Leo also has a bio kid in the Mirage comics! In an alternate timeline, yeah, but he still has one. Her name is Yumi!
yeah i know! i didnt count her because my guy leo was out there having visions and all lmao
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Thinking about "your weakness is how you always want to be the hero" and how the series returns to this at the end
Li Lianhua hated how he acted as Li Xiangyi and spent years trying to distance himself from it, but ultimately he still fell back into the similar patterns, for all his added experience
His main priority was always to "do the right thing" regardless of how that would impact on those around him. And it *did* impact those around him. From Qiao Wanmian and Shan Gudao as Li Xiangyi to Fang Duobing and Di Feisheng as Li Lianhua
Giving the Styx flower to the emperor so he could use it as leverage to guarantee Fang Duobing and his family's safety. Using the last of his power to save Yun Biqiu. Constantly putting others above himself whilst actively refusing to recognise that his self-sacrificial nature would hurt those he cared about most
And sure, he thinks he's going to die anyway. They're going to be hurt regardless and he can't do anything about that. His odds are low of the Styx flower even working. But ultimately, he refuses to even consider trying. Li Xiangyi has been dead a long time and Li Lianhua is just there to tide things over. What value is the life of a ghost
To the end, he lives and dies a hero. To the end, he refuses to live for himself.
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A curse turns the crew against Sanji a short time after Wano. It's subtle at first. Subtle enough that he chalks their weird behavior up to WCI. In his mind, he's sure the crew probably just feels uncomfortable around him after he betrayed them. So it doesn't matter that Usopp said something unusually cruel or that Nami threw a glass at him because, well, he understands that he fucked up. And they're his crew, right? He can bear it if that's what they need. Not to mention they're in the middle of the ocean, so it's not like he can leave and give them space.
Then it escalates. Then he's getting hurt. And he starts to realize this is something more. He tries to research it, but the crew won't let him. They gang up on him, making him work nonstop: taking every watch and cooking and repairing the ship and not being allowed to sleep and, and...It doesn't end. If he falters, they punish him. After only a couple weeks of this, he's left exhausted and in pain.
One day it comes to a head. Harsh words turn into a fight which turns into the crew ganging up on him as if he's an enemy combatant and he just can't. He sees them crowd him and he remembers his brothers and he stumbles. He's too exhausted to dodge, too scared of hurting them to fight back. So they get him pinned and are about to finish him off when...
Clarity.
They all wake up, suddenly. The curse is broken and Sanji is nearly dead on the ground between them and they remember.
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As far as I know, the giant skeleton is Elynas, a sea beast that died 400+ years ago, with the Melusine later forming from its remains. Elynas guided them in creating a village further inside their corpse, where they all lived until Neuvillette met them. From there he brought them out to the rest of Fontaine, with them moving about since then. Given the placement of the bones and the purple spots throughout the map I'm really interested in learning more.
Along with Ei and Makoto, more specifically about how Ei sacrificed her physical body so that Makoto could ascend to Celestia, with Makoto recreating her form afterwards. It's described in one of the in-game books, but with little detail about why and how. Then there's the Raiden Shogun who was created as Ei's attempt to avoid erosion, and it's effects, especially on the physical body.
Regarding the other gods, most were killed during the archon war either directly or as collateral damage, but maybe after the Archon War whatever conditions allowed gods to form or people to become them became possible again. I'm likely forgetting things from the game but how much do we know so far about what to takes to ascend to godhood, without becoming a archon? Or about the transfer process of making a new archon, besides the gnosis?
Interesting! I would also like to learn more about Elynas. The red ores, the voices, the ribs to sky and the draconic head shape remind me a lot of Durin in Dragonspine.
Someone else once told me the in-game book said that Ei was always a puppet created by Makoto (ie, was not actually her sister), but it didn't make sense to me that a puppet would make another puppet in order to resist change and abandon their first artificial body when they could just like. Alter it instead. She clearly has the ability. Your explanation about that makes much more sense 😊
As for non-Archon ascension, we are told that all vision holders have the potential to become gods, and we know that Venessa (?spelling) ascended straight to Celestia at the big tree in Mondstat, so it is possible for people to become new gods in this day and age, but we don't know what the criteria for ascension are aside from 'lots of ambition' (having a vision).
It's possible that Furina is just another god that was handed(?) the gnosis and the job, but while Venessa went up, she did not come down, and the other gods so far seem to have received their titles on the ground. Also, why would you hand the gnosis to some brat when there must be other, more experienced gods up in Celestia somewhere.
Unless they always knew the prophecy was real. No one wants to bother with ruling Fontaine when it's just going to disappear (again?). Venti hints that Celestia is not a nice place. Focalors gets the job because she's young and inexperienced. If she fails, it's no skin off Celestia's nose.
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It's late. Even underground, in the winding labyrinth of tunnels beneath Konoha where no natural light falls, Danzo can tell. There's a scent to the air.
Normally, he works through these quiet hours with the same dedication that he carries at all times. Tonight, however, his stacks of paperwork have all been meticulously combed through, signed, and filed. No one needs his attention. Nothing is wrong.
Danzo picks up his cane and begins the trek back to his old clan compound. He does not visit often. He is usually busy. He is not busy tonight.
His bones ache with a sort of weariness that denotes no real problem. He has learned to ignore this sort of pain. He ascends out of the tunnels, not bothering to muffle the sound of his footsteps with chakra.
He does not blink when he comes out to Konoha's streets. It is just as dark out here as it was in the tunnels. It is late out. A glance at the thin, crescent moon puts the time somewhere around 1.
Danzo makes his way past shopfronts, apartments, and fields. His memory of the layout of the village is annoyingly spotty. The streets have changed too much since the Kyuubi's attack, and he does not spend much time in them.
He walks past Hokage tower. The light in Hiruzen's office is on, casting a dim, yellow glow into the air. Danzo does not stop to see him. Soft, tender moments would ruin the sparks between them. He cannot think of anything more unappealing than stopping to relearn everything about the man who puts poison in his tea once a week.
He used to know Hiruzen. It was a mistake. A good shinobi does not have time for sentiment. Teamwork is a strength- relationships are weaknesses.
He wanders the streets for what seems like an eternity, a ghost in the village he has given and will give everything for. He does not regret it. He does not regret anything. He has done everything right.
Like the dull, distant pain in his hip, something tugs at his gut. Danzo ignores it. He knows what he is protecting. He knows why he does the things he does. He does not regret it.
He does not look back at the light in Hiruzen's office. The hair on his neck prickles- he can feel Hiruzen's gaze, how it carefully avoids him, observing the street around him, but not Danzo. A good shinobi has no time for sentiment. Hiruzen may be starting to fall apart in his old age, but lessons he learned alongside Danzo decades ago still stick to him like wet, rotting leaves.
Danzo finds his way to the Shimura Compound. There are heaps of fertilizer sitting in the garden, ready to be mixed into the soil. The smell of rotting leaves dances around the smell of the night. Crickets, hiding in bushes of nightshade, chirp a quiet, steady song.
The siding of the buildings in the compound is all pristine, brown and orange and achingly unfamiliar. Danzo knows how to ignore aches that do not matter. There are twelve in total, each housing one or two families. Danzo knows every name and face of his clan. He has met sparingly few of them.
He does not miss them. He does not miss the way he used to live. He creeps into the house in the center of the compound, past the rooms where the clan head and her four nephews sleep, into his old, dusty office. He will rest here, for the night, only because there is nothing else for him to do.
Danzo reaches across old scraps of paper with shaky writing and sloppy drawings and turns on his old lamp. A dim, yellow glow fills the room. He leans back in his chair. His hip aches. His hands shake. He does not regret anything, but quietly, because there is nothing else to do, he allows himself to feel very, very bad.
The lamp burns, and the leaves rot, and the crickets chirp. Dim yellow light slips through the window and paints stripes through the garden of poisonous plants. Danzo rests, and lets himself ache, and the night drags on.
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