TW: Heavy talk about death
I think the reason why Kai and Cole had such a radical emotional change after March of the Oni was because Lloyd died
We’ve had plenty of characters die in Ninjago, and it always had a horrific affect on the ninja emotionally. Despite all their adventures and godlike powers they’re still older teenagers and young adults- of course when their sibling or lover dies in the fight they’re gonna want to avoid the fight itself
I think it was different for Lloyd tho- Lloyd despite losing the golden power is still the most powerful ninja. He’s not meant to lose, out of all of the ninja he’s the one who’s least likely to die and I think they know that.
So when he died facing down the Oni, even briefly, that would make the ninja doubtful and even afraid of their own mortality-
Kai’s hotheadedness and desire for the fury of battle dies when he see’s his little brother unresponsive on the floor. If he can die, so can Kai
Coles stubborn facade and die hard attitude gets a reality check when the kid who defeated the incarnate of evil lies dead in front of him
It would just be a reality check for them. Both have had to look death in the eyes many times before, but experiencing death is something that they themselves wouldn’t often think about.
Just a theory
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@real-oddity YOUR WISH IS MY COMMAND ok before i wordspill, keep in mind that this is all pure assumption and speculation cobbled together from looking at the map and tidbits i hope i'm remembering correctly. take all of it with a Hefty grain of salt
so.
i think that Julie's character arc might be about societal norms, the pressure of expectation, and how those conflict with the self. because i think the puppet show intended for her to be Wally's love interest - but that's not what either her or Wally want.
STAY WITH ME I HAVE EVIDENCE. first, lets look at Julie's house:
all of the blatant heart decoration, from her tree to the windows to the hedges and even the welcome mat. no other building has heart imagery, and especially none this heavy handed. it just screams Love Interest to me.
like if i was designing a house for a love interest character for a children's puppet show in the show's time period, i'd go ham on it. children's shows are rarely subtle. and more often than not in shows, especially in older ones, the "main character" (in this case, Wally) always has a love interest, and that love interest is always blatant. usually the Moment they appear onscreen, the viewer goes "oh, ok, thats the love interest."
not only that, but look at the windows. to me, they look a lot like eyes - reminiscent of Home. The way the curtains fall, the placement, even the structures under the sills looks like eye-bags. Julie's house is also the only house other than Home to only have one floor, not two. and then there's the fact that she has no flowers outside her house, but she has white daisy decorations - mimicking the white daisy flowerbeds flanking Home's door.
"but why do you think that's not what she or Wally wants" so glad you asked. lets start with Wally:
for one, there's the smiley-face balloon featured in the above image, tied to the swingset. two heart-shaped balloons colored red and blue are on either sides of it. as soon as i saw the balloon, i went Oh, that looks like Wally. but when have you ever seen a smiley-face with closed eyes? when does Wally close his eyes - he loves eye contact! to me, it seems indicative of Wally ignoring or avoiding the hearts.
that, and - now this part is definitely a stretch - the trees behind Home are set up in a strange way to me. Julie's house gives the appearance of "staring" directly at Home. but the trees behind Home are hiding it from the house's view.
(also, just imo, Wally doesn't seem very romance-oriented to me. he just gives off huge aromantic vibes. i could be completely off the mark and might be proven completely wrong <3 i probably am <3)
now here's why i think Julie is also not on board with this:
one, it's interesting to me that Julie's house has a lot of heart symbolism, but her character design doesn't. Wally has hearts on the soles of his shoes, but those have been explicitly linked to Barnaby's heart-shaped paw pads.
Julie's character design and symbolism is all about flowers instead of hearts. Which ties to her being in a best-friendship with Frank, a distinctly platonic relationship.
now, an argument could be made that the show might've wanted her to be Frank's love interest, or have had a Who Will She Choose, Frank Or Wally subplot. what backs this is her being close to Frank (the platonic nature of their relationship could've been a deviation from the "script" due to our lovely fruity Frank Frankly), and the fact that outside of Wally, Frank is the only other neighbor to have a white daisy growing in his "yard". though that could just be to depict his closeness with her - like Barnaby having paint supplies outside his house despite not being a painter like his bestie.
(if you want to read a dissection of neighborhood flowers and their symbolism, here's a post all about it)
also, it just occurred to me - the only design thing she has in common with Wally is her little tie thing. it's very reminiscent of Wally's ascot. but it's also Very vaguely similar to Frank's bowtie. it just stands out - Sally doesn't have any neck accessory (that we can see), Poppy has her shawl, and everyone else has ties. im stretching again. this is a yoga post
and again, despite her house being heart-infested, nowhere in Julie's canon images (outside of the Valentine's Day cards), her character description, or pretty much anything relate to romance. she's centered around friendship and fun.
all in all, it gives the vibe of the show wanting her to be a love interest, but Julie either ignoring it or actively going against it.
obviously something like that would influence her character arc, if not be a big part of it. then - HOLD ONTO YOUR GRAIN OF SALT HERE, FELLAS, I COULD BE MISREMEMBERING - there's the thing Clown said about homophobia being a... not quite theme, im missing the word rn, but it'll be a factor. which makes sense, this is a cast of mostly queer characters from a late 1960s / early 1970s kid's show.
the obvious target for any homophobia, internalized or otherwise, would be Frank & Eddie. but they're not the only gay folks around. Julie (i believe) has been stated to be bi, Poppy is a lesbian, and i'll eat my cats if Sally isn't some flavor of gay.
so i think it's entirely possible that Julie might get in on that storytelling element. if the show wants her to be a love interest, maybe she is. she's just interested in the wrong person (looks intensely at Sally)
all in all, i think she's going to have an arc about resisting the role chosen for her and her struggling with that. and i think it's going to be a Big struggle. i think she might make some Horrible mistakes while grappling with her inner conflict bc of the intense effect expectation/pressure have on a person's mind
(which might uh. which might tie into the flower symbolism i rambled about yesterday, but that's so much of a stretch that it's practically molecular. still. im Thinking.)
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There is a universe in which i was caught up properly on CR whenever what the fuck went down and Imogen verbally and definitively declared that- after everything leading up to this and the back and forth and indecision- that she'd be willing to take down her mom if need be. and i would have been deeply insufferable and writing 20+ separate meta posts and liveblog yelling posts and shitposts. This is not that universe so instead we will put this post here where i can have wildly uninformed (aka 20 eps behind) Emotions about it until someday i actually catch up.
(I know. i accidentally wrote potentially wildly off base/deeply out of date meta again. what can i say. i like shaking the concept of An Imogen (even if it is Outdated Imogen) in a jar. sorry.)
Because i was watching long enough, I think, to see Imogen in the throes of the hope for something better, to understand that Imogen was viewing her mom was a figure and an idea and an answer, that would make things easier. Her mom was- gone, so early. And so her mom, in her mind, was not a person she was an idea, and there was so much hinged on that! Dogged determination and anger at her father and a deep seated dislike of the powers in her hands and head even as they gave her a guilty rush. There were promises there that maybe no one else had made, but Imogen believed. Things built up. Expectations made. Lore crafted, even unconsciously, around someone who was, yes, important to Imogen, but more importantly: Missing. Gone. A blank slate to be filled in. A promise of an answer guide to open questions.
And then she meets her mom, and Liliana Temult goes from a figure to a person- with all the bells and whistles and rough edges. She meets her mom and her mom turns her away. Tells her to run. Tells her she should go. Tells her to leave.
And Imogen doesn't. In the same way she kept visiting libraries, keps asking, kept pushing for answers when it was just about her magic and her headaches and the voices. Imogen always, always wants to know. She keeps digging, she keeps trying, she reaches out, over and over and keeps trying to touch this figure in mist until she's real under her hands, and. Evidence piles up- of deeds gone wrong, blood on her hands, a figure standing next to Otohan (her friends bodies scattered, lifeless, around Otohan). She keeps reaching out, keeps trying, and is rebuffed, over and over. Things get worse and the skies get redder and magic goes dead and she's still- unsure, because what if there's a better reason, what if there's a better way, there has to be a reason, why. There has to be, right- maybe if- maybe. Maybe-
Its just like- a person as an idea. As a symbol. As a promise. One you build yourself up around and towards. One you talk about, not talk to.
And then the fog clears, and they are a human.
(And she's your mom, and she's not what you imagined. She's done you wrong. She's done your loved ones wrong. She's hurt you. She's hurt others. She's going to keep hurting you. She is going to keep hurting everyone. She is too far gone to reason with. She is not listening to you. She is flawed. She is. dangerous. She looks so much like you. You look just like her. You are so similar. You have always known you were similar. You always hoped. You.
Are not her. You are not hers. She is not yours. She is not who you thought she was. She was always someone else. So are you.)
Imogen walks through the bases pretending to be her mother. Liliana is a known face- a powerful one, a figure people fear. A well known silhouette. Imogen slips into the shadows of it, sometimes, when it serves her, but we know- she knows- its all an act. All a lie.
Liliana, after all, is alive, and well, making choices that she believes in and fighting for things with a dogged determination maybe only matched by her daughter.
Imogen knows this. I think. There's a part of her that maybe wishes that wasn't the case.
"There is no loyalty with this blood." And after all- only living people bleed.
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