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#I got more meta coming
yea-baiyi · 1 year
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i keep thinking about the odyssey i am THINKING about wei wuxian as odysseus. you were dead. its been years since you’ve seen your family. the child you left behind is almost a man. you wear a face they don’t recognise, you sneak in through the back door. the dog gives your identity away. the world knows it’s you when you draw your weapon. the person you love recognises you by the original symbol of your love—a secret that no one else in the world knows about, still, because they kept it safe for all these years. you get the chance to go back and despite everything, you found home waiting for you; he kept your place and raised your son and he was still there waiting for you when you got back. tell me o muse, about a complicated man i am extremely not okay
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justmenoworries · 3 months
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This is gonna sound beyond weird, and it's gonna be egg on my face if the show doesn't go in the direction that I think it will with Vox but...
Is it just me or are there several paralells between Vox and Angel?
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keep-ur-head-low · 1 year
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Although we don’t know the exact details behind the central conflict of Across the Spiderverse and it could very well be an intentional trailer misdirect, I think the possibility of Miles having to save one of his parents at the risk of the multiverse has strong potential to challenge the deeply rooted idea that tragedy and sacrifice define Spider-Man as a character. Much of Spider-Man media suggests that Spider-Man absolutely has to give up his loved ones and personal life for the sake of his duties, an idea that’s so ingrained culturally that many people weren’t satisfied with the MCU’s Peter Parker until No Way Home literally everything away from him. And while this is a staple of the character for a reason and even the first Spiderverse movie delves into the idea of getting back up from major loss, the new Spiderverse movie looks like it might offer the much more optimistic perspective that you don’t have to lose everything to wear the mask. Miguel sees himself as the protector of destiny, and most likely having lost a loved one himself, fully believes that Miles’ losses are set in stone for the good of the multiverse. But Miles has never been one to follow the narrative. He was bitten by a spider not of his world and went beyond the expectations of others by doing things his own way. He defines his own path and will fight to keep both the multiverse and his happiness alive, no matter how much he’s told he can’t have both.
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moongothic · 2 months
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Hey so also have Sir Crocodile brainrot and have recently reread Impel Down. This is probably nothing at all but it made me question the artistic choice made. Like we dont see Crocodiles full face until Luffy recognizes him. Before that tho he joins in on Jinbei & Ace's convo about Whitebeard and is shown to (non-)react to Boa Hancocks visit. But we only get his face in shadows or see the hook. Which. Why. Oda we know what he looks like and who the guy with the stitches on his face and the hook is. WHY OBSCURE HIM.
My friend, this is what we call a "cocktease"
Okay jokes aside, yes it was an artistic choise. More specifically, a storytelling technique Oda masterfully used to build up hype and excitement to Crocodile's eventual reveal and re-introduction into the story.
So thanks to Ms Goldenweek's cover story (which ran back during Water 7/Enies Lobby) we already knew Crocodile along with Daz, Bon-chan and Galdino had all been sent to Impel Down, when we also learned about Impel Down, Marineford and the Gates of Justice (+ the giant whirlpool between the three locations) to some extent. ((Now of course, if you were an anime-only then you would've had no idea about the former BW members being in Impel Down. And even if you had read the manga you still would've had to actually pay attention to the cover story and its lore, and not forgotten all about it))
So even before Luffy decides he's going to head to Impel Down to save Ace, we know Crocodile's going to be somewhere down there. The second Luffy arrives there, we are immidiately reminded of the fact when Domino mentions Crocodile taking the traditional "bath" new inmates take at the entrance. And as we descend deeper and deeper into Impel Down, with those cuts to what's happening down at Level 6 every now and then, as well as with the Baroque Works Countdown, Oda time and time again keeps on reminding of us of Crocodile's looming presence in the background. This is all absolutely deliberate. Crocodile was arguably the most iconic (maybe not most popular but iconic) One Piece villian at the time, if given an opportunity of course the readers wanted to see him again. But just letting us see him right away would be anti-climactic, and distracting from what's actually important (Ace, and Luffy getting to him as fast as possible). So keeping him hidden could serve multiple purposes:
For one, Crocodile doesn't get to steal the spotlight from the other characters (at least not too early). We can focus on Luffy, Ace, all the new Impel Down characters and the other returning characters in peace, while Crocodile waits for his turn. Another thing is that Crocodile's presence being downplayed gives off the impression that perhaps him being there isn't that important to the story. Thus, him teaming up with Luffy to break out isn't such an obvious twist (and so when that happens, it's ever more hype as a result)
But indeed, the most important part is that by teasing us constantly through out Impel Down, Oda creates hype. He makes us the readers excited if/when we might get to see the bastard, even if it was just a quick little cameo. So when Luffy finally reaches Level 6 and we finally do get that reveal, everyone loses their fucking marbles over the HISASHIBURI DANA MUGIWARA when we finally get to see The Motherfucker Himself. (And indeed, then getting to see him fight alongside Luffy is cool as fucking hell, completely unexpected and absolutely delightful)
But there's also another thing building up to Crocodile's reveal does. Compare his original introduction to the re-introduction
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Compare Crocodile at the height of his power and influence, to the absolute rock bottom he has hit. No longer happily laughing while looking down on people (literally), he's filthy, he has given up on life, with sunken eyes and a hollow look on his face, only moved by a thirst for petty revenge (/an opportunity to go out with a bang). He doesn't even get the whole page for his grand reveal anymore, he's been shuffled to the side so the plot can progress on the same page.
Oh, how the mighty have fallen.
And to some degree, this is kind of meant to be a shocking realization to the readers. That this is not the same Crocodile we remember from Alabasta, that Crocodile died when Luffy defeated him. This is just the husk that remains, a shadow of what was once there. It's a sad sight, and probably not what the readers who loved Crocodile The Villian wanted to see. It's not the epic Return of the (Evil) King they wanted. And that juxtaposition helps, because Crocodile doesn't return into the story as a villian, but as a frenemy/ally-on-thin-ice. And that idea is easier to signal to the readers in a lowkey manner when you do his re-introduction like this.
So yes, Oda refusing to show Crocodile's face until Luffy found him was 100% a deliberate artistic choise. This is fantastic storytelling
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undeniablespice · 8 months
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drowned god the weak little beast you put on this earth to write fanfiction and like greyjoys has been neglecting homework in order to reread the affc ironborn chapters and have way too many opinions about the soggiest man in the world. i have Had Some Thoughts on aeron, theon, and names
it really is striking to me just how little people refer to aeron by his name. not just in conversation, but in the narrative itself, with the most notable example of this being aeron himself in his pov chapters constantly thinking of himself not as aeron but as damphair or just The Priest. he refers to himself as damphair or The Priest instead of aeron like twenty times throughout the prophet, to the point where it's used almost as frequently as his actual name. in the drowned man it's only like eight times (which i think is mostly because the vast majority of this chapter is given over to the kingsmoot, where aeron is mostly a spectator and the narrative focus is on the events taking place rather than his reaction to them). in the forsaken, it's ten times, though while aeron is actively imprisoned he mostly thinks of himself as aeron, with damphair being used four times in flashbacks to events that took place in the past, once during a conversation with euron while aeron is defying him, and then three times after he is freed and he can see the sea again
the consistency and frequency of aeron in his own mind thinking of himself as something other than his name reads to me almost like a foil to theon and reek. the identity of the damphair allows aeron to dissociate himself from the burden of his past weaknesses and sins: his pre-drowning frivolity and alcoholism and euron's sexual abuse. for aeron, being damphair is as empowering as being reek is degrading for theon. he is constantly affirming to himself that he is a loyal servant of the drowned god and that this makes him strong. it gives him status and purpose he never had as aeron the boy, who was the youngest and weakest of his brothers. aeron-the-priest cannot be frightened by any mortal man any more than he can be frightened by the dark or by memories. kill the boy to become the man -> drown the boy to become the damphair
(although, of course, when aeron tells himself all this about how god chose him and it makes him strong and special and immune to fear, he is deluding himself. the damphair is haunted incessantly by his brothers. aeron has the tendency to reconcile his lasting fear of euron with his special god-given immunity to such mortal flaws as feeling fear by believing that euron is ungodly/an avatar of the storm god/literally the devil, and therefore not really a mortal man in the same way that balon and victarion are
which is a really interesting parallel to how euron must see himself, what with the whole apotheosis god-king thing he's got going on by twow. in a way, euron is aeron's real god. it is euron's abuse that first connected aeron with faith, and it is faith that aeron uses to cope with and overcome the lasting psychological scars of that abuse and urri's death. aeron doesn't think of euron as a mere flesh and blood human being anymore. he's mythologized the crow's eye in his own mind: euron is not just his abuser, he's a boogeyman, a devil, quite literally the thing that goes bump in the night. and euron knows this, and delights in knowing it and in taking every chance he can to tear down aeron's faith and replace the drowned god with himself as the backbone of aeron's life. which he does not actually succeed in doing, as of the forsaken! aeron keeps his faith like theon keeps his name. it cannot be taken from them)
reek, meanwhile, is not an identity that theon chooses to assume to cope with his trauma. it is forced upon him in the middle of the trauma and he has no choice but to accept it for his own self-preservation. ramsay devastates theon physically: flaying him, starving him, beating him, removing his fingers and toes and teeth and genitals. imprisonment and violence are the tools he uses to take away theon's physical strength to resist him, but reek is how he gets to all the parts of theon that can't be bruised or cut. it's the psychological equivalent of a flaying knife. reek is the weapon he uses to attack theon's identity and sense of self and personhood. though it's important to me to note that those were things theon was already struggling with well before ramsay came on the scene, and that he has an absolutely unbelievably strong will that allows him to retain a degree of his original personality under ramsay and regain his own name later in adwd even after enduring all the torture and abuse. he is a greyjoy of pyke. his name is theon, and if he dies, he will die as theon, not as reek. when he leans into being reek, it is as a means of self-preservation and protection from harm. he basically says as much to jeyne when he tells her to be arya: he believes that serving ramsay and capitulating to his whim is the best way to stay safe. you have to know your name.
ultimately, theon is as relieved to be rid of the name reek as aeron is relieved to see the ocean again at the end of the forsaken. theon's name is a source of pride to him, something that he clings to after he has lost everything else, something that will always be his even after all that has been taken away from him. aeron's name is a source of shame, something that he is reduced to when he feels weak, something that he reverts to when he is powerless at the mercy of his abuser
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quinn-pop · 9 months
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how does it feel to be half of yourself
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sadhorsegirl · 1 year
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@ all the people who dislike how big of a role moiraine played in season 1 of wot on prime.......i feel so disconnected from u i think we might actually be living on different planets lol
expanding and focusing on moiraine's perspective is the best (if not ONLY) way to adapt the early parts of the story in a new medium that doesn't allow for alternating pov the way chapters in a book can. on its face, the initial elevator pitch for wheel of time is a somewhat generic chosen one narrative. as the story progresses it becomes increasingly complex and unique, particularly in how it discusses the nature of prophecy vs interpretation/individual will and rand vs philosophy/religious themes. all of which are ideas that make the series so good in the first place but are also impossible to really capture fully upon initial introduction. this is a series that builds, its rewards are found the longer you stick with it and realize just how much of a falling dominoes situation rj has carefully lined up. and don't forget rand might be The Chosen One™ but you also need to find a way to introduce and set up the rest of the ef5
how do you make that beginning more engaging and give it a better hook? how do you adequately communicate the scale of the threat facing the world and what the dragon reborn even means? how do you make sure everyone in the ef5 is given an adequate amount of screen time? don't focus on the chosen one, focus on THE SEEKER!!!
moiraine can handle world building and exposition a bit better than the rest of the cast, given that she has literally been alive longer and seen more of the world aka can potentially answer audience questions as they come up. she also functions as both insider (aes sedai vs ef5) and outsider (ef5+moiraine vs white tower) as the story progresses, an interesting shift for her character and a cool way to mimic rj's whole thing about showing how easily characters can end up in over their heads. ALSO from a craft perspective, some of the strongest material to come out of the books, and arguably one of rj's greater talents as a writer, can be found in how much characterization is laid out in how characters see/perceive other characters. if you make moiraine the guiding force of the start of the narrative, you can translate this strength rather well to television -- you get to see how she sees the Edmonds field kids.
also. would you deny her the gift of receiving head bc they decided to confirm and expand on her gay little backstory. would u really go as far as to say she doesn't deserve a little (gay) head for all her trouble + suffering
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57sfinest · 1 year
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okay as a Jean Enjoyer i feel like i need to say this because there are different genres of jean enjoyment (jeanres if you will). i am of the faction where i don’t really vibe with the whole “jeangst” thing (as it exists as a fandom phenomenon) and here’s why. so much of the stuff i see labeled “jeangst” is WAY too sympathetic to and forgiving of jean for my taste. like he’s woobified or there’s a lot of uncritical ‘poor jean harry is so mean to him and now harry’s amnesia ruined his life :(’ type stuff which is such a fundamental misunderstanding of him and his role in harry’s past & present and it skews how we view his dynamic with harry too. and i don’t mean this as “oh considering jean’s pov is bad!!1!1″ no i consider his pov all the time i am indescribably mentally ill about the torment that the jeanharry relationship puts both jean and harry through. but when we consider his point of view i really think that just ascribing him the simple role of ‘poor depressed punching bag’ strips him of all the interesting parts of his character & also contributes to a less nuanced and accurate understanding of harry as well (it makes it easy to villainize him for his addiction and mental illness, which in and of themselves aren’t moral failings-- harry was a bad person for his behavior, which is not the same as his addiction or his illnesses)
like, jean put himself in this situation. over and over again. yes he was likely forced into working with harry, but whatever’s going on between them is more than a workplace conflict. you look at luiga’s twitter and he’s said so much about jean and harry’s codependency and the other mentions of a very close and very unhealthy personal relationship. you see the way jean talks about his own role vs harry’s in the ending-- jean WANTS to be the poor victim, he wants everyone to see him as the helpless punching bag who is being such a saint by Putting Up With Harry And His Bullshit, look at me, i’m so much better than this stupid mentally ill addict! he’s like harry you are so unprofessional, and there is something wrong with you, and we are all so tired of putting up with you and your shitty behavior, but here he is sitting in a hotel lobby in a wig to harass harry while harry is actually doing his job!! like jean my love here you are reaming harry out about “doing his fucking job” sir what are you doing!! you are sitting in a hotel looking angry for 14 hours just in case your special little partner who you are definitely sooo mad at condescends to speak to you for a few minutes!! and you dragged poor judit out here too!! jean. girl. babe. it’s time to admit you are a massive hypocrite with an even bigger victim complex. you, a mentally ill addict, are losing your shit at harry for being a mentally ill addict. why don’t you meaningfully address the actual behaviors instead of just reminding harry that he’s an alcoholic every 2 minutes.
like i’m not saying jean should have infinite patience for harry after multiple years of mistreatment but damn dude the double standards are insane. jean is instigating a messy public breakup and being pretty abusive the whole time and then he’s like everyone feel bad for ME and not STUPID HARRY who is an ALCOHOLIC in case anyone forgot. he goes on and on about how much his life sucks and how much harry sucks and boohoo poor him he’s so depressed and beaten down by the shitkid etc but then in ANY sub-ideal ending you get there’s still something that tells you that he’s still taking harry back or at least considering it. in the cuno ending “he can’t leave you behind. he just can’t. one final time...” even in the worst ending “if you make it-- if you’re sober for 10 months-- tell us. i’ll work with you again.” jean babe if you hate him so much then stay the fuck away from him!! damn!! your codependency is showing!! your victim complex is showing!! just go get harry’s name tattooed on you at this point like at the very least it might get you some sympathy from people at the bar when they ask about what’s very clearly an Ex’s Name Tattoo
#this got out of hand. sorry#anyway yeah i disagree with 'jeangst' on principle because it's too nice to jean basically#you can be sympathetic to his point of view without being a Jean Apologist or completely erasing his role in a mutually abusive dynamic#i love to think about how much this whole situation hurts him. and i love to think about how a lot of it is his fault#it's so much more interesting for him to be a participant in his own victimhood#he's standing there goading harry into punching him and then he gets punched and is like HOW DARE YOU PUNCH ME!!#well sir you see if you tape a sign on your forehead that says kick me then eventually you are going to be kicked.#the jeanharry relationship as a form of self harm for both parties involved etc etc#using each other to punish themselves etc etc#just enough good in it to keep them going. just enough bad to make it bitter the whole way through. the push and pull of addiction etc etc#see a return to jean/harry partnership after martinaise would be so funny#jean tries to provoke harry says some shitty stuff etc and harry just like. starts crying or having a panic attack or whatever#and jean is like hold on this makes ME look like the bad guy. come on quick hit me. come on say something mean. call me a slur. please#or maybe harry goes right back to being an asshole depending on ur guy. and nothing ever changes and they hurt each other for ever and ever#until they succumb to the inevitable murder-suicide#kiwipost#jv meta#jean vicquemare#I HATE THIS GUY *beating him with one of those carpet dust racket things*
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raspberry-gloaming · 1 month
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LOOMING AND THE IMPACT ON THE LEVEL OF INBREEDING ON THE TIME LORD POPULATION, AN ESSAY
And how inbreeding is a big issue amongst the Time Lord population, due to their elitism and strict caste system.
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drbtinglecannon · 2 years
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It's actually really disappointing people are genuinely angry/upset about Hunter's haircut
Y'all. It's the exact same scenario as Amity changing hers
It was a style their abusers forced on them to mimic a specific person, so by changing it they get to take their autonomy back
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The other thing with Amity's cut is it was symbolic of her cutting her abuser out of her life; between the new color relating to her passion (abomination) & purposely keeping some of the brown rather than it just grew in over time (her father's hair color), it was some cool foreshadowing that Amity was going to cut Odalia out of her life, like she did the green out of her hair, but that Alador was gonna stay. I wrote a post about this months ago after COTH aired
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Hunter's cut is the same symbolism. He only had that style because he was modeled after Caleb, and because Belos genuinely never saw a single GG as their own person, they were all just Caleb to him. Yeah, I would've liked to see the headcanons of him dying it red for Flapjack, but him changing the style itself is still symbolic of him no longer being modeled after Caleb, and literally cutting away the last of Belos' influence on him.
I'll admit I found Amity's new cut weird when we first saw it but I was fully behind the idea of her completely changing it after we saw it was modeled after her abusive mom. Now when I rewatch S1 the old style looks weird to me bc I'm so used to the current one (and the meaning behind the old style really sours the look of it for me which is a shame cuz I loved the green when we first met her)
Hunter's new cut might look weird (esp since it's just in a poster rn) but again, I'm fully behind the idea of him completely changing it after everything we've seen since Hollow Mind. We won't have nearly as much time with it as we had with Amity's new look, but I'm sure the "it looks weird bc it's different" feeling will fade just as fast as it did for Amity, especially when you remember the meaning behind the old one.
TL;DR even if you think the specific style of Hunter's new cut looks weird, 1. It's because it's brand new you'll get used to it, 2. The meaning behind the cut is more important than "his old style looked better"
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toastshark · 7 months
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draw a hat on a character of your choosing 🎩 hats are cool
Thank you! Got a whole idea for a drawing out of it! Granted, not sure if I‘ll ever polish this scribble but I slapped some color on it at least!
Kirby giving all his pals hats because they are indeed very cool :]
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rmbunnie · 7 months
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Watched through adventure time start to finish for the first time and of course it was great and of course I'm going to be drawing fanart at some point in the not-distant future (can't say near tho lmao school is keeping me busy) but my god the finale. I already knew the plot points tbh because i Am Online and Like Cartoons and if both of those things are things you are, you see the bubbline kiss and Finn saying "I always thought i'd go out a hero" and that's pretty much unavoidable, but what really got me was Time Adventure.
I saw someone on Twitter or something, maybe on here, say that the antagonist of Adventure Time is personal stagnation, and it was a comeback to someone else, but it really is true that from season 7 on the show starts leaning Realllllly hard into Growth as the topic the show's about (and season 7 is like. a pretty noticeable line for this switch tbh, NOT that the first 6 seasons are unimportant to the final end point, but the change is visible.) This is especially clear seeing as Gumbald and Fern, who refuse to accept growth and change to a unique extent, and are incapable of personal growth due to being an outgrown past version of the mc held that way indefinitely by a grass curse, respectively, are the main antagonistic forces of the final season. (Betty also counts as both an antagonistic force in the finale and unable to accept growth to me seeing as she was the reason Golb was summoned and, I mean, Temple of Mars is ABOUT her being unable to grow on an internal-beliefs level despite accepting the magic of the future as an external tool, so that checks both boxes, but i'm not sure of the overall Betty opinion and also she isn't the main point.) What I'm getting at is, with the major emphasis on changing as an individual, Time Adventure is especially poignant to me, because outside of being a (still very good) meta song about the show ending, in the context of the show it reads as a song about how sad growing as a person is when you're the person who's changing, and how it would be great if you could just. always be a 12 year old kid in the first season who doesn't understand that there are problems that can't be solved and fights you can't win, who can always go back to his treehouse at the end of the day. And how with the passage of time, it's inevitable to change, but at least that kid is and will forever be in season 1, even as the only physical version of himself from the past blows away in the wind as he asks to go back to a place that's now rubble. This isn't exactly breaking news but still, in a show that leans so hard into the way maturing means changing as a person the final message being "it's hard to be a new person and lots of things ARE lost forever but all past versions of you that you can no longer be exist in the past and aren't going anywhere" instead of like, "woohoo! Maturing is neat! Look at how much everything has improved!" is really good. Idk it just kinda means more really knowing that they're sad about the change.
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homeless202 · 9 months
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one of EY's oldest friends trusts HJ to take care of him.
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and he was right, ofc -> a concerned HJ interrogating EY abt his living situation.
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Do you think there’s any way for a Yeerk to live a happy, or at least not miserable, life without a host of any kind?
Oh yeah! That's how the end shakes out: the yeerks get to morph, they don't need hosts, and it's definitely not as simple as "they all live happily ever after" but it's not bad. There's also fandom speculation about the purple box Visser Three uses for communication during his trial. We don't get a lot of detail, but it seems like those machines could be a way for yeerks to have lots of sensory input and cross-species communication without having to enslave anyone.
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moongothic · 5 months
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Crocodile having such an explosive debut in his early 20s and such deep trust issues could also point to him having an even EARLIER start a la Shanks as an apprentice or something to an older pirate and their crew as a child/teenager — doubling down on the humiliation factor from facing off whitebeard as also a failure to “come of age” and broader sense of betrayal in watching eager encouragement fickly turn to “what did you THINK would happen”s like the kid who gets egged on by their peers into doing something dangerous and then immediately abandoned when they hurt themselves
Can't say if he did have like an early start for sure, since we really don't know anything about Crocodile's early childhood
But simply considdering how Oda typically layers backstories, I absolutely agree, I do think it's more than likely he has somekind of pre-Whitebeard trauma, be it either unrelated childhood trauma or early-pirating-life trauma (or something else)
Like the way Oda structures backstories, although we always remember like The Big Life-Changing Tragedy that happens at the end of the flashback, more often than not the flashback already begins with something horrible to indicate the character's already had a rough life
Robin was already alone, abused and rejected by most of Ohara even before the Buster Call Incident (followed by a life of running in fear for decades)
Franky had already been abandoned by his family before he lost Tom and got ran over by a train
Law had already lost his entire family before Doffy killed Rosi
Etc etc. Like not all the flashbacks are entirely like this, especially the East Blue-saga ones, but the backstories have been growing in complexity and structure, adding layers to the tragedies (like 🧅 onions 🧅) as the story has gone on
And with Kuma, his backstory doesn't end at two layers of tragedy. Like there's the early childhood tragedy of slavery, then there's the tragedy of losing his loved one in the most cruel, inhumane way possible, and we know there's at least one more gut-punch of a tragedy coming in the next two chapters to finish it all off
So with Crocodile especially I feel like... Like yes, possibly getting betrayed once in his life and having his dreams crushed by Whitebeard could break the man's psyche. But considdering just how seemingly broken his psyche might be, I do absolutely believe there's more layers here. Like his trust must've been broken more than once for him to end up the way he has.
Which alone gives Crocodad a bit more plausibility in my mind, because being rejected by the person you loved and trusted the most would most certainly break your heart (even if it was understandable why). And that really would make for a fine Final Nail on the Coffin for Crocodile's ability to have faith in others
But to really get that broken trust to be an on-going theme in his life that just happens again and again.... yeah it needs to start earlier
Personally, I think some kind of early childhood trauma would make the most sense, at least to me, not just because it could help Crocodile get started "on the wrong foot", but also because Rough Childhoods is just. A General Theme in One Piece lmao. Of course, it wouldn't be The Key Life-Changing Tragedy (I think Dragon would be that), just a "bad start"
#Moon posting#OP Meta#OP Spoilers#Sir Crocodile#Crocodad#Honestly this is kind of why I ended up becoming fond of the ''Croc is 1/4th merman'' idea#'Cause it really would like. Lay the basic groundwork for what's to come without it being like. IDK too much?#IDK I wrote a whole separate post about that not gonna go over the whole thing again#Other and one more plausible option was that he was just a really queer kid from the start and was bullied to hell and back for it#Dude just wanted to play pirates with the boys and kiss girls and everyone thought he was weird for it because he was a ''girl''#And somehow being called that stung but for reasons he couldn't understand (if Crocodad Real then he didn't Figure It Out until 27)#((Crocodile just seems bisexual as hell to me leave me be))#((I'm entitled to my unfounded bullshit headcanons until Oda gives us canon))#Alternatively if Crocodile WAS Xebec's kid then knowing his dad got ditched by Whitebeard and co would definitely leave An Impression#Especially if he ended up stranded and alone after God Valley#(...Unless... Whitebeard adopted him??? Which would be a very Whitebeard-y thing to do???????????)#((IDK I'm not into the Xebec theory)) ((It's plausible but it just doesn't spark joy for me))#((IDK I would prefer if he just kind of had a ''chill'' childhood kind of like the ASL bros had)) ((Just far lonelier))#((Especially since loneliness is such a key factor in so many characters and why they are the way they are))#((It's just that everyone else was able to find companionship somewhere eventually (be it thru Luffy or otherwise) but Croc didn't))#There's so many options and ideas on what could've happened we could stay here all day#Regardless of what it is- I'm sure Something Happened. Just gotta wait for Oda to tell us what#Asks
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ilynpilled · 1 year
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another thing with spoiler talk is that it is often exclusive to just these #shocking big deaths for some reason. and i dont even think those things are the most “harmful” spoilers. the thing w asoiaf for example is how significant the utilization of pov structure is. like the whole series is built on key moments of recontextualization. we are deliberately given just a small chunk of information from the lens of a specific pov or side and the way a lot of the themes are conveyed is the challenging of that. like there is so much meaning in structuring so i am so glad people are way more focused on “googoo gaga this mc dies” kind of spoilers and a lot of the key directions the series chose to take and how remain relatively unspoiled because no one is really oversaturating those moments. like i love not getting certain key info revealed until it should be as it would completely recontextualize scenes and characters etc. i love having preconceived notions and those being challenged. because that was very much george’s intention and it is sometimes a key part of his characterization or framing or whatever
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