#there are a lot of interesting things to explore on a meta level

[this-acuteneurosis]

So Im all here for the Pretty Ladies who dress nicely doing all the politics, wonderful court intrigue right here, are we gonna talk about in the back ground the majority known Male characters are in War killing dying thing? this story IS about the back room deals and others as main setting, (although we should tease you about dodging the wars in Star Wars sometimes just as a little poke.) curious cause the 4 main Male politco 2 are enemies in Rush and Palps. Kamino had a fem evil Senator! use??

Who wants to talk about ✨🌈Palpatine🌈✨!

There haven't been a lot of opportunities to talk about the structure and the influence of our main villain textually in the story, because Leia is kinda blind to her own bias, and also a lot of stuff that I have as part of his character just...doesn't come up.

So, keep two things in mind as I talk about DLB Chancellor Sheev Palpatine and pull back the curtain just a little.

His character is coming pretty exclusively from the OT and PT movies (with minor exceptions).

I'm taking advantage of a lot of silences and time period circumstances to draw conclusions about his character, so don't be surprised if I say something that isn't said out loud at some point.

Ready? Let's go!!

The OT features an overabundance of male humans in positions of power in Palpatine's government. This may have been balanced out slightly by novels that I haven't read or newer shows that I haven't watched, but the people Palps promoted to his special seats of power (Moffs, military leaders) are overwhelming human men. If we stretch canon to include the two Clone Wars cartoon series, the only women brought into Palpatine's plots are brought in by Dooku or other associates, not Palpatine himself. Of the three apprentices Palpatine has, two are human and one is humanoid.

I don't think I'm breaking anyone's brain to assert that Palpatine is sexist and racist. I know I'm not the first person to suggest or write this sort of character.

What I'm going to assert, beyond those points, is that Palpatine is only really impressed with himself, and assumes that anyone lacking qualities that he has is progressively less useful and important than him. So he's also, for lack of a better word, Force-ist.

(Ugh, nope. I still don't like it, but I don't have anything else.)

Palpatine absolutely has loyalists and panderers that are women. But as far as DLB is concerned, he's not promoting them, searching them out, or impressed by them. So women are going to be antagonists in this story more incidentally. On a small scale. Major antagonists are going to end up frequently being male and human. And I'm not going to try and change that.

Only tangentially related, but a little important because Leia comes into the Senate through Padmé's office, because of the prejudices listed above, I will pretty much die on the hill that Palpatine loathes Padmé. And he really loathes that he loathes her. That he has to have any feelings about her at all.

She's young. She's a girl. She isn't Force sensitive. He plucked her out and carefully curated her early political experience and was probably violently influential in her success in getting elected the first time. He had a tiny, fragile, 14 year old stumbling under the weight of the crown, ready to start his civil war and initiate the end of the Republic. She gets him elected. His plan is flawless.

Until it turns out that she has a spine, and humility. She has the courage to face danger and the grace to bow to another sovereign power. She trusts Jar Jar Binks when he suggests that the gungans have an army. Like this is somehow a viable plan for taking back her people, when Jar Jar isn't even slightly popular or powerful.

And she wins. Palpatine loses Maul, he loses Naboo, and he loses the opportunity to start a war. She sets him back a solid decade, at 14. On a hope and a the thinnest apology.

DLB isn't so much about creating a perfectly equitable Star Wars universe. I'm not equipped for that, and it wasn't the goal. This story is about a bunch of ladies doing politics and kicking Palpatine's plans to the curb because he was always vulnerable to the people he dismissed the most.

Palpatine's plans had the Jedi and the Senate in a steel trap of lose-lose situations. But he loses, over and over, to kindness, compassion, forgiveness, and diplomacy. He's stymied by it. He literally can't plan for it. I've had all sorts of fun having Leia and Padmé do "mother-daughter" politics together, but I love that in RotJ Luke Skywalker looked the Emperor dead in the eyes and said, "No. No you can't make me do this." Like his mother would have. It had to drive Palpatine completely nuts. And it worked.

Anyway, all that to say, there's a lot of story left, and I'm not going to give away all of Palpatine's plans and plots. But part of how Leia got this far without any resistance was that Palpatine saw a short, unconnected woman from the outer rim, had no idea she could use the Force, and went, "Not important."

And he was very, very, very wrong. :D

#Don't Look Back #Sheev Palpatine #Padmé Amidala #Leia Skywalker #Luke Skywalker #politics #bias #I won't say there are no “bad women” in SW #but do a count sometime at how many of them also...stop being “evil” #and get a redemption arc/story #or are just in it for the money #not malice #there are a lot of interesting things to explore on a meta level #about women in the GFFA

[kikokus]

Lucci and Kaku: An Analysis

I haven’t done long analysis/meta/essay-style posts in a while, but after seeing a comment that amounted to “every time Lucci’s shown an interest in something that doesn’t have to do with killing, Kaku’s involved” it made me think about whether or not that's true and, more specifically, whether or not there’s been sufficient build-up to justify what happens in Chapter 1111.

So let’s explore, shall we?

First of all, basic disclaimer that I’ve been heavily into One Piece since 2008 and Water 7 has been my favorite arc since the first time I read it that summer. Kaku, in turn, has always been one of my top characters in the entire series for various reasons…but this isn’t about him (at least, not entirely), so all of that is just to say that I’ve thought about these characters a lot over the years.

And I think what always struck me about them is that not only are they so fundamentally different, but that realistically Lucci should not tolerate Kaku at all. He’s pretty much everything Lucci’s not, and they’re more-or-less a perfect example of the ‘someone will die…of fun!’ meme in a lot of ways (and honestly it’s what I think of every time I see this card, but I digress):

At the same time, what happened in the latest chapter didn’t surprise me, because there’s been hints all along, and I’ve personally been waiting years for it to pay off…even though part of me thought it never would, or at least not in the way it did!

Still, how did we get here?

But First, A Bit About 相棒

So. Why is the fact that Lucci calls Kaku his “相棒” (aibou) so significant? Mostly because of the…individualistic meaning of the word. It literally translates to ‘partner’, but not in a romantic/life-partner way (not to say that it has never been used like that, but it’s not the inherent meaning of the word).

Unlike words such as 友人 (yuujin), 友達 (tomodachi), and of course, with Luffy, 仲間 (nakama), aibou generally only refers to one person. You can have many friends, teammates, crew members…but only one aibou. So by calling Kaku that, Lucci’s already placing him on a different level to anyone else in CP9 or CP0 and acknowledging openly that Kaku’s important enough to him to have earned that distinction.

Which is why a lot of us were very excited about it, since this is not a common occurrence where Lucci’s concerned.

That aside, let’s get to the actual canon content.

Water 7

Obviously at the beginning we find out they both work at the shipyard, but that in and of itself isn’t entirely significant…until you consider that, since Kalifa is pretty much with Iceburg all the time and Blueno’s running the bar, the two of them are working in much closer proximity to each other than to the other CP9 members in the city. 

The first real indication we get regarding their comfort level with each other comes in chapter 327 when Kaku gets back from examining the Merry and goes to sit down to explain what he’s discovered. Paulie’s the closest to him, but he actually ends up stepping past both him and Lucci in order to sit directly beside Lucci on the same level.

It’s quite a while before we see the two of them alone again, and it doesn’t happen until chapter 339 when they’re speaking with Robin. Of course at the time we’re not supposed to know it’s them, but there’s really nobody else it can be since this is happening at the exact same time that Blueno’s talking with Franky and Kokoro at the bar. So, as will become fairly common, the two of them are again acting as a unit of their own within the larger group.

And then, of course, we get the infiltration of the mansion prior to The Big Reveal (which I’ve spoken about before because for me it’s still the single greatest reveal in the entire manga because of how carefully crafted it is, right down to Kaku’s limited dialogue in this section being completely devoid of his usual speech quirks in the original Japanese text). Once again, Blueno and Kalifa are doing their own things while these two are working together.

This panel has always been interesting to me because immediately prior to this Lucci says he can’t let Paulie live, and then he decides to just restrain him instead. In Luffy’s case it makes sense because they gave their word to Robin not to harm the Strawhats, but he has absolutely no reason to spare Paulie, and the little lines of shock/surprise beside Kaku imply that he hadn’t expected Lucci to do that, either. The ‘why’ is still unclear, but it’s interesting nonetheless, and it’s also…noteworthy that it’s the only thing Lucci asks Kaku to do. All of the actual damage Paulie takes comes from Lucci and he never asks for or expects Kaku to harm him.

I never connected these two panels before but it’s obviously very deliberate to have Lucci telling Iceburg that feeling emotions is a sign of humanity followed immediately by Kaku…demonstrating exactly that and thanking Iceburg. It’s important to establish that part of Kaku’s character, but keep in mind Lucci’s lack of a reaction here because it’ll come back later.

Again, very tiny moment, but there’s a lot of examples of Lucci deferring to Kaku or letting him take the lead without any hesitation, and I like this because Kaku’s noticed something that Lucci hasn’t and Lucci just goes with it immediately.

I’d forgotten about this but Kaku’s also the one that decides to take Usopp with them, first by recognizing him as one of the Strawhats and then going through with it even after finding out he doesn’t consider himself a part of them anymore. And Lucci just…stands back and lets him give out orders to the others while doing so.

Okay so this is what I was referencing earlier. Kaku shows actual emotions with Iceburg and Lucci’s silent, but the moment Kalifa gets even slightly happy about completing the mission he’s berating her instantly. Kaku’s expression here is interesting too because he looks absolutely haunted and it’s very telling.

And also another visual representation of Lucci and Kaku being equal to/on the same level as each other.

I didn’t include the panel but Kaku was ‘sleeping’ when Corgi was giving them all of the information about Nero while Lucci was (seemingly) wide awake, and yet Lucci has no idea who he is and relies on Kaku to have all the information. Which he does.

Kaku being the one to take charge again and direct the others even though Lucci’s standing right there. They do this more than I’d realized at first, especially since Lucci always seems to be looked at as the unofficial ‘leader’ of CP9.

Enies Lobby

We’ve made it to Enies Lobby, which is the first glimpse we get of these two interacting with the full CP9 group outside of any sort of ‘mission’ environment.

Mostly it entails Lucci being more combative (especially with Jabra) and Kaku being more annoyed, but again I can’t really imagine anyone else taking this tone with Lucci and getting away with it while Kaku does it fairly often and Lucci never retorts or gets angry with him.

And while Kaku’s not immune to taking Jabra’s bait in the right circumstances, his typical tendency is to de-escalate situations if he can and here he’s refusing to engage despite being deliberately called out…and Lucci, without being asked, immediately takes his side and defends his choice.

This is practically the next panel and while both Lucci and Jabra are kind of equally at fault for this little display, Kaku only berates Jabra for it while Kalifa’s directing her comments at both of them.

Now that I’m actually looking for these sorts of things it’s becoming more obvious, but again we have Lucci and Kaku in an equal position to each other at the front of CP9.

This isn’t just to Kaku since Kalifa’s there as well, but Lucci’s still encouraging them to eat the fruits and I have to believe it’s coming from a place of good faith because he’d know whether or not being able to swim is that big an issue in their profession. I also want to note that Kaku echoes Lucci’s ‘it’ll be fun’ line when he actually does eat his fruit, so obviously that resonated with him.

I’ve put these two together because they both highlight the same thing, that being in both of these sequences we get almost all of CP9 giving out their individual thoughts/comments on what’s happening but Kaku’s statement both times is a direct reply to what Lucci says, so again the two of them are paired off in a way that doesn’t include anyone else there. 

The only other thing of note in this section is that while Robin’s talking about what happened during the Buster Call on Ohara, Kaku and Lucci are the only CP9 members to kind of…break formation and actually look at her while she’s speaking, which is interesting.

And for the rest of Enies Lobby they aren’t together so there’s not too much more to say here other than Kaku of course being the one to have the actual key to Robin’s cuffs, but it’s never made explicit who came up with that plan or handed out the keys so…if I ever actually do the thing and write a full analysis of Kaku’s character we can talk about it then Lark you’ve been saying you’ll do this for years IF I EVER--

Interlude - CP9’s Independent Report

Besides the fact that this is still one of my favorite cover stories, there’s a couple of noteworthy things here, the first of which is that Kaku again is taking the lead. Even though he’s the only other CP9 member other than Lucci to be injured badly enough that he can’t walk on his own, he’s still the one directing them where to go.

Other than that, I love seeing all of them just…interacting like friends and being very relaxed and casual, and pretty much every panel where Kaku and Lucci are together they’re directly beside each other so I’ve included a bunch of those here.

Dressrosa & Egghead

The next time we see Lucci and Kaku is at the end of Dressrosa, where they’ve been promoted to CP0 Oda can we please get some explanation of how this happened and let me tell you, I remember this vividly because the spoilers at the time just said that Lucci was talking to ‘someone’ and when the raws came out you can bet I went right to the dialogue to see if it was Kaku because his way of speaking is so telling.

But even in this little scene, we can see they’re having an equal conversation and there’s a major difference between how Lucci’s speaking with Kaku and how he addresses Spandam mere seconds later.

After this we have the Reverie/Levely/what-even-is-this-thing-called arc where they get all of a single panel together and while it’s the first time we actually ‘see’ Kaku after the time-skip, nothing really interesting regarding their relationship happens, so let’s move on to…

The end of the colored manga! And Egghead.

We start with a very familiar situation: Lucci asking Kaku what’s going on, and while Kaku this entire arc seems more outwardly annoyed with Lucci than he ever was in the past (which is never really explained but then again, Lucci spends a lot of the arc doing things he’s specifically been told not to do, so maybe it’s understandable…), he still has all the information and relays it.

Though Kaku’s also much more comfortable letting his real personality show despite them being on a mission while before he was always completely serious after the Water 7 reveal, especially around Lucci. It came through with Zoro and Jabra but during the cover story he’s smiling and laughing a lot with Lucci right there so it makes sense he’d be more willing to let his guard down even ‘on the job’ by now.

So here’s the first real instance of Lucci showing concern for Kaku, something which escalates pretty quickly throughout the arc. It’s subtle, and though he’s framing it as a suggestion to Stussy, if he didn’t care at all he wouldn’t have said anything. 

At this point it’s fairly obvious that Lucci and Kaku don’t really have any authority difference between them and Kaku spends a lot of time in this chapter especially telling Lucci to Not Do The Thing. Anyone that’s ever lived with a cat knows how well this works.

I’ve always found this bit of dialogue particularly interesting because Kaku’s very openly…praising Sentomaru for choosing his loyalty to Vegapunk over assisting the government, and there’s no way Lucci doesn’t hear him say this but he doesn’t say anything in return. There’s no real evidence that Lucci knows about Kaku willingly giving up the key to Zoro or how conflicted he was about Paulie and everyone else, but this seems to imply that at the very least, even if he doesn’t share those sentiments, he wouldn’t think less of Kaku because of it.

Putting these two together since they’re in the same scene but at this point it’s not even subtle concern anymore, Lucci’s genuinely worried for Kaku and you can tell this caught him off-guard.

Kaku’s the first one to suggest working together but Lucci immediately backs him up and goes with the idea. It’s logical in the sense that it’ll give them the biggest chance to survive, but willingly working with pirates isn’t exactly the sort of thing that Lucci, especially in the past, would have so easily done regardless of the situation.

So at this point it’s becoming clear that this whole 4-v-2 section is supposed to be the most…light-hearted thing going on right now and a lot of it is played to be comedic, including Lucci’s inability to lie, but yet again there’s almost nobody else that could get away with scolding him the way Kaku’s doing here.

…And then we skip ahead a day and things happen that I really hope get explained at some point because they seem important, but while Lucci’s never going to have impeccable bedside manner, he’s very concerned with getting Kaku to rest and while Kaku’s trying to justify what happened Lucci really doesn’t seem to care about that. It’s a big departure from him being willing to write off anyone he deems ‘too weak’ and it’s a nice character moment.

I’d mentioned on my liveblog that some of the things Lucci was doing after this point were confusing, but if you look at them through the lens of him wanting to protect Kaku, it makes a lot more sense. Yes, he’s deliberately keeping him out of the loop, but Lucci I think has decided that he’s going to throw caution to the wind and act alone since if Kaku can’t prove he knew about the plan, he’s probably safer being left with the Strawhats, and if the Marines show up he should be safe anyway or so Lucci thinks…

When this chapter came out, I’d said something about Lucci being a hypocrite considering what the rest of CP9 did for him when they could have easily just left him at Enies Lobby, but given what happens almost directly after and likely what he’s trying to do with this entire fight, these words feel even less genuine…

And that brings us to this. The moment that I’ve been thinking about for almost an entire week now. The moment that, looking back at…oh, wow…almost 3000 words of analysis maybe shouldn’t be as surprising as it was for most of us, but it does feel like the payoff for a long, long buildup that’s taken nearly twenty years to reach. Because really, there’s no other way to describe them other than ‘partners’, and probably hasn’t been for a long time…and I’m so glad that Lucci acknowledged it.

To summarize, I think what surprised me most about re-visiting all of this is how much the manga has framed them as equals since the beginning even though it was never explicitly stated between the characters themselves. Lucci’s always been far more lenient with Kaku than with anyone else, and Kaku in turn has never had any fear of Lucci even if he wasn’t really expressing his true self with him for a long time.

The cover story being the turning point makes perfect sense, and the progression throughout Egghead of Lucci being more outwardly willing to show his concern and Kaku not hiding his emotions at all seems like a natural progression of their relationship and their level of comfort around each other.

And the fact that Oda is never really…hitting us over the head with any of it until that final moment when Lucci says everything so plainly because Kaku’s life is the most important thing to him even when faced with a literal monster… It’s so effective. 

I don’t know where we go from here. To be honest, I’m kind of scared of where we go from here. But regardless of the outcome, I hope this little essay has been at the very least interesting and perhaps allowed you to look at these two in a different light.

Thanks for reading.

#one piece #opspoilers #rob lucci #kaku #meta #analysis #i forgot about the 30 photo limit so I had to get creative here but #3k words of me examining their relationship sure happened

[imakemywings]

Analysis of Athrabeth Finrod ah Andreth

The Athrabeth is one of those things which spawns endless fandom discussion, but a lot of it seems to misunderstand what's going on in Andreth and Finrod's discussion, which is understandable. There's a lot going on and the language can be difficult. Athrabeth serves two purposes: 1) on a meta level, it is Tolkien exploring the differing fates and beliefs of the peoples of Middle-earth; and 2) on a textual level, Finrod is both having a cultural exchange with and seeking to comfort Andreth about the loss of Aegnor, his brother whom she loved. The two discussions are necessarily tied together, because Andreth's bitterness and anger over the mortal fate of Men (which she believes to be unnatural, imposed on them by Melkor) is tied into her feelings about losing Aegnor.

I want to focus on the relationship we're shown between Andreth and Finrod.

The Cultural Exchange

Finrod first engages Andreth, a wise woman among her people, in a conversation about the beliefs and mythologies of the Beorians. I have often seen Finrod criticized for being condescending here, and while I suppose you could read that attitude into it, I don't. When Andreth accuses the Elves of condescension, of considering Men beneath them, Finrod agrees with her:

"Alas, you speak near the truth," said Finrod. "At least of many of my people; but not of all, and certainly not of me."

He freely admits many Elves wouldn't bother with Men because they do consider them "creatures of less worth." But Finrod is among Men, asking questions about their culture and their belief system, because it interests him. From the very beginning, the story tells us Finrod's interest in Men and their culture is genuine, whether or not Andreth believes that.

Finrod (son of Finarfin, son of Finwë) was the wisest of the exiled Noldor, being more concerned than all others with matters of thought...and he was eager moreover to discover all that he could concerning Mankind.

And he seems to respect Andreth as a keeper of her people's knowledge, even if he doesn't always agree with it. The story very much sets them up both as respected individuals among their peoples, with even the Elves acknowledging Andreth's intelligence and knowledge:

[Andreth] was wise in thought, and learned in the lore of Men and their histories; for which reason the Eldar called her Saelind, 'Wise-heart'.

This exchange between them has always come off as one of deep respect on both sides, to me. It is precipitated by Finrod's grief for the death of Boron, a lord of the Beorians, and his struggle with the seemingly short lives of Men. He and Andreth compare the views of the world of their respective species and share beliefs that each side has in the nature of the world.

A number of things Andreth says Finrod knows are false, because he grew up in Aman, he's met the Valar. But even where he challenges her assertions--such as her belief that Men were not always mortal, but were made so by Morgoth--it isn't done with some effort to triumphantly prove her wrong, but rather advising caution or offering a different perspective.

"Beware of the chaff with your corn, Andreth! For it may be deadly: lies of the Enemy that out of envy will breed hate. Not all the voices that come out of the darkness speak truth to those minds that listen for strange news."

And there is a deep bitterness and resentment that arises around the notion that Morgoth robbed Men of their rightful immortality. It absolutely comes through in Andreth's tone throughout Athrabeth. It must be very easy for mortals to perseverate on this rather than taking mortality as the natural state of being and processing it through that lens. Andreth resents that she is mortal, and she sees her mortality (imposed on her by Melkor) as the reason she could not have Aegnor.

Andreth and Finrod like and respect each other enough to have a discussion/debate like this and still consider each other a friend at the end. Further along, Finrod even suggests Andreth may not be entirely wrong, but is deeply troubled by the notion that Morgoth could be powerful enough to do such a thing. In short, he is listening to Andreth, and while her assertions may not immediately make sense to him, he considers them and how they might impact a person's view of the world.

Andreth too, allows for some flexibility in belief:

"You speak strange words, Finrod," said Andreth, "which I have not heard before. Yet my heart is stirred as if by some truth that it recognizes even if it does not understand it."

While each of them already has their own ideas about the world and their species' relationship with each other and with death and hope, they listen to one another. They aren't simply arguing to prove themselves right--they are having a genuine discussion (which necessitates being willing to oppose each other on some things). Amid the discussion on mortality and the nature of death for Elves and Men, she says this:

"Hope, that is another matter, of which even the Wise seldom speak." Then her voice grew more gentle. "Yet, Lord Finrod of the House of [Finarfin], of the high and puissant Elves, perhaps we may speak of it anon, you and I."

There is some culture clash between them, as some of their views and beliefs are mutually exclusive, but although their discussion gets emotional at some points, it never, to me, feels mean or disrespectful. Here was a clear spot for Andreth to cut off the conversation if she felt talked down to, or upset, but instead she encourages it to continue. They may occasionally get intense with their discussions (Andreth does shed tears at a few points)--and Athrabeth implies in my view that this is not the first of these cultural discussions they've had--but they still like each other.

And that is part of the key to the Athrabeth for me--they are friends.

In the days of the peace before Melkor broke the Siege of Angband, Finrod would often visit Andreth, whom he loved in great friendship...

He comes to her in friendship, and goes out of his way to speak with her about the end of her relationship (whatever it was--the text isn't clear on that) with Aegnor. He opens this talk by asking her about things Andreth is known to be knowledgeable about--paying respect to her wisdom, and regarding her intellect highly enough to even have such a debate. He wants to understand her perspective on the world, and it does shape her reaction to her relationship with Aegnor.

Finally, Andreth, for her part, seems like she would be more than willing to tell Finrod to fuck off if she didn't like him or didn't want to talk or felt like he was being an ass. This is not a soft-spoken person; she is very upfront with Finrod when she wants to be. The fact that she continues to engage him both in the discussion about Mannish beliefs and about Aegnor suggests to me that she also considers him a friend, or at least that she feels generally amiable towards him

Explaining Aegnor's Choice

The other big criticism of Finrod that seems to come out of Athrabeth stems from this effort, which often seems to be a misunderstanding that Finrod is making an argument that Aegnor made the right choice, which is not at all how I read this discussion.

However, before that, I do want to say: Aegnor was not wrong to leave Andreth. There is, to me, an uncomfortable fandom attitude that Aegnor was obliged to stay with Andreth because she loved him, or that he somehow wronged her by choosing not to be in a relationship with her. No one is obliged to be in a romantic relationship they don't want, no matter what the reasons are. That Aegnor loved Andreth does not mean he was forced to be with her. There were other considerations in his life and I don't think it was invalid of him to place those first. Neither is it invalid of Andreth to be bitter about it--especially considering where she starts this discussion.

Andreth, early on, still believes that the reason Aegnor left her is because she isn't an Elf--that she isn't immortal. She talks about how she wouldn't have made herself a burden to him in her old age, how she would have only given him her youth, etc. She is 48 at the time of Athrabeth.

"I was young and I looked on his flame, and now I am old and lost. He was young and his flame leaped towards me, but he turned away, and he is young still. Do candles pity moths?"

You can see here her anguish over her own mortality, which ties irrevocably into her anguish over losing the love of her life. What Finrod tries to tell her is that it was nothing about Andreth that ended it. Aegnor's decisions were not based on his feelings about Andreth or her mortality, but on various cultural factors among the Elves (such as their disinclination to marry during wartime) and his obligations, in his mind, towards the war against Morgoth. Finrod tells her that "if his heart ruled" Aegnor would have run off with Andreth, but that he chose to put his duty above his desire for her.

"Adaneth, I tell thee, Aikanar the Sharp-flame loved thee. For thy sake he will never take the hand of any bride of his own kindred, but will live alone to the end, remembering the morning in the hills of Dorthonion."

He isn't trying to say "Aegnor made the right choice" or "Elves shouldn't marry mortals" but he is trying to give her context for a decision that's already been made. Aegnor is already gone; Finrod is trying to relieve Andreth of feeling that it was somehow her fault, or that she didn't live up to Aegnor's expectations.

"Then why did he turn away? Why leave me while I had still a few good years to spend?"

"Alas!" said Finrod. "I fear the truth will not satisfy thee..."

Here, he gives the explanation about customs of the Eldar and marriage, and about Elves and memory (specifically about how Aegnor, as an Elf, may prefer to dwell in the happiness of their memories rather than proceed to a grim future). Andreth does not seem especially comforted by this. It's understandable. Andreth is very bitter, and not unfairly: She's bitter that her people are mortal while Finrod's are not; she's bitter that this mortality (in her mind) cost her the man she loved; she's bitter that Aegnor left her. Andreth's life has been hard: it's very understandable that she's angry about it. So it makes sense that Finrod's words don't really reach her where she is now. She isn't ready for that; she's still dealing with all of these other feelings. But I do believe that someday, this conversation will mean something to her. Someday, when Andreth is older and has more distance, I think it will mean something to her that Aegnor loved her, and that it was duty, not contempt, that kept him from her.

Finrod does express belief that marriage between Men and Elves is destined to be sorrowful, but this isn't an illogical position from the half of the equation doomed to live on without their partner, or from one of a species who may literally die from grief. Naturally Andreth thinks of how she could have spent her youth with him at least, while Finrod thinks of how much pain Aegnor would have been in as Andreth grew old and neared death.

"I would not have troubled him, when my short youth was spent. I would not have hobbled as a hag after his bright feet, when I could no longer run beside him!"

"Maybe not," said Finrod. "So you feel now. But do you think of him? He would not have run before thee. He would have stayed at thy side to uphold thee. Then pity thou wouldst have had in every hour, pity inescapable. He would not have had thee so shamed."

It is also relevant that they both speak, on this matter, in ignorance. Neither of them has experienced or even seen a marriage of mortals and Elves (none occurs before Finrod's death in Tol-in-Gaurhoth). They are both speaking only from the heart, from what they feel would be true about it. It's also relevant to remember the decision has been made. Finrod is perhaps trying to explain how hard the marriage would have been in part to make Andreth feel better about its nonexistence, because he knows Aegnor will not go back on his choice.

And on some level, Finrod sees that he isn't going to radically change her view on this one visit, and that's when he backs off.

"And what shall I remember?" said she. "And when I go to what halls shall I come? To a darkness in which even the memory of the sharp flame has been quenched? Even the memory of rejection. That at least."

Finrod sighed and stood up. "The Eldar have no healing words for such thoughts, adaneth," he said... He took her hand in the light of the fire. "Wither will you go?" she said.

Athrabeth ends on such a tender note, it has always in my mind contributed to seeing the conversation as an overall positive: that Finrod looks forward to seeing Andreth after death, that he places himself--almost tentatively (and what is the meaning of that em-dash, Tolkien?)!--alongside Aegnor in her future. He knows her time on Arda is short, compared to his own, but he doesn't want this to be the only time their souls have together. It ends with his holding her hand in her grief and giving her this blessing:

"Wither you go may you find light. Await us there: my brother--and me."

This is why I've always seen Athrabeth as such an intimate conversation which speaks to a deep level of friendship and respect between Andreth and Finrod. It deals with a lot of emotionally volatile things, which I think makes people inclined to see either of them (Andreth especially) as upset by the conversation, rather than the issues that they are discussing in it. But to me, again, that they were willing to have such a raw, open discussion with each other speaks volumes about how positively they see each other. They are so clearly trying to reach out to one another from two very different places in the world.

"Yes, Wise-woman, maybe it was ordained that we Quendi, and ye Atani, ere the world grows old, should meet and bring news to one another...indeed, that you and I, Andreth, should sit here and speak together, across the gulf that divides our kindreds..."

"Across the gulf that divides our kindreds!" said Andreth. "Is there no bridge but mere words?" And then again she wept.

They don't always make it, and sometimes they wound, but they are trying. And that counts for something.

#Finrod #Andreth #The Silmarillion #meta #mine #okay I did it #this is really only concerned with the relationship between Andreth and Finrod #not an analysis of their actual beliefs #tolkien tag

[i-heart-hxh]

Hi! 😅 What is your least favorite stereotype or generalization about Killugon/Leopika that you see often in the Hunter x Hunter fandom? It doesn’t have to be the most common ones, you can say some that you just personally don’t agree with!

Hello! I've seen other peoples' answers floating around, it's interesting to read different takes on this topic!

I want to preface this by saying I think one of the great things about fandom is that everyone is able to explore their own ideas freely and create the kind of content they want to see in the world, so while I have my own personal tastes I don't want to discourage anyone from creating what makes them happy, even if it's not my thing.

I'm quite picky about characterization personally, though I don't think my tastes/opinions are too unpopular.

With KilluGon especially, a lot of what bothers me boils down to making their relationship/dynamic way more uneven than it is in canon. One of the things I value about their relationship is that they're the same age, similarly value and care about each other, they have around the same strength/level of talent, etc. It's so special that they managed to find someone who matches them so well, someone they can truly consider an equal.

So, I find it off-putting when people drastically change the balance between them so one is much bigger/stronger/older looking or acting/has more power in the relationship/etc. (or vice versa of course). It just doesn't feel like their dynamic any more at that point. Of course they have different personalities so they'll have different ways of interacting with each other, and I'm also not talking about normal height variation (though I personally prefer them to end up around the same height, give or take a few inches on either side), but when there's a strong focus on some form of inequality between them in the dynamic, it's very unappealing to me. A lot of times this comes from trying to force them into stereotypes they don't fit.

I've talked about this extensively in meta form, but the common belief that Killua's feelings are much stronger and heavier than Gon's really bothers me, too. While I agree that Killua clearly seems to have a better understanding of his feelings and what they mean (I think he's ahead of Gon in this because of his introspective personality/higher awareness on the topic), that doesn't mean Gon's feelings towards Killua have less weight or meaning.

His mental health deteriorating in Chimera Ant Arc and him lashing out that one time doesn't erase all of the tons of kindness and affection he gave Killua prior to that, and it's clear that Killua is incredibly special to Gon. He even states that out loud multiple times to Killua! The ways they show it are different, but in my eyes they adore each other equally, and I do see that extending into a romantic sense as well--even if Gon still has to "catch up" in terms of understanding the nature of his feelings.

I also think some people don't know how to portray Gon in contrast to Killua, and he can come off as bland and generic instead of his amazing complicated self, or he gets treated like he's not intelligent in his own right.

Also, I totally get why people make this kind of thing (because I love tragedies in other stories), but I personally can't deal with endings where Gon and Killua don't ultimately get to be happy together. They've just been through so much already, they clearly want to be together, plz don't separate them ultimately... 😭 I know people gotta explore the angst, and to be fair I definitely like the angst in the context of what they've been through/what they might still have to go through to be back together again, but I just can't deal with unhappy endings for them. I also don't like seeing them in relationships with or even romantically interested in anyone else even temporarily, but that's just me being extra picky, LOL.

I don't engage with LeoPika works to quite the same degree even though I like the ship, but I get irritated when people try to push heteronormativity on them too much because of Kurapika's appearance. People acting like it's just a regular ol het ship or putting Kurapika in effeminate roles his personality doesn't fit at all are confusing to me.

I hope that's helpful! I'm sure I have plenty more pet peeves saved up from all the years I've spent in the fandom, but those are the major fandom trends I don't care for.

#hxh #hunter x hunter #killugon #gonkillu #leopika #gon #killua #kurapika #leorio #asks #anonymous #my posts #long post

[utilitycaster]

but you do have to admit that you write your 2k meta's mostly because you want (negative) attention? otherwise I don't understand why you are not writing more of your faves instead?

Sure! I can explain why I wrote this piece, which I assume is the reason you're asking this now.

I wrote it because I naturally had thoughts about the group dynamics of Bells Hells after the episode and started thinking about why this group is so disconnected this far into the campaign when, for example, the Mighty Nein, who had far more friction and conflict early on in the campaign, were positively ride or die by this point. I also really did genuinely find the degree of pressure that Imogen and Laudna have been putting on Fearne to be excessive and had been quietly thinking about it since episode 75 - they were the ones to initially make a big deal about "Emperor and Empress" (the fact that Ashton mentioned the party's positive reinforcement of the shard's retrieval being a factor in their choice is relevant here), I was reminded by someone else regarding Laudna's immediate shutdown of Fearne's attempt to tell the truth in episode 77, and then they called her out in front of everyone after she had expressed that she didn't want it to Morri. It made a clear pattern that I felt was interesting to explore, and in doing so I started asking myself if there were other patterns of behavior. I linked to someone else's post as well in there that talked about how Imogen and Laudna pretty much always act together in group discussions in my post because that was also an inspiration, and I've also talked a lot in the past about how Imogen and Laudna rarely bring up their own sources of conflict with each other, so the fact that their accusations towards Fearne are in the same scene where Imogen expresses disgust about Delilah's presence also is very relevant to their general group dynamics, since their own relationship with each other is very central to how they interact with the group.

I do write about my favorite characters as well. I wrote pretty extensively about Ashton after episode 78, as well as a bit about their conversation with Orym, but Ashton just had their big moment of explosion and I need to let that simmer or something else to happen before I have any longer posts. I've also, if not written anything myself, reblogged a lot of great posts about Chetney's fantastic reveal which I think tied up that whole exercise beautifully with a truth that was not a passive-aggressive accusation of others nor a self-flagellation but a realization of his own behaviors as well as an explanation to the group without expecting anything in return. In talking about the shard I did touch on my main feelings about Fearne in this situation but again I think I need to see how she actually reacts to the information she received here to actually have meta of substance, rather than "oh, interesting." And you can go through my archives if you'd like to see more; I'm usually pretty good about tagging by character.

But also: I like writing criticism, specifically. It is fun for me. I find that writing helps me arrange my ideas and understand them better, and sometimes I even change my opinion when I revisit the text or find my argument doesn't hold together on an intellectual level, even if I feel something emotionally. I've changed my mind about characters before through writing meta! Sometimes more positively, sometimes more negatively, but it happens, because the act of writing meta, if you do so well, is an act of interrogating your own pre-existing opinions and making sure they make sense to people who aren't you.

I also think there's value in writing things that aren't universally positive. Again, it forces you to actually think through what isn't working for you or what you dislike or what traits characters have that you think are causing problems for people around them rather than just saying UGH THIS SUCKS. But also, writing up how you'd fix a plot you don't like or how you'd resolve a conflict requires you have empathy for the creators or for the characters. Sometimes, even if a piece isn't, in your opinion, good, writing criticism of it helps you understand why a creator may have made that choice you didn't like. You can disagree or dislike something while still respecting it, and making yourself explain it to other people is a really good way to process your own feelings rather than stewing in them. I find people who never express any negativity openly are often deeply resentful and unpleasant and passive-aggressive. Indeed, that's arguably the whole point of that honesty exercise! This party keeps trying to smooth things over and so a lot of valid concerns or complaints they have about each other have since metastasized into something far more hurtful.

I can't speak for everyone, but a lot of meta writers write meta because it's genuinely a fun hobby for them. When I was writing my piece about Dimension 20's genre experiments I stayed up later than I should have several times because it was interesting and I wanted to make sure I didn't forget how I was planning out the piece. I like writing a lot, and I've always preferred to write essays and criticism to fiction - I like to think I have a knack for the former that doesn't come as naturally for the latter. My brain jumps to analysis more easily than the invention of plot.

If you don't like the things I chose to write about, that's completely valid. But I'm not doing it for negative attention. I'm doing it because it's enjoyable for me. How you respond to it and how it makes you, specifically, feel, doesn't enter into my consideration. It's 2k words because that's how long it took me to say what I was thinking and it's about Imogen and Laudna's effect on the group dynamic as I understand it because that's what I was thinking about since it was very present in this episode, and I wrote it because I like writing.

Hopefully that explains it!

#answered #Anonymous #cr tag

[sineala]

Superheroes and ethics

I realized that I wrote this last month on Patreon and forgot to post it here. I got asked to write meta about superhero ethics with regard to Steve and Tony. I ended up writing mostly about how Captain America's Plot Armor interacts with his principles.

I have been asked to talk about ethics and philosophy with respect to Steve and Tony. Unfortunately, the only philosophy-adjacent disciplines that I know well enough to speak about with any confidence are formal semantics and pragmatics, which isn't really all that useful in daily life unless you'd really like to learn about the differences between entailment, presupposition, and implicature, and also the Gricean maxims of conversation, which are great if you want to completely ruin conversations by violating them as many times as you possibly can.

So I'm not a philosopher, sorry.

But! I can talk more informally about Steve and Tony and ethics.

And I know there's been a lot of meta -- and actual books -- written about their differing views. I have a book here, A Philosopher Reads Marvel Comics' Civil War: Exploring the Moral Judgment of Captain America, Iron Man, and Spider-Man, by Mark White, which I have not read yet but it sounds like this is probably the book you want to read if you want an actual philosophical analysis of this stuff. Judging by the reviews, the author decides to associate Tony with utilitarianism and Steve with deontology. That is probably fun. I am in no way qualified to talk about it. On an informal level, the thing I find fascinating about them is that, when it comes down to it, Steve and Tony are really not all that different.

I have been thinking about this for a while, because the last time I left anonymous asks open on Tumblr, the final ask I got before I decided that this wasn't a good idea was someone who wanted to pick a fight with me by asserting that Steve/Tony was a bad pairing because "they don't think alike, have different morals, different interests, and different emotional issues that the other is not capable of helping out with." This is one of the reasons why I don't have anon asks on anymore. But I thought it was honestly an interesting thing to think about.

So I have been pondering this on and off for a while, and I realized that the thing that really bugged me about it was that their general thesis was that Steve and Tony were bad for each other because they have nothing in common. See, I don't think that's true. I think they have a whole lot in common. But I am also willing to acknowledge that canon likes to put them in situations where they're at odds with each other and it seems fairly easy to come up with circumstances that will cause them to want to beat the stuffing out of each other. But, crucially, this doesn't mean they have nothing in common.

(I also think they actually have a lot of similar interests and are actually very capable of helping each other with their emotional issues, which canon demonstrates multiple times. But that'd be a different essay.)

For me, one of the reasons why Steve/Tony are so compelling as a pairing is because they are so similar. Let's call it, like, 95% similar. They are remarkably like-minded when it comes to their values and how they view the world. It's just that then they can fight, bitterly, over the remaining 5% of differences.

They work well together most of the time and it's just the bits where they almost work together that are so agonizing and provide so much material for fandom. Because it's not like they don't understand where the other one is coming from, what they want, or why they want it. They do. They just don't understand how the other person can come up with a different path to the answer given their shared goal and shared values. Steve doesn't understand how Tony is willing to do something that Steve thinks is wrong, and Tony thinks, I don't know, that Steve's ideals are too naive for the real world. Tony thinks Steve's plans are unrealistic and Steve thinks Tony's plans are unacceptable.

There's also an additional complication, which is that Steve as a character has a lot of plot armor that Tony doesn't. Steve decides what he thinks is moral and what he thinks is immoral, and he simply does not do the immoral thing. And the thing is that the narrative helps Steve out with this. It's fine if he's idealistic! It's even okay if his ideals are naive! He almost never has to go against them. I am saying this as a big fan of Steve. The story really helps him out.

For example, Steve thinks that killing is wrong, so he doesn't kill anyone, generally speaking. (Depending on the retcon you believe in, he may have in fact killed zero people in World War II, which is kind of ridiculous.) But in situations where the best of the options involves killing someone, someone pretty much always ends up dead. It's just that someone else does the dirty work. Steve surrounds himself with a lot of spies and assassins (Bucky, Sharon, Natasha) and those people kill the people who need killing.

In Civil War, Steve believes Registration is wrong, and he never has to change his mind. He probably still believes it's wrong. Instead of going on trial, he dies; he never has to face the consequences of any of his actions. The narrative shields him from that. When he comes back to life, Registration is gone and he gets a pardon from the president. It's all taken care of. He causes a lot of damage, and he doesn't even have to say he's sorry for trying to bash Tony's face in, in public, with witnesses, after having destroyed what looks like several city blocks.

So Steve never compromises his principles, because he has the luxury afforded to him by the plot so that he almost never has to be in a situation where he'd have to decide whether he should compromise his principles, say, for the sake of the greater good. He doesn't have to make that choice, because Marvel's not interested in writing stories where Steve has to make that choice. So it just… doesn't come up. He almost never has to put his ethics to an actual test. If you hand Steve the trolley problem, he'd just say, well, I'd save everyone. That's not an actual option in the trolley problem. But he's pretty much always going to be in a plot where he gets to do the right thing and save everyone.

Tony, though? Tony has to do terrible things for the sake of the greater good all the time. He doesn't get to opt out of the decisions. Even on a personal level, he has to do terrible things to himself. He has to decide probably at least half a dozen times whether he should wear the armor even if wearing the armor is hurting him -- say, when he decides to take on the LMD in the arc where he gets his first artificial heart, or in Armor Wars II, or in that storyline in the middle of Busiek's run after he gets beaten up by the Mandarin. And he always decides to wear the armor no matter what the personal cost is to his body. He ends up in a lot of fights where he has to take pretty bad damage to save the world -- and while Steve would also make that decision, Steve's going to heal up and be fine, like in his recent run where Bucky shoots him in the shoulder. He has a healing factor and he's fine in a couple weeks. Tony breaks his back in order to save civilians and then gets addicted to morphine and ruins his life for a good long while. That kind of stuff, with lasting physical consequences, just doesn't happen to Steve. Let's not talk about Streets of Poison.

It's pretty obvious when you look at their biggest fights (say, Civil War and the incursions) that Tony believes that the ends justify the means, and Steve doesn't. However, Steve doesn't exactly have usable alternate suggestions. The plot armor helps him out there. Steve espouses extremely noble ideas, life and liberty and all that… that are not actually workable plans.

And because of how the narrative treats him, he doesn't really need to have workable plans, either. It's not like he actually uses them. Because he's just going to be fine. (Except in the incursions, but everyone came back to life afterward so it's all fine.)

Steve doesn't like the SHRA. Okay. Fine. He believes it's an unjust law. His plan is apparently to just… keep fighting Tony and anyone else who tries to take him into custody for not registering. What's his endgame? Does he have one? His plan appears to be "be on the run from the government forever." As far as I can remember, he would prefer the situation to go back to the way it was but he does not, to my knowledge, ever propose a way of achieving that. He's not out there saying the law itself should be found unconstitutional or anything.

Similarly, with the incursions, after the Gauntlet breaks, the Illuminati have no solution for an incursion that isn't building bombs and destroying the other Earth in the incursion. Either they act to destroy the other Earth, or through inaction, both Earths are destroyed. Big ol' trolley problem. Steve refuses to play. Steve says he can't countenance that. Excellent moral stance. It's very him. He says, "I believe we'll find a way to stop it." He doesn't have any ideas besides "not the thing Tony is doing," which appears to also be his stance about the SHRA. If they'd let Steve stay in the Illuminati… what would he have done? I suppose the possibility exists that if he managed to flip one of the scientists to his side he'd get them to think up an alternate answer. He could have suggested that everyone evacuate Earth. But he doesn't actually have an idea, personally for what to do. Other than "nobody should die."

(That isn't even what happens, in the end. Of course, by the end, Steve is trying to hunt Tony down and kill him, so you could argue that he's not really behaving much like himself there, and neither is Tony.)

Anyway. When you think about it, what Steve wants and what Tony wants, in both scenarios, is pretty much the same thing. They have the same values and the same goals; it's just that the paths they're willing to take are different. But when it comes down to it, they both actually want the exact same thing. Like they do most of the time. They both want to save the world. Except now they're fighting about how to get what they want. The fights are about the details. At least in 616.

We can contrast 616 Civil War with MCU Civil War. I have actually only watched CACW once, so this is going to be fun and possibly inaccurate. The 616 SHRA and the MCU Accords are, very broadly speaking, about the same general topic: government oversight of superheroes. In the MCU, after the disaster in Lagos, the UN decides that they can't just have the Avengers running around wherever they want, exploding things and getting people killed. Tony agrees with the need for UN oversight. Steve does not; he feels that the Avengers should be able to go wherever they need to go without getting caught up in red tape. Here in the MCU, Steve and Tony not only disagree on what the right thing to do is, they disagree on what the right outcome should be, and the reasons for that. Steve wants things the way they were. Tony would be okay with some amount of oversight. They both have different visions of the way the Avengers would look and operate, because they value different things; Steve wants autonomy and Tony wants accountability. The fight isn't just about the details. The fight is about everything.

This isn't the case in 616 Civil War. No one is fighting for (or against) "I, a superhero, should be able to go wherever I want for superhero reasons." UN oversight is one of those things that all the Avengers, including Steve, have agreed about for years; there are panels of Steve asking to get UN clearance before the Avengers zip off to Russia to save Tony. What happens in 616 is that an inexperienced superhero team gets into a fight they can't control, destroying a school in Stamford, CT, with massive casualties. The SHRA is a US bill saying that all American superhumans (which is probably thousands of people) should register with the government, receive training if they want to be heroes, and provide the government with their real names.

Both Steve and Tony are opposed to this, before Stamford. Then, when Stamford happens, Tony realizes the SHRA is happening no matter what and decides to support it. Even with the SHRA in effect, both Steve and Tony think there should be superhuman oversight; Steve just thinks it should be the teams training people up, the same way as they've always done. They don't even disagree about that; Tony also thinks they should be in charge of oversight, but he means himself (and Steve if Steve would ever join him). The people training superheroes would in fact still be them, both of them, no matter which side wins the war. Neither of them trust the government to handle Registration well. Steve's answer is to object to the very idea of Registration and to stay away from the government, and Tony's answer is to get in there and keep the superhero database in his own head so that Gyrich won't get the list of names and start sending Sentinels after everyone.

So they both massively distrust the government's presumed right and/or ability to safely do this, and want to protect superheroes from government oversight as much as possible. That's basically the same stance. Steve just thinks no one should get anywhere near the government, and Tony thinks if he gets in there he can make it less bad. He can be the guy doing the oversight. People who don't register might get arrested but at least they won't be killed by Sentinels, because he can stop that from happening. Steve isn't willing to imprison his friends at all, probably because he doesn't believe Tony when Tony says the only other option is death (i.e., they can't go back to the way things were -- although of course that's eventually what ends up happening, albeit long after Civil War is over). He probably thinks there's a secret third option, because for him there usually is. But what they basically want is the same thing. Tony's just willing to go a little farther than Steve is to get there.

Sure, Tony's plans aren't perfect. But he does have them. Sometimes they're really lousy, because sometimes there is no good solution. I acknowledge that he does a lot of things in Civil War that are actually pretty rotten. I am saying this as a fan of Tony. He does some bad things. He starts a war with Atlantis. He manipulates Peter Parker into unmasking, which has terrible consequences. He builds a prison. He imprisons a lot of his friends. But none of these things involve the government massacring superhumans. The one really, really bad future he's afraid of doesn't happen. (And we know, thanks to that one What If issue, that that's exactly what would happen if he weren't running Registration.) Other bad things happen, yes. But not that, which is the worst.

Steve doesn't want anything bad to happen. Steve just wants the good solutions, with no moral or ethical compromise on his part. and he usually gets them eventually by narrative fiat. Sometimes he has to die first -- which is, of course, what happens in Civil War -- but, eh, whatever, it's comics. That's not really a major drawback for superheroes. And eventually he gets what he wants, because comics return to the status quo. Everything goes back to the way it was.

It's the same thing with the incursions. Neither Steve nor Tony want their Earth to be destroyed, obviously, but Tony is willing to build bombs to destroy the other Earths in case they can't find any other solution. Steve says he thinks there will be another way. And neither of them want to use the bombs! Tony doesn't want to use them at all! The Illuminati don't actually find themselves in a situation where they have to decide whether to bomb a populated Earth until the Great Society incursion, and Tony refuses to be the one to do it. After Namor does it, Tony is distraught and says he thought they'd find another way -- which is the exact same thing Steve said to him except nobody kicked Tony off the Illuminati for saying it. They both have the same attitude. They want the same outcome. They don't want to use the bombs. It's just that Tony's willing to build them. They're pretty much on the same side here about everything (including the desire to not bomb other planets) except the lengths to which Tony is willing to go to have a backup plan. Just like Civil War.

I suppose I would say that, overall, comparing Steve and Tony's relative ethics seems hard to do in a way that is fair to both of them because Steve is so often given the ability to stick to his beliefs in a way that Tony isn't. "What does Steve do when he actually can't do the right thing" is one of those questions that doesn't seem to get explored all that much, except possibly at the end of Hickman's Avengers run, in which everything was going to hell anyway, and it wasn't like he got to be in Secret Wars to try to fix it. He does also tend to quit being Captain America when he doesn't like the government, although I think in that case that's more that doing the right thing at that time is Not Being Captain America.

(Secret Avengers is also a pretty good look at a Steve who has to do bad things and really, really doesn't like the things he's doing. He doesn't handle compromising his own values all that well. I think that would be a whole other essay.)

But anyway, yeah -- I think 616 Steve and Tony are on the same side when they fight, more than you might think they are given how many panels we have of them dramatically punching each other. Tony believes that the ends justify the means, and essentially, a lot of their fights are because Steve disagrees with Tony's means -- but he is very often 100% on board with Tony's actual motives, which I think is a fact that often gets lost when we start talking about their conflicts, because at that point we… want to talk about their conflicts. But I think they really do agree with each other a lot, which is what makes their conflicts so interesting and painful.

#posts i actually wrote

[dirty-bear-rick-sanchez]

Episode thoughts under the cut

I loved Morty knowing Rick so well that he just straight up lies about the coffee lmao. Also the way he says 'hey buddy' like he's a dad entering his kid's room when they're in a depressive episode is so funny to me

Rick just literally saying 'family' to address the family

I thought the ghost/unfinished business joke was funny

I also love Rick being so petty (and Summer being petty back about the portal). It's so funny that he just calls the family 'stupids' as well. Devastating insult bro

Interesting that Gearhead was the first person he went to? He definitely needed someone to give him the courage to get the rest of his friends for an intervention (especially BP)

'Told you he wasn't dead' killed me

BIRDDAUGHTER. Funny name, love her being an emo teenage edgelord who just goes round killing Gromflomites. 'This is worse than prison'? Love it

Also I really liked that we got to see this side of BP's character this episode? He's so funny and I love getting to see him be a shit. Him trying to parent his daughter and just drinking wine? We love another alcoholic girldad

I really liked getting to see Rick/BP/Squanchy actually hanging out as well? I feel like it's a good insight into how they probably were back in the Flesh Curtains days

I like the 'birthday, birthday, birthday' gag

Also Rick immediately being like 'fuck this we're getting wrecked'

The honey scene was definitely for the Rickfuckers

Can we talk about the fact that Rick was definitely trying to impress BP by bringing up the fact that he hosted the Oscars? Which is definitely why he wanted that gig in the first place

Once again I love getting to see this side of Birdperson. Definitely makes sense why he and Rick get on so well

I liked the visual gag of Rick being high

Also BP and Squanchy playing the knife game lmao

Rick sits so fucking dramatically

Look at BP's face, he definitely wants to fuck that Predator guy

Son heist

I love that Rick can immediately identify Squanchy's shit based on the smell? Like he knows it's his and no one else's

BIRDPERSON PUTTING HIS HAND OVER RICK'S MOUTH

(You know Rick is gonna be thinking about that forever)

I like the recurring Squanchy tooth thing

'Why is this my thing' lmao

Poor poopy child

WAYNE

Them all just chilling together waiting for their drunk food? love it

I love BP leaving to collect his daughter from attacking a Federation outpost with the exact same energy as a parent collecting their child from school after they got suspended. It's so funny to imagine the GF having the same sort of vibe as they do with Rick and just texting BP like 'yo we got your daughter here' (I know that's not what happened but it's a funny mental image)

Lmao Squanchy

I did like the fading pill bit

Poor Gene

Overall I liked getting to explore this aspect of the dynamic between Rick/BP/Squanchy/Gearhead (+ the others of course but they're the OGs yk?) and also the concept of intervention/alcoholism. I think it's interesting to see that Rick does want to help but his support system is so fucked that this ends up happening and it makes a lot of sense when it comes to his own issues. I really like the way they handle Rick trying to get better and do the right thing but struggling so much to break out of unhealthy behaviours/habits. He's painfully aware of how fucked up he is and how much of a bad influence he is but he doesn't know how to fix the issue/be a positive influence and he definitely views abandonment as a good thing because he's removing himself from the situation. Very interesting way to explore this aspect of his issues, especially since all his friends are also alcoholics with that level of denial/refusal to get better

I had this discussion with @hazelnut-u-out before the episode aired but I do like that they're showing Mr PB directly suffering as a result of Rick's actions in canon? Considering that he started as a joke/meta character it's very interesting to show him actually shifting to more of a serious character who appears in the actual show and experiences real issues, especially since the show becomes less and less sitcom-y as Rick becomes more aware of the reality of how fucked up all of these things are.

#rick and morty #rnm #rick and morty spoilers #rnm spoilers #how poopy got his poop back #rick sanchez #birdperson #birdrick #mr poopybutthole #squanchy #gearhead #gene the neighbour #sorry this is all over the place #i really want to post/engage with fandom about the new eps but my energy levels are very limited and i have bad brain fog #so this is the best i can do 😅 #i hope to make a more coherent post about the oscars thing and also mr poopybutthole as a symbol of rick's view of his life as a tv show #but we'll have to wait and see

[kyouka-supremacy]

Atsushi for the ask game.

ATSUSHI HERE WE GO THANK YOU FOR HEARING MY PRAYERS

Favorite thing about them: HIS SELFISHNESS. It's so so delicious to explore. Can you imagine a protagonist that saves others not out of simple good will, but because of egoistic self-preservation motives? It just feels counterintuitive for me lmao, and I found it quite messed up when I first watched the anime, but now it's so compelling to explore. His whole “everything I do is in order to gain the right to live” is crazy fashinating. Because lol, that's entirely nonsensical to me! There's no such thing as “gaining the right to live”; all humans, every person in the world is inherently deserving of life. All. No exception. So there's no level of “weak” or “worthless” that would make you lose that right. The fact that's it's a vision so distant and absurd from mine, idk, it just makes it very compelling to explore? “What if there was a little fucked up guy who believed the right to live had to be earned” just sounds like a very interesting premise.

Least favorite thing about them: When I first watched the anime, I think I found him low-key annoying? I just... Don't do very well with self-deprecating people and people who complain a lot in general, I usually suffer in silence and tend to (wrongly) assume others should do the same (this probably makes me sound pretty mean, I swear I try to be understanding irl). However, it doesn't bother me as much anymore, I simply think it's more of a distinctive trait of the character that makes him multilayered and unique. As of now, I can't think of anything I don't like about him if not the fact that I wish he'd rely on Dazai and others in general a little less. I know that has to do with his lack of self-worth, so maybe it makes sense,, but as of now he feels kind of stuck. I just wish we'd see him grow more on that front.

Favorite line:

There may be better ones, but I really like the delivery of this one.

brOTP: KYOUKA AND ATSUSHI they make me go insane. Already talked about this in the Kyouka post but just to reiterate: in my headcanon Kyouka really is the only person Atsushi feels genuine, selfless affection towards. It's very sweet. They're siblings. Kyouka's happiness is really important for Atsushi. They really do have that feeling of people who got out of an abusive environment learning what normality is supposed to be like together. I also really like how they compensate for what the other lacks, be it decisiveness and coolhead for Atsushi and empathy and positivity for Kyouka. Although plenty shipping them romantically, I really like platonic sskk and atsulucy as well.

OTP: I really like sskk eheh. I think they're neat. There's a thousand and one reasons why I find them pretty great. They're objectively the only reason why I got invested in bsd as well as the only thing that has me keep up with the franchise to this day. Right now, I feel like the one thing I really appreciate about them is how you can be the worst person in the universe and still somehow be loveable to someone. I think it's sweet. I also find it very fun and enterataining to explore their various soulmatism antics. They're both very complex and multilayered characters with something deeply wrong with how their minds work that makes them very fun to analyze both by their own and in the complexity of their relationship. Their collective story arc and canon relationship progression is extremely engaging and nice to follow, too. I love dazatsu and atsulucy as well!! Both were ships I wasn't particularly invested when I read the manga for the first time, but really grew in me in the last six months or so. I really dig akuatsulucy as well!!

nOTP: Nothing?

Random headcanon: He really likes reading. There's some real meta-analysis to be made here I actually had written this is probably not the right place to talk about, but in a work that's all about literature, he's the character who reads.

Unpopular opinion: He's the hardest character to write / characterize. That's why people should probably go easier on other fans when they mischaracterize him. He's just very multifaceted and genuinely hard to get. I keep seeing people being like “Stop babyfying Atsushi he's an independent adult!!” then turn around to say “he can't be shipped with Dazai because there's too much unbalance of power :// [somewhat implying Atsushi can't make free decisions for himself]”, or “Stop making of Atsushi a soft baby who never did wrong in his life!!!” then turn around to say “Atsushi is the happy puppy of the agency who gets treats and pats from everyone ^^ ” like. At least to me, a lot of people's arguments sound self-contradictory all the time; but that doesn't mean people should stop having fun and characterize the characters as they like! Just, let's stop being mean to each other and try to be a little more accepting towards others' takes, shall we? And yes that also includes letting people find Atsushi annoying if they find him annoying (although like, I've NEVER found anyone call Atsushi annoying ever, so really, what remote fandom spaces is everyone visiting? Why are you looking for clothes (good takes) at the soup store (Tik/tok I assume?) ).

Song i associate with them: Common World Domination by Pinocchio-P, HIBANA by DECO*27, Ghost Rule by DECO*27, so on and so forth.

Favorite picture of them:

Favourite panel from the manga:

Favourite illustration: Look, there's too many beautiful illustrations, I can't chose. Here's a very good one though.

Favourite illustration in the anime art style:

But also:

Favourite Mayoi card:

Send me a character?

#Btw I think the author does truly believe that people have to earn their own right to live and that #“people can't live unless someone tells them ‘it's okay to go on’ ” #Which is all sorts of fucked up for me and just goes to the encyclopedia titled Reasons Why I Strongly Disagree With Bsd Morals #But taking the character Atsushi on its own out of the context of which worldvies bsd does or doesn't enable. #I think it's very compelling to explore a character who thinks like that!! #Of course‚ feel free to disagree with my interpretation of the text #atsushi nakajima #bsd #mine #people asks me stuff #I feel like with this more than others I have more to say that just didn't come to me... #I have so many headcanons and opinions about Atsushi how can I only pick one!!!

[kohakhearts]

goh starter trio meta perhaps? i was ensnared by the goh-scorbunny parallel subpoint in the cubone meta bc i'm making myself unwell thinking about how scorbunny latching on to goh and goh latching on to ash.... but also more generally, sobble's whole thing and the absolute tearjerker drizzile evolution episode, and goh's weird ass dream about his rillaboom parents and then waking up to baby grookey clinging to his arm, you get it, i know you're galaxy brained about this

YESSS I AM *SO* GLAD YOU ASKED!!

so my tl;dr here is that all of the galar starters represent something about goh specifically relating to his childhood. their growth and eventual evolution (or lack thereof!) therefore serve to highlight his character development (as an aside, i think this is a very common theme in anipoke. ash's pikachu not evolving speaks to the fact that ash's growth isn't about becoming someone new but about staying true to himself and embracing a battle style that reflects the creative ingenuity that, in the early os, other characters mocked him for. similarly, dawn's piplup chooses not to evolve because it doesn't want to change how things are between them. does this not seem fitting for the partner of someone like dawn, who has always admired her mother so much that she never even considering doing something other than following in her footsteps? i'm sure there are other examples, but these seem to me the most obvious ones!).

let's break down each one, then!

scorbunny

when we meet scorbunny, goh is still determined that mew will be his first pokemon. this is a point of stubbornness that, while impressive and arguably kind of admirable, is frankly kind of stupid. how is he supposed to get to mew without any pokemon to help him? there's an interesting implication in this resolution, which jn004 and jn005 really highlight for us - goh isn't comfortable with having a pokemon. he knows a lot about them, is interested in researching them, but as far as the bond between pokemon and trainer goes, i don't think he feels prepared for that. it's easier to pick a target that is far from reasonably attainable for him at this point, especially since he does have some history with mew - didn't it take an interest in him? didn't it give him a reason to chase after it?

so meeting scorbunny, he's obviously not thinking about catching it. but he lies to the guy at the scone stand, in an interesting parallel to how scorbunny steps in to protect the nickit. he doesn't even seem to know why he does it. but just before that scene, he sees scorbunny wipe some of the dirt off its face. he doesn't get the whole story and connect all the dots until after, but i think he realizes then that scorbunny is trying to hide itself in some way. that it's performing as something it's not. and on some unconscious level, that motivates him to lie for it. after, we get this whole exchange, where the scone seller tells ash and goh the story

and this note is what makes goh get up and approach scorbunny and the nickit:

it's very symbolic that he wipes the mud off scorbunny's face. and then later, he even points out when they see it again that it looks better without all the mud covering it up - it looks more like itself. it's not pretending to be something it's not. goh wiping the mud off its face is him saying that he accepts it as it is. that being resigned to living a certain way just to fit in or just because that's how it's always been is pointless.

and i mean...even ash says in this scene that the things goh is saying are things he's only recently learned himself, right? goh denies it (and tbh when he says that he's always thought the world is big and anyone can explore it if they want to or whatever - i don't think that's untrue! i think it's just that, prior to meeting ash, he didn't have it in him to explore it), but ash has a point. and what goh is doing for scorbunny here is the same thing that ash did for him.

relatedly, scorbunny follows him, right? in the same way that goh "accepts" ash as his friend, scorbunny chooses goh as its trainer. goh recognizes that it travelled far for him, that it saw a vision of its future with him, and changes his mind about not catching it. i think the determination he saw in scorbunny to chase after its dreams resounded with him, because he's only just started doing the same thing. and his entire character is built around this idea of like, learning how to adapt and how to let other people help you find the courage to chase your dreams (and even to help you chase them). how could he possibly deny scorbunny the same thing?

but while scorbunny's enthusiasm helps motivate goh to chase his dreams, he is very flippant and dismissive, as we see when it learns ember and he says it doesn't matter, that scorbunny doesn't need to know a fire-type move and this gut-punch of a line, of course:

goh is someone who needs a lot of convincing to do things he doesn't think he'll be good at (or enjoy). he only joins project mew because gary goads him into it. he spends most of his life refusing to make friends, because he had one bad experience. he's a fairly black-and-white thinker, which makes sense considering his background. he doesn't really believe in change. he especially doesn't believe that people (or pokemon, in this case) can change their circumstances just through hard work and determination. as we see in jn003 with the ivysaur, he also doesn't think that it's anyone else's place to intervene and "help" others. if you can't change something, then don't. and there's no point in hoping it'll change on its own, either.

when scorbunny storms off here, his expression is interesting. this isn't the expression of someone being judgemental. it's the expression of someone who sympathizes.

he sees scorbunny trying so hard to do something he thinks it can't do and thinks that scorbunny's determination to change things is, if i had to guess, kind of immature. a lesson scorbunny will have to learn, whether it wants to or not. at first it's kind of endearing, but then he actually gets frustrated, because he feels like scorbunny's determination to learn ember is harmful to them both. here, there's a degree of "why won't you just trust that i know what's best for you?" for sure, but on a deeper level, i think that stems from a place of "can't you see that i'm just trying to protect you?"

...but obviously, all he really does is wind up lashing out and hurting scorbunny's feelings. he tells ash that he was trying to draw out scorbunny's strengths (and he was, by telling it to use moves it was already good at!), but ash points out that their values weren't aligned and that's kind of the opposite of strength when it comes to pokemon battling. so he reassesses the situation and finds a way to bring out scorbunny's strength that also aligns with what scorbunny wants. that compromise is what makes scorbunny evolve. it was the right call! but then raboot starts ignoring him.

and this is like. a running gag with scorbunny - goh gets distracted by other things and doesn't notice that it's trying to show him things. it happens when they meet and it happens again in this episode with its ember. we see something very similar with goh and his parents in jn032 when he's excited at the prospect of their vacation together, but when he tries to ask what they want to do, he turns around and find they're both asleep (and we see the flashback of something similar happening last time, too).

with raboot, in a lot of ways, goh is grappling with...himself. or at least, the person he was before he met ash - cold and distant, more interested in doing whatever he thinks is worth his time than in school, for example. so if goh saw his child self in scorbunny, he sees his more "adolescent" (i mean. he's still ten so still child, technically. but older child lol) self in raboot. and he actually responds to this in a way that's a lot like how we see his parents responding to him. in jn022, we see him

buy a bunch of apples for raboot, even though he thinks it doesn't need them (and is hurt when it doesn't let him have one, despite raboot seeming pleased that he bought them for it). compare to the device he shows horace in jn032, for example, which he says his parents built for him. or his six computer monitors. his parents reach him best through material means!

question why raboot hates him when it's not responsive to his overtures. contrarily, goh's parents don't think he hates them; they just automatically assume the worst case scenario (like in jn015 when he calls and they immediately wonder if he did something and got kicked out of the institute). but while that's their worst case scenario about him, raboot hating him is kind of goh's worst case scenario, right? it took him time to open up and accept scorbunny as his partner. now that it's evolved and is acting differently, he's terrified that he came to care for it only for it to leave him.

which leads to my last point here, which is that he doesn't actually ask what it wants. in this episode, he concludes that raboot would be happier without him. so he leaves it behind, but he never actually considers how it might feel. goh's parents do the same thing! they worry about him, but they don't share their concerns or ask how he feels. they just assume that he must feel a certain way and they adapt to compensate for that. but they never actually ask him what he wants.

this episode ends with him realizing that he hasn't been reacting to raboot's feelings so much as to his own, of course, and we see their relationship smooth out quite a bit. he's acknowledging that he's done things wrong, but also that it's not all his fault - and raboot's change in temperment is just a consequence of it evolving. they accept each other again and move on.

then, it evolves into cinderace and kind of opens up again more (though it's been doing that little-by-little since jn022). i think the fact that raboot and riolu evolve at the same time was a really cool move by the writers to kind of demonstrate how like...the relationship between ash and goh is reflected in the growth of their pokemon. they trained together! in a way they kind of grew up together! riolu, ash's token baby pokemon in jn, evolving at the same time as goh's starter feels like a very deliberate choice to highlight how ash helped goh's pokemon grow, too - through getting the ball rolling with how he helped goh grow as a person and a trainer. if that makes sense?

anyway, i don't have much to say about cinderace, other than that if he saw himself as a child in scorbunny and as an older child in raboot, then cinderace's level of openness and its enthusiasm aren't just reflexive of it getting back more of its scorbunny-esque personality - it also shows how goh has changed and has learned to embrace these parts of himself, now that he's in that "coming of age" age (well, for pokemon. he is still only ten lmao).

i think we see something similar with his other starters, though maybe a little less on the nose.

sobble

the drizzile episode, as you mentioned, is probably Thing here. but i think the theme with sobble is sort of that, where scorbunny maybe reflects more of the way goh thought about growing up and his aspirations (and how hard it was to open up to people), sobble more so mirrors his social experiences at school and with chloe.

VISUALLY, i think it's really telling that when goh catches sobble, he's...literally speaking to it from the other side of the water:

this whole episode (jn028) is about goh kind of...forcing sobble into positions it's not necessarily comfortable with, and not realizing that it's uncomfortable until it runs away from him. as we saw with raboot, this is a common theme with goh - but it's most obvious with sobble!

he realizes, of course, and says this:

even in flashbacks, goh never comes across as a shy kid. he doesn't exactly relate to sobble, but i think he's drawing a parallel here between them. he wasn't shy, but he was always on the "outside" - that's why he's so good at researching. he strives to see things as they are without getting involved. eventually, this is something that will make him a pretty thoughtful and strategic battler, though at this point he's still learning how to apply that to more than just research for the sake of research.

and then after sobble meets inteleon, we have these bits too:

goh's childhood motivations on the surface appear to be like...he doesn't want to bother with friends, because they aren't going to be able to serve a purpose for him. he isn't interested in making friends with anyone who is less into pokemon than he is. but after what happens with horace, it seems to get a little more complex, and then we have to wonder if his motivations really were that surface-level to begin with, or if, maybe, his policy of not making friends has always been a way for him to protect himself from betrayals like he experienced with horace.

we see chloe as early as jn001 trying to convince him to make friends, to no success. she doesn't even refer to herself as his friend - he doesn't seem to be willing to let her. he believes he doesn't need friends and is better off alone. but he doesn't realize until after meeting ash that his solitude is more of a self-imposed exile, in that it's hurting him more than other people. he can't improve as a person and reach his goals if he's too busy trying to protect himself to accept that he needs help from other people to do those things. so, again - i think he sees that side of himself in sobble. so it feels very impactful that he reaches out to help sobble become a better battler, but rather than forcing it to battle in a way that makes sense to him, he comes up with a way to have it train that plays off of its strengths of running and hiding.

and then, of course, there's the episode where sobble evolves, jn062. the writers themselves do most of the work here of drawing the parallel between goh's childhood and how drizzile is feeling, but i think it goes even deeper than that. drizzile is unhappy because it wanted to evolve into inteleon, not into drizzile. it's not comfortable in its own skin. and it doesn't necessarily want others to see it, because it feels like it's still growing and it's not ready yet. it kind of just...needs time to sulk and brood. drizzile runs away again, because it's not ready, and while they're looking for it, it's chloe who makes goh start thinking about when he was a kid, by saying this:

which prompts him to think about how he was searching for a "reason" for why drizzile was acting how it was, just like how adults used to demand reasons from him even when he didn't have them. and then of course we get this scene:

but i think he does on some level know why, because he talks immediately after this about how his parents weren't home and often felt lonely. he's more comfortable being alone. he's protecting himself. which is reinforced by the fact that he then tells drizzile this:

goh has a hard time putting his feelings into words, which is something we see throughout jn. he sees that drizzile is the same and this is a huge moment for him, because he's saying here that it doesn't matter what inspired its feelings; he understands it is experiencing those feelings and that's enough. he'll wait until it's ready to fully process them or whatever else it needs. drizzile kind of returns the favour when he starts crying here and it reaches up to brush away his tears, then disappears again.

overall, this episode does an amazing job of showing us how goh has become someone who actually acknowledges his and his pokemon's feelings - this is the only time we see him as a child where he's not doing something to try to ignore his feelings, or trying to walk away from them. in flashbacks, his back is often to his parents. in jn032, he gets upset, and then tries to cover his disappointment up immediately with anger and avoidance. the writers set this scene up so that we can see the reason behind his feelings clearly (just like we can see the reason behind drizzile's, even though goh and co. can't), but they rightly emphasize that goh's ability to analyze "why" he or his pokemon are feeling a certain way isn't always helpful. emotions are meant to be felt, not intellectualized. it's a good message, and a huge area of growth!

drizzile's evolution into inteleon also shows us how this acceptance translates into it eventually being comfortable enough to be who it wants to be. and the characters are impressed by it - it even earns kecleon's admiration, the same way that other inteleon earned its when it was a sobble. this is a pretty clear mirror with goh's social life, where he went from being this friendless outcast figure to someone with a lot of friends, and a great willingness to make more, as he became more comfortable and confident and willing to reach out to others.

and lastly,

grookey

the only one of the three that doesn't evolve, for reasons that aren't ever really made clear to us. but i think that as random (...and tone deaf) as his dream sequence at the start of grookey's debut episode is, it actually makes a lot of sense. in the original, the dream has camille and walker transformed into rillaboom, and goh is understandably freaked out. but i think the bigger, more symbolic thing is that even if it is a dream, his parents are the ones that foist grookey upon him. this does seem like a really weird choice, until you start thinking about the parallels, right?

in reality, grookey is team rocket's pokemon. the episode title "when a house is not a home" tells us that grookey obviously doesn't feel like it "belongs" there. but the episode doesn't open in team rocket's base. it opens in goh's apartment. and the part i didn't show in the drizzile scene above is when he says this:

the fact that goh was home alone a lot as a kid gets brought up fairly often. it implies that he kind of had to adopt this lone wolf persona, because there was no one else around to take care of him. he had to learn how to console himself and meet his own needs (hence why he's so combative about ash intervening with the ivysaur in jn003!), which is a lot of responsibility for a kid. grookey is handed to him like it's a responsibility in his dream, but then they bond. and he starts to appreciate having grookey around, to the point that he misses it when it returns to team rocket.

to me, the choice to have grookey not evolve kind of comes down to grookey being kind of...emblematic of goh's childhood. like, in his dream, grookey is this burden that's forced on him. someone he has to take care of, even though he isn't really prepared to do that. in reality, grookey is escaping from an environment that doesn't meet its needs. putting those two things together, i mean...that's just my reading of it, anyway. so grookey not evolving, and goh accepting grookey as it is - without any of the "growing up" analogs we have with cinderace and inteleon - is a way of showing that goh has come to terms with his childhood and that he accepts (and cherishes!) his childhood self. which he can only really do after he's done all the growing we see reflected in the evolutions of his other starter mons. (relatedly, grookey is the only starter of goh's who goh considers leaving with other mons in its evolution line. specifically, with two thwackey and their child, i.e. a family unit not unlike goh's!)

anyway! this is a very long post, so thanks for sticking with me if you did. hope my takes are as galaxy-brained as you hoped hehe

#answered #*meta #pokemon #anipoke #goh #meta #phew sorry this took so long. it was all in my brain i just had to get it out there lmao #i think i also almost hit the image cap on this post so dhjfghjfdk #anyway i will die on this grookey hill 100%. i am SO glad they never evolved it :p

[nyaagolor]

Geeta Team Tweaks

Continuing off my Nemona post: I am Geeta's strongest soldier but her team sucks. Not in the sense that it doesn't have a theme or is ill-fitting, but it just doesn't exude the level of badassery that she deserves. I thought it would be fun to explore different ways of building her team that highlight interesting and underutilized Paldean pokemon and explore a new angle theme wise. Under the cut bc these get long

So Geeta's whole thing is the beauty and diversity of Paldea, shown by her pokemon that represent each of the provinces. However, I think it would be a little more fun if instead, Geeta's team represents the very peak of Paldea-- made entirely of hard to find, powerful, and elusive pokemon that the player only would have seen if they explored every nook and cranny. Not only does it make Geeta look badass, but it serves a meta purpose: those who truly love paldea and spend longer exploring the region can more easily defeat her because they know what to expect, while those who blast through the story will be met with unfamiliar pokemon who can wipe them out

Glimmora: I think she should lead with Glimmora, but that the pokemon should be used in all her promotional material and be the pokemon most closely associated with her. In the same way that Pawmot isn't Nemona's ace in the game but is the Pokemon she's associated with most, I think it should be the same for Geeta. Also, I think the way you find Glimmora should be tweaked so that Geeta having one is more special. As it stands, Glimmora connecting Geeta to area zero is something the player can only find out after the battle with her, which dampens the intrigue. Plus, it can be found easily in some caves, which doesn't make it an unknown or a threat. Instead, I propose that Glimmet / Glimmora only be found in a single spot in Paldea-- a hidden alcove in one of the caves where crystals from area zero are starting to grow. By having a pokemon that spawns only in a rare and out of the way location, players who explore are rewarded because they know how to handle it. Either way, Geeta owning this rare pokemon that most have probably never seen immediately makes her seem badass and mysterious

Espathra -> Amarouge / Celruedge: The fact that these things aren't used in any main story battles and that Celruedge doesn't appear on a team at all is a genuine crime, so I'm fixing it. Also, as cool as Espathra is, it's associated more closely with Tulip, so I don't think it's good for Geeta to have a repeat member like that. The sword boys, on the other hand, are uncommon, powerful, and badass, and serve to highlight Geeta's strength and mastery over the pokemon of the region to the point where she can evolve pokemon like Charcadet that very rarely see evolution. She would have the one that corresponds to your version (Armarogue in Scarlet, Celruedge in Violet)

Gogoat -> Paldean Tauros (Aqua or Blaze): You know how I mentioned in my Nemona team post that she would have a Paldean Tauros in her team, which is implied to be her previous ace? Yeah that's because of Geeta. Nemona looks up to Geeta a lot, and I figured Nemona's Paldean Tauros is actually inspired by Geeta's Paldean Tauros. However, while Nemona's Tauros is the breed that corresponds to the version you're playing, Geeta has the one that corresponds to the Opposite Version (Aqua Breed in Scarlet, Blaze Breed in Violet), ensuring that you're facing a new and surprising threat during your champion fight

Avalugg -> Gholdengo: Imma be honest I do not think Gholdengo fits her vibes at all, but it's not used by anyone in the game and that's pitiful. It's powerful and cool, which also fits for a champ. Also, it fits with the same theme of exploration-- without scaling the watchtowers and searching Paldea for coins, you won't be able to evolve a Gholdengo and have little idea of what you're facing

Veluza -> Rabsca: Uhhhhh honestly I just wanted a cool looking pokemon that wasn't a repeat from another NPC's team. This felt like a good pick AND uses the let's go feature, so it fits with the exploration theme too

Kingambit: This is a good pick, it should have been last, you've heard this a million times. The big thing about Kingambit, however, is that I think it should take advantage of unusual tera types. Since Geeta doesn't have a type specialization, you go into the battle having NO idea what her ace might be. and uh. I don't either. Fairy, maybe? idk I don't play comp I'm here for themes and motifs

Anyway, that's all for Geeta! This is a pretty big overhaul, and I'm curious to see if anyone else had ideas for alternate versions of her team

#geeta #mod vex #pokemon sv #headcanons #not really but I want it to be in the tag

[aaronymous999]

On a more meta thing about canon events, them actually being real would suck on a meta level. Especially the death of Gwen Stacy, I don’t know if this was considered by the film writers but I absolutely also interpret the meta rejection of canon events as women don’t need to suffer for Spider-Man’s character development all the time. It’s a common idea in the Spider-Man fandom that Gwen Stacy will like, always die if she shows up in the piece of Spider-Man media.

Occasionally it can be heart wrenching and powerful, just like any other character death. The Amazing Spider-Man 2 BROKE ME, and in cases like those it doesn’t feel like female character dies for main male hero’s character development, it felt like an adaptation of that idea within the original comics, turned into just a straight up tragedy. However in other Spider-Man media the death of Gwen Stacy often falls flat, and simply feels like an obligation of the writers to include it because it was in the OG comics. ( Which I believe if I am remembering correctly that her death only happened because the writer didn’t like her character… )

I think it would be very powerful if canon events are proven wrong in the final movie, especially for Gwen Stacy. For the average Peter Parker, canon events suck for sure but they’re usually not the ones dying. But imagine being a Gwen, and feeling like you can’t do certain things, or love certain people because “it usually doesn’t end well.”

I think it would be really freeing for Gwen and actually a little progressive actually because god I am so sick of women dying to further the arc of their male love interest.

A lot of the time it’s “Stop making Spider-Man suffer!!” When in a lot of ways I prefer “Stop making everyone in Spider-Man’s life suffer to further his character.” Like give him some interpersonal conflict please? I get being close to a super-hero would suck and is dangerous blah blah blah but that’s been explored to death.

#aaronymous ramblings #spiderman #spider man #spider-man #atsv #canon event #atsv spoilers #gwen stacy #spidergwen #spider gwen #spider-gwen #ghost spider

[ohmeadows]

As someone also in the ruanliu pits, I would like to note that if Ruan mei were to succeed, with her potential path she would mostly likely absorb the path of abundance due to the overlap in concept. This would ostensibly fulfill jingliu's–who's already shown her willingness to work with other factions/aeons to bring down yaoshi–goal, and Ruan mei gains her very own, very potent, attack dog (with whom she, on a meta level, actually go pretty well together). There very well may be a path for them to be working together despite seemingly conflicting ideals. The unfortunate thing with Ruan mei potentially succeeding is that it would likely lead to the erasure of her identity/self after ascension. Though if there were to be anyone who could circumvent that little caveat, it would be her. Just interesting things to think about.

good thoughts.... chewing

because i've been thinking about this a lot. my thoughts on it is that ruan mei might view both the abundance and propagation paths as having been, if not failures, narrow-minded in their applications of the concept. she herself speaks of death being an inevitable aspect to life's balance, a necessity almost.

notably, there's no aeon of death, which would be almost a needed counterbalance if she wished to become something akin to an aeon of life/cultivation -- to grow the perfect orchid, pruning is a must.

aeons are gods of concepts, in a way. propagation arose from the desire of one lonely individual, the last of their species, not wanting to be alone anymore. propagation was never truly about life, yet it ties in a lot to abundance and ruan mei. i do in part suspect we'll see that abundance was an off-shoot or evolution spurred from the propagation, as the abundance didn't exist during the swarm disaster era. so, by extension, ruan mei's desire to understand and take apart these concepts reflects her desire to embody a concept of her own. but she's so meticulous about it, intentional. she doesn't want to replicate "prior mistakes".

in the fic i've written i toy with the idea of jingliu becoming ruan mei's attack dog, her sword, and her counter-balance. she prunes what ruan mei cultivates. after 1.4's story quest i floated the idea jingliu might, due to her singular purpose and hellbent ideals, accidentally end up becoming an aeon even as she loathes the way their paths determine other's destinies. and that would be such an interesting au idea to explore too; aeon of life and death interlocked in a constant dance, cultivating and pruning, seeding and withering, blooming and rotting.

there's already a quiet undercurrent of balance, of yin and yang to their current paths, hence my interest in them. one hellbent on killing an aeon, the other on becoming one.

#star railing.txt #ruanliu #ask meadows anything

[quaranmine]

I know I already commented this on AO3 but I literally cant stop thinking about this fic and I so want to talk someone's ears off irl. Cuz holy fuck. I just absolutely the characterization in the story. The voice and expression of Grian is just so palpable and well-written. You sympathize for the guy even as he digs himself deeper into the abyss. Like, I know from the beginning, from playing Firewatch, that there is no conspiracy, just circumstances. But you understand where Grian is coming from, you hope that he is in some ways right, that Mumbo is still out there (doesnt help that Im a mumbo main lol). At some point, part of you just believe the conspiracy along with him even as everyone else, including the back of your own mind, tells you otherwise. And the other part wants to grab Grian from the other side of the screen and shake him til he realizes. That fucking dread of in some way knowing the ending just created that underlying layer of tension when reading. And, as someone else has pointed out, Grian's agency in his search for Mumbo being like denied somewhat fits in so well and just hits home that, nothing is really in his control, that its all just an accident. Its that gut-renching punch and realization that is stuck in my head after reading chapter 11. And im glad that chapter 12 presents some closure and breathing room. Its not the ending, but its an ending and a start. The melancholy of the last chapter, of Grian's acceptance and him finally meeting Scar. All of it is just, GOD. Anyways, excuse my ramblings, I love this fic and its genuinely one of the best Ive read. You did an amazing job.

THANK YOU!!!! I love this review of my work so much, as well as your AO3 review :)

I like that you bring out that having played Firewatch clued you in on the lack of conspiracy. I know the game's ending is controversial, but I actually like it a lot. I love the way the game makes you paranoid and how the remoteness of the setting reinforces that. I love how it's just a story about broken people running from their problems. Whenever I think about the game, I think about this Medium article I read (massive game spoilers.)

And so with this story, I didn't want to do the same thing as the game's plot, but I wanted to harness some of the same themes and explore them in my own way. I think the fic works well alongside the game because it sort of complements it, neither requiring prior game knowledge to read nor spoiling the game--but having game knowledge makes it even better.

I worked backwards knowing I was going to have an obvious ending. It's obvious because it's the most realistic option. But there is also an interesting extra level of writer-reader meta to play with, which is that nearly everyone is primed to sympathize with and believe the pov character. Everyone is also generally primed to expect better ending, or to expect that impossible will somehow happen because it's a fiction story. So I knew that readers would start off with a similar hope to Grian. And I knew that as the story went on further and further, I could direct readers toward the real conclusion. At some point, the very length of the fic itself and number of chapters left with make readers realize they're running out of time for things to happen. At some point, the reader is going have an objective picture of events and realize how irrational some of Grian's actions are.

I'm glad it worked to create a lot of tension! I also think the way a lot of other characters interact with Grian creates tension, because most of them are sort of "scared" to be direct with him since they know it'll upset him. And the way every one of Grian's actions keep adding and adding until the potential consequences grow greater and greater continue to add to the out-of-control feeling of this story. My goal for his character was always to keep pushing him to see where it led. It was a sad story to write, but it's a fun one to analyze for me.

I'm glad you liked chapter 12. I wanted it to try and resolve some of the things that needed to be said still, and provide a little bit of rest from the last three major action-filled chapters. The story is really 11 chapters of getting Grian to the first step in healing, and chapter 12 is that first step. It isn't the last one. Just the first.

Also my condolences for being a Mumbo main, I really need to get my blorbo rights revoked. I've been privately joking for the past year about fridging the poor man ����mumbo ily i promise

#quara asks #hc_firewatch_au

[thesmumbo]

Smumbo's top 10 games he happened to play in 2022

Not necessarily games that were released in 2022, just my favorites that I played for the first time last year.

10: Night in the Woods (2017)

by Alec Holowka, Scott Benson, and Bethany Hockenberry

Peak fall vibes game. Night in the Woods features a compelling mystery and some great spooky moments. The setting and characters really resonated with me, so I got a lot out of it.

9: The Pedestrian (2020)

by @skookumarts

Pleasant puzzle game inspired by the signage that surrounds us in our day-to-day lives. Some of the puzzles were quite difficult, and I kind of dislike the direction the game took in its last act, but it was still a very fun and unique experience.

8: South of South Mountain (2022)

by @colorbomb

Cute & hilarious visual novel with a fantastic art style. I could not stop laughing throughout the whole experience.

7: Portal Reloaded (2021)

by PORTANIS

From a pure gameplay standpoint, this was a very satisfying sequel to Portal 2, and it's possibly the closest we'll ever get to a Portal 3. Portal Reloaded introduces a third portal which allows you to travel to the same place at a different time, so certain things have been moved/removed. It gets really complicated, and I’m amazed this was able to be created as a free standalone mod for Portal 2.

6: Frog Detective: The Entire Mystery (2022)

by Grace Bruxner and Thomas Bowker

Approximately 3-4 hours of pure, unadulterated joy and whimsy. I can’t believe it took me this long to play Frog Detective, but I’m so glad I did. Everything about these games resonated with me strongly.

5: OneShot (2016)

by @girakacheezer, @nightmargin, and Eliza Vasquez

A transcendent experience. Explores the unique ways in which video games can tell stories, and the nature of free will. Features some interesting meta game mechanics which require you to interact with files outside of the game. The visuals and soundtrack are spot-on as well. Weird how there’s so many great RPG Maker games which work so well in spite of the engine.

4: Scorn (2022)

by Ebb Software

An incredible audiovisual experience. I liked the gameplay too, even though it seems like a lot of people were disappointed by it. I'm amazed that a game like this even exists. Absolutely oozing with atmosphere and symbolic meaning. The story spoke to me on an incredibly deep level despite lacking words, or even any semblance of humanity.

3: What Remains of Edith Finch (2017)

by Giant Sparrow

One of the greatest games ever made. All of the vignettes and set-pieces throughout the game are flawlessly paced, with a wide variety of gameplay and visual styles. Packed with detail, made with love, and so emotionally resonant. I loved this game.

2: Bloodborne (2015)

by From Software

For years, I would try to play Bloodborne whenever I had access to a PlayStation 4, but I wasn’t able to do a full playthrough until 2022. It lived up to the hype. This is my favorite From Software game, and it’s already one of my favorite games of all time. I really hope this gets a remaster/PC port some day. It’s a masterpiece.

1: SIGNALIS (2022)

by @rose-engine

One of the greatest horror games I’ve ever played. Amazing visuals and atmosphere, fascinating world and lore, and a captivating, mind-blowing cosmic horror sci-fi story. I especially loved the evocative UI designs throughout. Highly recommended if you like Silent Hill, Resident Evil, Dead Space, PS1 style games in general, or if you have even a passing interest in survival horror. This is my #1 game of 2022.

#gaming #top 10 #indie games #night in the woods #the pedestrian #colorbomb #portal #portal reloaded #frog detective #oneshot #nightmargin #scorn game #ebb software #what remains of edith finch #bloodborne #soulsborne #from software #fromsoftware #fromsoft games #signalis #rose engine

[raayllum]

Whenever you talk about Callum and Claudia and moral ambiguity, I always think of this quote

"A hero would sacrifice you to save the world, but a villain would sacrifice the world to save you."

I love your metas, and I thought you might find this interesting (unless you already had this one in the back of your head lol)

Now, part of this may be because I grew up with PJO - a series with a very heroic, brave, and loving main character whose in-universe fatal flaw is "To save a friend you would sacrifice the world" - but I tend to err away from this dichotomy of villain-hero and subsequent selfish-selfishness in general.

The hero "saving a loved one vs the the world" is an age old conflict and also an inherently fantastical scenario, as it's a literal trolley problem on a level no real life person will ever experience (there can certainly be similar things in IRL war when a lot of hard, otherwise unfathomable choices have to be made). And, traditionally, most villains cover up their schemes with notions of doing things for the Greater Good (hi Viren!) even if their actions are also things that are conveniently benefitting themselves. And typically, the hero is the Hero precisely because they understand that recognizing the personhood of the individual and that it's important to always value the individual (of which the many are made of) is a crucial cornerstone of well, valuing life at all.

This sort of trolley problem is something that TDP comes back to over and over again and most of the time, the 'right' choice is defending the life of the (innocent) individual under attack no matter the otherwise personal consequence.

Runaan: You let him live, but you killed us all!

Sol Regem: No, you have two choices. You all die, or just the wretched evil human dies.

To do otherwise leads to Sarai's death as a narrative punishment. (ATLA explores this too, with Aang being literally Killed the second he successfully, albeit reluctantly, gives up his attachment to Katara. Which is harsh but very indicative, I think, as far as narrative punishments go, and reaffirmed in the finale with Aang being given a third path precisely because he refuses to surrender his attachments a second time.)

That's not to say heroes never prioritize the greater good. Rayla is very world focused ("This could end the war and change the world!" / not taking Claudia's deal in 4x09) and Ezran exchanges his freedom/safety for the chance for his soldiers to be able to lay down their arms and it's a primary concern for him in S4 ("But the kingdom needs me" "The world needs you"). Callum smashes the primal stone to hatch Zym. But, most importantly, the Heroic thing to do is to choose to lay down your life, not solely offer up others', for those causes or choices. And Viren's hesitation and later inflated self importance (among other emotions) is his Original Sin, series wise. (Even the fact he refuses to give up the egg and offer it as a possible plea for Harrow's life; he'd rather sacrifice his own because of his own paranoia than risk giving Xadia a 'weapon'.)

In many ways, TDP says "The villain will sacrifice you for their notion of the world (who counts as a person, etc), and the hero will save you even at the potential cost of the their world, re: themselves".

However, because this is TDP, even this dichotomy isn't Simple or clear cut. Runaan and his troupe all willfully give their lives for an ultimately lost cause that will only create more suffering and was, per the words of the story and reaction of the other characters, completely Unnecessary; Claudia is certainly prioritizing the life of the individual, but with a complete lack of regard for any other life forms as a dark mage (and isn't thinking through the long term consequences, but more on that here).

TDP also calls into question the nobility or necessity of self or self imposed sacrifice, particularly in Rayla's character and where and how it can be taken to a dangerous level. For example, her walking away from the drake is a character regression, not a progression, precisely because it throws away the life of the individual (something she largely never did before) while also reaffirming that she's far too prone to throwing her own life away unnecessarily/unfairly.

So. Where does this leave us? And what does this mean for Callum and Claudia?

Well, I think there's a few consistencies:

1) Are you sacrificing yourself because you feel like you have to (obligation and guilt) or are you sacrificing yourself because it is the right thing to do (harm mitigation)?

This is probably where Rayla and Harrow fall the most. That's also not to say this dichotomy is solid, as it can definitely be flexible / bleed into each other (Harrow's surrender of his life in 1x03 is, I believe, both). But it is useful in differentiating when Rayla is being noble (saving Zym, 2x07, 3x09, possibly 4x09) vs when she's being self-punishing (1x02, 3x08, Through the Moon, definitely 4x09).

2) Are you sacrificing others in ways you would not sacrifice yourself? Are you sacrificing yourself in ways you would not sacrifice others?

This is where I think Runaan, Viren, Rayla, and Callum primarily fall into. Viren is the only one who really hardcore engages with the first question (yes, he'll sacrifice himself, but it's almost always with an edge of disregard to others and/or a sense of ego), with Runaan, Rayla, Callum, and Claudia all leaning towards the second one. "You're going to be better now, that's all that matters" "It doesn't matter what happens to me, live or die this dragon goes home" "If me dying is the only way for you and Zym to get across safely, then it's time for me to meet the end" and "I am already dead".

3) Are you actively chasing a self destructive/sacrificial pattern or is it something you are pushed into and then have to react to?

This is the key difference (most of the time) I think between Claudia and Rayla (first option) and Callum (second option). For me, I perpetually come back to the way Callum is willing to risk his life, most often, only when he has hope of survival (i.e. he lays down his life for Ez but also immediately argues that he should get to live; Rayla talks him down in 3x01 with two words and Callum immediately starts looking for another plan; he jumps off the Pinnacle with the hope of wings). This is in direct contrast to Claudia and to Rayla. Where Ezran argues in 3x02 that children shouldn't pay for their parents' mistakes, Rayla argues the exact opposite and that she should die in 3x08. The "pushed into a corner" Callum vs Claudia "seeking it out" seems pretty consistent, but I could see Callum seeking it out a bit more in S5, particularly in relation to the coins (but we'll have to see).

Closing Thoughts

To be clear, I don't think TDP is interested in giving a Definite answer about self sacrifice and selfishness vs selflessness (sacrificing yourself can be selfish; saving yourself can be selfless; selfishness is not always a vice and sacrifice is not always a virtue). I think it's a theme, as a subset of grief and relationships, that the story has chosen to Explore in a variety of different ways.

One of the main reasons I've always leaned towards Callum and Claudia paralleling each other more directly is 1) they always have (Claudia comes up with the switching spell in 1x01 because of Callum, and that's precisely what Callum executes when he says he's Ezran, for ex), 2) Aaravos' pawns ("a song of love and loss" "Aaravos chose as his instruments" "those who fail tests of love," etc.) and 3) Claudia is primed to be the one pushing for Aaravos to be freed.

This is somewhat sympathetic because it's for her dad, but Viren-Claudia have a complicated to unhealthy kind of dynamic, and Viren isn't really a character most of the audience cares about being saved (nor does he himself, and he's already been Saved once), so the sympathy can only go so far. However, it's still pretty clear that they're both set up to get atonement/redemption arcs to a degree. The easiest way to not have Claudia be incredibly demonized is for another, good guy character, to make the same/a similar choice for a similar reason. I've gone on record saying I think Callum will either make a conscious choice where he knows he could be risking Aaravos' freedom if it snowballs, or an active choice directly freeing Aaravos, simply because who else would have the incentive, who else has the foreshadowing, and it ties together the thematic overhaul of S4 pretty well, as well as Callum's associations with Freedom thematically.

Because valuing the individual over the world isn't Wrong, just like valuing the world over the individual isn't necessarily Right. It depends on bond, sympathy, circumstance, the attitude and role of the character you're saving and who's doing the saving and how. I've said it before that every character in TDP typically wants the same thing - to protect their loved ones - and so their methods - what they're willing to do or not do, and how they do it - is what creates the moral and ethical spectrum of the show.

TLDR; sometimes we sacrifice the right things for the wrong reasons, or the wrong things for the right reasons. Claudia still doesn't think/know that Aaravos is evil (because she is a Legend at ignoring red flags and her own prejudice); Callum does. Claudia doing all this to save her father out of her own desperation would offer up a nice parallel of Callum also doing something out of desperation to protect/save the people he loves. I think they both have a great capacity to be Wrong, while (in Callum's case) also somewhat doing the Right Thing. That's why it's Moral Dubiousness, after all.

And also why his Tales of Xadia bio spells it out for us 3 different times:

Liberty: I'm beholden to my inner circle, not some silly kingdom.

Devotion: I value those close to me more than anyone or anything.

Has the lowest Justice (the defined desire to do What's Right) score of any of the main heroic characters in the trio or in the show, other than Lujanne

#tdp #the dragon prince #tdp's perpetual trolley problem #thanks for asking #requests #snake boi callum #ripple-rapple #tdp meta #analysis series #analysis #arc 2 #arc 1 #multi #parallels #theme: sacrifice #like to me it's not a question of If callum is going to do something Fucked but When y'know?

[spikeface]

the terror you long to look at

Written for @teenwolf-meta’s Meta May Monday theme: Ties. 

Despite my frustration with the show’s handling of the anuk-ite’s mythology, I really liked the idea that, in the finale, it lures people into looking at it by becoming someone they long to see--but, at the same time, because the anuk-ite is a fear monster, someone they’re terrified of. I was frustrated, however, by the fact that the shape it took was either never explicit, or depended on who was doing a cameo for the finale. Here would be my picks for what the anuk-ite would look like, for the people who had to face it, if casting and time weren’t an issue:

Peter Hale would see Laura Hale. I didn’t dislike that the monster took the form of Malia, for Peter. She’s definitely someone he longs to see, and I’d interpret the fear aspect as either shame for when he’d hurt her or her loved ones, or simply fear of the fact that she sees through him. I think it would have meant a lot, however, if they’d shown explicitly that he misses Laura, and is afraid to face the fact that he murdered her even as he longs to see her. His murder of her starts the entire story, and it would have been an interesting way to incorporate it into the show’s finale.

Malia Tate would see Kylie Tate. We don’t actually know what form the anuk-ite took for her, which makes me mad, because it would have been such a good time to explore her grief for Kylie. One of the first things we learn about Malia is that she’s haunted by her sister’s death most of all, and is still, in some way, looking out for her. No matter how much time passes, she’s always going to.

Jackson Whittemore would see Matt Daehler. This one’s a little shaky because s2 ends with Jackson very clearly growing out of the headspace that made him a kanima, and literally growing away from it. But 1) they made him part-kanima again in the finale so I’ve decided that means he’s still got Baggage and 2) even if he moved on from being the kanima in general, Jackson never got to confront Matt specifically. Matt--this guy he had this intense and toxic relationship with, who represented everything the deepest part of him wanted--just disappeared from his life, only to be found dead in water Jackson could have saved him from. I think Jackson is terrified of somehow running into Matt again. I think he’s even more terrified of the idea that, on some level, he’d be happy to see him.

Ethan would see Aiden. How could he not? Of course he longs to see his brother, his literal other half and the one who felt what he felt all his life, whose life Ethan felt in turn. At the same time, we see in both 3a and 3b that Aiden’s passion for violence disquiets Ethan, even though he knows he’s protected by it, and in Motel California, Aiden also represents everything Ethan most fears, what he’d kill himself to escape. 

Derek Hale would see Paige Krasikeva. I loved that we got a cameo from Haley Webb, but I maintain that Jennifer was the weakest choice for Derek. It’s not that I don’t think memories of her haunt him, but Derek already confronted Jennifer—multiple times, and in ways that literally had to do with “seeing” her. I definitely don’t think he longs to see her the way he’d long to see Paige, the girl he was manipulated into forcing the bite on—a mistake we know still haunts him. He was rattled to lose even the blue eyes that represent his guilt about her death. I think that even now, his longing to see her would frighten him, since his desire for her once led to her death.

Scott McCall would see his own murdered body. Ok, stay with me on this one! I loved that they did a cameo with the nogitsune wearing Stiles’ body, and I think that ranks near the top of Scott’s fears, but I don’t think he’d be tempted to look at him. Conversely, I think he’d long to look at Allison, but I don’t think that desire would terrify him.

I think the desire that most terrifies Scott is the one for his own death. Scott has struggled with suicidal urges since at least 3a, and Tyler Posey has discussed how, by the time Scott’s murdered in s5, he was “ready to die.” Scott’s death is the end of the relentless struggle his life has been since he was bitten, freedom from all of his perceived failures that haunt him--like the nogitsune taking Stiles’ body, like Allison’s death. It would be so fitting for him to confront that in the library, where he was originally murdered--where his murdered body once lay on the ground, the one part of himself he’ll never be able to see. Unless he looks now. 

It would also fit really well with @daughterofluthien’s excellent meta about the meaning of Scott’s self-blinding in the finale. If the anuk-ite represents Scott’s desire to die, then the mutilation represents, ironically, his rejection of that desire, and would foreshadow his similar rejection of the lure of death in the movie, when he growls at the nogitsune: “I’m not ready to die.”

#teen wolf #peter hale #malia tate #jackson whittemore #derek hale #scott mccall #teen wolf meta #twmeta #twmetamay