...okay, so I'm probably not the first person to notice this.
But gear's earing that he points towards when he says that he did the same ritual he wanted to help kuro with already on himself before:
actually looks pretty similar to the pieces of the necklace the count used to create the servamps:
The different pieces of the necklace seem to contain one demon each and the count used them to create the servamps.
So...did the count either learn this technique from the werewolves or is he possible even originally a werewolf himself? It would explain why he's immortal, that's why I'm wondering about this.
Gear says that the ritual is used to remove spirits, could it be that the count removed his own sins using the werewolf ritual and created the demons this way? But he went too far and removed too much unlike gear who only removed one part of himself? Him removing the sins from himself would also explain why he's so weird and doesn't understand other beings. As the sin demons say, they are a natural part of being a human and we have seen multiple times that denying their existence is harmful, removing them all from you would probably lead to you not being able to relate to other people anymore.
Maybe removing all these parts of himself is also why he has no appearance. Without his demons he's not a person anymore.
The count originally being a werewolf would also explain why he has magical abilities (gear can also use magic) before other magicians existed and why he's so anxious about certain people dying. Gear talks about how his immortality makes him sad because human friends do die, but unlike the count gear seems to accept death, grieves in a heathier way than the count and is able to move on and make new friends. Could also explain why his magic and creations are all strongly tied to the (full) moon.
Another similarity is that while werewolves apparently can't reproduce gear was able to have descendants by sharing his life force (it's mentioned in chapter 135 which isn't translated yet) with a woman and through her human children tsurugi is related to gear. Sigurd explained to nicco that the magicians came to be because the count let humans drink his blood, three survived, got magical ablities and became the ancestors of all human magicians:
Maybe the count is more of a werecat though. He and the sloth demon do seem to have a closer connection, even though the count's appearance changes depending on the person looking at him he does usually keep his tail and the tip looks exactly like the one of kuro's cat/lion form and similar to the the one of inner sloth's non-human form.
It was also stated multiple times that the sloth demon is the strongest. I wonder why that is. Servamp comments on the fact that being lazy is often actually a sign of depression/anxiety through kuro's arc, so maybe the count was depressed and that's why the sloth demon is the strongest? Basically the demons strength depends on how much the count suffered from the different sins? It would also explain why melancholy is so strong, I assume kuro refusing to see him no matter how many siblings he sent his way to tell him to come looking for the count made him extremely sad and probably even made him come up with the plan to have himself be killed and then put in the same body as kuro through the ritual.
I assume he was behind C3 ordering the servamps to kill him because he's the one who created the magicians and thus C3 and lily who is kind of working for him was probably the one who put the idea that the count needed to be killed into the head of his eve (aka a member of the alicein family who hold a lot of power in C3 basically since the beginning. I explained this in more detail in another post). The people from C3 even said that the count can only be killed if he wants to and yeah, kuro didn't truly kill him, but he did destroy his body and kuro seems to have met little resistance when he attacked the count. Which probably means the count wanted this to happen.
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i’ve been thinking a lot about what is so unique and appealing about 80s robin jay’s moral standing that got completely lost in plot later on. and i think a huge part of it is that in a genre so focused on crime-fighting, his motivations and approach don’t focus on the category of crime at all. in fact, he doesn’t seem to believe in any moral dogma; and it’s not motivated by nihilism, but rather his open-heartedness and relational ethical outlook.
we first meet (post-crisis) jay when he is stealing. when confronted about his actions by bruce he’s confident that he didn’t do anything wrong – he’s not apologetic, he doesn’t seem to think that he has morally failed on any account. later on, when confronted by batman again, jay says that he’s no “crook.” at this point, the reader might assume that jay has no concept of wrong-doing, or that stealing is just not one of the deeds that he considers wrong-doing. yet, later on we see jay so intent on stopping ma gunn and her students, refusing to be implicit in their actions. there are, of course, lots of reasons for which we can assume he was against stealing in this specific instance (an authority figure being involved, the target, the motivations, the school itself being an abusive environment etc.), but what we gather is that jay has an extremely strong sense of justice and is committed to moral duty. that's all typical for characters in superhero comics, isn't it? however, what remains distinctive is that this moral duty is not dictated by any dogma – he trusts his moral instincts. this attitude – his distrust toward power structures, confidence in his moral compass, and situational approach, is something that is maintained throughout his robin run. it is also evident in how he evaluates other people – we never see him condemning his parents, for example, and that includes willis, who was a petty criminal. i think from there arises the potential for a rift between bruce and jay that could be, have jay lived, far more utilised in batman comics than it was within his short robin run.
after all, while bruce’s approach is often called a ‘philosophy of love and care,’ he doesn’t ascribe to the ethics of care [eoc] (as defined in modern scholarship btw) in the same way that jay does. ethics of care ‘deny that morality consists in obedience to a universal law’ and focus on the ideals of caring for other people and non-institutionalized justice. bruce, while obviously caring, is still bound by his belief in the legal system and deontological norms. he is benevolent, but he is also ultimately morally committed to the idea of a legal system and thus frames criminals as failing to meet these moral (legal-adjacent) standards (even when he recognizes it is a result of their circumstances). in other words, he might think that a criminal is a good person despite leading a life of crime. meanwhile, for jay there is no despite; jay doesn't think that engaging in crime says anything about a person's moral personality at all. morality, for him, is more of an emotional practice, grounded in empathy and the question of what he can do for people ‘here and now.’ he doesn’t ascribe to maxims nor utilitarian calculations. for jay, in morality, there’s no place for impartiality that bruce believes in; moral decisions are embedded within a net of interpersonal relationships and social structures that cannot be generalised like the law or even a “moral code” does it. it’s all about responsiveness.
to sum up, jay's moral compass is relative and passionate in a way that doesn't fit batman's philosophy. this is mostly because bruce wants to avoid the sort of arbitrariness that seems to guide eoc. also, both for vigilantism, and jay, eoc poses a challenge in the sense that it doesn't create a certain 'intellectualised' distance from both the victims and the perpetrators; there's no proximity in the judgment; it's emotional.
all of this is of course hardly relevant post-2004. there might be minimal space for accommodating some of it within the canon progression (for example, the fact that eoc typically emphasises the responsibility that comes with pre-existing familial relationships and allows for prioritizing them, as well as the flexibility regarding moral deliberations), but the utilitarian framework and the question of stopping the crime vs controlling the underworld is not something that can be easily reconciled with jay’s previous lack of interest in labeling crime.
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you know, I changed my mind, Quaritch always loved spider, form the beginning, any attempts to make it seem like he was using him was a lie and a front, he forced himself to hurt lauder e cause he was scared of getting attached, you wanna know how I know.
the look, the look he gave spider when he figured out who he was. the pure pain and confusion and love on his face when he recognizes his son, even if this is his only knew memory of him in 16 years (his only memories of spider are of when he was a baby and being abused by of Quaritch who are 2 different people}) he knew that was his baby, the baby his original self hurt.
I know because when he hears his sins screams, he can't stand it, it hurts him (and we know this guy has a tolerance for human/na'vi suffering) and he puts a stop to it, quickly.
the first words they exchange outside of the kidnapping (as father and son) is him apologizing for what his original self did. he attempts to comfort him, to make him feel safe.
he cared for this kid, he loved him, he protected him like no one had before, I will stand by that.
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Excerpt: You Can't Replace Her
Vi's return has Jinx floundering. Sevika sifts through the layers.
From 'heron blue,' an AU where Vi and Jinx reconnect under different terms. Slow, rocky relationship rebuilding, found family messiness, and political schemings.
Full story on AO3
Sat at the table across from the kitchenette's thin galley, Jinx twists her plait about one finger—a single one, today, the weave of it adorned with scraps of bullet casings and clips—and doesn't say a word. She squeezes the cool metal of one of the casings, hard enough to sting.
"I'm not mad at you, you brat," Sevika grumbles, without sparing her a glance. "Not your fault the little shit's back from the dead. But, of the seven hells—"
Her thick fingers spear into the creases beneath her eyes: a slow kneading. She says nothing, for a beat. Just smokes, and smokes.
"He loves you too damned much," she growls quietly, then. She flicks the ash of her cigarette over a tray on the balcony's railing. "Your sister worth all this, to you?"
The casing between Jinx's fingers aches.
Ever since he'd placed a meal and a plan before her—laid a quiet, terrifying choice in her hands—she'd turned the thought over, for hours, and hours.
Do you want her near you?
She wanted her sister's presence, less than craved it—like a girl yearned for her favorite toy; like an infant wailed for their mother; like a child found comfort in the lonely walls of their room, closed off from the rest of the world.
She missed her. She was terrified of her. She longed for her. She hated her.
She hadn't been able to answer him, then. She couldn't.
The same denial sits on her tongue, now.
"I don't...I don't know," she mumbles.
"'Course you don't," Sevika snarks.
"I don't know, okay?" Jinx wrenches her head away, glaring into the yellowing paper of the wall. "She—she left me." Her nail picks and picks at her knee. "She left me, because I—I wasn't good enough, I wasn't strong enough, I was—I was weak." A crack in her voice, thin and sharp. "I was weak, and I ruined everything."
The shadow across from her chuffs, quietly. "Boss doesn't see you as weak."
Jinx curls her shoulders to her ears, pressing her cheek into one of them. "Doesn't matter."
"Like you couldn't knock me off my feet, if you tried." A steel-gray stare flicks over at her, cold points in the greenish haze that stretches beyond this small room, seeping through the open door like a sweet-soured fog. "When we took you in, you couldn't throw a punch for shit. You took to a gun like it was welded through you, though." Sevika lifts one brow, with a shrug of her shoulder. "Still need to work on your punches," she notes, dryly. "But they're better."
Mylo's voice scratches and claws through Jinx's ears.
"So what?" she spits. "I'm not—not like her. I'll never be like her."
"Why do you need to be?" Those eyes again, staring hard at her. "You can't replace her." Sevika huffs, turning back to the smog-tainted view that spills down from the balcony's edge. "If you had that in your head, with her gone—sure as hell doesn't matter, now."
The words tear at something in Jinx's bones, buried so deep into the marrow that it uproots her. She blinks. Breathes. Shakes.
"Something you Fissure brats should've learned, years ago," Sevika rumbles on, a low, muted thing. "Someone dies, you leave them dead. You don't carry around their corpse, making yourself into their image; you don't become them, to you, or to anybody else." She ticks the ash from her cigarette. "You can't."
Jinx's fingers tremble over her knee. The swallow she forces down clings like ash to her throat. "Then," she whispers, "then what do I—what do I do?"
Sevika's mouth curls at a snarl.
"You be." A final drag: the cigarette crushed into the tray, among a litter of countless others. "Whatever you need for yourself, first. Damn the rest."
Silco, in his own ways, had told her the same. Cradled her head beneath the cold drape of the Pilt's waves, with the gentlest sweep of his thumb: as though she were still only a scrappy street-cat of a girl, eleven years old and raging at the world. As though he were lowering himself back down into the place of his rebirth, where he had reforged himself, rebuilt himself. Where he'd found what he needed, to survive again.
She hadn't quite understood it all, then.
She'd been too lost in the silence of the waves, in the strange peace she'd found floating in the blackwater, in the warmth of his hand lifting her back to the surface. Lost in her own fears of going back to the terrors gnashing on the shores. Too exhausted to move, to come back to herself.
He'd carried her from the shallows, like he'd carried her back from the wreckage that day. They'd sat at the water's edge for hours, his coat draped over her shoulders, his eyes so faraway, and said nothing.
She thinks she might understand, now.
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