving is an unacceptable situation.

Not only will he not eat (which, god, using that against Sanji is almost too much, fuck, Luffy), but he won’t even fucking move so get your ass back here soon before I starve, Sanji.

To use the two very deeply entrenched facts about these characters this way is sure something, huh?

Sanji will feed anyone who is hungry. He cannot stand hunger, almost.

Luffy eats all the damn time and lots and never refuses food. For him to say “i’m going on a hunger strike, I’m not eating until it’s from you” IS JUST SO MUCH.

Also side note god what cruel people to laugh at Sanji’s pain as Niji and Yonji are doing.

Sanji thought he could get away with thinking he’s expendable (just like Judge has said in every time period we’ve seen him on the page) Luffy flat out rejects that. Sanji is essential, an required part of the crew and a required part of Luffy’s dream. Just like the crew have adopted his dream as a part of all of their own ultimate goals, so Luffy is saying that they are all part of his ultimate goal. He has adopted them into him becoming the Pirate King.

And goddamn if this arc isn’t about found family. The blood of the covenant is thicker, don’t cha know.

#Sanji #Vinsmoke Sanji #black leg sanji #luffy #nami #one piece #one piece meta #sort of #whole cake island #one piece ch 844 #one piece ch 843 #i just had a lot of feelings and needed to talk about them in 14 pages of a google doc #opthots

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allywrites360 · 4 years

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Treasure Planet Analysis

I recently watched this video talking about some of the visual storytelling evident in this movie, and thought I’d rewatch it a little more closely, and add some of my own thoughts!!

So firstly, there are two really prominent examples of this type of storytelling with Jim (who’s going to be the main subject of this post; he is the protagonist after all, huh?). The first is his wardrobe itself, starting out made of entirely dark colours, and the second being the shadow between his eyes which is animated at key points during the movie.

At the outset of Treasure Planet, the shadow is shown constantly, for the first fifteen minutes at least before the slightest change. This symbolizes the shadow of pain that was left when Jim’s father abandoned him (oh, and spoilers for the movie in this, obviously).

The first minor change in this shadow is the moment when Jim’s passion is ignited in something for the first time in a long time; the prospect of travelling to Treasure Planet, which Jim hopes will allow him to prove he’s worth something to his mother (a doubt that’s created by him entirely), and have a real shot at something other than resigning himself to a rebel. This spark of hope lightens the shadow for the end of that scene. This might also be a good time to mention that the shadow could be symbolic for self doubt as well. This one may be not as clear to see because of the difference in lighting, but you’ll notice if you rewatch the movie carefully.

Jim then opens up a bit, starting to let go of his past hurt as he warms up to Silver, him acting as the new father figure in Jim’s life. This is shown not through the shadow, as Jim still hasn’t fully let go of his past, or fully bonded with Silver at this time, but through the change of his clothes into a much lighter, more natural tone.

Directly following the above scene id the first time the shadow makes its’ disappearance from Jim’s face; the moment when Silver takes Jim with him on a boat ride, a parallel to the way Jim’s father left him behind. Silver, however, waits for Jim to jump in, and proceeds to bond with him by teaching him sailing (is it called sailing?).

The black coat and shadow return, however, as Jim’s guilt casts it upon him at being blamed for a crew member’s death after being accused of failing to properly fasten his line. The coat here serves to act as an emotional barrier that Jim has used since the outset of the movie as he’s moved to sit alone on the edge of the ship.

The shadow disappears later in this scene, however, as Silver encourages him, and eases his guilt. He tells Jim that he believes there is greatness in him, and hopes that one day he can “catch some of the light that’s comin’ off [Jim] that day.” the day in question being when Jim finally achieves the greatness Silver knows him to be capable of. This introduces the light and greatness motif, which continues throughout the rest of this film, showing they go hand in hand, and once Jim is able to finally step fully into the light, he’ll be able to be free of his past, and reach his full potential.

The coat remains, however, until the next morning, when, with some encouragement, he leaves it behind. This may seem just a little gag to show Jim with morph, and it could be, but it could also demonstrate that change isn't instant, depending on how deeply you want to read in to individual scenes.

The shadow comes back once again when Jim’s trust in Silver is broken, and when he’s hurt by the older man, in this scene, it’s in the form of his lamenting to his pirates that he never cared for Jim, and was merely trying to keep him off their backs. This brings back the feeling of betrayal Jim felt when his father left, as the man he cared for and trusted portrayed the fact Jim meant nothing to him. Again, brief scene, and this was the best shot I could get.

The coat notably does not make a reappearance after this scene, nor for the rest of the movie, showing that despite the hurt Jim experiences here, he has grown as a character, and is more confident in himself than he was at the start. This change remains, and is not undone, even by Silver’s selfish actions.

The shadow finally leaves a few moments later, when Jim is entrusted the map by the captain. This gives him purpose, and a goal, which allows him to move past his hurt and do what’s right, which he knows will ultimately help others. This also shows his character has grown, as he moves past his pain to take on the responsibility without hesitation.

The shadow’s returns for the remainder of the film are nearly exclusively when he is reunited with Silver, or at the very least related to him in some way. All of this ties back to the light motif I mentioned earlier, as when Jim is given encouragement by his friends (captain, doctor, Ben, etc.), he is able to step up confidently, and take on responsibilities, reaching more to his full potential. This is contrasted by Silver’s presence, the man destroying that self esteem and bringing feelings from Jim’s past up despite personal growth.

Later in the film when Jim leaves his hideout on Treasure Planet with Ben, he quite literally steps into the light to help the others (in this scene, namely to retrieve the map from the Legacy to stop Silver from reaching the treasure and harming his friends). This shows that Jim’s selfless nature will eventually be his greatest strength (and already prominently is), and will be the thing to lead him to ‘greatness’.

When the shadow is missing, in scenes such as this, Jim’s face also seems to be overall more relaxed; brow less furrowed as he lets go of the past, and stops the aspects of the shadow (such as self-doubt) that he had been casting himself.

Jim’s gun flying away during the fight scene on the ship is also symbolic of his growth; his freedom moving just beyond his grasp (as he’s dragged down by memories through Silver), but him finding a way to keep fighting and continue triumphing anyway (as shown through the inconsistent shadow).

Silver’s influence on Jim (at the moment negative, as it is directly tied to the visual element of the inclusion of the shadow), is shown vividly through the scene where Silver’s pirates restrain Jim and take the map to Treasure Planet. The shadow only appears when Jim glares at Silver, but lightens when he’s focusing on doing what’s right (fighting the pirates) rather than his hurt.

Jim assertively telling Silver that if he wants the map, he has to take him along also serves his character growth really well. He's standing firm in his own decisions, despite losing the approval of his father figure, finally becoming his own person outside of others’ expectations or notions of him, and making these decisions based on what’s right, rather than simply rebellion.

The light from the doorway to the treasure gently lightens the shadow, symbolizing Jim's belief that his pain will be dissipated by gaining the treasure, and that he will gain his mother’s pride (which was already present) as well. This is a falsehood that Silver must face as well, both accepting that the treasure was meaningless overall, and would not give them what they wanted.

This recognition is clear to the audience well before it is to the characters, which is achieved subconsciously through the scene where, while all of the pirates are gazing towards the treasure, Jim looks back at Ben and morph, his friends meaning more than the treasure he’d searched for.

The next piece of symbolism is my personal favourite from the film; Jim falling while they are with the treasure. He works to pull himself back up, but needs that final pull from someone who cares about him (Silver). This symbolizes Jim trying to move past his father’s abandonment, and step into the person he’s grown to become. But he can't do it on his own, to fully make the leap, he needs the support of a father like figure, who in this case, is Silver, choosing Jim’s life over the treasure.

The shadow, which was likely present throughout and after this scene (there were few clear frames of his face, but let’s assume it was) darkens again at Jim’s realization that Silver may leave him, which comes when the captain comments about him being put to trial. This brings up strongly his final moments with his father; this may not seem like much now, as it is a very brief scene, but it strengthens the conclusion of his time with Silver, which we’ll get to in a minute.

The shadow then disappears once and for all as Jim relies on his strengths, both internal (selflessness), and external (knowledge of mechanics), to build a solar surfer to allow him to save his friends and their ship from being destroyed. This shows him finally reaching that confidence in himself and his abilities that Jim has sought after his entire journey, and, as a result of this, he is not negatively influenced when he interacts with Silver in the form of the pirate helping him with the construction of the solar surfer. He has, at this point, nearly completed his arc, and moved past his insecurities.

Jim then falls again, in a similar way to the previous time near the treasure, however this time, he is able to keep a level head, and manages to save himself. This symbolizes more than anything his character growth, able to rely on himself to help others. He’s finally achieved that light and greatness Silver told him was inside all along. This ability to stop his fall, and confidence as a whole, is due in no small part to Silver helping him earlier in the film. He needed someone who believed in him to push him to become the fullest version of himself, and recognize the greatness he was capable of.

The solar surfer was introduced at the onset of the film, when we were reintroduced to Jim as a teenager. The source of rebellion at the start is now a means he uses to help others, and once he’s safely back on the ship, he lets it go. He’s no longer using it as a means of escapism; his friends now mean more than that did, and he literally lets his past go for them without regret, as his developed character no long has to rely on those methods of rebelling.

This time, when Jim sees Silver preparing to leave, he’s confident enough in himself, and the connection they shared to let him go without memories of the past tearing him down, and visually, without the shadow returning. He lets Silver go, because his self worth no longer lies on the approval of a mentor, but rather on who he is.

Silver also notably turns to wave to Jim as he sails off, for the first time making himself, and this event, entirely separate from his father in Jim’s mind, showing the contrast between the means of support in these figures.

The light and greatness motif comes back in their goodbye, when Silver tells Jim he’s “glowing like a solar fire.”, showing the growth he’s seen in Jim, and, unlike the first time he said something similar to this, Jim genuinely believes him. Not just in a temporary comfort naive way; Jim believe that Silver is speaking the truth, and that confidence pushes him to take a shot at a future he never believed he could have.

This motif makes one final appearance at the conclusion of the film, when he is shown wearing all white, yet another lighter change in his wardrobe in this film. This demonstrates his freedom from any burdens of the past as he finally accepts and learns to love who he truly is, and take daring shots to reach his potential, the one his mother had seen in him since ten beginning. His character arc is now complete, and he can live happily ever after.

#dinsey #disney analysis #film analysis #film review #Disney movie review #treasure planet

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tiefighters · 4 years

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Star Wars: Doctor Aphra #1 - Alyssa Wong Interview

In Star Wars, there are heroes like Jedi and rebel princesses. There are villains like Sith and slimy crimelords.

And then there’s Doctor Aphra. She’s found herself on the side of freedom one moment and saving the Emperor’s life the next. The rogue archaeologist has a tendency to walk — and sometimes trip over — a moral line between right and wrong, all depending on how she benefits. And that’s how Alyssa Wong, writer of Marvel’s new Doctor Aphra ongoing series coming April 2020, likes it.

“I think Aphra is a delight. She’s out for herself, for fun and profit, and that drives her actions more than any internal moral compass,” Wong tells StarWars.com. “It makes her really fun to write! Aphra acts according to her whims and desires, which gives her an edge of unpredictability. But the second you think you’ve got her number, she chooses to do something that leaves her vulnerable — whether that’s an unexpected moment of nobility or bitter betrayal. No matter which side Aphra’s currently on, you can count on her to be deeply selfish. And that’s what I love the most about her.”

Last we saw her, Doctor Aphra was heading for the stars with what was left of her fan-favorite murder-droid friends. She outsmarted Darth Vader once again, doing something uncharacteristically generous and hacking into the Empire’s database to erase files pertaining to the Rebellion’s new base on Hoth. The usually-not-so-good doctor also arranged it so that those closest to her — her father, her ward, and her on again/off again girlfriend — were safe and together on the ice planet, where they could take care of each other. But this being Doctor Aphra, she can’t stay that quiet, or that good, for long. That’s where Wong’s new series, set after the events of Star Wars: The Empire Strikes Back, begins.

“After a streak of bad luck, Doctor Chelli Aphra is back, hunting for a score big enough to change her fortunes for good,” the writer says. “So when she hears rumors of an incredibly valuable ancient artifact, she can practically hear the credits pouring into her lap. Crafted by an ancient group of artisans called The Architects of Vaale, the Rings of Vaale are the last relic of a long-forgotten secret society. They’re a priceless piece of history. They’ll make Aphra rich.” She assembles a team of unlikely treasure hunters — including an old flame or two — to help track down the artifacts. “There are only two problems,” Wong says. “First, legend has it that the Rings are cursed. Located on a planet covered in ash, it’s said that they hold an entire ancient city in their thrall. Few explorers have returned alive, and none of them sane. Second, there’s another party interested in the artifacts: Ronen Tagge, a spoiled scion of the powerful, illustrious Tagge family. He collects rare, beautiful objects for the sole purpose of destroying them. And now he has his eye on the Rings of Vaale.” This sets Aphra and her motley crew on a collision course with Ronen’s goons, and off on a race to recover the artifact first. The series is illustrated by Marika Cresta, colored by Rachelle Rosenberg, and sports covers by Valentina Remenar.

Remenar’s cover for issue #1, revealed above, offers a glimpse of the new faces in Aphra’s crew: clockwise from the lower right, that’s Doctor Eustacia Okka (beneath Wookiee bounty hunter Black Krrsantan), following a look at Ronen himself is Detta Yao, and finally, Just Lucky. “Doctor Eustacia Okka is a disgraced professor, and unfortunate events cast doubt on the veracity of her research,” explains Wong. “Curt, cold, and obsessed, she believes that finding the Rings of Vaale will vindicate her. Eustacia and Aphra were classmates, but their relationship has long since soured.” Sounds about right.

“Detta Yao is a graduate student studying archaeology at the Shadow University,” says Wong. “Cheerful, sweet, and bubbly, she hires Aphra to help her find the Rings of Vaale so she can write her thesis. Detta reminds Aphra of her younger self.” But Wong teases that there may be a dark side to this ray of sunshine. Still, she may be the only member of the crew who doesn’t have a past with Aphra, which is probably a good thing.

“Just Lucky is a handsome smuggler and assassin,” Wong says. “Laid-back and dangerous, he’s in it for the money, not the glory. Lucky and Aphra have worked together, as well as against each other, on different jobs before, but neither of them ever takes it personally.” Altogether, it sounds like a team that will have some severe and highly entertaining growing pains. But there is a very important question: are the murder droids along for the ride?

“I can’t give you all of my secrets!” Wong teases. “But rest assured, they’re out there. Somewhere close. Waiting.”

This relaunch comes on the heels of very successful runs by Kieron Gillen, who co-created the character, and Si Spurrier, who took the reins from Gillen on the first Doctor Aphra ongoing series. “I admire their work on Doctor Aphra a lot,” Wong says. “Kieron Gillen built the groundwork for the series, and his Aphra is sly, dangerous, and emotionally complex. And I dig the thrilling, unsettling, and heartbreaking direction that Si Spurrier took us, with an Aphra who has to face the messy consequences of her actions. They’ve left some pretty big shoes to fill. Luckily, the team I’ve been working with at Lucasfilm and Marvel has been a fantastic help, and I’m excited to share what we’ve come up with.” While Aphra has been a breakout star in Marvel’s Star Wars comics — even making the jump to action-figure form — a #1 represents a chance to expand her audience even further. For her part, Wong hopes that her take on the shady archaeologist has a wide appeal. “Aphra’s setting off on a new adventure with a new crew, so if you’re new to the series, this would be a great time to jump in,” Wong says. “Of course, there’s a lot for folks who are already fans, too. But it’s important to me that this arc is accessible to everyone, whether you’ve never picked up a Doctor Aphra comic book before or it’s a favorite on your pull list.”

From the sounds of it, there’s a good chance that Wong’s Doctor Aphra will become a favorite of many. And the writer is having a great time telling this new (mis)adventure. “Aphra is just so much fun,” she says. “She’s got a ton of personality and brings chaos to every situation she steps into. You want to follow her, because you never know what’s going to happen. Sometimes, she’s a hero. Sometimes, she’s a villain. She’s clever and hyper-competent, impulsive and arrogant, and her personal life is a flaming wreck. What’s not to love?”

Check out a gallery of artist Marika Cresta’s character studies below!

Star Wars: Doctor Aphra #1 arrives in April of 2020.

#Marika Cresta #Star Wars: Doctor Aphra 1 #Star Wars: Doctor Aphra #comics #books #lit #star wars #doctor aphra #Alyssa Wong #comic books #news

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bakugaykatsukii · 5 years

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I Talk About Bakugou Because I'm Bored

Bakugou. He's best boy. My son.

No, actually, I'mma explain in as few words as possible why I absolutely adore his character.

Oops this got long.

Okay, so it's the first chapter/episode (I'll go off the anime because it's practically identical and more widespread) and it opens with Deku narrating. This is to establish an immediate connection between the audience and the main protagonist; it conveys how important Deku is. Plenty of shows do this so it's not really a big deal, just common practise. HOWEVER, the second character we hear speak is Bakugou, who is insulting Deku.

This is framed in a way that's supposed to make us dislike him, and continues all throughout the first episode. He's presented as a four year old trying to beat up our main character, and then his next scene is being ten years older and Still Trying To Beat Up Our Main Character. This makes him seem rotten to the core, as his character hasn't changed whatsoever in that time, and as an audience we know very little information about him.

On top of that, within this first episode he is deliberately made to have no redeeming qualities, nothing that could make him sympathetic in any way. The Sludge Villain fiasco isn't until ep2, and in this one he literally tells Deku to kill himself, reaching peak middle school bully. He destroys something the Main Protagonist clearly treasures and is privelaged in every conceivable way, even his (later obviously intense) desire to be a hero is simplified to monetary gain, with "I'll be even richer than All Might himself!!!" (or something to that effect). Later on I'd explain such a line to be a result of young Baku trying to quantify his future success, something he never mentions again after the Sludge Villain.

In these first twenty minutes of the anime, he's been absolutely dragged through the mud. Not only is he this arrogant, selfish, mean bully, he's also the sort of bully we can all relate to having, making him even more dislikable! It's so easy for an audience to write him off as irredeemable almost immediately.

But then comes ep2. Seasoned anime watchers likely brush over some small details, but the fact that the Sludge Villain attack happens when Bakugou is 14? Wow. At this point no one likes him, and to many people seeing this happen could come across as a sort of karmic punishment, deserving and therefore less sympathetic. And so Horikoshi succeeds in continuing to make him dislikable but also adding depth to this character who so clearly believed he was invincible.

However, any such depth is pretty much ignored by the audience. I've watched many reactions, and, at this point, due to Bakugou's sub par personality, most people don't care about what happened upon first viewing. To be fair, it's treated as background until Deku steps in and proves himself a hero, at which point he's promised a quirk and That's all anyone can think about.

(also there's some symbolism in this ep because Bakugou and Deku were both attacked by the Sludge Villain and saved by All Might, showing they are actually equals in character and have a lot in common.)

Anyway, so for the first few episodes no one gives two shits about Bakugou because he's meant to be dislikable. He's set up to be as bad as possible without needing to be arrested/never being redeemable. Yet, he's also not clearly set up to be redeemed whatsoever. Let me explain:

Quick break from bnha to head over to atla, Zuko is the perfect redemption arc. And some of that can be attributed to his presentation in the first few episodes: where he's portrayed as antagonistic but still honourable, and has a tragic past. He's the sort of character you know isn't actually bad at heart. But Bakugou hasn't got any tragic back story to speak of, and certainly isn't honourable, so we don't expect a redemption.

That's so interesting to me, because it basically means his character could go in any direction but most shounen fans expect him to be the typical rival. He's mean now and will be mean later, nbd. Will probably betray Deku in order to gain more power. That sort of stuff.

But, as the first season progresses, we're shown that Bakugou (on top of all of his anger issues and cruelty) is also so incredibly determined, to the point where it's harmful. A lot of people, even in season three, expect him to accept the LoV's offer, but as early as ep7 he's shown to be dedicated to being the best on his own. He utterly fails at pretending to be a villain, and doesn't manage to work with his "villain" teammate. When the USJ attack rolls around, he fights alongside Deku.

I feel like I've just word babbled for a while so here's a picture:

Isn't that adorable? Anyway, I continue.

Okay, recap: Bakugou is presented initially as bad and in no way sympathetic, but throughout season one some of his good qualities do get highlighted.

The Sports Festival is probably when I was most on edge about who my favourite character was. Todoroki vs Deku vs Bakugou was a whole internal debate. We all know who eventually won though. Point is, this is the first time Bakugou is supposed to seem likeable.

Like, yes, he helped out at the USJ, but he was still reckless and angry about it. In this arc his flaws stop seeming so antagonistic (even though he's now more at odds with 1-A than he's ever been) and are framed humorously; if you think about it, the only times you're not rooting for Bakugou in this whole arc is when you're laughing at his antics. He stops seeming like a massive unforgivable bully and becomes a secondary threat behind Todoroki, even though he ultimately wins the Festival.

One of the first things he does in the season is tell people messing with their class go away, albeit bluntly, and is then complimented for it by Kirishima, who is the nicest guy in the class! No longer are we supposed to necessarily dislike him, as he's being developed after all of season 1. Him saying "I'm gonna win" as his speach is expected by the audience and laughed at- absolutely nobody watching was scared he'd hurt Deku in some terrible way due to it.

The cavalry battle demonstrates that he can work in a team after some adjustment time, and he gets his own antagonist (Monoma) who we all root against! This makes us closer to his character, as in a way we have a common enemy.

Then obviously the single battles are super interesting, his one against Uraraka especially turning people to his side. Since Aizawa, who as an audience we trust after his actions at the USJ, backs up Bakugou's actions, we accept them as the right thing to have done. Especially since Bakugou later calls Uraraka "not fragile", demonstrating that he can respect people and actually isn't as discriminatory as his earlier actions against Deku might lead one to believe. Everything about this fight is pure gold.

The rest of his fights are also very interesting, so let me go off on a little tangent. He's the only person to 1) be uninjured by the end of the festival (he did win tho so...) and 2) he's the only person to win all of his fights by forcing his opponent into submission. He knocks out Uraraka and Kirishima, goes to knock out Tokoyami but has him give up instead and then knocks out Todoroki! His fights are so much more violent than the others, who are primarily trying to win by pushing their opponent out of the ring or by immobilising them, which could make him come across as more aggressive (which he is). But it actually works for his character considering the way he demonstrates respect is by giving his all, therefore in order to show he cares about these fights he has to go for absolutely decimating the person against him.

Also, interesting side note to all that, out of our main three festival contenders, Bakugou is the only one who actually needs to use the festival for its intended purpose: impressing scouts. Todoroki, as the son of Endeavour, is already known throughout the hero community as a promising young talent, and could even get the No2 hero to coach him if he so wished. Deku even says himself that he doesn't necessarily need to get scouted when All Might is already teaching him. Out of the three Bakugou has the most incentive to actually show off here, no guilt/baggage required.

Anyway blah Stain arc blah. Bakugou picks Jeanist to intern with, which many might think makes him shallow. Their quirks are in no way similar and their images are almost diametrically opposing, and Bakugou only chose him because he's such a highly ranked hero. However, I believe the creators crafted this pairing in order to convey how good of a future hero Bakugou promises to be. BJ, in these episodes, is all talk. He's such a superficial hero that, in order to rectify Bakugou's foul personality, he gives him a haircut. He demonstrates the arrogant nature that Stain hates so much. Meanwhile, Bakugou ignores him and is still arrogant in his own way, obviously, but not for anything other than his own pride. He, when you break it down, spends all of his time working towards a genuinely good goal, just to prove to himself that he's worthy- no desire for fans or fame in there, he wants success but isn't actually looking for any of the perks that come with it. This, imo, makes him better than BJ. Also, Bakugou never actually says he is working with BJ due to his rank and could be doing it because their quirks botha require so much time, practice and effort.

Okay, so, now for the final exams. This is where I decided he was my favourite. He works with Deku etc and proves to the audience that he can work with him and won't necessarily become a villain, plus All Might lets loose a little and proves he too can be violent and mean.

What I really love is about ep24 s2 is actually the bit that makes a lot of people chuckle: where Bakugou bites AM's hand. This kid has been giving his absolute all, putting every ounce of strength into beating his idol, because, lbh, his self worth depends on his success here, until he literally cannot raise his arms to punch anymore. And yet, he still refuses to go down, despite every odd against him. Something about that tenacity is just so incredible to me.

It's almost 1am, let's have another break, shall we?

Idk I thought it was funny when it came onto my dash.

Btw, it's now I wish I knew how to hide most of a post lololol.

Season three is just Baku's season, ngl. Like,,, so many of his Stans got their start here, and it's not hard to tell why. A big reason why Bakugou felt irredeemable was because he had no reason to be so mean, but the narrative makes up for that by then putting him through so many bad experiences.

There's been a million metas on why he's so perfect in this season, and this is already abhorrently long, but ah well.

Okay so he's captured by the League through no fault of his own. As the audience when we find out Bakugou is missing we immediately think he's done the dumb thing and gone off on his own, but it's quickly revealed that he's already been kidnapped. Tokoyami is also taken, cementing that the LoV are looking for kids with some villainous feature, but also showing that their perception of what makes a child villainous is skewed, since we know Tokoyami is good.

At the hideout Baku is entirely restrained and silent, so clearly against his will. If we remember every other time he's been restrained (so goddamn many) we'll think back to the Sludge Villain, finding out Deku had a quirk, after his *win* against Todoroki and his internship with BJ. In this way, it's obvious to tell that this is all a Bad experience for him, as those were all very negative times in his life. There's no way he'll join them.

None of the pros even consider it a possibility. Aizawa defends him against the press (and, once again, we like Aizawa! So we trust him) and none of his classmates think he could be evil, they're all primarily concerned for his safety. Even BJ, who insinuated that Baku could easily become a villain, doesn't appear to believe he'll turn down that path.

Also Baku is pretty cool when he fights of the villain like I'm ngl.

And then, when he sees All Might? And his face screws up? With his lip trembling? It's undercut with a joke but he's so obviously just a scared/relieved kid in that moment and it's gut wrenching to remember that.

It's really getting late and I'm at 11% here so speed round through the provisional licence exam.

He can tell Shindou is two faced

Even though he's blunt he's still got the instincts and smarts of a hero

The class looks up to him

Aizawa has a lot of favouritism for this child, y'all, how did I not notice this?

His failure here is intrinsic to his character growth as it means he hits absolute rock bottom and we can move onto:

Deku Vs Kacchan 2

Where to even start. The guilt and pain he experiences has made me tear up several times just from thinking about them, and that GODDAMN VOICE CRACK AS HE YELLS nope it hurts too bad.

It's sort of the culmination of every emotional issue Bakugou has exhibited throughout the series. He can't find self worth without constant praise and pressures himself to be unimaginably perfect, to a self destructive point. He has no support system in place to help him with these issues. His anger stops being repetitive/funny/annoying and is finally, clearly shown to be more damaging to himself than to anyone else, as he feels the only way he can deal with his stress and hurt is by lashing out at those who try to help him.

In this fight we also learn why Deku, even though he's Baku's victim, still looks up to him so much. And the whole dynamic is so perfect I might cry rn.

I am annoyed, though, that further than that Baku's mental health has been pretty much entirely ignored for 200 manga chapters. Probably my only complaint about him.

At an entirely selfish level, I can relate to Bakugou. Obviously I'm not a teenage boy with explosion powers who bullies people in order to feel any self worth, but the high standards for himself? The pain at any failures? Being told through childhood how great you are only for it to be torn away in your teens? That's all so painfully relatable to me, and so I feel an even deeper connection with his character.

One last picture to finish off:

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sambart93 · 5 years

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Messiah: Genya no Koku [Movie Review]

Another quick review I wanted to do. So I got to see this twice and I got to theorise with one of my friends after both reviewings and we were both going crazy with fanfic ideas after this.

In true Messiah style, I watched this and fell right back into the hell pit that is Messiah. I love this series. I don’t think I’ll ever leave it. But that’s what DV does to you xD

Official Site here Press/Pics/Videos 1, 2, 3, 4, 5, 6, 7, 8, 9, 10

The Story

The story is set just after Tsukuyomi where Itsuki agrees to trading himself in so they could get Ariga back. During the transfer, Ariga makes it back to HQ safely but Itsuki, along with Saryut, goes missing. They have been captured by the real Nightmare and he makes them do a little treasure hunt before they can escape his clutches. Meanwhile the rest of the boys, including Suku, try to track them down, and save them. But past actions make a reappearance.

We also have a side story of Sakura having to protect a Prince with the help of his shady bodyguard. And they also end up being connected to the main plot.

Entering SPOILER TERRITORY!

*This is a huge series so I don’t recommend you jump into this one without scene the previous work from it*

Spoiler Story

So Itsuki and Saryut wake up in Nightmare’s Lair and they are trapped inside with a bunch of people who, one way or another, want to take revenge on either Itsuki or Saryut. So they attempt to kill them but obviously our boys are more than capable and handle the entire situation on their own. But they keep one of them alive. However, Nightmare kills the man’s daughter for failing to kill Itsuki and Saryut and for siding with our boys. Itsuki and Saryut stop the man from committing suicide and persuade him that ‘you should take revenge on Nightmare because he’s the one that killed your daughter, not us.’ So Nightmare lets them move from room to room, but in each room is a hint or a scene that reminds Itsuki/Saryut of something terrible they’ve done in the past. And they cannot move onto the next room without facing what happened and explaining that terrible scene/situation.

While they are trying to get out of there, Sakura (on one side), and Suku & Doctor X (on the other side) are trying to find their boys. Eventually they find the same trail and the same hints, end up meeting up, and they momentarily join forces so they can get their boys back.

We also have this Prince who Hinamori and Kogura are in charge of protecting a prince, but after being caught transporting the Prince to safety, shots are fired and the Prince runs away, even leaving his bodyguard behind. Turns out the Prince is also wanting revenge of Itsuki (for killing/assassinating his father) and that Nightmare had invited him to watch their stream (of them going through the rooms), and he eventually makes his way to the location of the boys.

In a horrible twist though, when Saryut and Itsuki make it to the last room, they’re both knocked out. Saryut knocks of Itsuki after making a deal with Nightmare behind Itsuki’s back. And Saryut is then knocked out by Nightmare. When the Prince makes it to the location, he revenge shoots Itsuki (who has a bag over his head), but turns out it was his bodyguard who Nightmare had wrapped in Itsuki’s clothing and put a bag over. Nightmare enjoys that fact that he tricked the Prince to kill his only true friend and is reveling in the fact that the Prince has now actually fall into a Real Nightmare (the entire theme of the movie is that death is not the nightmare, living is the real nightmare).

Itsuki wakes up after being knocked out and Nightmare reveals himself. He was actually the guy they decided not to kill right at the very beginning! He just pretended to be someone else. Itsuki wants to know why. Nightmare reveals that he is actually the Prince’s older brother, and that when Itsuki killed their father, their father actually had all his child heirs and child relatives locked up; with his dying breath their father had hit a switch that gassed and killed all the children. Nightmare’s daughter was one of them. So he wanted revenge on Itsuki.

Although Itsuki does blame himself for all those children dying (and still has PTSD/nightmares/flashbacks from it), it’s actually revealed that the father/King was using the children for his own sick experiments --> he wanted to create people who couldn’t feel any pain (turns out Saryut’s group was helping to conduct those experiments). And when Itsuki found the King, he actually decided not to shoot because the King was threatening to turn the switch on (to gas the children) if Itsuki did shoot. But the guards in the palace came bombarding in and one of those gun shots hits the King. So as a last ‘I will not go down alone’ sick selfish way, he pressed the switched and killed them all.

However, it is very important to note that only the audience knows the truth. Itsuki never reveals to Nightmare, to Saryut, nor to anyone what really happened. He just purely and honestly feels it was his fault all those children died.

So now that Nightmare has Itsuki alone, and Nightmare himself was one of the past experiments (and successful) who can feel no pain, he asks Itsuki to fight him til one of them dies. Unfortunately, Nightmare gets the upper hand because of his lack of feeling, and just before he shoots Itsuki flat in the face, Ariga walks in!

Ariga literally woke up, quickly found out what happened, and got his ass over to save Itsuki! Together they kill Nightmare and walk away, with 2 or 3 bullets in them each xD but thank god they survived!

Suku also finds Saryut in the very first room Itsuki/Saryut woke up in and helps him out. Saryut asks why someone like Suku wanted to help save him, claiming that Suku usually doesn’t care for anyone else. Suku replies ‘because it would be so boring without you,’ and they leave.

That’s all the main points!!

Comments

☆ I absolutely loved the plot of this story! I loved all the twists! I absolutely loved this trapped building/room theme! I absolutely LOVED the twist with the Nightmare reveal, switching Itsuki for his bodyguard, the Prince shooting his bodyguard, Ariga running in at the last final minute. Every single reveal was amazing and I was just like ‘OMG!!!’

☆ I absolutely loved how Hinamori and Kogure’s friendship and trust grew! There were so many scenes and moments in this movie that they kept hidden from Ichijima! They were both like ‘lets not tell Ichijima,’ many times. Their friendship is getting so good!

☆ I absolutely loved seeing this vulnerable side of Suku. He’s trying not to care for Saryut but it’s so obvious that he does care! Even Doctor X says ‘it’s unlike you to care about/trying to find someone,’ and he always claims ‘I’d be bored if he wasn’t around’ or something like that but YOU CARE! YOU CARE!!!

☆ There’s a scene where Hina and Kogure are in a dark piping room, and I just saw the sexual tension go everywhere!! There’s one moment

☆ Unfortunately, I figured out straight away who Nightmare was. But this was from pure luck and pure random thoughts. Because you don’t hire Namioka Kazuki for a simple role! He never has a simple role! He is such a popular and well known actor! As soon as he popped up as this ‘poor guy wanting revenge’, my brain instantly went ‘Namioka never plays small roles. He always has a main role. He always plays a bad guy too,’ so when it’s revealed that he’s Nightmare, I was like ‘I KNEW IT!!’

☆ I adored the opening scene where we had a badass female murdering some mad scientist. It did give many fangirls hope that we were going to have a badass female (finally) in Messiah. But alas she ends up committing suicide in the end, and Hina and Kogure find her body.

☆ I love, love, love that they kept the bathroom for this movie too! We still have HQ at the bathhouse! And we still had some bathhouse scenes! There is a hilarious bathhouse scene with Kuroko, Ichijima and the bodyguard, Kuromatsu, just after they catch Kuromatsu betraying his prince somewhat. And Ichijima is not impressed and has this ‘-___-’ expression on his face while Kuromatsu is trying to defend himself. Also Kuroko splashes water in this scene and Ichi doesn’t flinch at all! I was giggling so hard at this scene! Also, while I don’t particularly like Ichi, I have to admit that the actor has kept his body in amazing shape! His chest and torso looked so damn good in that scene!!!! I was dying xD

☆ Apparently the Prince and the Bodyguard are going to stay in the series. But so far, I think they’ve had a lukewarm welcome. The Prince is a totally dick to his bodyguard, but all of a sudden cares for him at the end, and the bodyguard was very cold towards the Prince; for most of the film, he said ‘it’s just business’ but then he tries to save the Prince? So right now what we know about them is not much, and it’s also very all over the place. So we’ll see...

☆ I absolutely adored some of the action scenes in this! I think the first fighting scene (Saryut and Itsuki VS the revengers), and the final scene with Itsuki/Ariga and Nightmare were very well shot!!

☆ I also, as I always do, loved the opening theme song and sequence!! I absolutely adored the colours and effects that they used this time around!

☆ There are many moments in this movie where Itsuki and Saryut have to face what they and what their group have done to people. And I absolutely loved how both of them felt justified in their actions but where then condemning the other’s actions. There’s a beautiful moment/line from Saryut (to Itsuki) where he says ‘just because you were told to (do it), you think you’re in the right (for your actions)’ and it was a really powerful line and moment.

☆ I thought this one was such a good, high quality production. The colouring was great, the cinematography was great, the effects were great, the fighting scenes were great, some of the dialogue was gold. I thought this was probably the best produced Messiah movie we’ve had! Everything aesthetically pleased me!

☆ Speaking of effects!! Fucking Hinamori is BADASS. His very first scene is him and Kogure trying to meet the Prince and get him to safety but obviously terrorists turn up, and there’s also a sniper of a far off building. But Hinamori can find/see where the sniper is, so every time the snipe took a shot, Hinamori moved ever so slightly and DODGED the bullet! EVERY TIME he so easily and so smoothly DODGED the bullets! I absolutely LOVED this moment! I also loved his posture and body language as he dodged the bullets. Hina looked so fucking kool!!

☆ There’s another comedy gold scene, where Ichijima suggests something (not so nice), and Kuroko immediately got his green plastic slipper out and smacked Ichi over the head! Ichi’s hair spiked up but Ichi kept him ‘-_____-’ face and continued his lines. I was dying of laughter.

☆ Another adorable scene was right at the very end as Itsuki and Ariga walk/limp out, after killing Nightmare, and Itsuki had a very emotional moment towards the end and was in tears. So as they walked out, Ariga was like ‘by the way.... why are you crying?’ and Itsuki’s like ‘I ain’t crying!’ and it was such an adorable moment that I couldn’t help but giggle in happiness and amusement xD

☆ As I hadn’t seen the previous stage, it was so weird for me to see Kuroko as the leader and in Ichijima’s leader coat!

☆ Upon my first viewing, I had no idea Ruka (the Prince) was MALE until he took his turban off! He has very girly features that I thought for the first 30 minutes or so that he was actually a girl!! I was so surprise, I was like ‘a-WAH?!’ xD

☆ Ichi is still keeping secrets in this movie. Throughout there is a card with an ‘S’ on it, but even when Kuroko asks, Ichi just says ‘now isn’t the right time for people to know.’ UGHHHH fuck you Ichi!!!

☆ Towards the beginning of the movie, Itsuki has a dream where Ariga betrays him and points a gun to him and pulls the trigger. I was losing my shit in my seat the first time around!!

FanFic Ideas!

Me and my friend had so many dang fanfic ideas going around while watching this!! But the main two I had:

☆ There is a scene where Hina and Kogure are in a dark, pipping area, and Kogure lightly comments ‘I hope Itsuki is okay...’, and I was immediately thinking ‘Hina get angry! Ask ‘Itsuki? What about me?’ and kiss him!!!’. They were SUPER close during that scene too. Also this scene is split into two parts in the movie; the first part, it’s still day time, but when we come back to this scene, it’s night, and my brain was like ‘I bet I can guess how they passed the time there mwahahaha’ xD

☆ Another scene is when Suku first finds out Saryut has been taken and is trying to find out where he is. Doctor X comments ‘it’s not like you to care about someone else’ and my brain was like ‘ARGHHHH THEY LOVE EACH OTHER!!!’. AND at the end when Saryut is like ‘why did you come and save me?’ and Suku replies ‘it’d be boring without you’, I was DYING in my seat!! ARGH!!!!

And that’s all! I’m super excited for the dvd and I hope many of you get a chance to watch this movie! It was great!

#izawa yuuki #sugie taishi #yamamoto ikkei #hashimoto shinichi #yamada james takeshi #yamada james #miyagi koudai #miyagi kodai #namioka kazuki #messiah #messiah series #2.5D #2.5次元 #メサイア #review #movie review

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xwillstudy-blog · 6 years

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Hidden Messages In Children’s Movies

Movies have a way with presenting messages that we sometimes take for granted or may not fully understand unless there is a super spy facing a relatable villain, a child overcoming a bully, or an orphan child finding his or her place in this world through the most unconventional form of family. Regardless of how, movies are able to speak to us and teach us lessons subliminally. The common themes of friendship, love, and individualism are seen in all forms of movies, but they are especially prevalent in children’s movies. In this analysis, I will explain a few examples of the hidden themes, messages, and lessons children’s movies may be teaching but the expected audience may not grasp upon its viewing.

WALL-E: We Are What We Create

Set in a dystopian future, the viewer follows a trash collecting robot (Waste Allocation Load Lifter: Earth class). The ideas of this adorable and inspirational movie are that with a little hard work, the world can be healed, and if we aren’t careful, we will be consumed by our consumerism, materialistic, and convenience prioritizing mentality. Four scenes really present these messages: The opening scene of the waste-filled Earth; the scene where WALL-E is sent to the spaceship and he sees the reason why Earth has become a literal dump; the scene where the AI tries to override its master (man vs human) in order to keep the ship from returning to Earth where machines would no longer be needed; finally, the scene where the humans return to Earth, glancing around, afraid of a place that was once their home, while the babies - those that have the least experience at being consumed by convenience, are the ones to begin restoring the Earth. This movie is deeper than the love story between a lonely male robot and a strange female robot. This story - like many other Pixar movies - teach how the little things in life need to be appreciated and not taken for granted. A child may not grasp the full concept of not relying on technology for everything or even, the importance of protecting the environment, but the viewers who are able to look past the obvious scenes in the movie are able to internalize the true meanings the writers of the movie want to establish. Unlike The Lorax and Incredibles 2, WALL-E does not spell out the hidden concerns, and this creates a powerful pull for the viewer who understands the message. We are more likely to remember things that require work rather than something someone spelled out for us.

The Little Mermaid: Teenage Rebellion = No Consequence

Even with the more positive messages children movies want to introduce to their viewership, there is sometimes a disconnect between the intended message and the plot of the movie. Disney movies are known to end with happily ever afters, or at least with all of the introduced problems finding solutions. The Little Mermaid is an example of a hidden message that doesn’t necessarily need to be taught to a younger, more vulnerable generation. The story follows a young (possibly a teenager of 15 and up) mermaid. She is a free and creative soul, wandering around the sea and the sea’s ocean top for all sorts of things that spark her interest. Although the movie portrays her as an adventurer who wants to live her life exploring and learning, instead of being prim and proper like her sisters and father want her to be, there is something that most viewers may overlook.

Without mentioning Ariel’s hoarding problem, the audience members with a sharp eye are able to see three crucial flaws of the heroine of the story. First, she is dissatisfied with her life, ungrateful of the home, family, and privileges she has as being born the youngest of the Sea King’s daughters. Second, she believes in this idea of love at first sight. Although that is a premise most Disney Princess movies followed at the time, it can still be seen as negative today. As we don’t know Prince Eric’s age nor Ariel’s, it is more than a little be creepy that she has such an infatuation with the male. They had never had a conversation, she had only seen his face a handful of times, and he is a complete stranger - a pirate at that! For her to trade her family to even have the chance to meet the guy is beyond reckless, and quite honestly, it is an immature show of hormonal females. Going into the last flaw of our heroine, Ariel’s decision to give up her life (one she has yet to even start living, considering she is only a teen) for a male (one she doesn’t know) makes her selfish, immature, reckless, boy-crazy, and ungrateful - messages we shouldn’t have our young females internalize. A man does not make all of life’s problems go away (in some cases, a man/significant other can make life worse.) Ariel’s impulsive (she was angry at her father), pressured (Ursula - my queen - was rushing her), and love-blind (her only real drive for going to Ursula in the first place was to find a way to bewitch Prince Eric) makes Ariel an example of why we have parents and guardians and rules to begin with. Yes, the guidelines and rules of one’s life can be overbearing sometimes, but rebelling as Ariel did does not make the situation better. Most times it even makes it worse.

To make the movie’s message even more misconstrued is this idea that someone will always come to protect you from consequences when you are in trouble. Ariel’s father risked his life to save her (Prince Eric too, but that was his own choice.) Ariel was saved and then, after the entire lesson was seemingly learned, King Triton granted Ariel her wish. The entire end scene sets this idea that if a child (a young female) throws a temper tantrum and apologizes (though Ariel never did), the child will not only be forgiven, but will also be rewarded. Yeah, children’s movie are a dangerous collection of story ideas. If the creators of the movies aren’t careful, they could end up with a The Little Mermaid, or worse, a Cinderella.

The Heffalump Movie

There are countless other movies that contain hidden messages and meanings such as Meet the Robinsons’ “family comes in all forms,” and Incredibles 2’s “the technology we create will soon create us; don’t rely too much on easy access and convenience.” One of my favorite childhood movies has multiple meanings within it, and I had never realized. Winnie the Pooh: The Heffalump is a movie that follows Roo, the baby kangaroo, as he tries to prove he is older than how his older friends and his mother see him. He felt out of place being the youngest, and he wanted to make himself seem responsible, mature, and older, so he sets out to capture this creature all his friends claim to be terrible, horrible, and dangerous. The first lesson in the movie is “Don’t rush through your youth.” The audience only has one life to live, so it shouldn’t waste it, trying to desperately be something he or she is not because all his or her peers are. It didn’t strike me how prevalent in life this message is until I watched certain situations around me recently unfold according to this idea. The second message follows Roo’s decision. He, like Ariel, despite warnings from those who care for his well-being, goes on a journey to find this creature that could quite possibly kill him. The next lesson is based on the stories and descriptions Tigger, Rabbit, Piglet, and Eeyore were giving Roo about a creature they didn’t know personally and had never interacted with. They called heffalumps dangerous, scary, terrible, and the like, and this is a parallel to how we often view things we don’t know. Because we are unsure of some things, we tend to automatically believe said creature or object is something negative and could harm us. The lesson Roo eventually learned after meeting and getting to know Lumpy (the baby heffalump) is that although they were different, it didn’t mean they couldn’t find similarities to make them friends. The most important message to me in this movie is to try before you judge. Younger viewers may only apply this to making new friends, but it is an important message that we should all use in our everyday lives.

Children’s movies have a profound way of expression different ideas in unorthodox and creative ways. They use completely out-of-the-box scenarios or everyday problems to teach important and necessary lessons to the generation that will ultimately shape the world one day. As children’s movies writers understand who their audience is, they have to be original, inventive, and inspiring techniques, stories, and characters to make their intended messages stick. Children’s movies truly are a not so hidden treasure.

#hiddenmessages #childrensmovies #wall-e #thelittlemermaid #theheffalump #thelorax #theincredibles2 #littlemr.roo #pixney #disnar

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corellian-smuggler · 6 years

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The thing is that every single choice made in the movie was a deliberate attempt to obliterate the original trilogy. Luke Skywalker, the hero we all were waiting for and have loved for decades, the man who no matter what never lost hope or faith or gave up on his loved ones or his family or stopped believing in the Light? Whose entire character arc CULMINATED in his statement, “I am a Jedi, like my father before me,” was entirely unrecognizable. Instead we learn that despite the events of the OT, he almost murdered his nephew in his sleep—an act so disgracefully out of character that I literally CRIED. Instead of the hero we all know and love, they wrote that into the script explicitly to give Kylo Ren a more “sympathetic” back story—so they literally cared more about getting the audience to sympathize with and excuse the actions of a fascist murderer than they cared about the legacy of and integrity of Luke Skywalker, without whom they wouldn’t even HAVE a franchise to screw up. In addition to this, Luke has turned his back on his sister—not even willing to help her when she’s begging for him to come back or when he learns that Han Solo is dead, despite the fact that one of his defining qualities in the OT is his outright refusal to abandon Leia and his intense love for and loyalty to her to the extent that it’s the threat against HER—not against the galaxy or against himself—that causes Luke to almost lose control of his anger in ROTJ. They LITERALLY threw away the Skywalker legacy; Luke literally throws away the lightsaber like it’s pathetic, worthless garbage. This moment was not only significant within the context of the film—it had powerful implications for the audience. It was literally saying, “this lightsaber and all it represents is trash.” It was taking something we treasured—Luke’s journey and triumph—and spitting on it in front of our faces. What was the whole point of the original trilogy, of Luke’s story, if this is how the new film treats it? And add to that that he is portrayed as a grumpy, isolated, selfish coward too absorbed in self-disgust and self-absorption (as a result of the WILDLY out of character act of wanting to kill his nephew, by the way) to care about his family, or to try to at least RIGHT HIS WRONGS. He was dedicated to protecting the galaxy and now his own angst matters more to him than the fact that he alone had the power to stop the First Order from blowing up planets and enslaving and everyone, and as a result of his vanity and cowardice, that is exactly what happens. The new republic capital system is obliterated and, as the crawl informs us, “the First Order reigns” and now his nephew has become the next Emperor. Kylo Ren’s corruption just by nature of his existence in the story as a member of the Dark Side is already against the very point of the original trilogy—it’s basically blasphemy—but to try to insinuate that it’s partially Luke’s fault, and then that he doesn’t even try to make it right? There are no words for how disgraceful that is. And our hero whose greatest victory was that moment of becoming a Jedi at last spends a good hour telling the audience how stupid he was, how the Jedi should end, how he’s a failure and how we should not look upon him as a hero or hold dear his journey to our hearts. The film mocks him and does everything in its power to mar the beauty and goodness of the original trilogy, bending over backwards to say, “Luke was a blinded, self-absorbed fool and now look where he is.” This was deliberate. They invalidated the original trilogy on purpose.

And even at the end of the film when Luke finally tries to help, he is still out of character the entire time, telling Leia that there’s no hope, that he won’t try to save her son—even though supposedly (though I will never accept it, it is an Untruth) it’s Luke’s fault that her son fell. And then, after buying time for his sister to escape, Luke dies an old, broken down man who had lost his faith and his purity of spirit and his dedication to his family, alone as a hermit after having spent years in self-imposed exile so he could have a pity party and let the galaxy crumble and his sister suffer. Don’t be fooled. Rian Johnson and Lucasfilm knew that this was not Luke Skywalker. Anyone with half a brain can see that they systematically stripped him of every single thing that made him Luke Skywalker, right down to stating that he could find peace in death finally now that he’s had purpose, indirectly telling us all that he’d been a failure until then and that the events of the original trilogy, which the audience had been told throughout the course of the film were a farce—were inconsequential, and that the only path left to him was to sacrifice himself to just barely try to “redeem” himself for being such a failure and a coward and a piece of shit.

This is all, of course, in conjunction with Han and Leia’s son being a cold-blooded and deranged killer who embraces and represents EVERYTHING that his parents and uncle fought to destroy. This is in addition to Han and Leia’s love story being entirely invalidated, as well, with their marriage ending in estrangement and misery, with JJ Abrams stating in interviews that the two of them were incompatible and never have worked out. This is in addition to Han’s whole arc being ignored and him being reduced to a selfish smuggler again—his son is running around being not only a Space Nazi but basically the right-hand Space Nazi and is singlehandedly murdering countless people in the name of the First Order and his wife is all alone and in constant danger fighting a war with no help and trying to get their son back, and Han Solo just decides to traipse around “swindling people” and reverting to little more than petty crime instead of wanting to help or protect his wife or find Luke or do literally anything about what was happening. This was done despite the fact that Han was selfless and brave at every single turn of the OT, and that his whole story was about devoting himself to his friends and risking his life to save them and admitting that he’s not an apathetic criminal but a hero who is willing to go toe to toe with Vader himself to protect Leia, to save the galaxy, to do what’s right. And they stripped him of that entire arc and painted him as selfish and wrote his relationship with Leia as futile and miserable and resulting in the monster who is destroying the galaxy.

Leia has now lost EVERYTHING. She lost her entire PLANET in the OT, and found a family and solace in the man she loved, in her brother, in her friends, and in the freedom and democracy she almost singlehandedly brought to fruition, and they ripped all that away from her. They destroyed the New Republic and also made it a point to DISCREDIT HER, to let us all know that the no one was even taking her seriously about the First Order anyways. They made Han leave her side even though her safety was his top priority from every single moment in the OT as soon as they met. They cast a black shadow on her marriage to let us all know that they were doomed to fail and suffer, and then they killed Han Solo to serve Kylo Ren’s story just like they sacrificed Luke to that same story, ruining Leia’s life further in the process. They made her son be evil. They made Luke abandon her so that she didn’t even have her brother there by her side, and then they killed him too. So Leia has NOTHING. They made it a point to tell us that not one single person in the galaxy was willing to come to Leia’s aid when she uses her personal code to send a distress signal. They even stripped her of her NAME. No no no, this isn’t Princess Leia. She’s GENERAL ORGANA and you’d better accept it.

Let the past die, because we’re murdering it.

That’s what the sequel trilogy has done. They have deconstructed every single victory the OT had, made the heroes miserable at every chance they got, stripped them of all the best qualities of their characters, systematically undid every single part of their happy ending, and then even took it a step further to not only make it so that they didn’t win, but to make it seem that their actions—what had until now been victories—were actually “vanities” and indirectly blamed them for every single bad thing that’s happened since. Rian Johnson and Kathleen Kennedy and Lucasfilm did everything in their power to ruin the original trilogy to such an extent that it is IMPOSSIBLE that it wasn’t deliberate.

These movies are not Star Wars.

#TLJ spoilers #sw negativity #notmystarwars

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scrapyardboyfriends · 7 years

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3 August 2017

[Outside Keeper’s Cottage with Robert and Victim]

MR. SHIFTY: *On the phone with a presumably shady contact because Robert’s not allowed to have friends* #Nostalgia

VICTIM: Hey! Just being nosy! What are you up to?

ROBERT: Nearly getting caught doing something shady apparently.

VICTIM: Oh, well at least I almost caught you outside my house because the audience needs to be blatantly reminded that you’re living here now because I, a known Plot Victim, decided that’s what was best.

ROBERT: Thanks for pointing that out *Aaron Face*

VICTIM: Hey, I came up with a cute acronym for your mopey Aaron moments to try and get the fans to like me more!

ROBERT: Seriously?

VICTIM: Yeah, MAG, Massive Aaron Grump! You having one now?

ROBERT: Nope, I’m having a MAD, Massive Aaron Dilemma, because I bought these festival tickets back before the Plot destroyed us and now I don’t know what to do about them.

VICTIM: Oh hey, I’m working this festival with the Diddy Diner, you know that business I still apparently run even though it’s not been mentioned in ages. You are soooo not a festival person!

ROBERT: Yeah, I would hate every minute of it but, as everyone is aware, I would do literally anything for Aaron so...and now, well, they’re here.

VICTIM: But you’ve split up?! #CaptainObvious

ROBERT: Cheers for the reminder...I think even the most casual of viewers are aware of that particular Plot Point at this stage. No need to rub it in. But should I ask him anyway? It seems so unfair to the fans to deprive them of this potentially super fluffy scenario. They’ve had so much taken from them already.

VICTIM: What’s the worst that could happen? #Whiplash (FANDOM: Who are you these days?!?! Do you even know from scene to scene?) - No -

ROBERT: Well he could think I’m a stalker and I think everyone got enough of that nonsense during the Finn/Kasim Plot that no one speaks of anymore. Adam and Paddy were all telling me stay far far away yesterday even though it’s like they’ve only just remembered that Aaron exists now that I’m out of the picture. Plus, you, you hypocrite, telling me to forget about him and return to my selfish and self serving ways the other day!

VICTIM: Uhhh...Plot Victim here! Besides, when have you ever bothered to listen to anyone else...besides maybe Aaron.

ROBERT: *I think that was a green light Face* *The Plot is still going to screw me over somehow with this isn’t it Face*

[The Portacabin with Aaron and Robert]

ROBERT: *Knock Knock Knock* - this feels weird and no one is answering so I guess I’ll just go in -

AARON: Did you actually just knock?

ROBERT: Well I wasn’t sure if you wanted me here?

AARON: *Matching elbow patches on display..well sort of...they’re the closest to elbow patches Aaron has ever gotten and it’s adorable okay* Well you do work here because even though we’re not together, apparently we’re still inseparable. Also...you just came in anyway?! *Laughs*

*Awkward Silence*

ROBERT: Right, well, now that your bodyguard isn’t here to speak for you, can I ask you about your eye? Are you fighting?

AARON: No...I’m talking to you and for once, now that we’re over, we’re not fighting. Hey maybe we can trick the Plot if we say we’re over but we’re not…

ROBERT: That’ll never work, besides, we’re over and we still can’t have an #ActualConversation

AARON: I have a Boxing Plot okay. I was sweaty the other day, the fans really enjoyed it. So...why are you here anyway? Did you actually come to do some work?

ROBERT: Of course not, the Plot has no need for me to do my job right now. No, I’m here cause I got these tickets in the mail.

AARON: The festival. You said you couldn’t think of anything worse…

ROBERT: Well I can now #TheHellPlot #Relatable #SpeakingForTheFandom Well you can still go if you want but I thought I’d awkwardly ask you if I could come with you, which you know wouldn’t be weird at all. Separate tents of course cause you know if we had one we’d probably end up cuddling or you know...our other favorite thing…

AARON: Yeah...I mean...yeah you can come, suppose... The fans would like it. (FANDOM: You’re gonna snatch this away from us later aren’t you because there was no festival in the spoilers) Well I better go and get back to my Boxing Plot.

ROBERT: Everyone’s told me to be selfish, but I still care and want you to be careful.

AARON: I’m fine Robert. Uncle Zak is training me.

ROBERT: Oh, thanks for that tidbit of information. Might come in handy.

AARON: *Nods* *Awkwardly leaves*

ROBERT: *Why aren’t we back together Face*

[The Cafe with Robert and Zak]

ROBERT: I’ve seen Aaron’s eye, and I’m not just talking about that scene we were both in yesterday. Anyway, I don’t like it.

ZAK: Did you two break up? I swear I heard that somewhere.

ROBERT: Yeah, but until the Plot won’t let me anymore, I still care.

ZAK: You could just cheer him on. I feel like your fans would like that.

ROBERT: Probably, but they also want Aaron to be safe almost as much as I do.

ZAK: But exercise is a good thing!

ROBERT: Zak, let me catch you up on Aaron’s Self Harm Plots over the years, one of them involving running himself into the ground and hospital. There’s a bit of a pattern here and I would hate to see him repeat that.

ZAK: That’s not gonna happen, right?

ROBERT: Well if it does, it’s on you!

ZAK: *I don’t want that kind of responsibility Face*

[The Woolpack with Aaron, Zak and Victim]

VICTIM: Robert said you were going to festival, Aaron! I’m putting on my Shipping crown again for the moment. Remember when I was super invested in keeping you guys together. The fans really loved me then.

AARON: Miss that version of you too. But...yeah...Robert got the tickets and awkwardly asked me out and I said yes cause the audience needs to know that I haven’t written him off completely.

VICTIM: Well, I will of course be there, giving you free snacks! What could be better?

AARON: I can’t eat your muck. I’m training! Right Zak? #NoObsessiveTendenciesHere

ZAK: The odd dirty burger won’t hurt you I suppose.

VICTIM: Stop mocking my business that everyone forgot about!!! *Victim leaves*

AARON: Great, now that she’s gone, we can go. Can we go now, please! #NoObsessiveTendenciesHere

ZAK: Can’t, I’m just going to eat so I can stall for a bit for...reasons I can’t discuss.

[The Woolpack with Aaron, Zak and Victim]

VICTIM: Can I get you some carbs?

AARON: No I’m good. (FANDOM: But carbs, like toast, are your favorite! And you’re literally always eating in every scene and now you’re turning down food...Is something wrong...besides you know...the Plot?) So...Zak, I can see that you’re totally stalling. What’s up? Are you bored of this Plot already?

ZAK: Yeah, that’s it. Let’s go with that. #NotAGoodLiar

AARON: Hmm..yeah...I don’t believe you at all. The Plot’s behind this somehow isn’t it?

ZAK: *Get’s out script from scene with Robert* Well, it’s just sometimes you tend to overdo it like that Self Harm Plot you had with the running…

AARON: *Grab’s script* Are you just reading Robert’s lines?

ZAK: Maybe? But he really does have your best interests at heart. I’m sure of it.

AARON: *Conflicted Face*

**Meanwhile, shady things are going on at Home Farm and that’s probably no coincidence** #IfYouExpectTheWorstOfSomeoneThat’sWhatYou’llGet #MrShifty

[The Woolpack with Robert, Sam, Charity and Aaron]

SAM: Have you seen Lydia?

ROBERT: She’s not in my immediate circle or related to my unfortunate Plot, so I have no idea who that is. (FANDOM: Stop crushing all of our Lydia/Robert dream scenarios!)

*Robert and Charity Banter* - for the fans - (FANDOM: We’ll take anything these days)

*Aaron enters*

ROBERT: Charity, while you’re doing your literal job so quit complaining, can you also get Aaron a pint? I mean...er...umm...if you want one that is. Damn, I hate that I’m all unsure around you now. #AreWeBackTogetherYet

AARON: No, I’m not eating or drinking today. No one should be concerned. Speaking of being concerned...I hear you don’t want me running or training.

ROBERT: *Confused Face* I don’t think we had that scene...I would have remembered...I treasure every moment with you.

AARON: No, you had it with Zak and now he’s quit, which is actually fine because now I can just go push myself as hard as I want because it’s my business and my business alone. (Fandom: *Concerned Face*)

ROBERT: *Concerned Face* *Soft Aaron Voice* I care, Aaron.

AARON: Yeah, well this was supposed to be my Plot, alright? So stop interfering! And take your festival tickets back. I’m not going! (FANDOM: We knew it! Stop depriving us of all of the cute stuff!)

ROBERT: *Sad Face* - thanks Plot - *Maybe the fans will write fanfic about what could have been* - I should really catch up on my ao3 reading -

[Side of the road with Aaron and Cain and surprisingly not the boot of Cain’s car]

*Cain probably takes too much pleasure cutting Aaron off on his run with his car*

AARON: What did you do that for?

CAIN: Could ask you the same question? I thought this was a Boxing Plot. That’s what the Dingle Newsletter said...well I think...it might have had grease stains over half the words by the time I bothered to look at it because well...it’s the Dingle Newsletter and I don’t care do I?

AARON: Yeah, well that’s over because Zak quit after Robert went and interfered in my Plot and told Zak I’d overdo it and he doesn’t have a mind of his own so now I’m running again.

CAIN: Well, I mean I can’t believe I’m going to say this and use his first name when I do, but it’s not like Robert doesn’t have good reason to worry.

AARON: What am I supposed to do? Just sit in a rocking chair for the rest of my life? Would that make you happy?

CAIN: Yeah maybe, and the fans would probably be all for it too, though they’d probably want to wrap you in bubble wrap first and then drape you under Sugden’s insane butterfly blanket while he feeds you a healthy diet of toast for the rest of your life but...yeah. I have got another idea though. Get in the car.

AARON: Why?

CAIN: We’re gonna go intersect with another Plot, come on. It’ll be fun and I’ll even let you ride in the passenger side and not the boot.

AARON: *He might mean that, I better obey Face*

[The Woods with Aaron, Cain, Debbie and Sarah]

*Blah Blah Blah other Plot where Sarah is absolutely correct in thinking that Debbie is not fun*

DEBBIE: *Rare Smile* I’m going to shoot you until I know you’re having a good time

*Cain and Aaron come out dressed in camouflage shooting paintball guns for context otherwise that line is really weird*

*Aaron is smiling. Debbie is smiling* #TheApocalypseIsComing (cc. @WoolieWeekly)

[Outside the Woolpack with Victim and Rebecca]

VICTIM: Hey, how’s the Plot I’m not overly involved in?

REBECCA: Fine, Dad’s doing okay...this time...but there’s a bunch of shady stuff going on around Home Farm. Possibly due to my sister’s birth father’s brother being around? Maybe? I don’t even know anymore.

VICTIM: Wow, that sounds confusing. Glad I’m not a part of that Plot. But are you sure you should be this confused in your state?

REBECCA: I’m always confused. Anyway, I thought, and this should actually make the fans happy, which is rare for one of my actions, that I might move back into Home Farm after Dad gets out of the hospital. #PleaseStayThere

VICTIM: Did you call the police about any of this?

REBECCA: Of course not, but I just thought of a former Plot Device that might be able to help me out. Us Plot Devices should stick together!

[The Woolpack with Robert, Rebecca and Victim]

*Victim and Robert are talking* *Rebecca enters* *Victim drops Robert as fast as she does personalities in this Plot and runs straight to Rebecca*

VICTIM: Hey did you get a hold of that Plot Device?

REBECCA: Yep! Now I just have to figure how to do all of the work I can’t cope with because I’m literally a failure at everything when it comes to the business.

VICTIM: Oh! I have a great idea! Robert! You should absolutely go and help Rebecca out up at Home Farm. You know, that place that used to represent all of the things you convinced yourself you wanted before you met Aaron and he changed everything! Also, BABY! - wow it’s been a while - Yep! She’s pregnant! Did you hear that, she’s carrying your child! I thought maybe you and the audience might have forgotten that fact because we clearly have for the past three weeks. But yeah, BABY!

ROBERT: *Please don’t drag me into this Face*

REBECCA: I can handle it on my own I swear. Please just let me sensible for the fans!

VICTIM: But why do that when you can drag Robert into it?!

REBECCA: Because it might actually kill my dad if I got Robert involved. (FANDOM: Hmmmm #Sacrifices)

ROBERT: For the record, I’m not getting involved in this at all. You all wanted me to be selfish and self serving again, so now I’ve got far too much shady stuff to coordinate to be bothering with the likes of you.

REBECCA: See, that settles it! Wait...I’m sure I should be paying more attention to something here...hmmm. Oh well.

[The Woods with Aaron, Cain, Debbie and Sarah]

*Dingle paintball banter and fun* *Aaron and Debbie still smiling* - for the fans -

AARON: I’m not actually tired you know. This is nowhere near pushing it hard for me.

CAIN: Well my Plot hasn’t had me working out like yours!

AARON: Yeah, well maybe you should find one that does. *Smiling* *Laughing* #WinterIsComing

CAIN: This is good though right?

AARON: Yeah, even you’re having fun.

CAIN: Don’t tell anyone, right? I’ve got a reputation to maintain...you know, while I’m also dating the local vicar.

AARON: Preferred Coira, but your secret’s safe with me. This was a great idea Debbie had.

CAIN: Well it’s not just for Sarah...

AARON: I am fine you know #StopLyingYouLiar

CAIN: Yeah and you want it to stay that way. Just, if you’re going to keep up with this Boxing Plot of yours, don’t overdo it and don’t make it everything.

AARON: I wasn’t. #StopLyingYouLiar

CAIN: Look, I know we’ve all been completely ignoring you for months but now the Plot has finally decided all us Dingles can interact with you. You should enjoy that while it lasts. There are lots of other things to do besides boxing and running and whatever other potentially self destructive ideas you have in mind, and there are certainly a ton of us in the village to do them with.

AARON: *Smiles* *Thanks for remembering I exist Face*

#robron #emmerdale #plotdale #sorry if this sucks i'm really tired #need to get more sleep

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furederiko · 7 years

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"I won't let you... suffer the pain alone!" Kyuranger's 28th episode, conveys the tale of broken bond, and lost friendship...

- Let's get this right off the bat: POOR Balance!!! T_T... He wasn't around when Naga first succumbed into the darkness, so imagine his utter shock upon witnessing how his partner-in-crime (we'll get to this later) has become an evil, ruthless, brutal, and plain messed up person. Dark-Naga is completely different from his regular self, and this is the first time we get to see Balance gets deeply depressed. Even more so than that stolen-Birthday story... - Sure, the episode starts in a carefree and casual way. We see Balance utilizing the #43 Camelopardalis Kyu Globe to become a 'mechanical giraffe' and scout the area, while Dark-Naga is having fun with his newly found emotions through a practice fight with the Indavers (again, the actor is definitely having a blast). I also personally enjoy seeing Akyanba and Kukulga get along with one another, mirroring the bond between Ikagen and Madako nicely. But everything turns sour just 4 minutes in, and the cheerful mood has completely dissolves into a somber and melancholic tome. - Balance clearly arrives on scene with a belief that he could easily persuade Naga to the good side. That's how they've always been, right? But nope. If this is another show, the whole 'turning into evil' trope would be done and over with in just two episodes. This is Kyuranger we're talking about, and that's NOT how the show works. After declaring that the BN Thieves has now been disbanded, Dark-Naga doesn't pull any punches on his (former?) friends. He shoots Balance on the spot, intentionally injures his left thigh, and then tortures him with sheer glee. Balance refuses to react, resulting in an abusive scene that... well, rather disturbing to watch. I wonder how TV Asahi even allows this on a morning show? - It's a neatly choreograph, but devastatingly desperate fight scene. Once again, Dark-Naga is soooo close on killing the other Kyurangers with his 'Dark Galaxy' attack. This time around, a mysterious woman steps in to save the day. And it's a... female Naga! Hold on, I mean, a Naga-esque female individual from the Ophiucus system. She introduces herself as Echidna (obviously portrayed by Taiki Yamazaki, voiced by Ayumi Tsunematsu), and reveals more details about the same-faced inhabitants of her system. Trivia: In Greek mythology (nope, not the ant-eater one, nor... Sonic the Hedghehog's rival) Echidna is a half-woman half-snake 'She-Viper'. She's the mother of many mythical monsters such as Orthrus (that gave birth to Sphinx and Nemean Lion), Cerberus, Hydra, and possibly Chimaera. There's a 'mother angle' in her story. So can we assume this is just pure coincidence? Or is she actually Naga's mother? Hmmm... - Echidna's appearance is... well, a bit awkward to watch. Not because of the female voice coming out of Naga's lips, but mainly because it looks a bit out of sync. This is a common occurence in Tokusatsu, but I wonder why they don't just alter his actual voice with a sound editor? Also, design-wise, I think the production team made a minor miscalculation. IMO, they should've enclothed a 'female Naga' with a high-neck dress that fully covers the neck area. At least, give him a choker or something. The actor is what many generally calls 'pretty boy', so he CAN look and showcase Echidna's feminity just right. Yet it's also clear his adam's apple is still immediately noticeable in this dress style, and that would likely attract questions from audience. Especially observant nitpickers like yours truly LOL. With that said, her inclusion is still a much appreciated decision. It gives a good excuse to keep Naga's actor among the non-suit ones, without the need to hire a new artist. And similar to Dark-Naga's messed-up sassy gestures (that is always a delight to see), he's able to make us believe that Echidna's an entirely different character. - Echidna's exposition, leads to a deeper backstory for both Balance and Naga. And that's good. We FINALLY get to see how Balance met Naga for the first time! True to his trickster reputation, not only Balance ran into Naga when he was stealing a treasure from his planet, he also made use of Naga's pure desire for emotions to get away. On a whim! Yep, turns out things didn't actually start out in 'real' good terms for them. Back then, Balance was merely using Naga, turning him into a partner for his own selfish benefit. Not unlike Akyanba, huh? Nevertheless, it's a fated meeting that managed to change him for the better. Balance now actually cares for him and others in general! That's why Dark-Naga's berserking frenzy isn't just hurting Balance physically, but also scars him emotionally (if not all of us in general, of course). Balance is going to do anything to bring his BFF back, even if it forces him to engage in an intense heartbreaking duel with him. We've seen it teased in the preview, right? - I was initially pretty disappointed when Akyanba revealed that the key to bring Dark-Naga back to his senses, is to hurt him so badly. I admit, it IS a common thing for a Tokusatsu antagonist to foolishly state their Achilles heel. Even Kyuranger have done it before with a lesser MotW. I guess, I kind of expected more from this cunning villainess. Turns out, more is certainly what I'm getting. Televi's scans have already spoiled about this 'solution' before, along with the Gold-Silver fight, and Echidna's arrival. But what a pleasant surprise when those report (probably... intentionally?) left out the powerful twists that come as part of the actual package. - Contrary to popular assumption, Echidna isn't here to help Naga. She is sent to... eliminate him. Apparently, obtaining emotions is considered a massive threat in the law of Ophiucus system. OUCH!!! Echidna also blames Balance for 'swaying' him out of his planet. This is what I meant earlier by 'turning him as partner-in-crime'. Second, the Gold-Silver fight? Intense, but heartbreaking. I expected a Mexican Standoff-esque battle, but nope... Libra Gold doesn't want his BFF to suffer alone. So when he launches that rain of arrows using the #35 Sagittarius Kyu Globe, he's taking the fall WITH HIM. Aaaaawwww, the chills!!! But the episode saves the biggest twist of all. Hurting Naga badly to save him? LIES. That was nothing but lies. It's all Akyanba's trick to pit the Kyurangers against each other. She's merely toying with her enemy, trying to make them hurt one another. So disappointment is gone, because Akyanba IS a dangerous antagonist INDEED. - Worse thing is... according to her, Dark-Naga is beyond help. There's NO way he can be cleansed from darkness once he gains back his emotions. That means...? Aaaaaw!!!! T_T. I can already hear those devastated outcries reverberating throughout the Naga fanbase. Not to mention, Naga have always wanted emotions to make Balance happy! Putting the burden and guild on the Golden robot even more. If I didn't know any better, it seems the only ways to save Naga now are: defeat Akyanba to remove her curse/spells that unlocked Naga's emotions, and seal back the emotions he's been longing to have all these time. Those are NOT easy feats! Things aren't looking good in the present time. Fun fact: Can't believe it took me this long to realize one thing. Naga Ray's name is clearly a pun for either the Japanese word 'Nagare' which means 'to flow/washed away', explaining why he's easily persuaded; and also 'Nagareboshi' which means 'Shooting Star'. And we know how a meteor is called a shooting star, right? When it FALLS down on Earth. Suffice to say, Naga's fall to darkness has been written on his name. This character was already doomed from the get-go. And that rain of arrows is another really good metaphor to this too... - What's happening in the past doesn't fare better! 'Time Travel' team exits the time hole (healing Commander's Xiao's back in the process), and goes directly to witness Tsurugi's final fight against Don Armage. And it plays out exactly like Tsurugi's story, confirming several things: One, Tsurugi has been telling an honest truth all these time. As in, he's not dreaming or seeing illusions or alternate reality like some fans have theorized. Two, Kuervo sacrifices himself to protect Tsurugi from Don Armage's blow. So yeah, I think he's genuinely really dead, as we can only see Orion (who now has a face, more on this later) carrying Tsurugi to safety afterwards. Three, Don Armage is defeated... for REAL. Phoenix Soldier strikes him down (here's hoping we get to see that cool flaming winged attack again soon), blowing up his planet along the way. So HOW is Don Armage still alive till the present time? That side of truth is still shrouded in mystery. As if that's not enough, all of a sudden the ORION is under mysterious heavy attacks! Forcing Raptor to quickly warp off towards Earth. With Don Armage gone, WHO is attacking them then? - Before you dismiss that this time travel side is removed or unrelated, do remember one thing. Kyuranger had always run several plots in parallel, but they generally still share the same theme (examples: Stinger's route of vengeance crosses path with Champ, and the brotherhood parallel between Scorpio and Kotarou). Considering the current theme is about heroes/good person turning to the dark side, could it be foreshadowing the true identity of the new Don Armage? If we observe how Naga is Balance's best friend, we can see there's a parallel running in the past: Orion or Kuervo are Tsurugi's closest comrades too! Who do you want to bet as the real Don Armage, then? - Anyway, we're back in the present time. Akyanba walks away with a severely wounded Dark-Naga, leaving the fight to the giant Indavers. Since Ursa Minor SkyBlue has to tend for Balance, Leo Red uses Gemini Kyu Globe to duplicate Lupus Blue and Chamaelleon Green, so they can form a three-colored RGB Kyuren-Oh. What a NEAT trick! Even SkyBlue is surprised to see that this is possible. I don't think we actually need a mecha battle, but at least it's unpredictable. - Despite Echidna's firm statement that the only option to the Ophiucus Metal situation is to eliminate Naga, obviously 'Save Naga' team isn't going to give up just like that. Balance personally refuses to obey, and will do anything to rescue Naga. Even if he has to face Echidna for that. But that's when something unexpected comes up. Well, duh? This IS Kyuranger, so obviously it's one thing after another. Our present team senses an odd surge of time-paradox, and notices a distress beacon from the ORION. Has the spaceship really returned? - This is where the two time-crossed storylines come together in a shivering and shocking way. Because what Lucky and friends see, is NOT the ORION they've known all these time. It's a broken and aged ruins of the spaceship! Dang it, the goosebumps. Don't forget, there's a price for trying to break the rule of nature. A small alteration in the past will affect the flow of time and reality in its future... and this must be one! Does this mean, the real one is destroyed in the past?! Oh good heave, I hope not! But the scene that slowly shifted back in time... only confirms that concern. ORION has indeed crashed down on Earth, and its passengers are on the ground, wounded and unconscious. And standing in front of them, is none other than... Sir Orion!!! Fun fact: Orion is played by actor Kai Shishido, who is the son of legendary actor Joe Shishido. He's not new to Tokusatsu, having played DASH Captain Shigeru Hijikata in the 2005's "Ultraman Max". Looks like Shishido was added to the cast later on, because I don't think he was the actor we saw in Eris's story. That one was younger, smaller in figure, and has much lighter skin! Something that obviously a nitpicker like me would've noticed... LOL. It's a tad disappointing, because having felt familiar with his face, I've been really curious about that mysterious 'temporary' actor. Guess I won't be getting my answer anytime soon. But at the same time, I'm not complaining about Shishido. He DOES has a powerful presence worthy of an important character. Beside, if my theory of Orion being Lucky's biological father pans out, his surname would make for a perfect pun! The kanji means another, but 'Shishi' is 'Lion' in Japanese, right?

Overall: Oh wow, one surprise after another huh? Thank goodness we got a lighter episode last week, otherwise I don't think my heart is ready for such intensity to come every week. This episode left me with a bitter taste, which was both sad but good. Realizing that Naga can't actually be saved, felt like swallowing a bitter pill that refuses to go down the throat. It made me feel... hopeless. But such uneasiness could only land if audience deeply cares about him and Balance as characters, which is a really good thing. So call me hypocrite, but I'm glad the Dark-Naga arc isn't resolved too quickly. Otherwise I'd be quite disappointed. Thumbs up to the writers this time for a strong focus episode for Balance. Much needed praises also goes to the sound department, because once again, GREAT use of fitting BGM to amplify the scenes. The melancholic ones during Naga and Balance's heartbreaking moments worked gorgeously by adding shade and tint of sadness. I might have some minor nitpicks about this episode that affects my score, but overall, a truly excellent episode... Next week: Orion, oh ORION... PS: We're back to "Kyutama Dancing" as the ending theme, but this time Tsurugi has been added to the equation. Also, alongside teaser for the first Bluray Box set, the official trailer for V-Cinema "Episode of Stinger" has been aired. It's available online if you're curious about it.

Episode 28 Score: 8,3 out of 10

Visit THIS LINK to view a continuously updated listing of the Kyutama / Kyu Globes. Last Updated: September 5th, 2017 - Version 2.13. (WARNING: It might contain spoilers for future episodes)

All images are screencaptured from the series, provided by the FanSubber Over-Time. "Uchu Sentai Kyuranger" is produced by TOEI, and airs every Sunday on TV-Asahi. Credits and copyrights belong to their respective owners.

#tokusatsu #SuperSentai #kyuranger #uchu sentai kyuranger #uchuu sentai kyuranger #review #melancholymoments #friendship

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feathersandblue · 7 years

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Existentialism, John Silver style

I think part of the reason why I can relate so strongly to Silver’s decision in the finale is that at the core of my convictions, I’ve always seen existentialism as fundamentally true.

The idea of being condemned to freedom (as a lack of superordinate morality and purpose), to an existence that does not have an inherent meaning but gains its meaning only through personal actions - an existence where the inidivdual and their choices are not good or evil but only true or not true to their own inner conviction - is reflected exceptionally well in Silver’s arc in Black Sails. It’s made explicit when Silver himself refuses to attach meaning to the events of his past in 4.09, where he outright denies the existence of a storyteller. Due to that lack (and rejection) of a “higher” purpose, Silver becomes one of two (arguably three) characters in Black Sails to choose his own fate through an act of personal sacrifice.

I’ve seen a piece of meta very recently that basically said that Silver had no right to act the way he did because he was taking choices away from Madi (and the maroons). That way of thinking is deeply foreign to me, because existentialism is all about individual choices. The characters in Black Sails have always been strongest when they were taking responsibility for their own actions - when they were acting true to their own nature.

If going along with Madi’s and Flint’ war went against the things Silver truly believed in, should he have done it only for her and Flint’s sake? That might have been more loyal on a surface level, but it would have required of him to act against his own convictions.

Besides, none of the main characters have ever worried all that much about taking choices away from anyone, not, at least, when it came to politics. Flint, Silver, Vane and Billy didn’t show any kind of hesitation to undermine the governor’s position by threatening and intimidating every pirate who had taken the pardon. And Madi was also willing to go to great lengths to make that war happen, even in opposition to Julius, who had valid reasons to oppose it. I think it’s only fair to add that Madi had also selfish reasons to want that war - as a young woman, stepping out of the shadow of her parents, trying to establish herself as a leader to her people, in opposition to the more protectionist rule of her mother. That war was her personal quest, her coming of age.

In any case, all throughout the series, the parties who wanted the war didn’t much care about other people’s opposition. And war is what they got until Jack, Max, and Silver pulled a page from their book and put a stop to it.

Do we believe for a second that Madi would have left the war behind for Silver? Of course not, and we woulnd’t expect her to, because she was deeply convinced that the war was a righteous cause.

Then why do we expect Silver to go along with the war for her sake, even though he truly believed it was the wrong thing to do? THERE IS NO MORAL HIGH GROUND. Black Sails has shown us both the noble sheen of a war for freedom and the horrible price people have to pay for it. The whole tragedy of the ending is that we have two people who deeply love and respect each other, but whose belief systems don’t work the same way.

The strongest existentialist struggles are always found where people claim their own freedom, where they make difficult choices not according to what other people believe, but to their own values. Where they take a stand.

Of course, this existentialist freedom only exists where people are actually free to decide -, only then can it be acknowledged and claimed, and only in that moment, people actually are free. Free to be bound by nothing but their own conscience - free to fight an inner battle when the outer circumstances allow for that kind of luxury. Mrs Hudson is not free to make a choice based on her inner convistion because she’s bound by her love and responsibility for her children. Likewise, Vane, the character for whom freedom is the first and foremost priority, avoids every kind of attachment to material goods, any commitment that would bind him, knowing they are civilization’s greatest weapon. When Vane chooses his death, that's an existentialist choice right from the textbook - while the decision to hang him is Eleanor’s, he chooses the terms and the meaning of his execution, and ultimately, he chooses to die because his death will be a catalyst for a revolution. That’s not the same as, say, someone committing suicide to escape neverending horrors. Choosing the lesser of two evils, forced by the circumstances, is not freedom. The truly existentialist choice is the one you make willingly, the one not dicatetd to you by others.

The interesting thing about Silver is that he has that feedom on a very basic level right in the beginning - as a drifter, committed to no one - but then he gives it up, or rather, loses it in a variety of ways. And when he decides to put an end to the war, that’s both reflective of who he truly is - a pragmatist, a survivor, a man who does not understand the idealism that drives Flint and Madi - and what he truly believes. That’s what makes his decision so important. He’s not a hero, he’s not a villain, but maybe for the first time, he is authentic. And his act is more tragic and, in a way, even heroic, because it requires him to betray the two people closest to him and condemn himself to a life that lacks all its glory.

Comparing Siver’s situation with Max’ decision to prioritize her relationship with Anne over a position of power makes it obvious how much more difficult Silver’s decision is. Max makes a simple choice, one that requires a personal sacrifice - giving up power - but allows her to act in accordance with her truest believes. What she doesn’t do is betray her loved ones on a personal level, quite the opppsite; it’s her way to make up for an earlier betrayal. There is quite an allure in self-sacrifice, if it means you can go on knowing you have the moral high ground. Max does it, and the narrative rewards her for it, telling the audience, quite clearly: “You chose love over power, and it was the right choice.” The narrative favors Max to an almost incredible degree. Max gets to be governor. Max also gets Anne’s forgiveness.

But it’s not Max’ personal sacrifice that makes it happen, it’s Silver’s.

Silver, by acting in accordance with his truest believes, gives up everything he’s won. He doesn’t get the fame. He doesn’t get the captaincy. He doesn’t get the treasure. He has irreparably damaged every meaningful relationship he has ever had, and what is his gain?

I can’t emphasize this enough: it would have been a lot easier for Silver to go along with what Madi and Flint wanted. If Silver had only been interested in his own, short-lived gain and gratification, if he hadn’t felt active disgust at the person he was becoming - the person who killed and tortured and betrayed his friends and orchestrated the death of people under his protection for the greater cause - then he would not have acted against them. What he did was not the action of a person who chose the path of least resistance. It was the action of a man who found the strength and conviction to make a choice. It was the action of a man who no longer wanted to do bad things in the name of a good cause.

Did he have the right to make that choice? That’s a moot question, because under these existentialist terms, having the power means having that right. Silver was in a position to end the war, and that’s what he did.

What Silver is, in that moment, is the master of his fate, and there’s really no bigger accomplishment in terms of existentialism.

Robert Louis Stevenson based his character of Long John Silver on William Ernest Henley, who is most famous for his poem “Invictus”, which may be the epitome of the kind of freedom at the core of existentialism :

It matters not how strait the gate

how charged with punishments the scroll

I am the master of my fate

I am the captain of my soul.

That’s what Silver is doing, in this final episode. Instead of letting others decide for him - instead of blindly following Madi and Flint into a war which, in Silver’s understanding, is the horror - he uses all the means at his disposal to help Max and Jack to put a stop to it, and he does it without further bloodshed. It is only Silver who is in a position to achieve this ending. It is only Silver, with his cunning and his inventiveness, who can be Flint’s end without killing him.

I have no understanding for people who are trying so very hard to deny the difficulty of Silver’s choice, and what it cost him, and what it means for him in terms of character development, who are completely willing to throw him under the bus and deny that his feelings and respect for Madi were ever real, or that his decision to send Flint to Savannah instead of killing him was not an act of love and mercy on his part.

#black sails #john silver

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negare-boshi · 7 years

Text

Gods and Wars.

This is the piece I wrote for the Hq!! Ghibli Zine, (now hq-ghibli-zine! Don’t forget to check the other amazing pieces!). Together with the awesome Taffy (check her amazing art here and cry with me), we developed this MatsuHana story, based on the movie “Princess Mononoke”.

(it is in ao3 now as well!)

Rating: general audience.

Pairing: Matsukawa Issei / Hanamaki Takahiro

Tags: Inspired/Based on Princess Mononoke, gods and nature, a lot of other HQ!! characters make a slight appearance,

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What had brought this moment to reality was nothing else than the inanity of human memory. Issei was not one to judge, but when he saw the blood on that cheek and when the growl of pain that crossed his chest blew his thoughts away, he couldn’t avoid the shot of rage that crossed him, head to toes. They were blind and deaf, horses with blinkers, too used to the reality they’ve made up as to change what was, obviously, not working for anyone. It didn’t matter if the blood they shed was sacred, or if the wood they burnt was holy, and it would never matter that the land they were taking away was stolen.

They thought themselves gods in a land of war and they didn’t even know in what war they were fighting anymore.

Issei breathed in and out, the world around him stuck in the second the bullet had hit the savage boy up in the rooftop of the factory. Time was not a thing anymore, because rage could control even what was uncontrollable. Issei’s chest throbbed with the beats of his heart, bum, bubum, bumbumbum. He felt rage turning into white light, a burning feeling crossing his chest and his back and his arms. Issei had spent three months controlling his emotions with iron restrain, but when the boy started to fall, unconscious, and when Issei heard the sound of the rifle being loaded again, there was no reason to control anything anymore.

Issei’s body moved on its own, the human mind forgotten. He became the rage of the forest, the sorrow of the mother fox howling on the distance, his spirits’ friends up in the north, who cried blood for the loss humans had been putting them through for decades. Issei was human but he was something else as well: a portal, a bridge between what was right and what was wrong.

There was no rightness in the way the boy fell. There was no rightness in the twisted justice gods and humans were displaying to one another.

No one saw him move, because rage didn’t care about time or logic. When Matsukawa Issei, with his curse and his fucked up emotions, took a step forward and saved what everyone else thought the devil incarnated, he lost the final vail he had worked so hard to rise.

The savage boy fell into Issei’s arms with a soft sound.

“Matsukawa—. What the fuck are you doing,” the movement of the rifle caressed Issei’s back, but even when the click of the weapon pierced through his ears, Issei didn’t turn around, nor did he face a man who had become his friend in the last month. “I asked you a question, damn it! What the fuck are you doing?!”

“Being rational!” the cry silenced even the animals on the forest, no fox’s howls to be heard. Issei was still facing the factory’s wall, an unconscious prince on his arms, and the weight of two wars upon his shoulders. He was so enraged he couldn’t stop trembling. “You build weapons and you load weapons and you shoot weapons, but when do you stop and think about the consequences of your actions? I told you! I told you: let’s stop and talk about this. But you are deaf! And blind! You don’t care about anything!”

Iwaizumi inhaled soundly and Issei’s heart knew what a low blow it had been, those mean words. He felt the rifle doubt on its target and he turned around, to face a town full of villagers he had grown to love, the face of two men he had grown to respect and the General he had sworn to obey.

The Fox Prince hung from Issei’s arms like a dead body.

“Look what you’ve done,” he said, as calmly as he could. “You could have waited and you could have let me talk; but instead of thinking, you just put your weapon out and shot away your reasoning.”

“He’s dangerous! He was gonna burn our village down!”

“And have you ever wondered why?!” Issei yelled back. “Look at what you’ve built! You ran away because the village that gave you birth hated you! Shouldn’t you know better than anyone else?”

“He’s dangerous,” Iwaizumi repeated, a step to the side, the reason he couldn’t think about anything else than protection half hidden behind him. Oikawa Tooru had grown into Issei’s heart the same way Iwaizumi Hajime had, but Oikawa was extremely stubborn, the same way he was too important for anyone around him to think outside their instilled beliefs.

“We trusted you with our treasure, Matsukawa,” Oikawa’s voice was calm and cold, a bullet on its own. “We let you in and not only did you work for fucking Ushiwaka, but now you go and save what has been trying to kill us for years. What do you want?”

Issei felt pain and anger mix inside his chest and he knew, he knew the damned curse was not hidden anymore. When everyone around him gasped, Issei had to accept the fact that he was now the outsider he had tried to avoid being for these last months.

“You are a demon,” Oikawa spit out.

The word did a weird thing to Issei’s insides. It felt worse than a knife wound, worse than the curse when he got condemned to it. It was just a word, but it expressed all of Issei’s inner fears, and it hurt.

“No, I am not.” he managed to say, the raged voice forgotten on that wound Oikawa had just inflicted. “My name is Matsukawa Issei and I come from a place where we worship the gods of the forest. This?” he pointed at the feathers on his arms. “It’s your fault. You’ve been killing this forest for almost a decade, you’ve been killing spirits and gods, destroying sacred land over and over, forgetting to respect, forgetting to honour what has never been yours. This curse—this curse that’s gonna kill me soon, it’s your damn fault! You are selfish! You built yourself a fortress and called it a village! And then proceeded to destroy every piece of magic around you, just to justify its existence! So, no, Oikawa, I’m not a fucking demon. You are.”

Iwaizumi’s rifle didn’t miss a beat. The next second, Issei’s eyes were face to face with the barrel of the weapon.

“You betrayed us,” Iwaizumi stated, and Issei’s human heart lost a bit of its strength at the truth of those words.

“I betrayed Ivy Village,” Issei accepted. “But you’ve betrayed everything else.”

“Get out of here,” Iwaizumi’s voice could be venom for all the damage he was doing to Issei’s soul. He never thought he would end up building bonds with people when he left home. There had never been a friend in his plans, and now not only had he made friends, but he had killed them as well. He was, indeed, cursed, just like Bokuto and Kuroo had wanted him to be.

“I hope some day you will understand why I had to do this,” Issei said in the exact moment the Fox Prince came back to life.

The second their eyes met Issei’s mind lost the track of everything else. They were as red and brown as he remembered them, rage and magic and fury and spirits, a human from a magic world, a miracle. He was beautiful, but when Issei got himself lost in the depths of those eyes, he saw a beauty even bigger than the one before:

Hope.

Issei had forgotten how hope looked like, and when hope looked back at him, there was a blank space that took over Issei’s mind and body.

The curse’s expression flew off and the Fox Prince hit Issei hard on the chin, making him dizzy for a precious second. Before Issei could held him tight, the Fox Prince jumped directly to Oikawa’s throat.

Issei’s mind saw what was about to happen with such clarity his heart literally stopped for a beat.

Iwaizumi didn’t shoot his weapon because Oikawa threw him out of the way. Issei had the impression Iwaizumi wouldn’t have used the rifle anyway, but he couldn’t give it much thought because Oikawa was now facing the Fox Prince, sword in hand, a sharp smile on his lips.

“This is what you want, isn’t it, savage boy,” Oikawa’s smile grew wider and dangerous. Issei saw such brutality in that simple gesture he realised he didn’t know Oikawa at all. “To jeopardize this people safety, to kill us, murder us.”

The Fox Prince had no time for words, but too many hands for too many weapons. It was stupid, a battle that was so far away from war it couldn’t even be pictured inside of it. This was insane and before Oikawa could reach forward and kill the boy, Issei hit them both with his inhuman arms. Oikawa didn’t fall unconscious, although he ended up on his knees, coughing blood. The Fox Prince went back to Issei’s arms, and Issei regretted the dead weight of the body as much as all the actions he had had to take to reach this exact moment.

“I’m gonna take him away,” he announced, his eyes glued to the boy’s sleeping expression. “I won’t bother you anymore, and If I have business with you I will come again. Unarmed.”

“You are a weapon,” Tendou said then, breaking a silence filled with fear. None of Ushijima’s unit had said anything up until this moment, and Issei knew they felt more betrayed than what Oikawa and Iwaizumi thought themselves to be. The army was a brotherhood, and Issei had thrown that vow to the fire without a single doubt. “You little piece of shit. I knew you were trouble the second you came in,” Issei wanted to apologize but his words had no place in none of these men’s hearts.

Issei held the fox boy tighter to his chest and started walking, silent steps that felt as heavy as the curse he carried. The villagers opened a path for him, the factories buzzing around, the sound of progress too loud for humans to hear the cry for help of the nearby gods.

Issei could hear them, though, inside his soul, on the howl’s form the foxes crying for their cub’s life, on the cracking trees burning inside those huge factories. Issei felt them like a knife going through his insides over and over again, and because he knew, he now had the duty to finish it all, to save them all.

Issei was almost through the village’s doors when the gun’s sound pierced the deadly silence. He barely felt the pain when he realised the bullet had crossed him back to chest, opening a hole just besides his cursed mark. The Fox Prince was still unconscious on his arms, his face dirtied with Issei’s blood.

“Tendou, what are you—“

“A traitor to the country has to be put down!”

“Are you insane? I did not order you to shoot,” Ushijima said, as composed as he usually was. Issei kept walking, not minding the loss of blood that was clouding his mind.

He felt Iwaizumi take a step towards him and he also felt Oikawa’s hand stopping him from doing so. He felt the villagers gazes on him, on the blood that was leaving a track on every step he took. Issei felt their need to help, the struggle to fight their true emotions with what they thought was right.

But he kept walking, because the village was not important anymore. The Fox Prince was important, because miracles had to be protected when none else believed in them.

So Issei kept walking.

Until he couldn’t walk anymore.

Death felt like home, Issei realised. It was green and soft, the magic caressing his skin the way Bokuto’s and Kuroo’s wings did sometimes. He felt safe, back in that mountain he missed so much. The sun, the birds, the water flowing, knowing he didn’t have to sacrifice anything else anymore, because he already had.

There was nothing left of Matsukawa Issei, and he sighed, relieved.

“What do you think you’re doing,” a familiar voice said beside him. Issei grimaced, trying to keep his eyes shut as long as he could. “Issei~. I’m talking to you. You shouldn’t be here.”

“I did what you sent me south to do.”

“They are still killing gods and I don’t see any war being stopped.”

Issei sighed and opened his eyes, meeting Bokuto’s and Kuroo’s sharp forms. “I’m dead. There’s nothing else I can do.”

“You are more stupid than I thought if you believe that to be true,” Kuroo mocked him and Issei had to take his gaze away, the memory of this winged god and his rage still too painful to face. “You have a duty, Issei, and you accepted it openly.”

“Because you guilt-tripped me into it,” Issei accused him, loyalty and betrayal mixing themselves inside his dead soul in a dangerous cocktail. “I thought we were friends but you knowingly sent me south to die.”

“You knowingly let your kind kill us for as long as you lived, even when you claim to love us,” Kuroo pushed back and Issei knew he was right the same way Issei was.

There’s no way to win this fight because we are both right and both wrong, Issei realised, but either way, that didn’t change the fact he was still here and he was still dead.

“He’s not gonna let you die yet, Issei,” Bokuto warned him with a soft smile.

“Who?”

“You know who,” both of them replied and Issei knew, because he always knew, damn it.

The forest was gone the next second, the warmth of the sun forgotten, the valleys of home still far away up north. There was cold earth behind his back and a fire on his front when he came back to life.

He felt like dying, but he knew he was not that lucky.

Issei tried to breath in deeply, fighting a death he wanted so badly he was even scared of himself, and a sharp edge found his Adam’s apple on the way. Issei’s loss of blood had taken all his heat and he was trembling uncontrollably. The knife stone cut through his skin without even trying.

“Who are you,” Issei heard someone growl and he fought, he fought to get away from death’s grip and come back, to see that voice, to cherish that voice, to touch that voice. He inhaled and tried again, and again the knife found his skin and more of his blood got lost on the night and into that magic ground, into that sacred forest. “Why did you save me, huh?”

“Takahiro, just kill him,” that other voice was heavier and it hurt Issei in some instinct and forgotten part inside himself. He tried to open his eyes, and again he failed.

“Why did you save me?!” It was rushed and anguished, and Issei wanted to take that voice and put it in a jar. “You should have let me kill them all and for that, you will die.”

Issei opened his eyes to that promise. Hope was a strange thing when it was looking back at you with the rage of revenge.

“You are beautiful,” Issei coughed, half here half in the other world, but there was power in his words, because even being half dead they were the truest thing he had felt in a long while. He meant to say so much more; explain the beauty of his existence, the meaning Issei thought to understand when he gazed at him, fate and destiny and sorrow and wars. Issei wanted to tell him all the truths that were hidden on that statement, but there was no strength anymore to convey all those thoughts he wanted to share so badly. And so the Fox Prince stood there, a knife against Issei’s throat, and watched him faint away, with the simplest of compliments still ringing in his ears.

It was hard for a miracle to face truth and honesty. It was even harder for a miracle built for war and fighting to totally accept such a weird truth. The Fox Prince stood above Issei, watching him go deep into feverish unconsciousness, and blushed red as the sky at sunset.

Miracles didn’t know what to do with simple truths, so the Fox Prince didn’t kill Issei. He took his knife away and he forced his breathing to even. He took one of his brothers and put the dead man on his back without a word, and when the foxes complained about the weirdness of his actions, the Fox Prince said nothing, because his words had died the same way Issei seemed to.

When Hanamaki Takahiro took a dead man and carried his weight across sacred land, the world shifted. It was imperceptible, a change of light in the night sky. No one noticed, because the only one who could see the truth was still bleeding out, and the miracle who had made it possible was unable to see anything beyond his own beliefs.

But the world changed that night.

Because a soldier of humanity decided to save a holy life.

And an angry soldier of the gods returned the favour.

#hq ghibli zine #gods and monsters #matsuhana #hanamaki takahiro #matsukawa issei #tfp #the fox prince #fanfiction #fanfic #writing #zine

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