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#i really don't like studying

starcurtain · 17 days

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Female Guidance in Aventurine's Life

One thing I haven't seen discussed in much depth yet, but which I think is especially interesting, is the consistency of female guidance in Aventurine's life: Every single person who we have seen on screen offering Aventurine assistance or making a positive difference in his life is female (with one exception, yes, I'll get there).

Under the read more cause it's longggg:

Before even diving into his family, let's just get the obvious out of the way: Aventurine is, at least supposedly, blessed by a goddess. The very origin of his good fortune--be it actual blessing or curse--comes from the literal "mother goddess" who watches over him. This is one of the only instances in Star Rail where a god character is specifically given a gender, and Gaiathra is not ever ambiguous. She is the classic female fertility goddess with all the trappings of other famous triple goddess figures of the real world. Aventurine's personal belief in the goddess may be shaky, but he nevertheless continues to treasure his people's faith. Thus, at the core, we can say Aventurine is a character who is guarded by the most quintessential mother figure possible.

Now, with the most obvious out of the way:

We know that Aventurine's father died before Aventurine was even born, and therefore he would not have any memories of his father, leaving him to be raised by his mother and sister.

Both women clearly made an enormous and lasting impression on Aventurine; they haunt every single one of his memories of Sigonia and are the key elements of the family Aventurine longs to return to. While he flirts with the concept of death as a way to see his family members again, it was also his mother and sister who instilled in him any sense of self-worth and meaning to his existence, the only things keeping him from giving up on living. His mother believed him to be blessed; his sister insisted to his face that not even the only remaining remnant of their mother had any value in comparison to his life.

It is for his sister that Aventurine first begins expressing a self-sacrificial nature, and from his sister that this self-sacrifice is reinforced when she uses herself as a shield to help him escape massacre at the hands of the Katicans.

It is also from his sister that Aventurine learns many of the deeply meaningful actions he holds onto to the present day, despite having been so far removed from his own culture.

Conversely, every one of Aventurine's early negative experiences on screen appear to have been driven (at least primarily) by men.

Although the Katican tribe of course would have both men and women, the tribal societies on Sigonia appear to be on the fairly traditional side, with Aventurine's mother staying at the camp with her child while his father was the one to go out and hunt for offerings for Gaiathra. This is also supported by Aventurine asking Jade to take him to her "chief" later on. Therefore, it is likely (although of course not guaranteed) that a majority of the Katicans' army was male, and that Aventurine's early experiences with outsiders consisted almost entirely of indiscriminate pillaging and massacre at the hands of what the Avgin viewed as savage, invading warriors. In separate instances, Aventurine was traumatized by these warrior figures three times--first with the loss of his father, then his mother, and then finally his sister.

And even their hope, supposed to come in the form of the "men in black" from the IPC, completely abandoned them, leaving Aventurine once again betrayed by masculine figures that were supposed to be there to protect him. Led by Oswaldo Schneider, another cruel male authority figure, the Marketing Department of the IPC permitted the wholesale slaughter of Aventurine's people--something which we know Aventurine is now aware of.

Then, of course, the next piece of Aventurine's backstory we're given is his male slave master. I don't really need to say anything about this, do I? This man violated Aventurine's human dignity and bodily autonomy, and forced Aventurine's hand in a life or death battle for which Aventurine still punishes himself mentally, even years in the future.

In part to escape the difficulty of his situation and rise to a position where he would have enough resources to--he thought--help his people, Aventurine joins up with the IPC. But when he attempts to make contact with a powerful man in the organization, Diamond, he is instead met by a woman, Jade, who against Aventurine's own expectations determines that she will raise Aventurine up (or use him as a tool, depending on how you currently choose to interpret Jade's motivations), granting him wealth and status beyond his imagination.

(And this line in particular is interesting, because you can take it one of two ways: 1) Aventurine comes from a patriarchal planet that traditionally put men into positions of power [thereby making his own slavery an emasculating act, aligning him further with disenfranchised women]; thus, he is making the assumption that to get anywhere in this organization, he will need to work with a man; or 2) He actually was counting on Jade taking his bet and helping him right from the beginning, because Aventurine perceives women as inherently more likely to protect and aid him than men would be.)

In the end, Jade does exactly as she claims she will, launching Aventurine into a position of power while also closing golden handcuffs around his wrists. She positions herself not only as his supervisor, but as his advocate and ally. She entrusts him with her Cornerstone, a sign of significant faith in his abilities. She even seems to be keenly aware of his bias towards the mother figure, referring to him as "child" in their conversations.

Whether this is genuine or a manipulation tactic can certainly be debated (and I'm not inclined to think at this point that Jade is a genuinely good role model or selflessly supportive person in Aventurine's life), but whatever the case, women are the only people Aventurine even remotely considers to be "in his corner."

We see this even earlier, in Aventurine's call to Topaz. Like with the example of his mother and sister, Aventurine trusts in Topaz's ability implicitly, and considers her above anyone else when it comes to completing the mission in Penacony.

Although of course we don't know if Aventurine has any other friends or allies among the Strategic Investment Department, it seems very likely that Topaz, yet another woman, is the one he is closest with. At the very least, she is the only IPC character (so far) that Aventurine has a complimentary voice line for, one that shows his respect for her talent:

Over and over again, the story aligns Aventurine with female figures in positions of authority, and demonstrates that he is comfortable (although maybe not too comfortable, in the case of Jade) with relying on them and trusting their judgment, just as he did with his mother and sister.

And this pretty much goes off the charts in Penacony, where Aventurine has more involvement with the female cast than virtually any other non-female character (even the Trailblazer!). We set the pattern off right away, with Aventurine immediately being placed into a negotiation situation with Himeko, respecting her role as the Express's leader and working to get himself aligned with the Express by acquiescing to her request for support.

Then there's the fact that Aventurine is the one who finds Robin's body, an event which, although he didn't let it show too much, was almost certainly traumatic for him, given the violent death of his own sister.

Next, twice in Penacony's story, we see Aventurine seek out Sparkle for information. He may not personally like her and her comments may be both racist and dehumanizing, but Aventurine does rely on her--being the only character explicitly seeking her aid, which no one else in Penacony seems to want.

In 2.0...

And in 2.1.

Now, say it with me, guys: Aventurine built an entire portion of his grand plan around the idea that if he looked pathetic enough, a female character would absolutely come and help him. And sure enough, the women come through for him, always! Sparkle gives him the exact last clue he needs to confirm his belief that he could use "Death" to reach the true Penacony, sealing the deal for the rest of his plan.

His plan which also hinged significantly on Black Swan's involvement too, another woman that he views as, if not trustworthy, then at least intelligent and hyper-competent.

Contrast all this, of course, with the treatment Aventurine receives at the hands of Sunday, the lone opposing male character he faces in Penacony.

Sparkle implies that Sunday would humiliate Aventurine in an unmistakably sexual and degrading way, and Sunday himself professes this same desire to see Aventurine humiliated.

Then we're "treated" to the moment in which Sunday uses the Harmony's (or perhaps actually the Order's?) power against Aventurine, in a scene which is supposed to reflect an interrogation but is also, very clearly, another nonconsensual violation of Aventurine's bodily autonomy and dignity by a man. While ostensibly seeking confirmation of the Cornerstone ruse, Sunday instead subjects Aventurine to unnecessary questions about his past on Sigonia, which recall and force Aventurine to re-endure memories of his trauma.

Even if this is what Aventurine prepared himself for and planned to have happen, the pain he experiences is very real, and he suffers both the physical and emotional consequences of Sunday's assault all the way up to his "Death" and possibly even beyond.

(Also, Sunday fans please don't get too up in arms with me for this; I also like Sunday! It's okay for characters to be morally grey!)

I think there's one other interesting example I would bring up here too, and that's Aventurine's conscious decision to weaponize his own masculinity against the Trailblazer. Through the 2.0 and 2.1 Trailblaze missions, Aventurine deliberately acts in an off-putting manner to the Astral Express crew, particularly the Trailblazer, in order to build up to the 2.1 climax where the Trailblazer is supposed to view him as an unrepentant villain and attack him without hesitation.

In order to achieve this uncomfortable, villainous effect, what does Aventurine do? Exactly what other men have done to him.

This is especially apparent if you're playing Stelle because of the ingrained societal taboo of a man entering a woman's personal space without consent, but even as Caelus, it is very clear that Aventurine is leveraging behaviors typically used to show dominance: In a complete 180 to all Aventurine's other body language in the game (normally quite withdrawn, frequently in defensive postures with his arms crossed or hand behind his back, almost always standing several feet away from other people), Aventurine violates the Trailblazer's personal bubble, looming over them (Caelus was sitting in this cutscene, lol), forcing eye contact, and commanding the space while informing them that they will have no choice.

For someone who was hunted, enslaved, had his movements restricted with chains, and due to his own slight stature has very likely been towered over by others who were intentionally asserting their power over him all his life, it is clear that Aventurine associates dominant, typically more masculine-coded physically-imposing behaviors with discomfort and even villainy.

Any girl who has ever had a man loom over her like this will realize very quickly: Aventurine wanted to make himself scary so he made himself act more like a bad man.

(Yes of course I know "not all men." I'm not saying every man behaves in this domineering way or that women cannot be domineering too, obviously, just that Aventurine had a very specific image in mind when constructing a "villainous persona," and the physically controlling tactics most typically used by aggressive men toward women was his immediate go-to.)

But where does that leave Dr. Ratio, the one male character actually on Aventurine's side?

Frankly, I don't want to derail my post about how intensely Hoyo chose to hammer on the message of "Women will protect you" in Aventurine's story with a discussion about a mlm ship, but the take-away here is going to lead in that direction anyway--so yes, Dr. Ratio is the exception.

What is interesting is that he does not come across as an exception at first, and in fact initially appears as another male character being rude and dismissive to Aventurine. Like, there are still people out there calling Ratio an unrepentant racist for this one.

Of course, it's later clarified that this is an act--likely even these insults were scripted specifically to give Sunday's spying ears the "insight" he needed to exploit Aventurine during the interrogation.

But even though it is an act, Aventurine still has noticeable trouble putting his faith in Ratio. He does genuinely doubt him a few times, despite knowing that they are working together to fool the Family.

Even his voice line about Ratio confirms that he doesn't think Ratio particularly cares for him; rather, he thinks Ratio simply tolerates him because he's slightly less unintelligent than those around them.

Ultimately, the entire act with Ratio ends up being a mirror of the real scenarios Aventurine has been experiencing with men his whole life (at least as far as we are shown his life). Men abandon him to fend for himself (unwillingly, like his father, or willingly, like Diamond leaving Aventurine to deal with Penacony alone on the inside). Ratio keeps leaving Aventurine completely alone. Men attempt to humiliate him and violate his boundaries (like Sunday and his slave master). Ratio insults Aventurine's appearance and intelligence repeatedly. Men betray him (like Oswaldo Schneider and his men leaving the Avgin to die). Ratio "betrays" him.

I'm not saying when Aventurine devised the plan for their act, he consciously drew up a list of all the ways men had hurt him in the past and had Ratio re-enact them one by one, but like... that's what happened, whether or not Aventurine intended it.

And okay, the shrinking scene in Dewlight Pavilion was just for fun and probably only slightly fetishy, the devs promise; yes, it was supposed to be a joke! ...But it's also not a mistake that this is yet another instance of a male character in a glaringly metaphorical position of power over Aventurine. Aventurine's tiny in this scene! He's completely vulnerable! He's in a dangerous position and the male character could very much hurt him in this moment.

But Ratio doesn't. (In fact, his line here is supposed to be sarcastic, very ha ha--but also, what is Ratio really saying? "I won't do anything to you without your express consent." What a good guy.)

Virtually everything negative that we see in 2.1 is Ratio doing these things as an act at Aventurine's own request. He doesn't actually disdain Aventurine; his own voiceline about Aventurine reinforces that he sees Aventurine as talented and intelligent.

Whatever you think he was apologizing for in their early scene, he's the only person we're ever shown in-game apologizing to Aventurine at all.

He worked hard to "betray" Aventurine but only as he was instructed to do, and immediately checks in on Aventurine's well-being afterward, even urging him to give up the plan if it becomes too much to handle.

And then, of course, there's the note: "Do stay alive. I wish you the best of luck."

After this point, it cannot be denied that Ratio is unequivocally on Aventurine's side, wants to help him, and is not doing so out of any sense of self-gain but largely because he is a good person who simply cares about Aventurine's fate. By the end of 2.1, it can no longer be doubted that Ratio is the exception to the "gender rule" of Aventurine's life, which--the story shows us again and again--was that guidance, protection, and care for Aventurine come from women, while men repeatedly represent dismissal, betrayal, or pain.

Ratio is, at least as far as Aventurine's story shows us, the proof that men can be good, that things are not as black and white in Aventurine's life as they might appear, and that--if you do choose to ship him with or see Aventurine as attracted to men--his attraction could be validated (and potentially reciprocated) by a male figure who would not bring additional harm to Aventurine's life. Aventurine makes the final decision to live after seeing Ratio's note--the exception to the rule ultimately proves to be the last piece needed to keep him alive.

But I promised I wasn't going to derail my own post about w o m e n, so let me get to the final point, and the one I really wanted to talk about: Although Ratio gets virtually all the credit for "saving" Aventurine in the fandom, Aventurine was actually saved by, you guessed it, another woman.

Not going to lie, the reason I started this post was specifically because I wanted to talk about how Acheron and Aventurine's dynamic was completely unexpected but actually fits flawlessly with the theme of feminine guidance in Aventurine's story.

Despite the fact that Aventurine made Acheron's life much harder and actively used her as a chip in his grand gamble, she doesn't blame or chastise him for those actions. Although she expresses some incredulity that Aventurine is actually that lucky, she then turns around and congratulations him for his ingenuity, immediately supporting him despite the fact that they don't even truly know each other.

Then it gets even more interesting. Acheron, who frequently hits her companions with deep and sometimes very emotionally fraught questions, asks Aventurine: "Have you never wavered?"

We as players know for a fact that Aventurine is constantly wavering, constantly doubting himself, his luck, and whether he'll even live--or even wants to live--to see tomorrow. But we also know that Aventurine is not forthcoming about those truths, refusing to express them to anyone, even himself. The only way we hear those dark truths is through his "future" self (who by the way, is once again another male figure cutting Aventurine down--of course it's himself but it's also, from the player's perspective, once again reinforcing the message that he isn't going to find safety or kindness in an adult male presence). Aventurine almost constantly deflects and diverts when his emotions or struggles are brought to the fore (unless he's divulging them for the specific purpose of allowing someone else to weaponize them). "I'm fine," he says, like a lying liar who lies.

But he doesn't lie to Acheron.

He chooses to be completely candid with her, to lance open the deepest wound of his life--that he can win and win and win and still have lost everything. The glitz and the glamour has all been stripped away here, at the end of everything, and Aventurine finally feels safe enough to admit that he fears he has absolutely nothing in his life worth living for.

And then, we get this direct parallel: Aventurine looks to Acheron, the woman now before him, for guidance, for explanation, exactly as he looked to his sister in the past.

He needs help, he needs answers, and he is continually seeking that help from the female figures in his life, whose support and kindness echo the lost care of his mother and sister.

"Go where you should be," Acheron tells Aventurine, guiding him across the river of death just as his sister insisted that he flee through the rain toward life.

Look guys, Acheron's even the one who reminds Aventurine to look at Ratio's note in the first place because apparently being an emanator of Nihility gives you x-ray vision, but my girl just gets no credit at all for being Aventurine's real savior, come on now!! Yes, Ratio's note was the final reminder Aventurine needed that someone would be waiting for him on the other side, but Aventurine would never have even gotten to the point of being willing to read that note if Acheron hadn't stepped in and provided him an answer to his question.

She feeds him back his own answer: "Why does life slumber? To rehearse the death for which we are not currently prepared." It is Acheron who reminds Aventurine that giving into the Nihility is pointless, and that rather than simply embracing a meaningless death, it is up to humanity itself to find and make meaning by living. It's this, not Ratio's note, that Aventurine gives as his reason for choosing to go on when asked by his own younger self. It's Acheron's words that finally give Aventurine an answer--why do we live just to die? Because there are people we can still make proud. Because when we go into death, we should do so with our heads held high, having achieved our own sense of purpose in this life.

Ratio gave Aventurine a promise: Someone is waiting for you to come back.

But Acheron gave Aventurine a reason: If life is inherently meaningless, doesn't that just mean you are free to give it meaning yourself?

She saved him, as women have been saving him all his life.

Anyway, this has already been horrendously long, but really what I wanted to say is that I think it is absolutely fascinating how consistent Aventurine's writing is when it comes to portraying where his support comes from and who he seeks guidance from. (Psst, just in case you still haven't figured it out, it's women!) In virtually every instance we are shown, we see the message reinforced that women are Aventurine's greatest allies and role models, while male figures are continually positioned to intentionally or unintentionally let him down and cause him distress.

"But women playing the supporting role to a male character is nothing new, Star, why are you so excited by this?"

Because the role women are playing in Aventurine's life is not the subservient supporter and emotional crutch role that female characters all too often play to male counterparts. None of the women in Penacony or Aventurine's past were there to do the emotional labor for him, to be a trophy or prize, or to cater to his needs. They don't exist solely to help him fulfill his character motivations; they aren't following him around waiting for his next request as their only role in the plot.

Instead, with Aventurine's story, we almost have an inversion of gender roles, where the male character eschews the stereotypical "men are leaders, fighters, and stoic heroes" archetype. Instead, no matter how hard he tries to hide it and keep a stiff upper lip, it is clear from 2.0-2.1's story that Aventurine is a deeply insecure, lonely, and explicitly traumatized survivor of genocide, slavery, and exploitation. Unlike most male characters, who are very rarely portrayed as genuine victims--because come on, shouldn't men be strong enough to fight back? Shouldn't men be able to shrug it off when they are hurt, emotionally or physically? (Of course I'm rolling my eyes here!)--Aventurine is belittled, humiliated, emasculated, and victimized on-screen, roles almost exclusively reserved for women, for whom surviving victimization in fiction is seen as noble.

Meanwhile, the women in Aventurine's life take on the roles traditionally given to male characters. They're both emotionally and physically his protectors. Aventurine's sister gave her life to guard his safety; Acheron ensured he could safely pass beyond the river of Nihility into the Primordial Dreamscape. They give him the tools necessary to succeed where he could not succeed on his own. His plan could never have gotten off the ground without Topaz and Jade entrusting their Cornerstones to him. The knowledge and capabilities of the women around him--not their "feminine charms"--are what allow them to help keep Aventurine on the right path even though he does waver. Even women who disrespect him, like Sparkle, still play a positive role in his life, able to provide him insight gained with their own intellect and talents.

When he has no one to rely on and doesn't know what to do, Aventurine is able to continually turn to the women around him, asking for and receiving not servitude or fawning, but their genuine wisdom and guidance.

tl;dr: If nobody else has him, Aventurine knows this random woman he met two minutes ago on the street will have him, because the women in his life literally never let him down.

(It's just so, so good, and ultimately, it should be very clear why Aventurine's story is as popular with women as it is! A+, Hoyo!)

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totally-italy · 1 month

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Wherefore dost motivation hold deep hatred for me?

As the heading probably implies, I am currently lacking a lot of motivation, which is truly sub-optimal because I literally have my Italian GCSEs this week and I literally have not revised. Moreover, my End of Years are fast approaching and I have my French GCSEs in three week's time. Help.

Consequentially, even though my history teacher still refuses to believe that it is a word, I have decided to turn this into one of those posts where my dopamine literally just relies on the number of notes that I recieve. As promised, @the-red-planet-mars, the floor is yours you have been tagged.

Rules:

Please don't spam the comment section.

You can tag a maximum of 5 people.

Please don't spam reblog.

10 notes: I will actually plan my English homework so that I can then do it without having to ask for an extension. It is due on the day on which I have two of my Italian papers.

15 notes: I will update my 'Aeneid' notes so that my virtual document is up to date with the translations that we have done in class. I should technically also revise the themes and how Juno is portrayed, but we don't talk about that right now.

20 notes: If I haven't done this yet, I will create both a Spanish Quizlet with all the vocabulary I need to learn and I will create a Latin one for all the vocabulary from 'The Aeneid' that I need to know.

25 notes: I will plan, in English, different things that I could say for the picture for my French IGCSE oral. Also, this is a picture I will be using for my Spanish End of Years, so that is doubly helpful.

30 notes: I will do an Italian listening paper though I will listen to it at a faster speed than what is asked because otherwise I will literally get so bored and lose all will to live.

45 notes: I will finish researching Virgil and the historical context.

60 notes: I will practice Latin and Greek vocabulary on Quizlet every day after this week, for at least 10 minutes each day for each language.

75 notes: I really need to do this. I will make a poster with how to form different tenses in Italian.

100 notes: I will do an Italian Writing practice paper. This is going to cause me so much suffering. Help me.

120 notes: I will actually write down different expressions, including idomatic phrases, that I could use to describe the picture for my French IGCSE oral.

130 notes: I will make physics notes on energy.

140 notes: I will make notes on quantitative chemistry.

150 notes: I will make a poster with how to form different tenses in French.

155 notes: I will watch the AQA videos on the Cold War and make notes on them.

170 notes: I will do a practice Spanish listening paper.

200 notes: I will practice Latin and Greek vocabulary on Quizlet every day after this week, for at least 30 minutes each day for each language, including a written vocabulary test.

230 notes: I will do a practice Spanish reading and writing paper.

250 notes: I will do a practice Latin translation and ask my teacher if she happens to have a mark scheme.

270 notes: I will do a practice Greek translation and ask my teacher if she happens to have a mark scheme.

300 notes: I will finish my RSP notes on Crime and Punishment.

350 notes: I finish my Biology notes on reproduction.

380 notes: I will finish my RSP notes on Religion and Life.

430 notes: I will look through my history notes on Germany and finish them in accordance to the AQA book.

520 notes: I will do a practice Greek language paper.

530 notes: I will do a practice Latin language paper.

605 notes: I will actually write down different expressions, including idomatic phrases, that I could use to describe the picture for my Spanish End of Year oral.

720 notes: I will finish my RSP notes on Buddhism.

850 notes: I will make full notes on the Cold War.

Honestly, if you have even bothered to read through all of these, you have absolutely earned more respect that I thought I was capable of giving to a single human being. I technically have a lot more things I should do, including re-reading Things Fall Apart and actually making complete maths notes, as well as notes for the sciences, but I doubt I will never get this many tags anyway.

Edit: It has been five minutes and I already got 14 notes. I am actually terrified of this site. What in Tartarus? Y'all are crazy and I love you so much.

#Good luck #You guys are never going to manage this #I really need the motivation but there are some things that I really don't want to do #Studying is so hard #If you guys happen to have any tips #Do feel free to put them in the comments #Unfortunately #Those count as notes so you would actually be helping #Thank you in advance #I feel like this will never work #But we shall see #l'italiana parla #I'm scheduling this so that it sends after lunch #I need to go and eat now #I also have a couple of pieces of homework to quickly do #Oops

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la-pheacienne · 1 month

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George Martin, 2013: "In a very basic level winter is coming for all of us. I think that’s one of the things that art is concerned with: the awareness of our own mortality. “Valar morghulis” – “All men must die”. That shadow lies over our world and will until medical science gives us all immortality… but I don’t think it makes it necessarily a pessimistic world. Not any more pessimistic than the real world we live in. We’re here for a short time and we should be conscious of our own mortality, but the important thing is that love, compassion and empathy with other human beings is still possible. Laughter is still possible! Even laughter in the face of death… The struggle to make the world a better place… We have things like war, murder and rape… horrible things that still exist, but we don’t have to accept them, we can fight the good fight. The fight to eliminate those things.There is darkness in the world, but I don’t think we necessarily need to give way to despair. One of the great things that Tolkien says in Lord of The Rings is “despair is the ultimate crime”. That’s the ultimate failing of Denethor, the Steward of Gondor, that he despairs of ever being able to defeat Sauron. We should not despair. We should not go gentle into that good night".

JRR Tolkien, 1962 : "One reviewer once said, this is a jolly jolly book, all the right boys come home [...]- this isn't true of course, he can't have read the story. [...] Human stories are practically always about one thing, really, aren't they? Death. The inevitability of death. . . . . . (He quotes Simone de Beauvoir) 'There is no such thing as a natural death. Nothing that ever happens to man is natural, since his presence calls the whole world into question. All men must die, but for every man his death is an accident, and even if he knows it he would sense to it an unjustifiable violation.' Well, you may agree with the words or not, but those are the key spring of The Lord Of The Rings".

"Lotr is all rainbows and unicorns and Asoiaf is nihilistic and grimdark". Wrong, and wrong. In all its hope and radiance, lotr often gets very dark, and despite all the death and suffering, the hopeful moments in asoiaf shine bright. The meeting point of these two is this: having hope while in despair, and even better, refusing to give up because you have to go on despite not having any hope left.

#the fact that in possibly his most famous interview tolkien literally quotes 'all men must die' LIKE #GEORGE #I SEE U #you have studied the Professor really hard grandpa just speak your truth free urself!#don't get me wrong for me the Professor will always and forever take precedence there is absolutely no question about it BUT ALSO #stop pitting two bad bitches against eachother!!#i think about all of these a normal amount #and this is why i'll never lead a normal life #ridiculously long post #i must say i cried a little when i read them all back to back #especially the last sam quote #lotr #valyrianscrolls #tolkien #tolkien quotes #asoiaf quotes #lord of the rings #the hobbit #aspa reads tolkien #aragorn #frodo baggins #sam gamgee #bilbo baggins #brienne of tarth #jon snow #jaime lannister #bran stark #daenerys targaryen #lotr x asoiaf parallels

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darkshrimpemotions · 10 months

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The way people hate on the Mary arc of later seasons like "why did Dean have to lose his image of his mom" that was the POINT. Like??? That image he had of his mom was never real! Nobody is that perfect, least of all a traumatized hunter kid who was orphaned at 19 and made a desperate deal to save at least ONE person she lost so she wouldn't be completely alone in the world. The Mary Dean knew and idolized was a fiction cobbled together from grief and a four-year-old's hazy memories. She wasn't real!

And the loss of her is where it all started. All Dean's trauma. All of his hangups and issues and fears began the night Mary died. And to some extent I don't think healing was possible until he fully grappled with the fact that his mom was just a PERSON. Not a saint on a pedestal he should worship and sacrifice everything for and could never live up to.

Like!!! Sooooo many of Dean's Issues started with her death and the way John turned her into a martyred saint to justify his actions. Dean was mourning for a woman who didn't even exist and an idea of a perfect life he never would have had! His "perfect mom?" Their "perfect family?" Never. Existed. That's literally the point. He was never going to be able to love any life he could have if he was always comparing it to some impossible idea of perfection that was never even possible.

Sorry but Amara was right, he needed that false idol to be shattered.

#supernatural #dean winchester #mary winchester #mothermartyrsaint #dead mom trope #dean studies #best damn thing the show ever did and people would really rather mary stayed dead and sainted #like if that doesn't fully sum up the spn fandom's overall issue with women i don't know WHAT does

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ubepan · 4 months

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mithrun thought of his lover as someone who's "untrustworthy". he looked down at her too, if this is anything to go by

she's a naga for ALL panels she's in with mithrun--you'd think if he wanted her to feel real, she'd atleast have been a doppelganger or something but she's been a chimera for most of the times we've seen her. mithrun's been dungeon lord for 5 years of his life, and his supposed lover has been a chimera for . probably all of it.

also consider: kabru is spinning the narrative about mithrun's time as a dungeon lord into something Laios can comprehend. i think that's critical. kabru says “his life in the dungeon couldn't have been happier” and i think he's being literal. there's little happiness in living in a lie, and personally—mithrun's expression here is pretty telling

is this anything

#like i genuinely don't think he loved her as much as fanon is making it out to be #i really think. and stay with me. that he only wanted her to be His so that his brother doesnt get to have her #misiril said his dungeon reeked of his complexes so thats where im going with this #<- not verbatim #dungeon meshi #mithrun #at most mithrun never loved his ex at least he's never loved someone without his complex getting in the mix #at the VERY least mithrun was (mentally) unstable. in canary scale he'd already be at dungeon level 4 from the start with his naga lover #feel free to add anything to this or counter it even! i may have missed something but this is just how i interpreted it all #would this count as a character study . idek

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sergeifyodorov · 4 months

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i’m in desperate need for a scholar to undertake the jhughes thesis

Jack Hughes has all the arrogance of a true American superstar, but none of the vulnerability. Jack Hughes has all the grace of an undersized, injury-prone forward, but none of the caution. Jack Hughes has all of the social status of a chosen one, but none of the leadership.

jack hughes is a middle child and despite my own lack of siblings i can Definitely tell -- the vicious competitive drive that made him become that good. quinn takes his stick and pulls out jack's braces. as much as the endless hughes brothers fascination can totally grate and i Get That you HAVE to look at each of these three as once part of a unit (especially Luke because he was drafted after Jack, and to his team -- he will only ever be in Jack's shadow, unless one day one of them leaves).

the hugheses are not a huge family -- that is, not a family of very large people -- and they've made a name for themselves as smooth-skating, agile skill players in spite of that, or perhaps to make up for it. jack as a result is notably smaller than a lot of other players both on the devils and in the league and you can Just Tell he's insecure about it. the skill his hughesness afforded him has made him better than other players his age when they were All small and size was less of an issue. when he wasn't so much of a boy among men. it was for this reason he was picked first overall, you see. when he made the NHL he was suddenly confronted by a faster game, of players who could and did just knock him to his ass, and he was suddenly thrust into a world where he wasn't the biggest fish in the usntdp pond and it threw him.

you see, that's another thing. skill in hockey means social status. they like to tell you that it doesn't, but there's a reason that the captain's most likely to be one of the best players on the team, if not outright the best. and in the usntdp jack was The Best. so he was made captain. so his teammates flocked to him. so it was allowed to all go to his head, so caufield and zegras -- the cady and gretchen to his regina george, and i don't mean that in a fun way -- congregated to him.

and now on the devils he might be the star but he's not the captain and because hockey players are Supposed to love their teammates he loves nico but nico's bigger than him and nicer than him and can grow real body hair. and jack's the darling of every teenage-girl devils fan, a fact which i understand and have minimal opinion on but fifty-fifty he either soaks up attention from or resents, or possibly both.

so yeah he's a greasy insecure uncharismatic controlling arrogant frat boy, and because he has a cute perfect smile and scores PPG people love him, and because he is not the archetype of the ubermasculine hockey superstar he believes that he is barely clinging to this thread. and i love him too don't get that mixed up

#asks #jack hughes #in this context love of course means Let Me Study Him Like The Bug... interesting > perfect #but i digress #like i don't think his problem could be exactly described as nico envy #but it's not not nico envy. he's envious of what nico represents more than nico himself really #also he is an IDIOT like im sorry dr lexi brown i understand many hockey players can read. i dont think he's one of em

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paint-it-red-and-black · 7 months

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"oh, Charles, you're such an angel."

Max hears it often. he picks up the phrases chirped by the girls around. it was said by fans, PR managers and once he had even heard it from a Ferrari mechanic. and Max totally and utterly disagrees.

Charles is no angel. on and off the track.

he is a bloody menace.

because angels don't look like that. with a slight squint when there's a storm brewing in the depths of green eyes in the middle of a sunny day.

angels don't get so angry you're afraid to approach. angels don't hold grudges. angels are quick to forgive.

angels don't smile like that. smirking, a little arrogant, covering it with their innocence. and showing a little of the soft tip of the tongue between their teeth.

angels are measured. they take their time. they are neat and tidy. they never make a mess of crumpled sheets and clothes.

angels are gentle. angels never squeeze skin until it bruises, bite until it darkens, or pull hair so hard it brings tears to the eyes.

and even more so, angels don't moan. not painfully, but sweetly, like melted chocolate with marzipan that leaves marks on your fingers. hot. frank. naked. absolutely wasted.

angels don't expose their necks, don't bare collarbones, giving more space for someone’s lips to leave marks.

angels don't press closer, scratching back until it’s bleeding. angels don’t choke on passion and never create their own.

but he falls asleep in the most angelic way. with his nose against Max's neck and the blanket pulled up to his eyes. he throws an arm and a leg over the body next to him, pulls closer, smiles warmly, and lowers his long fluffy eyelashes.

people easily fall for it.

"oh, Charles, you're such an angel."

but Max knows that Charles isn't an angel at all. he's a real demon in the flesh. but it's much easier to love him like that.