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#but as someone who enjoys both the critical thinking off and the analysis side of discussions
yumeka-sxf · 1 year
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A chronological analysis on Twilight and Yor - Part 13
*This is part of an ongoing post series. If you missed the Introduction/Part 1, click here*
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During the episode where Anya has to give a report on her parents' work, we learn more about Yor's job as an assassin, which sheds some insightful light on the theme of moral ambiguity in the series. During an interview for the Spy x Family fanbook, Endo states that the Forgers should not be seen as shining examples of moral virtue; he doesn't think it's correct to only see their "nice family" side. And he's right of course, as both Twilight and Yor have professions that revolve around immoral things, like deception and killing. But while Twilight doesn't see those he has to kill or manipulate as "bad guys" necessarily – they're either helpers or hindrances to his missions and that's it – Yor's view is much more black and white. In her mind, all of her targets are traitorous villains, and by killing them, she can take pride in knowing that she's helping her country, much like a soldier.
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While she does try to maintain some humanity in her work, like being extremely careful not to kill the wrong person and making sure her targets die a painless death, it's clear that her view of being an assassin is more straightforward than Twilight's view of being a spy. We don't yet know exactly how Yor became an assassin, but we do know that she started as a child, so it makes sense that she'd be brainwashed into a naive interpretation of her job as simply "helping her country by getting rid of bad guys" (unlike Twilight, who was an adult when he became a spy). And, as I mentioned before, she likely had to forgo a proper education because of her work, and so missed out on many real-world experiences that would allow her to think more critically about the morality of her profession. From what we've seen of her work, eliminating the "bad guys" is technically what she's doing, but we also know that there may come a time when someone she's sent to assassinate is not the villainous scum that she's used to…someone like Twilight perhaps? Just as Twilight's worldview may shatter when he realizes he cares too much for Yor and Anya to continue to deceive them, Yor's childlike opinion of her job would certainly be crushed when she realizes she's being sent to kill people who are not always the "bad guys" that Shopkeeper tells her they are.
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Anya eventually decides to use Twilight's cover up job as a psychiatrist for her report. But at the end of their excursion, when she hastily puts together the sandbox exercise, we see another example of Twilight truly empathizing with her. We saw him start to take a less strict approach in the episode where she got her first stella, where he made an effort to find specific activities she would enjoy rather than continue to push her to be a scholar. But here, his reaction to her chaotic creation in the sandbox is anything but his usual standoffish attitude – he panics about how much stress she must have been under, not only from being in the orphanage, but also from being suddenly dragged to a stranger's house. He even starts blaming himself for not realizing it sooner (has he always been prone to this line of thought, or is Yor's imposter syndrome continuing to rub off on him?)
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His fatherly side is forced out again not too long later when a jealous Bond chews up Anya's Penguinman plush. When Anya adamantly cries that she only wants the plush her papa gave her and won't accept a replacement, Twilight complies. He spends time carefully mending Penguinman (while Yor sits by his side watching intently, giving her full moral support. It's just like her to look that concerned as if he's performing surgery on someone, since she knows how important Penguinman is to Anya!)
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Afterwards, Twilight has just the right things to say to Anya to make her feel better about the whole situation, like how honorable Penguinman's "scars" are, and even quoting an episode of Spy Wars when Bond comes over to apologize.
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The Twilight that first adopted Anya and saw nothing but annoyance in her irrational behavior, would certainly not have adapted so well to the situation. Yet another example of how his skills as a father are improving, slowly but surely.
Continue to Part 14 ->
<- Return to Part 12
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comicaurora · 2 years
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Addendum and probably a tdlr of the last ask tbh: when, both as a reader looking at other readers and someone reading in general, would you draw a line if something a genuine analysis and criticism of issues in a media vs just a person who really doesn't realize the story is to their taste and that's okay? And is there a way to balance both ends of critical media intake even on the negative side vs having in a community setting it get saturated in such? When is something a "not my cup of tea but I'll be responsible and ignore it" conversation vs a "this is actually a problem"
I can't give an objective answer to such a thoroughly subjective problem. All criticism is relative anyway, holding a story to personal standards or the judgment of the critic's personal understanding of what the art was trying to do, and when coupled with the fact that every single person will be working off a completely unique version of any given story, there's no way to draw any hard lines here. There's a reason why fan forums and discussions are such constant hotbeds of intrigue and why "fandom wank" is such a recurring issue.
Personally, though, I use the following sanity checks when considering my own takes or particularly volatile angles:
Who, if anyone, is this actually hurting? Some stories tacitly contribute to harmful mindsets re bigotry, misery, nihilism, dehumanization, etc. Some stories actively encourage harm. Some stories are wellsprings of positivity and kindness that people just like taking potshots at for points. Not to go all "touch grass" or anything, but sometimes it's very valuable to take a step back and ask "literally what's the point of all this yelling"
How much of the story overall is this complaint relevant to? Is it one background character onscreen for three seconds, one iffy episode, one unresolved subplot, a half-dozen major character arcs? Is this complaint about a story completely undercutting its own message, or is it about one side character not meeting some critical standard during their sub-ten-minute appearance?
What implicit standard is this story or creator being held to by this critique, and do I think that standard is reasonable? Some critics seem to work off a standard of perfectionism that would see every major literary classic scrapped for the wood pulp on the grounds of "icky stuff happened". Others just want the writers they like to actually write the satisfying character arcs they said they would write.
Does this critic only ever complain? If so, I think perhaps their own issues are inhibiting their ability to enjoy things and I consider their perspective dubious. Someone who can't recognize the good in things probably isn't very good at recognizing the bad either.
Is the story over yet? This one's a new addition, but I sometimes see audiences losing their minds and yelling at writers over unresolved arcs in stories that aren't done. If the story ends without resolving important plot threads, that's no good and there's plenty of room to complain, but if the story is between arcs and it hasn't wrapped everything up nicely, seems a bit odd to go full meltdown assuming it'll never be resolved. I expect stories to spend most of their runtime unresolved. This is one of the common driving forces behind storytelling. I'm very familiar with Schrodinger's Arc, where a story's goodness or badness entirely hangs on how one specific thread will resolve down the line. Before that resolves, why assume the worst?
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cios-correct-opinions · 6 months
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post here
DISCLAIMER BEFORE ANYONE SAYS OR ASSUMES ANYTHING ABOUT ME: i am not a proshipper. i am not an anti. i do not use any shipping discourse labels because i've been actively traumatized by both communities and have no desire to put that label on myself. i am just a person capable of critical thinking who enjoys analyzing media sometimes. i do not condone harassment over fiction, and i also do not believe any form of media is free from critical analysis or criticism, especially if it includes harmful propaganda and/or portrayals of marginalized peoples/societies which serve to perpetuate or legitimatize a pre-existing societal bias. do not call me an anti. do not call me a proshipper. do not assume things about me in bad faith. ive got no time for that and ill block you if you do this.
i actually think i kinda have a grasp on what's being said here so lemme explain this bc this is kinda how i feel? i'm gonna explain as best i can since its nearing 3 am and im a lil tired. forgive me if i dont explore every angle of nuance here btw again im tired but the adderall is in my blood so.
ahem.
my main talking point is this: there is a difference between exploration of something, which can include varying depictions and portrayals of a subject, vs propaganda for something, which has the intent of swaying you towards one side or away from one side or blah blah blah you know what propaganda wants to do i'm sure
exploration of dark and taboo subjects such as CSA/SA/abuse in general, paraphilias, mental illness, incest, so on and so forth - especially when done by survivors of those things - are almost never propaganda, no matter how they're being portrayed. someone using fictional characters within a fictional context to cope with their own trauma is, 99.9% of the time, not trying to endorse that behavior in real life. they also often assume the people reading it will understand that they the creator are not trying to endorse that behavior in real life.
example: most people who create fiction based off the mafia do not actually want to be mobsters, nor do they think others should be, nor do they endorse the real life mob, even if their portrayals can sometimes be problematic in other ways and/or contribute to certain problematic societal ideas about gang violence esp when committed by white people, but that's an entirely different issue than the one at hand and has more factors in play.
a deeper example: while a work of fiction can definitely reveal certain creator biases and/or how the creator feels about certain topics, it doesn't mean that every detail in the fiction is weighted the same way. someone may have clear biases towards, for example, women, in their work based on how they write their female characters, but not condone murder in that same work just because murder is part of the plot and/or is framed as a net positive in the storyline. you can have a work which clearly shows a creator's true feelings or thoughts or philosophies or what-have-you on one topic, but not on another, within the same work. learning which of these is true and when is a learned skill. i can't tell ya to do it myself as i am not a teacher
despite it seeming like it should be easy, on the other hand, spotting propaganda can actually be really fucking hard. i am not here to talk about how to spot propaganda, and perhaps will reblog this at a later date with links on how to do that as i am too tired to both write this and look for reliable resources on doing that, so if you want that for now, sorry, you gotta search elsewhere. however, this difficulty often leads to the main conflict i see online:
people believe that an exploration or portrayal of a dark/taboo subject or a subject which contains something that is immoral or illegal in real life, which does not outright condemn that thing, and/or appears on a surface level to be a "positive" portrayal (air quotes bc what counts as positive changes depending on who you ask) even when made by real-life survivors of the thing being explored, is the exact same as propaganda meant to push the emulation of that thing or behavior in real life, by real people, to real people/others/whatever.
this is the issue i and others keep running into online, over and over and over again. people are unable to tell the difference, they are unable to tell the target audience of a work, they are unable to understand why someone would make something a certain way, and ultimately the material upsets/triggers/disgusts/bothers/etc them, and all of this leads to them treating the first group of media like the second. because of that, they assume those creating that content are encouraging its real-world application and that the creators think these actions are okay, or that they will/want to/have perpetrated those acts in real life as well. once they've decided this, it's essentially impossible to convince them otherwise
ignoring the fact that you cannot make these assumptions about a stranger online in good faith literally ever, this is a huge problem. a nazi creating propaganda indoctrination white supremacist fantasy fiction material is nowhere near the same as a CSA & SA survivor creating works of dark fiction/art to cope with their trauma, but a lot of people consider it one and the same because they literally are incapable of seeing the difference. they can't analyze either work by either creator, and are unable to see how the nazi's fiction is different from the survivor's. even if the subjects portrayed in the works are different, too
these people will also insist that any humanization of a villain they deem "bad" or "problematic" enough - which, again, is dependent on who's making those decisions and not any kind of clear standard - means that the creator condones/believes/enjoys those things the villain does, and people who enjoy that character also condone/believe/enjoy those things the villain does. the ultimate irony of it all, of course, is that these people are consuming the exact same media with the exact same characters and exact same story and exact same plotline as the people they are attacking, and many of those people also enjoyed that media. they just seem to think because they enjoy blorbo blingus The Good Guy(tm) instead of zorbo zingle The Bad Guy(tm), that makes them morally superior instead of, yknow, just someone with a different opinion who is reading/watching with a different lens than someone else
obsession with moral purity, moral superiority, and in general an abstract concept of morality, is what has ultimately led us here. in an attempt to be seen as "acceptable" by the masses of the world - regardless of whether they participate in fandom or not - for whatever reason one has, has led some of us to turn on each other within fandom spaces
fear of predatory abusers lurking in the shadows, as well as an inability to actually identify the signs of a predatory abuser caused by a society whose goal is largely to protect those same predatory abusers, as well as a sadly large and growing number of victims of abuse growing up online and sometimes being abused and/or preyed on online (as i myself was) who thus are hypervigilant for this sort of thing due to their own trauma, has all led to a willingness to attack and destroy anyone we think might possibly maybe sorta kinda be a little suspicious without a second thought to the actual probability of that person's guilt, as well as the inability to stop and ask ourselves what we're really doing when we attack people over fictional portrayals of things as well as whether or not these fictional hypothetical transgressions are truly worth destroying someone's livelihood and life over or whether they're something we can simply block and ignore and not worry about
simply liking or disliking something in media has become a source of literal panic attacks for a lot of people because they drive themselves mad looking for a "good, moral, logical reason" to like or dislike something rather than just accepting it for what it is
our lack of understanding combined with an unwillingness to be open to the possibility of alternative interpretations for anything has driven people to commit atrocities. someone is literally dying right now because of it. actively dying. will die soon. because of antis deciding their creations meant it was okay to lie about them being a pedophile (they weren't), get them fired from their job due to these false claims, resulting in them losing their health care, which has 4 years down the road, resulted in their eventual death.
we. must. do. better.
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worstloki · 3 years
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Ragnarok Loki is Loki actually making moves toward growing up bye
Just because you don’t like a thing doesn’t mean it’s Objectively Bad Actually. I Statements are your friend.
Anon darling, I would like you to tell me one move Loki made towards “growing up” that wasn’t ‘Loki let’s go of the issue he had with X’ because what I’m seeing when the movie skips over development to frame the conclusion of ‘Loki’s fine with being jotun and having been lied to and being treated unequal to Thor and punished unfairly’ as something implicit I’m not seeing anything but Loki's narrative being sidelined to the point where breakdowns were tantrums and holding a grudge (which he in my opinion had every right to do if he wanted to) is an overreaction.
That Loki’s ‘moving on’ features resigning himself to continued bad treatment but now no longer complaining about it... shouldn’t be where the character ends up or what he amounts to neither generally or as a continuation of his arc from the previous movies in my opinion, not when he had legitimate grievances that still haven’t been so much as acknowledged.
Just because you like a thing doesn't mean it's Objectively Good Actually either. It is very clear you haven't taken the time to look into posts/interviews detailing why, objectively, the film is a retcon, (along with a majority of posts which thoroughly make clear when things *are* a matter of opinion) but I see that you are happy to criticize whilst not using any 'I statements' yourself.
If you see character changes as consistent continuity that's fine! I've got to remind you that being critical is okay though, and that everyone is free to how they see things.
Additionally, I think you need to hear that a post detailing negative points of a movie is not equivalent to saying there aren't positive factors.
#''Just because you don’t like a thing doesn’t mean it’s Objectively Bad Actually'' ANON I ENJOY RAGNAROK BUT NO#THE MOVIE ACTUALLY DOES HAVE VERY CONVOLUTED MESSAGES AND A LOT OF IT IS DUE TO FRAMING#EVEN IF I COMPLETELY IGNORE THE ABSOLUTE DEMOLITION OF THE MAIN CHARACTER'S ARC AND CHARACTERIZATION AND ABUSE APOLOGISM#ignore the yelling#even if I ignore all that objective actions in the film everyone is free to interpret diegetic factors and build their own opinions#but as someone who enjoys both the critical thinking off and the analysis side of discussions#i do find the summation of a character who has (supposedly) gotten over his many issues as 'growing up' not good anyway#because there WAS legitimate trauma behind his bad actions and while it's not in any way an excuse for anything it made him compelling#ragnarok essentially decided that 'nah loki's over all that haha also treating him bad is funny bc he kinda deserves it'#after Thor 1 Avengers 1 and Thor 2 established Loki's villainous behaviour as unlike him to do#the movie was fun and loving it is fine! i don't mind the changes to loki even though marvel is generally insulting and sidelines abuse!#i think the main issue is that a lot of people insist that the characters are the same when even their previous actions are retconned#if you find the characters consistent well good for you! enjoy your film! but there IS objective proof that the movie is bad#where we're not defining 'bad' by how entertaining something is because THAT is subjective#it's not like Ragnarok is the only 'bad' marvel movie and criticism of the films is usually backed up with canon/proof#on the note of which you may realize that someone else saying a movie is bad doesn't mean you have to agree#you're allowed to look away or read about why they think that or skip the post because it doesn't matter and fandom is supposed to be fun#if you don't like seeing anything negative about marvel then ignore the posts#most of the meta i see is neutral it just doesn't praise the movie for stuff it didn't do :/#feel free to send another anon in to argue or discuss anything i've said because i'm not trying to say it's bad to like the film#like... it's completely fine to prefer the Ragnarok characterisation?? the entire tone of the movie is more comedic so consider that too#marvel messes up loads of characters and their arcs idk why everyone likes to argue when people say loki was changed too#i think it might ACTUALLY be a case of ''i liked the thing so it's objectively good so don't say anything bad about it'' for a lot of fans#a lot of people know the character is different and still love/prefer the ragnarok loki#seriously everyything is fine no one is saying dont like the thing#no one is insulting you personally for deciding people who were abused/traumatised need to 'grow up'#it's about how Ragnarok acted as a standalone rather than something that was inherited as continued part of an established universe#and how that kinda maybe obliterated a lot of old stuff to recreate the characters#truly fitting for a movie named Ragnarok#i think I get why they called it that despite the limited links to mythology now
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mt-words · 3 years
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Can we get some dream smp fandom positivity posts? As someone who posts mostly analysis and has never once had someone say anything rude in response, I think we perceive the fanbase as more toxic than it is because of a few outspoken individuals. Y'all are pretty chill and I like you.
In no particular order-
I love that Eret’s fans come up with such cool theories, I swear she could give you two sentences of lore and I could see three five page essays on what it could mean about their character within an hour and each of them is unique, intricate, and makes logical sense.
I love the compilations Foolish fans make of him doing ridiculous things on stream, he’s a fun guy that never fails to make me laugh and everything I see from them embodies that energy to me.
I love how creative Hannah’s fans are, you take the awesome ideas she has and turn them into the most amazing designs and concepts.
I love that Techno’s fans might write a ten page essay about his character or just say they enjoy watching him do crime, and you never know which it will be because both come from the same people.
I love how Philza’s fans embrace everything he does with so much enthusiasm. His chat is a flock of crows? Excellent, they can work with that, you will see fifty incredible pieces of art and a hundred theories in the first hour and they’re just getting started.
I love that Niki’s fans are so careful to pay attention and not miss any details. It has been ages and I still see occasional mentions and theories about the “Dear Friend” letter.
I love that Fundy’s fans are very empathetic, they love to find and elaborate on the connections between characters and that’s pretty cool!
I love Tommy’s fans for their energy. They seem passionate about making things right and hopeful that no matter what your situation is things can get better. I’ve seen so many breathtakingly emotional art pieces from this side of the fandom.
I love that George’s fans unapologetically simp for him but then catch me off guard by making deep insights about his character.
I love how Bad’s fans are as genuinely sweet as he is, they’re willing to really look at everything that makes up a character and see the tragedy of it and have compassion about things. And some just want to see an egg rule the server, c'mon, it would be funny.
I love the running gag with Skeppy fans of making Skeppy critical posts, y’all are hilarious.
I love how Purpled fans play up his lack of lore as him being an incredibly powerful cryptid, and they’re right. He totally carried the wither fight on Nov 16th.
I love the balance Quackity fans have between a love of humor, justice, and darker topics. I think like Quackity they are often underestimated and thought of as the jokester side of the fandom to an extent, and then I start reading things they write and it’s well thought out and insightful.
I love that Tubbo’s fans love chaos, cute things, or both to an unhealthy extent. Seeing anything from them reminds me of princess unikitty in all the best ways, and then they turn around and throw a super in depth meaningful analysis at me in the next breath.
I love everything about Sapnap’s fans. Y'all are perfect. The writing and art from the born in fire line? Gold.
I love how Jschlatt fans are generally chill and just enjoy whatever they want to. Their favorite Manburg president was the one who publicly executed his right hand man and gave Dream a resurrection book for firepower, and he looked good doing it.
I love that Callahan has fans. You people are dedicated and I respect it. The fact that Callahan was one of the first names to pop up when everyone was trying to figure out who Harpocrates was even though he rarely involves himself with plot? Your influence knows no bounds.
I love that Alyssa’s fans are simply too powerful. She hasn’t played on the smp since way before I started watching and there are still people defending her barn and drawing pictures of her.
I love that Antfrost’s fans have taken so many ideas and just ran with them and made them awesome. Like him practicing magic? Perfect, he now carries potions and gets a wizard hat.
I love that Dream fans look at a character who has been portrayed as pure evil from many points of view and understand that Everyone has motives based on their situation, even if it isn’t handed to us in an easily understood way.
I love how Jack’s fans are so ready to support any action he takes. Crawling out of hell? Incredible. Killing a child? Good for him! Go team Rocket. Grieving the same child? Learning healthy coping, he’s the coolest.
I love that Connor eats Pants fans are the most reasonable people in this fandom. This is terrifying. Thank you for your service, you always make me smile.
I love that Punz fans unapologetically just love their capitalist mercenary. As they should, his presence always tips the scales and everything he does brings more depth to the characters and plots he interacts with.
I love how much Ranboo fans love complexity. Most of them aren’t afraid to admit that their favorite characters are flawed, because aren’t those flaws what make them interesting and relatable?
I love the variety of Hbomb fans. Half of them may be embracing the cat maid bit while the other half goes on about how impactful and cool L’cast is, but they’re all super chill.
I appreciate that Puffy fans take the time to understand so many perspectives. So many posts I see involving her tie in lore from other characters and find interesting ways to connect them and build them together, kind of like Puffy herself.
I love that Wilbur fans seem to approach the story like they’re solving a puzzle, carefully piecing together details from months apart to figure out how and why everything goes down.
I love how hard Ponk fans work to spread awareness of how awesome he is. Ponk says and does wonderful things and is very fun to watch. I never would have tried his content without them.
I love that Karl fans saw him wanting to be involved and started coming up with such cool ideas around his character that they actually made them canon. Correct me if I’m wrong, wasn’t the time traveler thing a fan theory at first?
I love the creativity Sam fans have with his design and their willingness to discuss complex moral issues. Sam is involved in some heavy lore stuff but he and his fans keep things entertaining and calm.
I’m sure I missed some things, please feel free to add on!
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ashesandhackles · 3 years
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The Hogwarts Express scene in Prince's Tale: A Sirius and Snape analysis
I really, really enjoy Sirius and Snape as characters and their respective narrative functions in story. But what gets me most about them is how much Rowling hints about their backgrounds and so much of it makes sense with regard to who they are as adults. So I am going to be breaking down a very small scene from Prince Tale and getting into long winded hypothesis about their respective childhoods.
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So, let's start with Snape. The scene begins with Snape rushing to find Lily, already in his Hogwarts clothes. Harry notes he must have been eager to get out of his clothes - ones that look like he borrowed from his mother, as Petunia spitefully pointed out. This has always been a very interesting detail to me - first off, it indicates how poor Snape's family is. Second, this indicates his tiny rebellion from his father - he refuses to wear clothes of the abusive man, and prefers his mother's. I admit, I am partial to the reading that Snape refuses to associate with his father in tiny ways, rather than Tobias refusing to hand his son clothes.
(I have seen readings which say that it is also a sign of neglect - perhaps his parents bought clothes that simply don't fit him, but I am more inclined to think it's a hand me down, simply because Harry identifies so strongly with it. Because Harry knows what it is like to wear a hand me down that don't quite fit, that are too big for you, or the ones that make you look ridiculous.)
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Lily and Petunia's relationship is fraught with Petunia's jealousy. And young Lily is upset over it when Snape meets her. "I am not talking to you. Tuney hates me" she tells him. "Because we saw the letter from Dumbledore". Young Lily shows signs of being extremely emotionally reactive and this scene is one of them. It's easier for her to deal with Petunia's rejection of her by telling Snape she doesn't want to talk to him. It's a childish displacement of her hurt over her sister's rejection. (I am genuinely baffled by interpretations that Lily and Hermione are similar. Hermione is very cognitive person, Lily, as we have been shown repeatedly in memories, is not).
Snape, however, with his bad history with Petunia and his inability/ poor social skills to understand why this matters to her, goes: "So what?"
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Lily, who throws him a look of deep dislike, says "So she's my sister". This seed is important because this is what develops into "he doesn't get me" feeling she later displays in her teenage scenes with him. Interestingly, most of Lily's personal relationships have deeply interwined love and dislike - Petunia (whose rejection bothers her but she cheerfully informs Sirius that Harry nearly broke a vase her sister sent - which means there is resentment on her end too), James - who she was attracted to even before 7th year but also disliked at one point, and Snape - again, a contentious friendship filled with love and distance.
"She's only a -" we dont get to hear what Snape intended to say. And given his own acrimony with Petunia, it could be anything. However, I read it as "She's only a Muggle" because it ties into his feelings about his father. Snape, who is proud of being half a Prince, emphasizing his magical lineage from his mother's side, his refuge in a violent, neglectful home. (Barty Crouch Jr and Snape with their disappointing fathers - I imagine Voldemort is supremely attractive leader to people with broken homes like this)
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Snape, by all accounts, shows a disorganised attachment style. His caregiver, his mother - and perhaps the only parent he seems to have regard for, is too preoccupied by her own abuse to be there for her son - we see this in glimpses Harry sees in OOTP: " woman cowering" where a man shouts at her, and a young, neglected Snape cries in the corner. Children born in homes like this have trouble regulating their emotions, simultaneously displaying tendencies to aggressively lash out or show disassociative symptoms. Both of which Snape displays. Statistically, this is also seen more in low income households where economic instability and resulting domestic instability creates an unsafe environment for the kids to safely form ideas of their identity, or express emotions in healthy ways, modelling instead out of behaviour seen at home.
Then, Snape reminds her that they are going to Hogwarts. He is already in his Hogwarts clothes - now, Snape gets to be the impressive figure. The one who told her about magic, who theorised about how Muggles get letters from magical people, the one who told her about Dementors and Azkaban. He has already left behind the Spinner's End version of him, he wants to bigger than that, and is keen to be in place of magical learning and to join Slytherin. Essentially, he shows signs of unstable identity, insecurity - all prime for grooming into a cult.
And here comes along James Potter, who looks around at the mention of Slytherin. James's comment uses Snape's line and directs it to Sirius instead and it becomes a conversation between them, as a way to bond more with a fellow "rowdy boy" Sirius. Effectively ignoring the other two.
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Sirius as we see here, "does not smile" when James talks about Slytherin. He essentially says something that can be construed as a way to nip that conversation in bud: "My whole family has been in. Slytherin". This suggests to me that there is some loyalty to his family there and his disillusionment with them isn't entirely fixed yet. After all, Sirius's intense loyalty to his friends, more specifically James, did not come out of thin air. It is reasonable to suggest that he felt some loyalty to his family at some point and the intensity with which he regards his friends is a reaction to burned off and being a "displaced person without a family" as Rowling put it.
Interestingly, while his reaction to his mother and Bellatrix are obviously sore spots, his response to Regulus is comparatively quite soft. ("Stupid, idiot" - something he calls James later on in the same book, OOTP). I imagine Sirius has quite complicated feelings about his brother and he is capable of nuance (when the person isn't Snape, where his dislike seems to be borne of an intense projection): "The world isn't split into good people and Death Eaters". As someone who is grown up among them, Sirius would understand that.
His framing of Regulus's need to please his parents also further highlights what exactly is the source of disillusionment. He calls Regulus "soft enough to believe them" - which means he is crediting his own intelligence to see through his parents bigoted world view. Clearly, bigotry is not something the Blacks explained in a way that Sirius, eldest of their male line and their heir, bought it. It also probably didn't help the Blacks case that Grimmauld Place is in a Muggle neighborhood and that their eldest son is a bit of a wild boy with interest in pushing boundaries. His intellectual disconnect leads to the righteous rage he later feels but it began there. (Boy, it must suck to discover that everything you have been taught to value in the world and in yourself as the heir is essentially rubbish). Since his differences with his family began with seeds of intellectual disconnect rather than on intense empathy with downtrodden, it makes him, as a pureblooded privileged boy, unable to truly understand Lupin's fears regarding his lycanthropy. Hence, the Werewolf prank (I am not getting to the Snape bit, just the Lupin bit). To James' credit, he does understand what that means for Lupin and saves all three of them from different set of consequences.
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Anyway, back to the scene. James, who has made an ass of himself in front of his new friend, who he was getting along with fine until now, then goes "Blimey, I thought you seemed alright". (Btw, I find James wildly large ego kind of hilarious here, especially in light of Snape's comment about him to Sirius in OOTP: "You will know he is so arrogant that criticism simply bounces off him"). Sirius, who I believe has been raised like "royalty" as Blacks would, has good enough social skills to defuse a situation. He grins and says: "Maybe I will break the tradition".
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This line is an indication of Sirius's desire for independence, an identity seperate from his family. The use of the word "tradition" is interesting. It sounds like Sirius is expected to behave in a certain way, the heir of Black family whose parents thought being a Black "made you practically royal". Adult Sirius is contemptuous of this, or their "valuable contribution to Ministry" which means they just gave gold - it tells me that any and all conditions put on him by his family were to fulfill tradition that is either worthless or holds no meaning in his eyes. The root of the emotional abuse Sirius suffers from his family is this - realising his parents love for him is conditional on him being a certain way. (In fact, you can read Regulus desire to emphasise his connection to the family as a reaction to what he sees with Sirius - Sirius does not behave, Mum and Dad don't love him). As a child with unconscious knowledge of lack of love, Sirius then acts out, they react, rinse and repeat "until he has had enough". Sirius chafes against boundaries well into adulthood and doesn't react well to people enforcing it on him, even if it is out of love for him. Cue the fire scene with Harry where he behaves as if Harry is rejecting him instead of protecting him.
Sirius asks James about where he wants to go, and Snape, who is incensed about James being insulting about a House he put stock in, which he made part of new identity (so that he is no longer that Snape boy from Spinner's End) and was in general trying to be impressive about in front of Lily, "makes a disparaging noise" once James talks of Gryffindor. Snape's response to James' : "Got a problem with that?" is interesting. He says: "If you'd rather be brawny, rather than brainy-"
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This is an important value for Snape. He knows he is clever and values it. He spends his spare time inventing hexes, making great shortcuts to Potions. He has genuine thirst for learning and he hones it. In SWM, we see that he has written far more longer answers than anyone else, he is poring over his paper after exams. He even mocks Hermione's lack of inventive answers: "Answer copied word to word from the textbook, but correct in essentials". He values originality. It may be me stretching this, but I am partial to the reading: this is his way of rejecting his father once again, who is implied to be a violent man. (in other words, someone who is hypermasculine - "brawny". In fact, Snape's rejection of hypermasculinity is a huge post on it's own - Potions (brewing, cauldrons - coded as feminine arts), the doe Patronus, his proficiency in Occlumency and Legliemency (intuitive mind arts, again seen archetypically feminine) etc).
"Where are you hoping to go, seeing as you are neither?" - Sirius is quick with emotionally cutting insults. Snape hasn't even finished his sentence, but Sirius is already on his case. Which suggests growing up in a household with sharp tongues. It's a fair assumption, given Mrs Black's half mad portrait. It also tallies with Sirius's talking about his mother: "My mother didn't have a heart Kreacher, she kept herself alive out of pure spite" . The wounds are fresh enough on this. (Another interesting way Snape and Sirius act as inverse mirrors - Snape rejects his father, Sirius rejects his mother. Sirius acts as proxy for James for Harry while Snape takes on Lily's role of protecting him). However, you know who else is spiteful? Sirius.
While James is the physical bully (the tripping Snape, doing most of the bullying in SWM), Sirius attacks emotionally. ( Sample the one about Snape's appearance - "I was watching him, his nose was touching the parchment, there will be great grease marks all over it, they won't be able to read a word" or even the carelessly vicious- "Put that away, before Wormtail wets himself in excitement"). Curiously, with all that talk of how his mother being spiteful, it's her room he spends time in when he is depressed. (Again, in inverse mirror way, we can talk of how Snape looks for a father figure in Dumbledore - craves his validation and is proud of Dumbledore's trust in him). We could argue it's also because Buckbeak is there, and perhaps it's the largest room in the house, but it's very telling that's where Sirius spends time when he is "in a fit of sullens". Sirius's sense of abandonment from his family, makes him look for family connections with friends - a trait he shares with Harry. Interestingly, the first time he glimpses Harry in Privet Drive, Harry is also running away from home - just like he did. Anyway, I could go on.
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liquidstar · 3 years
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I feel as if many people, myself included, have been having problems with the way “critical thinking” is conducted in fandom circles more and more. Which I’d say is a good thing, because it means we’re thinking critically. But still the issues with the faux-critical mentality and with the way we consume media through that fandom group mentality are incredibly widespread at this point, despite being very flawed, and there are still plenty of people who follow it blindly, ironically.
I sort of felt like I had to examine my personal feelings on it and I ended up writing a whole novel, which I’ll put under the cut, and I do welcome other people’s voices in the matter, because while I’m being as nuanced as I can here I obviously am still writing from personal experience and may overlook some things from my limited perspective. But by and large I think I’ve dissected the phenomena as best I can from what I’ve been seeing going on in fandom circles from a safe but observable distance.
Right off the bat I want to say, I think it's incredibly good and necessary to be critical of media and understand when you should stop consuming it, but that line can be a bit circumstantial sometimes for different people. There are a lot of anime that I used to watch as a teenager that I can’t enjoy anymore, because I got more and more uncomfortable overtime with the sexualization of young characters, partly because as I was getting older I was really starting to realize how big of an issue it was, and I certainly think more critically now than I did when I was 14. Of course I don’t assume everyone who still watches certain series is a pedophile, and I do think there are plenty of fans that understand this. However I still stay away from those circles and that’s a personal choice.
I don’t think a person is morally superior based on where they draw the line and their own boundaries with this type of stuff, what’s more important is your understanding of the problem and response to it. There are series I watch that have a lot of the same issues around sexualization of the young characters in the cast, but they’re relatively toned down and I can still enjoy the aspects of the series I actually like without it feeling as uncomfortable and extreme. Others will not be able to, and their issues with it are legitimate and ones that I still ultimately agree with, but they’re still free to dislike the series for it, after all our stance on the issue itself is the same so why would I resent them for it?
Different people are bound to have different lines they draw for how far certain things can go in media before they’re uncomfortable watching it and it doesn’t make it a moral failing of the person who can put up with more if they’re still capable of understanding why it’s bad to begin with and able to not let it effect them. But I don’t think that sentiment necessarily contradicts the idea that some things really are too far gone for this to apply, the above examples aren’t the same thing as a series centered solely around lolicon ecchi and it doesn’t take a lot of deep analysis to understand why. It’s not about a personal line anymore when it comes to things that are outright propaganda or predatory with harmful ideals woven into the message of the story itself. Critical thinking means knowing the difference between these, and no one can hold your hand through it. And simply slapping “I’m critical of my interests” on your bio isn’t a get out of jail free card, it’s always evident when someone isn’t truly thinking about the impact of the media they consume through the way they consume it.
I think the issue is that when people apply “Critical thinking” they don’t actually analyze the story and its intent, messages, themes, morals, and all that. Instead they approach it completely diegetically, it’s basically the thermian argument, the issue stems from thinking about the story and characters as if they’re real people and judging their actions through that perspective, rather than something from a writer trying to deliver a narrative by using the story and characters as tools. Like how people get upset about characters behaving “problematically” without realizing that it’s an intentional aspect of the story, that the character needs to cause problems for there to be conflict. What they should be looking at instead is what their behavior represents in the real world.
You do not need to apply real-world morals to fictional characters, you need to apply them to the narrative. The story exists in the real world, the characters and events within it do not. Fictional murderers themselves do not hurt anyone, no one is actually dying at their hands, but their actions hold weight in the narrative which itself can harm real people. If the character only murders gay people then it reflects on whatever the themes and messages of the story are, and it’s a major issue if it's framed as if they’re morally justified, or as if this is a noble action. And it’s a huge red flag if people stan this character, even if the story itself actually presents their actions as reprehensible. Or cases where the murderers themselves are some kind of awful stereotype, like Buffalo Bill who presents a violent and dangerous stereotype of trans women, making the character a transmisogynistic caricature (Intentional or otherwise) that has caused a lot of harm to the perception of trans women. When people say “Fiction affects reality” this is what they mean. They do not mean “People will see a pretend bad guy and become bad” they mean “Ideals represented in fiction will be pulled from the real world and reflected back onto it.”
However, stories shouldn’t have to spoon-feed you the lesson as if you’re watching a children’s cartoon, stories often have nuances and you have to actively analyze the themes of it all to understand it’s core messages. Oftentimes it can be intentionally murky and hard to parse especially if the subject matter itself is complicated. But you can’t simply read things on the surface and think you understand everything about them, without understanding the symbolism or subtext you can leave a series like Revolutionary Girl Utena thinking the titular Utena is heterosexual and was only ever in love with her prince. Things won’t always be face-value or clear-cut and you will be forced to come to your own conclusions sometimes too.
That’s why the whole fandom-based groupthink mentality about “critical thinking” doesn’t work, because it’s not critical. It’s simply looking into the crowd, seeing people say a show is problematic, and then dropping it without truly understanding why. It’s performative, consuming the best media isn’t activism and it doesn’t make you a better person. Listening to the voices of people whom the issues directly concerns will help you form an opinion, and to understand the issues from a more knowledgeable perspective beyond your own. All that means nothing if you just sweep it under the rug because you want to look infallible in your morality. That’s not being critical, it’s just being scared to analyze yourself, as well as what you engage with. You just don’t want to think about those things and you’re afraid of being less than perfect so you pretend it never happened.
And though I’m making this post, it’s not mine or anyone else’s job to hold your hand through all this and tell you “Oh this show is okay, but this show isn't, and this book is bad etc etc etc”. Because you actually have to think for yourself, you know, critically. Examples I’ve listed aren’t rules of thumb, they’re just examples and things will vary depending on the story and circumstance. You have to look at shit on a case-by-case basis instead of relying on spotting tropes without thinking about how they’re implemented and what they mean. That’s why it’s analysis, you have to use it to understand what the narrative is communicating to its audience, explicitly or implicitly, intentionally or incidentally, and understand how this reflects the real world and what kind of impact it can have on it. 
A big problem with fandom is it has made interests synonymous with personality traits, as if every series we consume is a core part of our being, and everything we see in it reflects our viewpoints as well. So when people are told that a show they watched is problematic, they react very extremely, because they see it as basically the same thing as saying they themselves are problematic (It’s not). Everyone sees themselves as good people, they don’t want to be bad people, so this scares them and they either start hiding any evidence that they ever liked it, or they double down and start defending it despite all its flaws, often providing those aforementioned thermian arguments (“She dresses that way because of her powers!”).
That’s how you get people who call children’s cartoons “irredeemable media” and people who plaster “fiction=/= reality!” all over their blogs, both are basically trying to save face either by denying that they could ever consume anything problematic or denying that the problematic aspects exist all together. And absolutely no one is actually addressing the core issues anymore, save for those affected by them who pointed them out to begin with, only for their original point to become muffled in the discourse. No one is thinking critically because they’re more concerned with us-vs-them group mentality, both sides try to out-perform the other while the actual issue gets ignored or is used as nothing more than a gacha with no true understanding or sympathy behind it.
One of the other issues that comes from this is the fact that pretty much everyone thinks they’re the only person capable of being critical of their interests. That’s how you get those interactions where one person goes “OK [Media] fan” and another person replies “Bro you literally like [Other Media]”, because both parties think they’re the only ones capable of consuming a problematic piece of media and not becoming problematic themselves, anyone else who enjoys it is clearly incapable of being as big brained as them. It’s understandable because we know ourselves and trust ourselves more than strangers, and I’m not saying there can’t be certain fandoms who’s fans you don’t wanna interact with, but when we presume that we know better than everyone else we stop listening to other people all together. It’s good to trust your own judgement, it’s bad to assume no one else has the capacity to think for themselves either though.
The insistence that all media that you personally like is without moral failing and completely pure comes with the belief that all media that you personally dislike has to be morally bad in some way. As if you can’t just dislike a series because you find it annoying or it just doesn’t appeal to you, it has to be problematic, and you have to justify your dislike of it through that perspective. You have to believe that your view on whatever media it is is the objectively correct one, so you’ll likely pick apart all it’s flaws to prove you’re on the right side, but there’s no analysis of context or intent. Keep in mind this doesn’t necessarily mean those critiques are unfounded or invalid, but in cases like this they’re often skewed in one direction based on personal opinion. It’s just as flawed as ignoring all the faults in the stuff you like, it’s biased and subjective analysis that misses a lot of context in both cases, it’s not a good mindset to have about consuming media. It’s just another result of tying media consumption with identity and personal morals. The faux-critical mentality is an attempt to separate the two in a way that implies they’re a packaged deal to begin with, making it sort of impossible to truly do so in any meaningful way.
As far as I know this whole phenomena started with “Steven Universe Critical” in, like, 2016, and that’s where this mentality around “critical thinking” originated. It started out with just a few people correctly pointing out very legitimate issues with the series, but over time it grew into just a trend where people would make cutesy kin blogs with urls like critical-[character] or [character]crit to go with the fad as it divulged into Nostalgia Critic level critique. Of course there was backlash to this and criticism of the criticism, but no actual conversation to be had. Just people trying to out-do each other by acting as the most virtuous one in the room, and soon enough the fad became a huge echo-chamber that encouraged more and more outrageous takes for every little thing. The series itself was a children’s cartoon so it stands to reason that a lot of the fans were young teens, so this behavior isn’t too surprising and I do believe a lot of them did think they were doing the right thing, especially since it was encouraged. But that doesn’t erase the fact that there were actual real issues and concerns brought up about the series that got treated with very little sympathy and were instead drowning out people’s voices. Though those from a few years back may have grown up since and know better (Hopefully), the mentality stuck around and influenced the norm for how fandoms and fandom people conduct any sort of critique on media. 
That’s a shame to me, because the pedestal people place fandom onto has completely disrupted our perception on how to engage with media in a normal way. Not everything should be consumed with fandom in mind, not everything is a coffee-shop au with no conflict, not everything is a children’s cartoon with the morals spoon-fed to you. Fandom has grown past the years of uncritical praise of a series, it’s much more mainstream now with a lot more voices in it beyond your small community on some forum, and people are allowed to use those voices. Just because it may not be as pleasant for you now because you don’t get to just turn your brain off and ignore all the flaws doesn’t mean you can put on your rose-tinted nostalgia goggles and pretend that fandom is actually all that is good in the world, to the point where you place it above the comfort and safety of others (Oftentimes children). Being uncritical of fandom itself is just as bad as being uncritical of what you consume to begin with. 
At the end of the day it all just boils down to the ability to truly think for yourself but with sympathy and compassion for other people in mind, while also understanding that not everyone will come to the same conclusion as you and people are allowed to resent your interests. That doesn’t necessarily mean they hate you personally, you should be acknowledging the same issues after all. You can’t ignore aspects of it that aren’t convenient to your conclusion, you have to actually be critical and understand the issues to be able to form it. 
I think that all we need is to not rely on fandom to tell us what to do, but still listen to the voices of others, take them into account to form our opinion too, boost their voices instead of drowning them out in the minutiae of internet discourse about which character is too much of an asshole to like. Think about what the characters and story represent non-diegetically instead of treating them like real people and events, rather a story with an intent and message to share through its story and characters, and whatever those reflect from the real world. That’s how fiction affects reality, because it exists in reality and reflects reality through its own lens. The story itself is real, with a real impact on you and many others, so think about the impact and why it all matters. Just… Think. Listen to others but think for yourself, that’s all.
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lovee-infected · 3 years
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hi! could i see your insights about ace? i saw a anon say from another blog that kinda has unrealistic expectations in a relationship and it kinda stuck with me. i mean in his ghost marriage he already knows the things he wants in a partner but he didn't show guilt about dumping his girlfriend, even. i think if you date him because he sees these quality in you and as the relationship last, he'll dump you if you get boring to him lol
I never thought that I'd say this but, wow, I'm impressed. I've been really curious about Ace since I get to see a variety of different content with different representations of his personality, so I decided to stick with his canon stories and lines. This analysis was so much fun to write and I'd assure you all that not only Ace but rather all of the first year characters are WAY more than they seem to be! Many just decide to ignore them and pass away, calling them good boys or precious stupid beanies at first.
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Speaking of Ace, we've all seen how trending he's been recently. Many theories, thoughts and new arguments exist through the fandom as many want to get to know this boy better.
Theories like "Ace's betrayal theory" as well have been mentioned a lot lately, some agree and some disagree. While we aren't going to talk about that theory or any other theories in this analysis, I'd like to take time to talk about the reasons why those theories might seem appealing and accurate. In other words, we're going to talk about where they are coming from!
1) Ace is incredibly smart and brave
It's true that characters like Jade or Azul's remarkable genius often stands out as it's clearly visible through their presence in the game, from iconic decisions to stunning strategies. But what we need to realize is how characters like Ace can be just as inspiring while their true intelligence is often shallowed by extras and giving them much of a dumb picture in the game.
To begin with, let us note that Ace's brother himself was one of the considerably strong magicians in Heartslabyul's history and even his presence through the magicshift is still remarkable even though years has passed. As the second child of the family, Ace's change to achieve success is even higher than his brother's as he already has a role model he really looks up to, so in that point Ace isn't one to underestimate. But, let me point that his relationship with his brother also contains lots of jealousy and sometimes negativity. His brother was one to always trick Ace and he continues to do so even nowadays! Ace on the other hand doesn't enjoy being pissed off over and over even as he's used to it. Well, we can say that it's another reason for him to train his hardest and become a greater magician than his brother therefore he won't be the bully material of the Trappola household anymore.
Regardless of how effective his brother might've been on him, Ace himself has shown plenty of strong hints that reveal not only his high IQ but also EQ:
He can solve math problems in second, which is a rather important feature to note because the way you deal with math can directly effect the way you deal with life. Not saying that one has to be great at math to be great at something else but it's rather about the perspective and ability of logical thinking that it gives to one. I'd say that this effect is quite visible if you take a look at the way he speaks in serious situations; he's got much of an analytical brain. Let's not forget that Cater as well confirmed that he's much of a skill stealer, is pretty good at remembering things and is a quick thinker! These are go on to show how much of an underestimated genius he is.
Whenever something goes wrong, Ace would be the first one to notice it even if it's a silly matter. And it always begins with a seemingly childish argument, but ends incrucial matters that not a single soul had noticed before! Just take a look at chapter one, what would've happened if Ace hadn't spoken up? He was just one of the hundreds of students having to be severely punished under Riddle's strict rules and he surely wasn't the first one to go through this. Him taking the urge to fight Riddle sounded stupid and naïve at first, many even told him off because he was just acting like a pissed off child. But as he continued to argue and oppose toward Riddle's way as a leader, even Trey realized how he's been keeping his eye shut on all this problems for so long. The way Ace stood against Trey was iconic, he confidently defended his point not by his personal demands and feelings but with facts and logical comments on why Trey's way of threatening Riddle is wrong. He did the same thing again at he ghost marriage, just think of it! Not a single soul ever cared to tell the bride about true love but Ace was there, and he was the one and only to do this after more than 500 years of the bride's existence! This Ace, this serious and mature face of Ace is something that can surely fascinate anyone. His bravery, the way he puts all that strength through words, hisextremely logical point of view and his enthusiasm to solve the problems no matter how unimportant they seem to be is indeed appreciatble. Seriously though, what would've happened to Riddle is Ace wasn't there? When Ace firstly begun to oppose to him, everyone thought that is was just a childish argument. They had no idea how severe and destructive Riddle's temper issues were and how harmful they were down inside.
2) He's one of the dumbest characters in the whole game
You know what? He is dumb. Yes he's incredibly smart but this isn't going to change the fact that he is dumb as hell, so I'm never going to argue when someone's nagging on how much of an idiot he is. But most importantly, we need to know what's making him so dumb:
His presence through the stories has proved that Ace is eventually pretty good at detecting the main source of problems both on the mental and physical side. He was the first to realize Riddle's issues, Trey's huge mistake with Riddle, Ghost bride's unawareness and Epel's gloomy and sad aura in chapter 4. Ace's also one to easily tell whether what someone is doing is wrong or not, he can see through people and bring their mistakes to their attention. The problem is... he can't be quite the same with himself. That's what makes him awfully dumb.
Back in chapter one, he did have a point about Riddle's way of leadership being so unfair and messed up, but when he decided to challenge Riddle and even take his place as the dorm leader he was a total idiot who didn't how weak and unpractical his own magic was, he was being too dramatic. When he talked about his ex girlfriend, he just talked about how she held him back from doing what he wanted and was too uncool to spend time with, but he didn't mention a single thing about himself doing anything wrong in that relationship. He often fails to realize that he's got his own incompleteness and lacks just like anyone else, or prefers to put an blind eye to them most of the time (not all of the time)
Ace sets the perfect goals, but chooses the wrong path to achieve them. He needs to realize that just like everyone else, he can be sometimes wrong. He should take his time to get to know himself better; his abilities, his attitude, his faults and his mistakes and learn to be more patient and logical in order to achieve his goals. He's still young an inexperienced, by learning to put that brilliance of him into the perfect use he'd be able to become the great magician he wishes to be, and I'd say that in case that he continues to grow stronger and smarter, he'll have a high chance of being hesrtslabyul's next dorm leader!
3) He legit wants to be the "Ace"
This part's more of an attempt to do a name analyis and see how much it's been effective on Ace's personality. It actually makes a lot of snese since the word "Ace" itself has several meanings, and he used these different terms quite a few times in his personal stories. This point would also be explained in part (4) so for now, let's take a look at direct name definitions:
First of, remember what what an Ace is in a card game? "A playing card with a simple spot on it, ranked as the highest card in its suit" This goes on to tell us a lot, it's telling us what an Ace is. A loner yet the most powerful one of its own, just like how Ace wants to be.
Wanting to be an actuall Ace is definitely one of the things that sometimes makes Ace sound so jerky and he's aware of it! If you give it a closer look, you'll see that Ace doesn't really treat his friends like friends, especially with Deuce and Grim. He's often insulting or challenging them, and even during his birthday SSR when MC asked him about what he thinks of each of other first years (Who are basically his closest friends) he mainly criticized them and all, not a single word was said about things he likes about them and he didn't even call any of them his friend!
Well that's much of a jerky attitude to have toward people whom you spend almost all of your time with, especially your best of time.
He to play the role of the bad guy, the type to hang out with everyone without feeling any attached to them as even friends. Seems like our boy is trying to be a loner, a true Ace of cards and hearts. And he doesn't mind his friends calling him a bastard or jerk because of this. It's even confirmed that he's more of the popular guy type therefore he's mainly used to having people around!
On the other hand, he's trying his best to achieve success no matter what the obstacles are. It's true that he often messes up and fails, but we cannot say that he isn't trying. He almost lost his head for real during his SSR story where Riddle's favorite hedgehogs were lost because of Ace's impatience, but at last with the help of monsieur Rook and his own ability to imitate Rook's mole language skills Ace saved his neck one more time, and ended his story with a dramatic "Of course, I always Ace it!"
4) Ace does care, but pretends that he does not
In contrast to the fact that he wants to sound tricky,manipulative and mean, or how he's denying his friends' true worth to him like stated in part (3), Ace is probably one of the most caring and supportive characters in the game. Not saying that he's just as bright as someone like Kalim, but his way of seeing through people and wishing them to be better, wealthier and happier than they already are is surely something. This fact is often ignored because, well...everyone's too busy calling him either dumb or sus/ jk!
Just imagine having a friend or at least, a classmate you know like Ace. How's he supposed to be? He'd realize it when someone's bullying/bothering/ or intentionally harming you, and he isn't going to be silent about it. If you see that you're permanently sad, angry, rude or loud then again he'd speak up, he isn't going to just pull up with anyone's unhealthy habit like nothing's happened. He's got much of a big brain as well so you should expect him to say a bunch of helpful and meaningful stuff when he's using that brain, mainly in serious situations. He may not be a permanently mutual to have around, but when the troubles arrive, know that having Ace around is always an advantage.
To top it off, he's even shown sympathy toward people whom he seemed to like the least at first like Riddle; he wishes Riddle to be happier, to smile more, to be more open about his emotions with other students. At some point he even admits that he looks up to him, he used to overestimate his powers and challenged Riddle, but during the ghost marriage he said that he knows how powerful and strong Riddle is, therefore he should work his hardest to study and train to become strong just like him! He already seems to be more cheerful and bright when MC is talking to him, but when it comes to Grim and Deuce...it gets quite complicated. What we see the most is often Ace insulting them or saying that he's going to kick their asses, but they're also his closest friends all though he refuses to admit to it.
Just wait for Deuce or Grim to get in a serious danger or pain, and see how much of a protective one Ace can be! He isn't going to remain silent when one is in danger, but he's surely going to deny all that effort and affection he gave into action afterwards. When Ace can feel this cautious and understanding toward Riddle, someone who isn't even a friend of his then imagine how supportive and caring he would be toward his close friends like Deuce, MC and Grim!
In his ghost marriage as well, his words and the way he spoke of the meaning of true love left everyone, even Crowley, impressed (Crowley even said that he's fallen in love with this side of Ace's personality), but refused to admit that he was speaking of his true feelings after the ceremony. Someone like Grim is too bold to recognize how much of a different person Ace can be inside, so he claimed that Ace was just rambling nonsense without thinking of what he was saying back then, and Ace agreed with him! This is a continuation to part (3) where we talked about how he wants to be a loner, he doesn't want anyone to see how caring and sometimes, emotional he can be inside! Poor boy is quite shy showing his true feelings we can tell~
5) Ace can be quite tricky and manipulative
This part will also explain some of the main reasons behind famous theories like "Ace's betrayal theory", and I wanted to have a certain part to talk about this point specifically because it's been quite trending through the whole fandom, and many are wondering why theorizers are considering his betrayal a possibility, so here we go!
As said, one of the main factors the makes Ace seem suspicious would be his incredible intelligence. The fact that he can actually be that smart all the time but isn't openly showing his talents and abilities can be quite questionable, more details regarding his intelligence and most likely high IQ and EQ were discussed in part (1)!
Enough with intelligence, let's focus on his personality! This is mainly what this part is talking about, his trickiness. Just like his father and older brother, Ace is pretty good with magic tricks. Small and fun tricks are a convenient yet easy ways to inspire others and Ace doesn't mind showing the crowd what he's got up in sleeve when possible. But the thing is...this isn't just about fancy tricks.
This ability can be expanded into any other field such as mental terms and enable him to indirectly control and play with one's mind. That's more of a possibility though! He hasn't yet shown any signs of being any manipulative but, well, we can't say that it's beyond his abilities. Ace himself can be quite sarcastic and mean at the time, he doesn't seem to mind slightly tricking his friends either. Nothing about him seems to be serious, but the possibilities remain still.
The way he learnt those tricks as well is mentionable; no one ever teached himm any of those tricks, he learnt them through being repeatedly tricked, and learning to copy and redo what he saw. Both Rook and Cater so far have confirmed that Ace's ability to learn so quickly and learn and redo techniques just by watching them is fantastic.
His genius and ability to learn and memorize everything that he needs to learn pretty fast, along side his tricky and sometimes personality can make Ace quite dangerous. If someone like him decides to choose such a remarkable talent for evil purposes, that's surely going to be bad news. That's much and less of what makes Ace's betrayal theory make sense although there're still fans who find it quite questionable. I'm not a supporter of this theory myself as I hadn't seen any signs of Ace having any bad intentions so far, but I do get where the theorizers are coming from and that makes sense. Ace has been trying to put on much of a mean and lowkey evil face on through the story and no one can really say what's exactly going on in that brain. We'll that about this uncertainty in part (7)!
6) His past relationship was...uh
For now, Ace is the only character who is confirmed to have experience in love and relationships, and this was a rather effective factor since many have been talking about Ace's past relationship afterwards. The thing is...Ace did talk about how his girlfriend held him back from having fun and living the life he wanted to live. Well there's actually a lot we should say about this one so I'm not gonna rush to the end, let's think about all of the aspects of this situation logically:
First of, the relationship itself. I'd say that it was a wrong attempt for them to date each other in the first place because obviously, Ace and his girlfriend weren't made for each other. They were total opposites in interests and they couldn't even have fun together. If Ace chose to go on a wild roller coater ride, the girl would've freaked out and when she chose a small, childish ride that she liked Ace instead didn't enjoy it at all. It's surely an issue when you and your partner can't even watch a movie which both of you can enjoy together since their tastes were totally different, just jow was this relationship going to last? Ace wasn't happy, and if he was going to do what made him happy the girl in return would've been sad. They were two different people of two different points, dating at this point was nothing but a mistake.
On the other hand, Ace as well is guilty. First off, she shouldn't have dated the girl in the first place if he was aware of how different her tastes were. Second, from what he said he never showed any signs of dissatisfaction when he had to give up on what he liked to listen to what the girl friend liked. The girl friend obviously told him that she was scared of a horror movie, but Ace just kept his mouth shut and felt awfully annoyed as he watched a romance movie with her while he didn't like it at all. If he'd at least told her girlfriend about this, she wouldn't have felt as injured and cheated when Ace broke up with her. Ace shouldn't have bottled it up, he deserved to enjoy the relationship just as much as the girl did. He shouldn't have expected things to get any better if he wasn't going to solve anything about it in the first place. If he'd talked about his personal desires and favorites as well, and had his uncomfortableness with most of the girl's choices discussed before hand, there could've been a chance of them coming into a conclusion and even not breaking up! The girl could've tried to be braver for him, and Ace could've agreed to be softer because of her. There would've been a HUGE difference if they'd talked about it logically.
Also, keep this in mind that the girl had no idea about Ace's uncomfortableness which was low key naïve of her (It's not cool when you don't even realize that your boyfriend doesn't like something) but this also made him awfully unprepared for a break up! Ace should've st least talked about his feelings and how he was unable to continue that relationship with her instead of just dropping her out of nowhere. That would've also decreased the chance of having to deal with the girl's friends after wards!
Finally, let's say that this relationship was wrong in too many aspects. They weren't each other's type, and we can't really blame Ace for dropping someone whom he couldn't be happy with. The main of being in a relationship is spending time with someone whom you can enjoy your time with. He as well was guilty because he can't just drop the girl like he just didn't care and had gotten tired of her while he had his own reasons for dropping her, he should've let the girl know that it wasn't necessarily her fault, it was about Ace not being able to relate to her tastes and habits.
Also, let's be honest. Not much is expected when a 15 year old is dating. Being in a relationship is an awfully sensitive and important choice and someone like Ace hasn't reached that level of maturity to be ready to date someone, let alone doing it at his 15s! Honestly... they should've learnt a lot before dating each other because it isn't a silly thing. Dating like this is nothing but playing around for a while for fun, it's a childish game of spending some time together until they break up.
For now, Ace is finds love quite silly and meaningless so we can clearly see that his past relationship has pissed him off. Well Ace needs to realize that his relationship with his ex wasn't a serious one, so it's normal for it to seem unimportant and silly. He needs to learn a lot without dating someone again, such as knowing how crucial it is to make sure that his hobbies would match his partners, to make sure tjat they get along, and simply, he needs to find his own type! Not all people are made for each other, and he isn't supposed to fall for anyone with any possible personality that pops up on his way.
Also, I'd say that he still needs to focus on studying instead of dating. He needs to reach the required level of maturity to be ready to start a healthy and successful relationship again. Also, he might end up being totally different from what we've seen about him being in a relationship do far when he grows up! Idealistics do change a lot olin teenagehood.
7) We need to talk about our first years a lot more!!!
This point isn't just about him, but rather all of the first years! If I were to rate the most ignored and shallowed personalities of twst, the first years should've gone on the top of this list. Even when we're speaking of the mischaracterized characters of the game, many consider Ace and Deuce to be the least mischaracterized while they happen to be the most mischaracterized as no one evencares to see through them and feel like we aren't mischaracterizing them just because we're ignoring them! Come on guys, Ace's design and personality is a lot more complicated and harder to read than characters like Vil and even Leona!
Out of all first years Sebek was the only one to get some proper shout outs so far but why isn't anyone talking about Ace and Deuce the way they deserve to be talked about? Their presence through the game is even more important than the dorm leaders as they are the closest characters to MC, and their personality design is just incredible, no just because of how perfectly detailed it is, but also because of giving them this unpredictability and incompleteness which totally matches their age!
Studies have shown that judging one's personality based on how they're doing at the age of 16 or younger is prettyhard and impossible, and it's a totally serious fact. At the age of 16, human's personality is under severe effects and changes until reaching it's final-developed shape. That's accurate toward almost all of the first years except Jack since he seems to have more of a mature personality.
NRC's first years are really complicated, especially a character like Ace. That why I said that we can't yet tell if he's a good guy or not, because at this level of life he can choose to be anything. He can be good, he can be bad, he can be neutral. That's why he's showing too much of opposite actions at the moment. One second he's being the biggest idiot in the whole world, the other second he's planning like a 50 year old genius. One second he's being protective over his friends, the other second he sighs and tells MC how annoying they are.
That's why Ace is hard to read, we can't tell what his true feelings are until he reaches the required mental stability to be judged as a mature and complete personality. 18 year olds like Vil have already reached that level of maturity and completeness, finding their unique magics as well is another sign of it. But our first years still need to learn and experience until they find their real selves, to see who they are.
This is one of the most adorable facts about their design because they really gave him this young and wild and incomplete nature to show that they're still young! This is quite incredible how careful Yana was to remember that they all needed some this childishness in their design, their designs are just as accurate and realistic as a real 16 year old's! They still need to learn, and that's why they're the closest ones to MC.
MC needs to learn and get to see more and more of this world, and so do the first years! They're just as unexperienced and new to this world, and they can relate to MC better than anyone else can!
So please, from now on, let's remember to talk about not only Ace, but also all of the first years more often. Ace and Deuce's designs especially are the most detailed and beautiful ones if you take time to know them better. Remember that after the 7 dorm leaders, Ace and Deuce's roles as the protagonist's closest allies are the most crucial in the game, so let's not just decide to ignore all these creative features and pass by them without thinking how much they can mean.
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Woah, this one was quite harder to write than I'd expected! There are way too many things to say about him which made me have to summarize this into just this 7 parts for now. Ace is surely and odd yet interesting one to study, even more interesting than usually famous characters like Leona and Azul, which is partly because of how unpredictable he is!
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auburnflight · 3 years
Text
Jeanne, Vanitas and Agency
From the little I’ve dipped my toes into it, the VnC fandom seems pretty heated regarding Jeanne as a character. In drastic situations, I’ve seen accusations of misogyny based solely on someone’s comments on their feelings about Jeanne... a single character. And while yes, critiques can certainly be rooted in misogyny (must women be strong all the time? must they be submissive?), I think it’s important to consider not just the character herself, but how the story treats her and why we’re making the critiques we are.
Given that points of view in the fandom are so polarized, I’m going back to canon--to the text itself--to orient this essay. In particular, I’m going to focus on the point of agency--the freedom to make one’s own decisions about one’s self and one’s course of action. This goes beyond just Jeanne’s background as a borreau, trained to fight and follow orders. Agency is also consequential in her relationships with other characters and with the story as a whole.
(Content warning for discussion of abuse dynamics, and brief mentions of sexual assault.) 
--
It’s natural to start off with Jeanne’s first appearance in the story: alongside Luca, she’s introduced as a new agent of conflict with Noe and Vanitas’s budding alliance. In fact, she is the one who initiates the physical altercation with Noe and Vanitas, while Luca is still trying to talk them into giving him the Book of Vanitas:
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Aesthetically and conceptually, she’s introduced as an active element of the story. At this point, the “forced kiss” scene during the initial fight seems more like a fluke, a comment on Vanitas’s personality (and willingness to do despicable things to get what he wants) rather than Jeanne’s.
That brings me to why I found it so jarring when colored art of her that was subsequently revealed: that agency fell away to portray a visually more passive air.
In the existing full-color art we have of Jeanne, she’s more static in her environment, looking towards the viewer but with a face that looks rather blank, even meek. Specifically I want to point out this wallpaper, which I obtained from the official site fairly early on in Vanitas’s serialization (December 2016), in contrast to another piece of official art that was released of Noe and Vanitas with Memoire 11, around the same time:
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In both cases, the characters are posed intentionally, rather than actively doing something. And, they’re aware of the viewer’s gaze to some extent. However, Jeanne has her back turned to the viewer, and her expression is more idealized and ambiguous. Meanwhile, Noe and Vanitas are rather assertive: their expressions are more intentionally focused, and they seem to know their situation in the artwork. Jeanne is simply passive, very nearly objectified.
...Yeah, maybe this is just my art background speaking. But I also notice something similar happening in other official colored pieces of Jeanne, such as the cover of volume 4.
By this point in the story, lack of agency has become an even more significant element in Jeanne’s character arc: we learn that she’s been cursed. Not only is she unable to speak of the curse, it’s also in direct opposition to one of her primary character motivations, to protect Luca and those she cares about. Due to her uncontrollable urge to kill and drink blood, Jeanne fears that she’ll unintentionally hurt the very people she’s trying to protect. 
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Jeanne’s involvement with Vanitas also unfortunately comes with a sacrifice of her own agency. Seeing that she’s been cursed, Vanitas demands that she drinks blood from no one but him in exchange for keeping her secret. He further establishes her sense of reliance on him by promising that if he ever does see her lose control, he’ll kill her (so that she doesn’t harm Luca). Whether he’s simply a smitten 18-year-old who doesn’t yet know how to conduct healthy relationships, or whether he’s crafty and intentionally drawing Jeanne in further--or even whether it’s a mix of both--this idea of Vanitas’s control over her is reflected in the cover art for volume 4.
At this point, considering the literal events of the story, Jeanne’s passiveness is not only visual, but symbolic. In this illustration, Vanitas’s hand is grabbing Jeanne by her bow, and functionally by her neck: she’s being dragged along against her will, with little means of escape. And she looks at the viewer with a surprisingly similar expression to the previous illustration: one that communicates little say in the situation.
This matches up with their literal relationship in the story itself. Knowing she’s cursed, Vanitas is establishing her exclusive reliance on him, in exchange for keeping important secrets from others with whom she’s close (i.e. threatening to drive a wedge into their relationship). He’s already pushed himself upon her physically with clearly no warning or enjoyment from her. Yes, he’s been kind. And when Dominique trails Vanitas and Jeanne on their date, she notes that Jeanne is “terribly weak against any sort of kindness.” But in spite of some more “cute” and candid moments, the overall dynamic between Jeanne and Vanitas is far from genuine kindness. Returning to how Vanitas garnered an edge over her in their initial fight--with taunting, carefully chosen words--I would phrase it more as that Jeanne, a borreau trained to kill and inexperienced with matters of feelings, is particularly susceptible to emotional manipulation. (There’s more than a little irony in this internal comment from Jeanne, at the beginning of her date with Vanitas:)
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Jeanne’s relationship with Vanitas becoming important isn’t, in isolation, inherently an issue. In most cases, it’s fun to see how a character who usually appears unshakeable is rounded out when we see them at their more vulnerable times. What makes me feel squicked out and worried on Jeanne’s behalf is how it’s executed, considering how it works in opposition to how she was introduced as a character, and how Jeanne and Vanitas’s relationship harkens back to known dynamics of abuse. 
In other words, my discomfort is not at Jeanne herself for falling for Vanitas and his tactics. It’s at how she’s introduced with a promise of agency in her own story, and that agency is subsequently taken away in how she’s portrayed in official art, and in plot points as the story progresses. It’s at how their relationship begins to fall into a harmful template perpetuated by rape culture, where a man forces himself upon a woman at first, but she is shown to eventually enjoy those advances even when unwanted. I had high hopes for Jeanne as a character developed with her own agency, motives (and yes, for cool fight scenes that WLW like me can admire), and so far, Vanitas’s effect on her has threatened to overshadow these. This is where I think sections of the fandom throwing accusations back and forth of each other being misogynistic, on the grounds of criticizing Jeanne and her relationship with Vanitas, fail to see the wider issue.
Of course, eliciting this sort of discomfort may even be the whole point. Jun Mochizuki is known for putting her characters through tragic and painful situations, and her previous work Pandora Hearts is rife with unstable, imbalanced, and otherwise less-than-perfect relationships. But even without this background knowledge, a decisive scene that convinces me of the intentionality of this purpose is one I’ve written about before: Jeanne’s internal fantasy as she’s left unattended by Luca and loses herself in a storybook.
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Here, Jeanne fantasizes about being the agent in her own story, a position that, the art reminds us, is often occupied by a male character such as a prince. Ultimately, this progression looks innocent and could serve to remind us of Jeanne’s more vulnerable, innocuous side. But including it here in the story could also serve as foreshadowing, a contrast to what Jeanne’s situation is like for her in reality. (If you want to read more on this panel specifically, my analysis is in the source link of this post!)
Essentially, critiquing Jeanne as a character requires more nuance than simply judging her individual characteristics. It’s necessary to also take into account the way that the story treats her and her relationships with others and other forces in the story. Not just is she allowed to be soft and emotional, but what consequences does this have for her, and how do the story elements lead the reader to feel about her being soft?
Personally, I think she’s very likeable as a character--her situation just seems unfair, and I feel like she deserves so much better than Vanitas and his schemes. I mean, she could easily destroy him with her gauntlet, and he knows it! But, then, it’s Jun Mochizuki. We should probably expect to be feeling pain and pity for her characters. Still, the relationship between Jeanne and Vanitas has always kinda rubbed me the wrong way, and I think this pretty much sums up why.
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whump-town · 3 years
Text
In With The New, Out With The Old
Hotch packing Jack up for college
None of it feels real.
For two years after he and Haley divorced he lived in an apartment of boxes. It was some sort of punishment he created for himself while also creating a dissonance he could be lost in -- that he didn’t need to unpack just in case. He had his suits in the closet, his work would not take the fall for his personal life’s failings. The coffee maker sat on the counter, one of the only appliances hooked into a light socket. The necessities followed -- two mugs for coffee, a glass tumbler for the whiskey sitting on the counter, and one plate for when he ordered take-out he couldn’t just eat out of the box.
It had taken him months to buy a mattress, he was perfectly miserable sleeping on the couch. He had only taken Jack to the apartment once, needing to switch into more park-appropriate clothing. Between them, he and Haley agreed that the best thing for Jack was consistency so he would spend all day with Hotch but he would always go home to Haley. He knew this could be used against him in court, Haley could take Jack from his so easily it terrified him but he also knew he’d let her. He was more powerful, he had more strings to pull and more people on his side but the thought of getting on the stand and having his friends call her a bad mother made him feel even worse. So he knew that if it came down to it, he would let Haley have Jack rather put either of them that sort of grueling case.
This was a shared thought between them. Both are aware of the other’s power over the other. Neither will act on their own.
He had only bought a mattress because of New York. Limping home he’d sunk down into his old faithful couch only to wake up the next morning with achingly stiff sutures in his leg and his face stuck to a throw pillow, the blood drying like glue. He had to call Emily and Derek that afternoon. Unable to drive himself with his concussion and consequential blurred vision Emily had come over to pick him up, never said a word about what he’d been sleeping on in the months before. Neither did Derek when Hotch got too dizzy coming up the stairs, the stitches in his leg bleeding through his jeans and so pale Emily had to hold him upright to get him to the bench in the lobby. He was left there, listening to Derek and Emily bicker their way into forcing the mattress into the apartment through the pounding sound of blood rushing in his ears.
That was years ago and yet they’ve created its mirror image once again in his living room.
All of Jack’s belongings in boxes spread out in every room of the house. Packing up to leave.
“Art?” Emily mumbles disapprovingly. She’s knelt down in front of Jack’s bookshelf, dismantling the organized shelves to pack them into boxes. It’s a different method than the one that Hotch uses. Jack has them categorized by author and general theme and as Emily takes down all the books she’s gotten him about cults and psychology and crime she can’t help but feel a little cheated. Jack knows all about crime. He’s had Macdonald’s Triad memorized since he was five -- could give that method of thought its critical analysis as not a precursor to antisocial or serial killer behavior but more as a demonstration of a child’s poor coping skills or as the indicator of a dysfunctional home environment. He’s a well of information about cults, knows the “B.I.T.E.” system.
And he’s throwing all that away because Hotch took him to too many museums as a child?
Jack doesn’t say anything when he hears her grumble about art again, he’s had this conversation so many times. He knows she’s not really mad and she’s not even that irked but she needs to do something with the feelings she has about him leaving and this is just the best way she’s come up with. Better than crying -- which she’s also done far too much of.
“I think art is a great idea, kid.” Derek teases his hair as he passes, sweaty and hot from dragging Jack’s belongings around the place.
Hotch works slowly where he’s been assigned. They all work around him. He’s more freelance than the others. His job is to do what he can and leave the rest for someone else. Today his physical capabilities are not in the way. Derek does all the heavy lifting that Hotch knows is supposed to be assigned to him, it’s his duty as the father of the freshman moving away. He finds himself in the living room, one of Haley’s old photo albums on his lap. Thumbing pictures he can remember going with Haley to print. Pictures he can remember being in. Ones that he took.
He’s crying again.
Emily comes out with a box of books on her hip, having figured out the perfect ratio of books to box to prevent them from falling out the bottom. She sees Hotch wiping his face with a tissue, hiding away but unable to fully pull away right now. The hurt raw. The fear is too much.
The second that Hotch got the chance he left home and never came back. Over the years he returned to his hometown only when he had to -- when Haley’s parents couldn’t be convinced to come to see them. It didn’t matter how down bad he was, Hotch did it on his own. When his mother died when he was thirty he’d talked to her only once since moving out. Then it had only been for the benefit of Sean, who he had driven all the back to Virginia to collect and drove to college.
He fears Jack will do the same and it terrifies him in so many ways.
His own death will come quickly, he knows he’s only made it this long because he’s not alone. Without Jack, there’s no reason to keep going on, not with the way his body aches from years of abuse and neglect. More than that, he knows what growing up that fast did to him. As a child, the things that happen to you are out of your control. Children are sponges, not yet able to take control and mold themselves. So their reactions to abuse and neglect and even just trivial everyday things are but a reaction they are taught to form or never corrected on. But Hotch never corrected his behaviors as a young adult. He couldn’t bring himself to trust anyone, not at twenty, or thirty, and still at forty.
He spent his twentieth birthday on the side of the highway in a broken down car freezing his ass off with negative twenty-three cents in his bank account. No one to call because he couldn’t bring himself to believe anyone would come -- but Haley would have, or Jessica, or the sociology professor who gave him his number for emergencies or “just anything you can think of, just in case you need me”.
He doesn’t wish anything like that on Jack.
The cycle of self-destruction and fear and loathing.
But Jack knows how to form healthy relationships with people. He’s more worried about Hotch.
The car ride is nearly silent.
Jack cranks his window down and lays his head on the seal, lets the wind blow his hair back from his skin, and closes his eyes. There’s no air conditioning but it’s not that bad. The air has cooled off, the thunderstorms taking over the area sucking the humidity from the air as the wind picks up. It’ll get bad again in a day or so but today is nice and Jack wants to enjoy it. To sit contently with his dad and just try to soak it in before he’s thrown into the world of college.
Emily had promised him several times she’d make sure that Hotch didn’t turn himself into a hermit. Jack has grown up watching those two spar off so he knows she’s perfectly capable of getting Hotch out of the house. More than that, Jack knows he’s just going to miss his dad.
“Please--” Jack’s in the middle of trying to reorganize his stuff when he sees Hotch come in with one of the big boxes, one of the heavy ones. “Dad!” Jack takes it from him, not listening to Hotch’s complaint about being able to carry a few boxes. That he won’t break that easily. “Please, just leave the heavy stuff to Emily and Derek. Help me put my clothes away? Please?”
He nearly cries again folding Jack’s t-shirts away. Once upon a time, Jack’s shirts were about the size of his hand. Tiny delicate little things about the size of rags. Now he’s wearing the same size as Hotch, a grown man standing there racing to beat Emily to the heavy stuff because he doesn’t want her lifting it all either.
“Well,” Derek announces, setting the minifridge down, “that’s the last of it.”
Emily offers Hotch her hand and he takes it, grunting as he moves his body back upright.
“Well,” he declares, looking around the room. “We’ll leave you to it. Let you get everything sorted out how you like.” Hotch smiles and Emily and Derek step in to take their hugs, imparting half-wise ideas and a no-questions-asked ride home from anywhere.
“I love you,” Hotch says, he’s quick because he knows he can’t keep his composure if he stays here for too much longer. “I’ll send you care packages, you’ll just have to text me if you think of something I don’t send.”
Jack nods, pretending to make himself busy putting away the rest of his clothes. Trying to downplay his own feelings.
“Ok.”
Hotch nods and they leave, he doesn’t want to make a scene. They’ve hugged and Jack needs to unpack. He’s done. He’s only two doors away when he hears Jack’s door gets thrown open.
“Dad!” Hotch turns and stumbles, an armful of the little boy who was once the size of his forearm. He squeezes Jack tight, laughing through his tears when Jack holds on. “I love you too.”
Hotch holds him for a solid minute, just balanced there with his hand on the back of Jack’s head. “Alright,” he whispers. He sniffles a little, smiling as he cups Jack’s cheek wiping away a tear with his thumb. “I’m just a phone call away, okay? Any time of the night, you know where I am. You’ll be fine. You’re going to make mistakes and you’re going to fail tests and cry over boys and drink too much but you’ll be okay. And-- And if you’re not…”
Jack nods, smiling as he says, “I’ll call Emily.”
Hotch smirks, “well.. After a certain hour, yeah I suppose you’ll have to but yeah. Just call, okay?”
“I’ll call.”
Hotch nods and he has to force himself to let go and walk away. To let Jack do this.
They’re halfway down the hall, far enough away now that Jack won’t see or hear when Hotch starts to cry. He forces himself to keep going. Not to look back. Emily takes his hand, squeezes his fingers and he looks over at her tears in his eyes, and tries to smile.
Emily drives his truck home, she plans on feeding him chocolate and ice cream, and wine this afternoon to improve his mood. He gets a text and he smirks, he actually laughs.
“Let me know when you get home, old man. Tell Emily not to keep you out too late.”
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shihalyfie · 3 years
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An analysis of Iori and his character arc
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Iori has a particularly interesting position in 02′s narrative (and, even more widely so, in perhaps all of both Adventure and 02) in that his base profile is rather unusual-looking even from the get-go -- the youngest child in both groups, yet with a (seemingly) mature demeanor that surpasses even his seniors. On top of that, Iori ends up having a very deep relation to 02′s themes and plot itself in a way that isn’t initially apparent, but actually makes him a very vital centerpiece of 02′s story.
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Before we get into Iori’s role in 02′s actual plot, it needs to be established that a very, very large amount of Iori’s character is heavily shaped by his family background and upbringing. Prior to the start of the series, the Hida family had a large void in it, with Iori’s father Hiroki having been killed in the line of duty. Being a mere five-year-old child who had lost his father barely into actually being sentient and basically had to live the following three years going off hearsay on what he was actually like, Iori ends up raised by his mother Fumiko and his paternal grandfather Chikara.
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While not in exactly the same way as the Takenouchi family (which is literally working in cultural preservation and study), the Hida family is very traditionalist Japanese -- Fumiko makes traditional Japanese food and snacks like kanpyoumaki and ohagi, and a lot of attention is given to the butsudan altar in their house where they honor the late Hiroki (also note the tatami flooring). That, combined with Chikara’s naturally strict personality, led to Iori being raised with “very strict manners”, and by a set of very firm guidelines on honor, respect, and the like.
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Having been raised into this kind of formality, Iori speaks almost exclusively in polite-form Japanese. This happens to initially make him come off a bit like Koushirou -- likely a deliberate parallel, given the Knowledge connection between the two (being the kind of person who admits that you don’t know everything and wants to know more requires a bit of humility, after all). That said, Iori’s way of doing this has some key differences from Koushirou:
Unlike Koushirou, who was largely polite out of an attempt to keep distance from everyone and thus had a streak of being somewhat non-confrontational, Iori is perfectly willing to say harsh or critical things -- in other words, his way of speaking is formal, but it’s not necessarily polite, and in fact Iori is probably the single most passive-aggressive person in this cast. He has absolutely no qualms about dunking on whatever he feels truly deserves the dunking, and he’ll certainly do it with a lot of grace, but he is very capable of being extremely cold when he wants to be.
Koushirou stuck to formality out of detachment and intimidation, to the point that, as per Adventure episodes 38 and 54, he was compulsively unable to bring himself to speak casually unless he forced himself. Iori, on the other hand, often “slips” -- on top of willingly defaulting to casual form whenever he’s talking to himself or (occasionally) to the Digimon (who are outside Japanese levels of propriety), he also has a tendency to start using casual form whenever he gets particularly emotionally compromised. (While it doesn’t quite come off in the translation, the above screenshots from 02 episode 10 are an example of this, with Iori losing his temper at the Kaiser and slipping into casual form -- and a bit of fun foreshadowing, guess who’s the one to successfully calm him down? Takeru. Remember this for later.) In other words, Iori’s formality is not compulsive, but a conscious thing he tries to maintain as he holds himself to high standards, and is unable to completely uphold during times his emotions get the better of him.
Ultimately, Iori may come off as “mature and composed”, but he’s still an impressionable nine-year-old child, who’s effectively parroting the rules his grandfather instilled in him because he sees it as The One and Only Guide to Living Life. In trying to figure out the right thing to do in any situation, Iori ends up constantly trying to fall back on “this is the right way to do things!” and taking it rather badly whenever things start falling outside of the expected pattern. Despite being the one responsible for Iori’s tightly principled life to begin with, even Chikara himself comments that Iori’s not being flexible enough in his thinking in 02 episode 5 -- because it’s not like he’s expecting Iori to be like this, but Iori is simply having a hard time applying these principles practically when he’s working with the limited range of being a nine-year-old child.
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And as much as it may be tempting to see Iori as stoic, watching his expressions and way of emoting throughout the series, he does very much have the full range of emotions and curiosity and even cheer of a nine-year-old child -- it’s that he’s just constantly holding himself back for the sake of being principled and well-mannered. This has the unfortunate side effect that Iori is, as the Animation Chronicle calls it, “clumsy at expressing himself as a child”. Because he’s constantly restraining himself like this, he has a hard time expressing himself or letting himself enjoy things in the way a normal child would.
It also goes a long way in explaining why Iori is never seen hanging out with any other peers his age, and is exclusively depicted in the company of either the rest of the 02 group, or his own family. While part of it is simply because (as per Japanese school procedure) he’s too young to be formally enrolled in any clubs, 02 episode 3 goes out of its way to show Iori being left alone in the classroom with only a teacher stuck supervising him, as he tries to force himself to finish his lunch due to his stubborn adherence to principle (even though he seems to hate tomatoes). In other words, it’s heavily implied that Iori’s own behavior ended up isolating him from his peers. Considering that the 02 group is generally made up of kids who are socially displaced in some way, it naturally follows that, despite being significantly older than him, they end up welcoming him into their friend circle and treating him as an equal.
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When the series starts, Miyako and Iori seem to have gotten a certain degree of closeness (with Iori as one of the only people Miyako drops honorifics on). It stands to reason that Miyako, being open-minded towards people and rather aggressively friendly, would be willing to befriend her neighbor despite the three-year age gap between them, and so they already seem to have developed a rapport where Miyako’s willing to come over to his place to help work on the Hida family electronics in exchange for food.
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So, you know, this and that happens, Iori becomes a Chosen Child, and this is the start of where Iori’s “principles” start coming into conflict with each other. The nature of the Digital World crisis is a no-brainer -- the Kaiser is doing terrible things, and Iori’s just been given the tools to do something about it, and so for him, upholding his principles to do the right thing means proactively doing something about it. But getting involved in this territory war will mean “fighting and hurting other people” (bad) and “hiding things from his family and sacrificing obligations to them” (also bad). Chikara advises him in 02 episode 5 that he still needs to be the one to decide what he wants and needs to do at any given moment, but it’s clear that this is still a new concept for Iori to swallow.
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It’s also important that 02 episode 5 is also the episode that introduces Jou, who very much understood the dissonance between “adhering to principles in spite of how practical that may not actually be”, which means the two of them end up bonding over...ditching real-life obligations to come to the Digital World. This bonding happens despite the fact that they have the largest age gap out of any two given kids out of the Adventure and 02 group (Jou is 15, and Iori 9) -- and yet, they’re able to bond over being like-minded like this. And while they come from different contexts, there’s also a parallel drawn between the two on “the importance of personal choice” -- because back in Adventure, Jou’s story involved channeling his desire to help others in a way different from his usual expected path as a doctor or as a Chosen Child, and, likewise, it will be up to Iori to find his own way towards what he thinks is right.
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Iori’s “adherence to principles” also needs to be distinguished from Jou’s in that Jou was someone more likely to be stuck to “practical” rules (one might call him Lawful) such as waiting for adults to help them with things, or what to put on eggs. Iori, on the other hand, has self-enforced rules that are far more ideological -- he doesn’t actually care that much about institutionally-enforced rules (note how he has absolutely no issue with sneaking into school with his friends in 02 episode 6) as much as he enforces a moral code on himself about “the right thing to do”. For instance, that he has to show his respect to Jou by formally finishing his introduction, even if it’s clear they know each other by now already.
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But, again, it bears repeating: Iori is a nine-year-old child. The rest of the kids respect him enough to not treat him like a younger child -- other than a brief moment of emotional compromise that Daisuke quickly apologized for, the group is never really depicted as paying particular mind or care to the fact that Iori is so much younger than them, and for the most part treat him like an equal. But Iori himself is conscious of this -- after all, it’s why he’s constantly speaking politely to everyone all of the time, but 02 episode 16 also implies he’s very self-conscious about this. The plot of the episode kicks off when Iori momentarily gets caught up in his excitement about potentially getting a new Digimental, and, once things start going south, he starts blaming himself for causing all of this and lashing out at the others for (at least, in his mind) singling him out to be the one to escape on the grounds of being the youngest. After all is said and done with the incident, Submarimon lets Iori have a moment of something Iori really does need: a bit of a chance to actually get to enjoy himself as a young child instead of restraining himself so much.
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Speaking of 02 episode 16, this is also where we first get to see how the pressure of maintaining Iori’s moral code starts to emotionally tear at him. It’s the first time we see Iori lose his composure this much. To everyone else here (and, perhaps, the audience, to some degree), Iori’s making a mountain out of a molehill -- he’s calling himself an unworthy person for telling a lie that even Jou himself clearly didn’t mind. But remember, Iori is someone who’s still learning a lot about how the world works at such a young age and is inclined by default to fall back on whatever his grandfather’s told him (to a point that even said grandfather considers to be overdoing it). Right now, Iori has basically built his entire view of morality based on this kind of thing, so putting a dent on it is like encouraging a slippery slope of potentially falling into moral depravity.
The reason why I say Iori’s character arc has a lot to do with Adventure and 02’s storytelling itself is that it’s a surprisingly pragmatic series when it comes down to it -- “it’s okay to lie, sometimes” is not exactly the kind of moral you’d expect out of your average kids’ show, but, perhaps a bit unusually, this series prefers to skip all of the preachiness and focus on pragmatics. (After all, back in Adventure, a lot of the final arc revolved around the question of “is fighting the right thing to do when there might be casualties?”, with the probably-kind-of-uncomfortable-but-frankly-very-practical answer of “it certainly beats having more casualties that would happen if you sat around and did nothing.”) Iori’s character arc is, effectively, this in a nutshell -- what’s the “right” thing to do when following principles alone doesn’t seem to be doing it? In the end, both Adventure and 02 are big on this -- preachy words and moralistic principles mean nothing in the face of striving to practically minimize damage and help others.
And so, Jou -- who himself grappled quite a bit with the dissonance between principles and pragmatism back in Adventure -- is the one to successfully reframe it in a way that Iori understands: most of all, Iori doesn’t want to see people get hurt, and whether “lying” or “not lying” is the right thing to do is not as relevant as “whether people are getting hurt”. Iori not lying would have caused a great deal more of hurt than lying, and it’s through understanding this kind of principle that Iori accepts that he still has a long way to go in terms of exercising his duty to others. The secondary Digimental arcs have a heavy theme of “acknowledging your deficiencies and resolving to improve”, and in the case of Iori and the Digimental of (this thing has been translated half a dozen ways, but, effectively, honoring your obligations to others), it involves his first major moment of coming to terms with the idea that the principles on paper he’s been stubbornly following aren’t going to do it by themselves.
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Once the Kaiser arc concludes and the group is posed with the question on how to handle Ichijouji Ken, Iori’s reaction to him is the most infamously extreme: Ken is a Bad Person who is completely beyond forgiveness, and Iori wants nothing to do with him. It probably needs to be made clear that Iori’s stance on not wanting to forgive Ken is not inherently unreasonable. Ken really did some awful, horrible things in the first half of the series, and it is completely within Iori’s rights to decide that he doesn’t want to forgive or like Ken thereafter.
The part where Iori’s behavior starts posing issues is not the part about whether he likes Ken or not, but rather that Iori gets so hung up on that lack of forgiveness that he becomes very bad at observing the practical reality in front of him. Or, in other words, Iori gets so fixated on the principle of what happened in the past that he’s unable to make good judgment calls on what should happen going forward. It is abundantly clear to everyone by (at the latest) 02 episode 26 that Ken is not going to easily lapse back into his old ways and would like to make an effort to repair the damage he caused; regardless of whether they like him or not, it’s in their best interest to cooperate with him and let him help out (and even keep an eye on him to make sure bad things don’t happen again!), especially when the factor of Jogress comes into play and turns out to be a very valuable asset in the fight ahead. But Iori has a a rather squeamish, petty response when he tries to claim that they shouldn’t need Jogress (in the midst of everyone else being excited about the possibilities it poses, even without Ken in the equation) in 02 episode 28, and even when he does go along with everyone working with Ken in 02 episodes 28-29 during the Giga House Incident, he approaches it like he and Ken are bartering favors and that he’ll have to “repay” Ken before he can properly return to pigeonholing Ken as an Unequivocally Bad Person.
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And so the issue here is: Iori being so determined to fixate on trying to stuff Ken into a neat box of a Bad Person isn’t good for himself, either, because it basically means he’s going out of his way to run pointless mental loops and maintain the feeling of stewing in a grudge against him, even when it’s helping absolutely nobody. Note the metaphor drawn when Iori practices kendo with Chikara in 02 episode 24 -- he keeps doing the same motion over and over again despite the fact it’s clearly not going anywhere, and Chikara has to warn him that doing nothing but aim for the head isn’t how you’re supposed to do it. Right now, Iori is having a hard time parsing things in ways besides shoving things in neat boxes of black-and-white morality, and this lack of flexibility is severely restricting his ability to be productive.
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What starts to really cause Iori to make a major shift in his thinking process is none other than his connection with Takeru, a subplot that had already started kicking off all the way back in 02 episode 19, when Iori witnesses Takeru suddenly taking a violent shift in mood against the Kaiser to the point it scares him. Iori, of course, considers Takeru to be a “good" and “kind person”, but someone like that should (in his mind) logically not be making sudden, violent outbursts like that -- and especially once he starts advocating for BlackWarGreymon to potentially be killed if it comes down to it, going very against Iori’s fundamental principle that killing anything that’s sentient is unforgivably immoral.
This “contradiction” is what leads Iori to realize that he needs to do much more if he wants to understand Takeru properly, and it’s also the start of how Iori grows into the trait of his first Digimental, “Knowledge” -- or, more specifically (as defined by Koushirou in Adventure episode 24 and 02 episode 2), “curiosity and a drive to know more”. In the case of Iori, this manifests in “I want to know more about other people.” It’s Iori effectively understanding that his very limited view of the world and how people work isn’t sufficient in itself, and this concept becomes the crux of his character arc for the rest of the series.
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After tussling around and getting increasingly confused about Takeru’s seemingly paradoxical behavior, Iori finally goes directly to Yamato to consult him about it in 02 episode 35, and Yamato explains the backstory behind Takeru’s trauma from losing Angemon back in Adventure episode 13, as well as a reminder that as much as it may have been his own fault, Ken technically went through some pretty similar trauma, and everything that’s happened since his fall from being the Kaiser hasn’t exactly been sunshine and roses for him either. Iori reflects on this as he goes home, with the important statement attached: he understands Takeru’s feelings. He’s now able to understand why Takeru acts the way he does, not on the grounds of principles of what’s right or wrong, but based on the fact that Takeru’s simply a very messy human being who’s not handling his own tendency to suppress his emotions well.
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Because Takeru is such a convoluted person, and because Iori’s fundamental issue with approaching things involves unraveling some very deep-seated tendencies in his mentality, the way the two finally connect in order to properly Jogress requires something a lot more convoluted than just happening to clash in a single magical moment like Daisuke and Ken or Miyako and Hikari did. Iori starts off the episode catching himself when he’s about to fall back into “principles over practicality” again -- he starts railing on the others for (in his mind) taking the impending BlackWarGreymon fight too lightly, before Armadimon reminds him that he’s hungry, and Iori realizes -- again -- that he cannot effectively enforce “the right or wrong thing to do” without taking other people’s feelings properly into account. Realizing that this is is a barrier between him and the others, especially Takeru, Iori tries to adjust his thinking pattern and even becomes the one to advocate that everyone get some proper food and rest instead of charging into the fight unprepared.
The meal results in Iori getting yet another rare moment of letting himself truly enjoy something without restraint, and is also followed by Takeru speaking openly to him about their potential Jogress -- openly, honestly, not covering it up, not even with the same light playfulness he would usually put on (including what he had with the very same topic at the beginning of this episode). It is an acknowledgment from Takeru’s own part that he’s been watching what Iori’s doing and also wants to connect, and an open and serious statement from someone who had constantly tried to cover up everything with a smile up until that point, and, with the two reaching an understanding, they finally achieve their Jogress at the end of the episode.
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This connection with Takeru, and the understanding that came from it, is what allows Iori to start applying a bit more flexibility towards approaching other situations. 02 episode 38 has him finally accepting Ken’s invitation to his Christmas party, after so many episodes of despising so thoroughly -- because now that he’s taking Ken’s position and feelings into account, he’s able to properly recognize him as someone doing his best to make amends going forward and be friends. Later, in 02 episode 44, despite having originally been the one more staunchly against it on principle, Iori handles the shock of having to kill an enemy with somewhat more grace than Miyako does, because not only had he already started considering the difficulty of fighting an enemy that cannot be reasoned with and wants nothing but wanton destruction (back during the end of 02 episode 29), Takeru is there to remind him that their priority must, first and foremost, be “saving lives” -- like, for instance, the girl in a wheelchair in front of him.
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And so, the final episodes of 02 put everything Iori’s learned to the ultimate test, when he learns that the major perpetrator behind it all is none other than a friend of his departed father.
Up until this point, much of Iori’s mentality had been shaped by the rather saintlike image everyone had put up of Hiroki -- it’s almost certain that he must have had his own flaws as a person, but the resistance to speaking ill of the dead, and the generally positive influence he’d had on his friends and family and his untimely death by “protecting someone”, painted him as effectively a perfect, impossible ideal for Iori to strive to. Much of Iori’s justifications for his own behavior had consistently been reliant on “my father said this” or “would my father would have done this?”, such as his reason for forcing down his lunch in 02 episode 3, or using him as a mental model in 02 episode 44. For Iori’s former mentality of “good person” and “bad person”, this is the ultimate contradiction that threatens to rip apart everything Iori had built his own values system on -- that someone so incredible and saintlike and virtuous would be friends with someone so unambiguously doing horrible things like Oikawa. Iori, taking this as an awful emotional blow, parses this with a desperate desire to understand the motive behind why someone would do this, because it’s not enough for him to continue until he does.
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And in 02 episode 49, we see Iori effectively forced to confront the fact that he can’t keep relying on the model of his father anymore as the sole basis for his way of life when, in the end, his father will never return. Iori doesn’t even know him that well; he can’t conjure up an image of him talking, or anything beyond just a flat, serene smile. And when the image of his father finally disappears, Iori almost immediately accepts it, as if he’d known the whole time.
It’s also significant that Iori declares that what he’ll do next is introduce Armadimon to his mother -- because, in the end, Iori is at least now capable of “moving forward”. He can’t get his father back, and the best thing he can do is make use of his existing support group and keep pushing forward with the people he does have in his life -- quite the opposite of Oikawa, who responded to the loss of that exact same person by clutching onto the remnants of the past they shared, and never becoming able to move on.
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Hence, 02′s finale ends on none other than Iori, and when you think about it, this is actually a pretty unusual position to be in for someone who’s not the lead protagonist (Daisuke) nor the most prominent focus of the story (Ken)! But it’s a testament to just how important Iori is to this narrative on a thematic level -- all of the struggles about the morality of fighting and the disparity between principles and practicality (which dated all the way back to Adventure), and 02′s prominent theme of coping with loss and regrets and figuring out how to best move on, are all tightly entwined with the character arc of this nine-year-old child. (If you want to take the parallel between the Adventure narrative and Iori even further, Iori and Armadimon sharing the same voice actress is possibly one of the most prominent ways of indicating how a Digimon partner is fundamentally meant to express one’s inner self.)
And especially since Iori is the person who should have been the most vehement about having any kind of sympathy or compassion towards Oikawa -- just remember how determined he was to be cold towards Ken only half a series ago! -- and it leaves a strong impression of the huge, huge journey Iori had gone on through this series. Iori’s arc closes on him understanding the nature of what Oikawa had wanted this whole time, and understanding exactly what it meant for him to make that sacrifice right after finally meeting his partner, and ends the story the most emotionally affected by it -- because, after all, that’s the sort of truly kind person Iori is.
Iori after 02
By the time of Spring 2003, when Iori’s had some time to reflect on it, we learn from Iori that he still does not forgive Oikawa. That in itself is fine; remember, Iori is perfectly within his rights to not do so after all that he’s done. However, again, a distinction must be drawn between whether Iori forgives him, and whether he still considers it to be important to understand the mentality behind why Oikawa did what he did, and to reflect meaningfully on that instead of running himself in circles fixating on a grudge. Again, it’s about going forward with what he knows and has, instead of getting fixated on past deeds -- and with that, Iori resolves to “study”.
In The Door to Summer, we also learn that Iori allegedly has a “girlfriend” -- or, at least, someone Daisuke calls his girlfriend (Daisuke is a bit of an unreliable narrator here, given he’s also totally blown Hikari’s “rejection” of his beach hangout offer up as if it were a full-on total rejection of him completely). It is, perhaps, interesting that Daisuke is capable of getting this impression about Iori’s relationship with someone outside the 02 group, given that he’d been rather isolated from his peers all the way back in 02 episode 3...
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Iori occupies an interesting position in Kizuna, because we only have one point in time where we got to intimately know him, and that was back when he was only nine years old -- and between that and Kizuna, there is a massive eight-year timeskip. He's 17 now, and we don't get any kind of catch-up period in the middle like we did with Takeru and Hikari in 02, and that is a time period where a lot of changes in demeanor could have happened with him compared to all of the others.
At first glance, it seems that he’s gotten much more stoic -- but this is actually something that should reasonably be expected, because now that he’s a teenager, it stands to reason that he would be much better at actually controlling his emotions and not necessarily get overwhelmed as easily. Plus, it’s not like he’s shown to be completely emotionless throughout the movie; he’s just doing a much more graceful job of holding himself back (look carefully at the credits and you can see him sweatdropping at Armadimon barging in on his practice), and moreover you can still see him deliver some pretty direct bluntness about the ramen in New York. Still with formal language, but nevertheless, no flattery is to be had here; Iori will dunk on you if he thinks you deserve it (even if it’s to do with mediocre ramen).
But there are some other interesting observations -- for one, the official website profile states that he’s actually settled on his future career in law at this point, and has made himself extremely busy in order to do so. (On top of that, he at least seems to be on friendly enough terms with his peers at school that they’re happy to greet him on their way out.) The drama CD indicates that Daisuke considers him the busiest out of the entire 02 group -- yet he and Takeru went out of their way to pick him up from school, because he’s that important to them. (Think about it -- how often do you see university students going this far to go retrieve a high school kid to hang out with them?) And likewise, Iori doesn’t even hesitate to state that he’ll make time for them, and throughout the movie he’s conspicuously seen in his school uniform, implying he really is moving things around to make it happen, because they’re that important to him.
He also engages in the single most chaotic action from this group, which is getting Armadimon to break into Menoa’s lab. It’s not that he’d inherently been against this kind of thing before, especially for something important (recall that he’d been happy to sneak into school for Golden Week with the others back during 02 episode 6), but it does beg the question of where and how he got this information that Armadimon could break electric locks. Perhaps he’s become a bit more, ah, pragmatic of a person since 02...
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So, in the end, Iori does become an attorney, and specifically a defense attorney (the Japanese law system does draw the distinction). The person who once wanted to stick people he considered to be doing wrong into a “bad people” box and call it a day eventually came to embrace a career that involves understanding people and advocating for their perspective, or at least bargaining for something other than defaulting to the harshest assumption and a solution that allows all of the parties to best productively move forward.
He also has a daughter, who seems to have been raised to be as well-mannered and formal as he was. But, thankfully, he himself is there to help raise and guide her as she grows up.
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accioromione · 4 years
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okay im a Romione shipper but I always had this question..you know how harry + hermione are like brother and sister, why is it that although Ron and Hermione met and grew up with each-other during the same time, they developed feelings, why did this never happen for Harry or Hermione?
Ouuu you got yourself an analysis. I did feel lazy to write...but I’m going into essay mode now. Literally I can make a video on this lol. 
Okay so obviously for there to be mutual attraction- both parties have to like each-other. So I will explain why they both don’t like each-other like that individually. 
Let’s start with Mr. Harry Potter. 
Now we know he doesn’t think she’s ugly. But if you read the books, even in Hermione’s Yule Ball scene, he never has a physical reaction to her. When he described her looking pretty it was just that, ‘she looked pretty.’ With Cho and Ginny however, we see that he describes their looks alongside a physical reaction he has to them, when he see’s cho there’s a ‘jolt in his stomach’ and later Ginny, ‘a raging monster in his chest,’ he never experiences this with Hermione. So although he doesn't think she’s unattractive, he himself, is personally not physically attracted to her in a way that renders a reaction. 
Next, remember that Ron and Hermione are Harry’s FIRST friends. He did not grow up with a sister, and the only relative his age is Dudley, who bullies and abuses Harry. He’s mentioned as having no friends in school, and he’s been isolated his whole life. It makes sense that he would develop a family like connection with the first people in his life to show him affection. Look at how attached he got to Hagrid, because Hagrid was the first adult figure in his life who helped him. After Ron and Hermione, he has two friends, it makes sense that he would not be as attached to the next people he meets from then on. 
Hermione’s personality is not one that Harry is attracted to romantically. As a friend, yes. But romantically, she is quite the opposite. The reason he loses attraction for Cho is because she becomes emotional after Cedric’s death. Harry hates this. Harry does not deal with emotion well at all. And this is a result of developing humour as a defence mechanism for abuse and trauma. Harry wants someone he can joke with, someone he can escape his trauma with. He simply is uncomfortable around highly emotional people. Hermione is a highly emotional person, she cries a lot, and is very passionate about things. Harry wants a ‘chill’ girl a ‘go with the flow’ girl and Hermione is anything but. He does not want to play the comforter,  he is so uncomfortable around emotions that people have speculated that was due to he Voldemort inside him. However, I think it’s because after years of trauma, abuse, being an orphan, losing so many loved ones, he turned off his emotions, rather than deal with the tragic reality that was his life. If he wasn’t able to do this, he would not have been able to defeat Voldemort in the first place. Ginny is perfect with Harry here, because she grew up with six brothers, she is essentially the ‘chill’ girl Harry is looking for. 
Hermione questions him. One of Harry’s flaws, that also kind of makes him a hero in the process, is that he is confident in his plans and abilities. He does not like being questioned. Hermione does not blindly listen to Harry, she questions him and does it often. Much to Harry’s annoyance. In OOTP when she questions him, and says he has a saving people thing, he gets so angry with the fact that she could even think he’s wrong, and does not consider for a second that he just might be. Hermione’s always the first to nag Harry about what he does, and Harry despises this. Example, when Hermione lectures Harry about the Prince’s book because of what Harry did to Malfoy. 
“I won’t say ‘I told you so,’ ” said Hermione, an hour later in the common room. “Leave it, Hermione,” said Ron angrily.
Harry had never made it to dinner; he had no appetite at all. He had just finished telling Ron, Hermione, and Ginny what had happened, not that there seemed to have been much need (…)
“I told you there was something wrong with that Prince person,” Hermione said, evidently unable to stop herself. “And I was right, wasn’t I?” “No, I don’t think you were,” said Harry stubbornly. He was having a bad enough time without Hermione lecturing him; the looks on the Gryffindor team’s faces when he had told them he would not be able to play on Saturday had been the worst punishment of all.
Give it a rest, Hermione!” said Ginny, and Harry was so amazed, so grateful, he looked up. “By the sound of it, Malfoy was trying to use an Unforgivable Curse, you should be glad Harry had something good up his sleeve!”
“Well, of course I’m glad Harry wasn’t cursed!” said Hermione, clearly stung. “But you can’t call that Sectumsempra spell good, Ginny, look where it’s landed him! And I’d have thought, seeing what this has done to your chances in the match —”
“Oh, don’t start acting as though you understand Quidditch,” snapped Ginny, “you’ll only embarrass yourself.
See the difference between the two? Even Ron gets Harry...Hermione just doesn't have that stop button. She doesn't really care about how a person feels, if they’re wrong, well, they’re wrong. She doesn’t just do this with Harry. But for someone like Harry, who already thinks the world is against him, this is a big deal. He needs someone like Ginny who will defend him, not someone like Hermione who will question him. 
She’s not fun enough for Harry. Harry likes adventure, Harry likes humour, but Harry can’t do it alone. He vibes off of the people he’s around. It makes sense, Harry deep down, is a very sad person. When he’s left with someone who isn’t lightening the mood, he can easily be dulled out. As we see in GOF,
"You miss him!" Hermione said impatiently. "And I know he misses you -"
"Miss him?" said Harry. "I don't miss him. . .
But this was a downright lie. Harry liked Hermione very much, but she just wasn't the same as Ron. There was much less laughter and a lot more hanging around in the library when Hermione was your best friend.
Ron and Harry are different in that Ron does not have the trauma Harry has. Ron doesn’t NEED to be filled with positive people all the time. He can simply BE the positive person. Hermione’s lack of humour in situations or seriousness, doesn’t impact Ron, because, well he can deal with it. He can make jokes on his own, just like Ginny can. Harry and Hermione are incapable of doing this, especially later on in the books. They need to be surrounded by people that bring out this side in them. Ron can stay silent for two hours with Hermione in the library and not think about Voldemort, Harry can’t, he needs a distraction, he needs people that are the  ‘lives of the party.’
Hermione is too passionate about things for Harry. Harry- I have it worse Potter, cannot be bothered to debate about things like SPEW or care enough about Hermione’s school schedule. He simply has bigger things going on. He needs someone that understands this, that doesn’t add extra burden or stress into his already stressful life. 
Now for Hermione,
Hermione is naturally a perfectionist and a worrier. This is not because she enjoys worrying, she simply cannot help it. Having someone like Harry, is a worrisome thing, she is CONSTANTLY worried about him. This is not something you would want on your significant other, with Ron, she’s more at ease, yes he has his problems, but, they’re simply not as excessive as Harry’s. She can avoid worrying as much when it comes to Ron, and simply enjoy her moments with him, this is something that brings her peace. 
Hermione needs someone who values her opinions. Ron is that person. They are always fighting because Ron is actually listening to what Hermione has o say, he actually pays attention to her passions and interests. He doesn’t agree with them all the time, where as Harry I have worse potter, zones her out. In third year, Ron is wondering where she is all the time, he is confused about her schedule, Harry doesn’t care, the man who betrayed his parents escaped Azkaban, whats a few more extra classes? Hermione, as passionate as she is, needs that, she needs someone who cares about what she does and why she does them. 
Hermione needs someone who isn’t high-stress. Harry may not be high-stress with school, but he is high-stress in general. Hermione is the queen of being high-stress, she needs someone to reduce that anxiety, not elevate it. And Ron is just that person. 
Hermione needs someone who can take her criticism. When she tells Harry he’s wrong or has the wrong idea, Harry is furious with her. Where as although Ron gets mad, he takes it better than Harry, or he challenges her in a way that tells her to explain why she thinks that instead of just being upset with her thinking it in the first place. Harry is simply more prideful than Ron, which is perfectly okay. Ron is able to put things aside, but Harry dwells. Hermione has easily been way more critical to Ron, but he gets over it. Ron having 5 older brothers who tease him, is more lenient towards critical remarks from Hermione. Harry is not. And Hermione simply cannot contain these remarks, she just can’t. Harry will not say anything and simply be like ‘Hermione is the worst’ Ron will be like ‘why are you saying that?’ Example with Scabbers, Hermione refuses to apologize, Ron TELLS her he just wants an apology. With Harry, he wouldn’t ask, he would just expect one. Ron is also able to get over it without an apology. 
Ron is more emotional/ deals with emotions better. Hermione needs someone who can understand her emotions, because well, she’s an emotional person. Harry shuts out emotion, Ron, who has lived in a loving family, filled with hugs and Christmas and kisses, is used to showing emotion. He can handle her tears, he won’t run away at her crying. Every-time Hermione cries in the book Harry describes himself as being uncomfortable, where as Ron is either comforting her or approaching her in a way that shows the readers he isn’t scared of this. Hermione needs that in a significant other. 
There are a bit more points to make as well, but I think that covers the jist- otherwise I can go on for hours. Because it is really amazing to me in just how obvious Ron and Hermione’s relationship differ from Harry and Hermione’s and just why that is
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shinjaeha · 3 years
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ipytm ep 2 (thoughts + spoilers)
i’ve been trying my hardest to forget about iptym during the week so the countdown to each new ep won’t feel as long, but i don’t think i’ve succeeded. with each new ep i feel more and more nervous and excited bc i know the conflict and angst is only going to keep ramping up as the series goes on (and this ep was a good indication of that...not FULL BLOWN angst yet, but the undercurrent of angst is slowly starting to come to the surface). i’m def more prepared for it than i was during itsay, but that doesn’t make it easy ;;;
the standard ‘this is not a proper analysis’ here...i’m completely aware that this post in particular is really messy, but i just had a lot of mixed feelings and thoughts with this ep. one day i will learn how to condense my thoughts better, but today is not that day so i’m doing this under a read more for once bc it’s embarrassingly long 😂
we start off with teh in acting class where his teacher is explaining how you need to be able to understand yourself before you’re able to understand other people (and therefore put yourself in the shoes of the character you’re playing)...which even before i knew where this ep was going to go felt a lot like foreshadowing for the events that were going to unfold in this ep.
the acting exercises are basically a lot like the ones that we see bkpp (and the rest of the cast) having to do as part of their workshops in the documentary eps, so it’s kind of cool to see them incorporate parts of that into the actual show itself. feels more authentic since, if you’ve watched the documentary eps, you know that this is actually what the actors have to go through when they’re learning to let themselves go and get into character.
so through this montage of all of teh’s classes, we get to see how much he’s enjoying learning more and more about his major. it’s truly his passion, and he’s finally in his element. and it’s great that he’s surrounded by so many seniors that are also as driven and passionate about performing as he is...i find it interesting how teh, even from the start, has always been most attracted to people that have the same sense of ambitiousness as he does. in itsay, his best friend (aside from oh-aew obv) was tarn, who had a very similar mindset as him. so here, it’s not really that much of a surprise that all his uni friends are basically the drama club seniors that he sees as role models. oh-aew is kind of that one outlier bc he doesn’t fit that same mould/personality type that teh tends to surround himself with, which is where you can already start to see the discord between them arising. in itsay, bc oh-aew was working towards the same end goal as teh at the time, it wasn’t as much of a conflict. but in ipytm we can see that their paths are starting to diverge more and more. that being said, oh-aew’s someone that teh truly needs in his life bc he offers a different perspective to most of teh’s other friends, and as we can see later on, teh REALLY needs that.
now THIS was one of the interactions i was really interested in. we already knew from the ep 2 teaser that teh isn’t exactly happy with oh-aew’s new friend group, so i’ve been waiting to see how teh acts when he’s around them. everyone’s at q’s house celebrating plug’s birthday, and honestly?? they’re all really sweet and accommodating of teh (they get him sweet drinks bc teh tells them that he doesn’t drink bc it’s too bitter, and they don’t pressure him when he says he can’t drink bc he’s got morning classes). but then the conversation turns to teh and oh-aew becoming actors and earning lots of money (and how convenient that is), and teh starts to get a little riled up. i don’t think they mean anything by what they’re saying (they’re just playing around), but we know that teh's sensitive to this sort of thing, and i think to him, it’s almost like they’re saying it’s ‘easy’ to become an actor and start making bank. teh, who already knows how hard it is (esp since he’s been watching how difficult it’s been for khim in particular), starts getting defensive about it. the focus being on money hits a nerve with him too bc teh is very clearly majoring in comm arts bc it’s his dream, not bc of the money he could make from it. teh and oh-aew’s gang are just on different wavelengths, and you can really start to see how teh’s having trouble bonding with oh-aew’s gang bc of their differing mindsets.
it makes me slightly sad that you can see how worried oh-aew is about teh and his friends not meshing. it’s like we, the audience, are all feeling what oh-aew is feeling...his nervous glances at teh bc he’s afraid that teh might not like them. and the discomfort on teh’s part too. all of oh-aew friends tend to be a lot more like him, relaxed and happy to go with the flow, but we know that teh can be pretty rigid and intense about the things that he’s passionate about. oh-aew recognises this, which is why he’s as anxious as he is in the first place.
oh-aew’s tea tattoo in honour of teh is actually so sweet 😭 it shows how much teh means to him. he really got a permanent mark on his body to symbolise his love for his boyfriend ;;; but from teh’s perspective, it’s literally that first mark of change. it IS a pretty big decision, so i don’t blame teh for being shocked about it, but teh likely sees this as oh-aew’s friends being a ‘bad’ influence on him (which we know gets brought up again later). not bc of the tattoo itself, but bc of what it represents. it’s like he’s watching oh-aew start to change before his very eyes and he doesn’t know how to deal with that so he brushes it away for now.
the framing of that shot where teh and oh-aew are facing each other and then q comes to walk in between them is A LOT like how they used to frame the both of them in itsay and having bas walk in between them. interesting.
HOW MUCH DO I LOVE THE FACT THAT OH-AEW SPEAKS CHINESE WHEN HE’S DRUNK...that’s just plain adorable :’) it’s like he’s reverting back to when teh was teaching him chinese and they were first falling in love again. teh’s method of getting close to him was always tutoring oh-aew in chinese, so it’s as though oh-aew is trying to feel closer to teh again by speaking chinese to him. sort of like he’s trying to recreate that feeling all over again. i also love that this is basically the opposite of that oppo short film ad bkpp did haha.
we got the “ke yi ma” “ke yi” again ;;;;;;;; i love their little domestic moments. they’re so soft when they’re like this (i know we’re gonna have to weather the angst, but i hope we still have a lot more fluffy moments like this too pls). side note, i really love the lighting in these scenes!!
when oh-aew reads teh’s note about the kimchi jjigae and smiles but then reads the “do not skip class” and his smile fades away...oh, oh-aew, i feel u.
so now we get to see oh-aew in acting class, and the difference between oh-aew’s feelings towards class and teh’s feelings are like night and day. teh’s classes make him feel so fulfilled...this is genuinely something that he wants to do. but oh-aew is struggling. he doesn’t have that same sense of purpose as teh bc he’s starting to realise that this might not be what he really wants...he’s trying but just not enjoying it at all. when teh tells him about the casting call, i feel so much dread for him bc he’s clearly not looking forward to it whatsoever, but he knows how much this means to teh...so he’s willing to ignore his feelings for now if teh’s happy :(
is it just me or was this when oh-aew stopped carrying his ‘heart attack’ bag too??
idk this struggle in particular just feels so personal to me. i really identify with oh-aew when it comes to this bc when i was at uni i changed my major like 3-4 times (and changed unis a bunch of times on top of that) bc i had NO IDEA what i wanted to do. even now, i still have no clue what i’m doing a lot of the time. i’m glad that oh-aew at least managed to find some sort of clarity when he dropped in on his friends’ advertising class and realised that this was something that he enjoyed and was good at :’)
teh’s so excited and focussed on this audition that he can’t even see how worried and reluctant that oh-aew is about this. he wants them to have the same dream so bad that he can’t see that this might not be oh-aew’s dream anymore. but anyway, oh-aew is the sweetest, best boy as always. he’s so, so encouraging with teh. so patient. he really such a great balance to teh’s more volatile nature...but that contrast is also what makes you feel so bad for him when teh lashes out at him without thinking (as he’s prone to doing).
i LOVE khim. i just have so much respect for her. she’s always trying her hardest, and it’s painful to see her give so much of herself yet constantly be knocked down. the resilience that takes. i know that that’s part of the industry she’s in, but that doesn’t make it any easier to watch. there’s a lot to be said about how harsh the entertainment industry can be (and the inherent ageism/sexism/homophobia within it), which i don’t have the time to go into here, but having to hear criticism like that...purely based on your looks (you don’t look smart enough, young enough, manly enough, etc.) is so incredibly disheartening. teh commenting on how harsh it is, and khim saying that it’s super common and telling the both of them how they’re gonna have to go through all of that the more casting calls they go to...OF COURSE oh-aew is only going to feel even more dispirited about this when he’s already realising that this might not be his thing anymore.
being able to take rejection and criticism is really fucking difficult (i know i could never do it)...and seeing oh-aew being told that he’s not ‘manly’ enough/too ‘girly’ in acting class and again at the casting call is yet another knock at his confidence. the way you physically see oh-aew get more flustered and anxious as the audition goes on, when he sees the crew shaking their heads at him :((( i feel all the nervousness, anxiety and embarrassment that he’s feeling right down to my very bones. then to walk out from that audition to khim talking about how damn hard it is to keep doing this time and time again only to be continually rejected?? my poor boy :( what’s fascinating to me is how differently the both of them interpret khim’s speech. teh latches on to her words and sees them as motivation to keep going...to keep trying and persevering. like a challenge. but to oh-aew, he just sees the difficulty and rejection. the instability of this career path, and how hard this could potentially be on his family as well. they’re both hearing completely different things.
teh being so happy about his audition even though he didn’t get the part and the way he turns around to face oh-aew directly when oh-aew tells him they said he was “too girly” and how he couldn’t change his personality to be what they wanted :((( pls. i just want to hug him so bad. teh’s “i like you the way you are now” and reassurance that so many other people do too  😭i know he kind of makes a mess of himself later on, but i’m still so glad that oh-aew got to hear that from him at least.
this show is the best at making you feel all that nervousness and anxiety when any of the characters are about to drop some big news. i was waiting with bated breath when oh-aew told teh he wanted to transfer majors. it makes me sad though that oh-aew has to constantly feel like he’s walking on eggshells when it comes to teh...he’s always most worried about teh’s reaction, and that’s prob the main reason why he didn’t opt out of comm arts even earlier. but oh-aew has all these mounting doubts about his major, and there’s only so long he can stick it out for teh’s sake, and the casting call (and khim’s words) really solidified that for him.
teh’s "you haven’t given it your all”/”you haven’t done your best” rubs me the wrong way bc it’s easy to think that way when you’re set on something and know that that’s what you want to do...but when you’re doubting/not sure about something, it just isn’t the same thing. we all have different thresholds when it comes to what we can endure and how much we can put into something. teh’s a hard worker, we’ve seen how dedicated he can be when he really wants something, but not everyone works like this. not everyone can be a teh or a khim. and esp not when they’re having to give their all to something that doesn’t feel right for them. and oh-aew’s right...sometimes once is enough to know that something’s not a fit for you.
when oh-aew mentions that he sat in on advertising class and thinks he might be into it, it’s like a parallel of that scene when they’re kids and oh-aew told teh that he wanted to become an actor like him. only now it’s the opposite. teh’s had this plan in his head that he and oh-aew are going to reach their dream of becoming actors and the lead protagonists in a movie/series together for so long now that it’s hard for him to reconcile that oh-aew might no longer want this as much as he does anymore. it’s like he can see this ultimate goal of his crumbling. so just hearing that it’s bc of q and the rest of the gang’s ‘influence’ that oh-aew sat in on their advertising class in the first place (and this triggered his interest in advertising) is like strike two for teh vs. oh-aew’s friends.
i’ve def mentioned this before, but oh-aew has always been the more pragmatic of the two, whilst teh is more idealistic, so i understand why he would gravitate towards something that was more stable of a career for him. more of a guarantee. he knows that advertising/marketing suits him better (not to mention that he’s always had the resort as his safety to fall back on too), and it’s something that he’s discovering he actually enjoys more in general too.
when i first watched this, i was like “oh wow teh’s matured so much!!” bc he didn’t blow up at oh-aew during this scene...that kind of ended up backfiring on me towards the end, but at the same time, i do think there’s a certain level of growth there since he does end up trying to reassure oh-aew (even if the blow up still occurs later on). it’s a process though...and even baby steps are progress.
8 months later and teh’s walking past that same place he and oh-aew walked by during his first night in bangkok...only now the poster is no longer the same red one. it’s blue... as though it’s signifying that this is just teh’s dream alone now, and teh clearly still hasn’t come to terms with that yet.
i’m really happy seeing oh-aew in a much better place now!! it’s so good to see him happy and actually involved in uni with his friends. but watching teh struggle going through casting calls and rejections makes my heart ache. hearing khim’s experience with auditions, and actually having to experience it irl, are two entirely different things. it’s like the reality of the situation is starting to hit in for teh. and that, on top of oh-aew not being there to support him in the same way bc their goals in life aren’t similarly aligned anymore, is starting to take its toll.
god, when teh lined oh-aew and was waiting for his response i was like nooooo don’t do it DON’T DO IT only for him to open ig to check oh-aew’s story 😭(though it IS cute that they have couple pfps). but we’re regressing. and now that they have different social circles it’s even harder to connect than before. teh feels like oh-aew’s being pulled away from him, into another friend group that doesn’t include him...and his insecurities are bubbling to the surface again. teh’s always needed that reassurance that he’s ‘special’ to oh-aew. clearly, we know that he is...but even now that they’re dating, it’s still something that he questions. and esp now that oh-aew is starting to feel like he’s fading further and further away out of reach.
i love seeing all of teh’s friends encourage him. they all understand how tough it is, and to see them all pull together to lift his spirits again is so lovely. but then his mood completely changes again when oh-aew comes to join them for dinner :( teh’s doing that thing again where he says everything’s fine when everything’s not fine (cue that “they ask you how you are and you just have to say you’re fine when you’re not really fine” meme). the flash to teh’s face when top says that he didn’t pass the exam to get into anantasart, and you know he’s just thinking about how he gave up his spot for oh-aew initially, and now that oh-aew’s transferred, it’s kind of like he’s turned it down twice. oof.
when teh tells them all that oh-aew’s transferred to advertising, it’s as though this is his way of trying to separate both his worlds. like oh-aew doesn’t belong here with his drama club friends, and it’s that pettiness that we got from teh in itsay is back in full force all over again. it reminds me so much of that time oh-aew told the itsay gang that he was a virgin, and so teh told his friends at school that he was a virgin too. or when oh-aew sent him that picture of his and bas’ legs touching, so teh retaliated by putting that pic of tarn on his story and leaning in to kiss her. it’s like he always needs to one up oh-aew. he doesn’t want oh-aew to feel the same bond with his drama club friends that teh has (esp when he sees that oh-aew is so close to his uni friends). where oh-aew was anxious about teh and his uni friends not getting on, teh is anxious that oh-aew and his drama club friends will get on too well so he has to create this distinction between them. kind of like his petty attempt to be all “i have my own friends too!!”, but it’s also combined with that feeling of inadequacy that he might not fit into oh-aew’s life anymore. he might not be ‘special’. idk if that makes sense but basically i think that teh’s feeling a lot of conflicting things during this scene.
when he starts attacking oh-aew at dinner...that was really hard to watch. you ever feel like you want to reach through the screen and just put your hand over someone’s mouth so they stop talking?? it was rough :/ it’s one thing to fight when it’s just the two of you alone, but it’s another thing to tear your partner down right in front of your friends. i understand teh’s feelings (and i know that they’ve been building up over this time), but my frustration was through the ROOF during this. it’s on brand for him, but still. and then poor khim :( i know oh-aew didn’t mean it in that way but the awkwardness of this entire dinner was just overwhelming.
another thing that’s sad about what teh said about oh-aew is that this is a huge sore spot for oh-aew, and it’s always been one of his biggest insecurities. the reason they stopped being friends when they were kids was bc teh said that he was going to quit eventually, so for teh to talk about how “shilly shally and indecisive” he is/how easily he ‘quits’ at things is a low blow when he already knows how much those words hurt oh-aew.
teh has a habit of jumping to conclusions based on oh-aew’s social media posts instead of actually talking things out with oh-aew so naturally it would make an appearance again here as well. and calling oh-aew’s friends “shitty” bc they’re different to him (aren’t as driven as teh and his drama club gang...therefore a bad influence on oh-aew) makes it really evident that teh still has a lot to learn. he really needs to start taking those acting class lessons to heart so he can see that not everyone is the same, and that other peoples’ experiences and perspectives are valid too.
teh’s long pause and “maybe” to oh-aew’s “and if this is what i really am, you’re not gonna like me anymore, are you?” BIG SIGH. it’s so typical of teh. i know he’s honest to a fault, but he REALLY needs to learn to think before he speaks sometimes bc he always ends up regretting it. i love that impulsivity of his, but it’s also one of the most frustrating things about him.
one thing that i find kind of annoying with the time skip is that we miss so much of teh’s festering feelings that it’s a bit harder to empathise with him when he has his eventual blow up?? i think if we were seeing this more consistently, it would be much easier for us to understand things from his pov better. like if we could slowly see this building up more and more as time went on, rather than just time skipping the 8 months until the blow up.
anyway, now khim and top are graduating ;;; i really hope that we’ll still get to see more of them in the next eps. i also love how the people in teh’s life are always so concerned for him (and how oh-aew’s doing). the message behind the book teh gets for khim’s graduation present is really sweet.
when khim first tells them that she’s going to be a flight attendant and teh blows up, i felt really angry at him initially. but upon reflection and rewatching this ep again...i think i understand where he’s coming from a lot better now. obv i still think he was out of line bc of course what khim’s saying makes sense...she can’t keep going to casting calls and scraping by with minor roles when she has to support herself and her family. in the end, we all need money to survive, and sometimes we have to be realistic about it. i really loved what she said about how we can have multiple dreams at once. but yeah, my heart really went out for her so much here :( it might be difficult for teh to see (or accept) rn, but he’s a lot more privileged than he realises. he still has hoon and his mother to support him financially, but not everyone is in the same position. not everyone gets to be as lucky.
regardless, i still understand why teh gets as torn up about it as he does. khim is someone that he’s looked up to and respected SO much...and his own doubts and insecurities have been steadily increasing. first, oh-aew changes majors, then, he keeps getting rejected at auditions, and now, the senior that he respects the most bc of her hard work and determination, is giving up her dream (at least in his eyes) to become a flight attendant. it’s like the world keeps telling him to give up bc it’s not going to work out for him. and he’s invested EVERYTHING into this dream. it’s all or nothing for him. but it’s like everyone else is slipping away, and it’s getting harder and harder to hold onto.
when teh looks at the tie and is reminded of oh-aew always being there to put it on for him :(((((((( ngl i was hoping that teh would be the first one to approach oh-aew (since their fight was bc of him), but i’m glad he apologised at least. and that they had a good talk about their feelings. but then again, this reflection after their fights is what they’ve always been fairly good at. teh just has to learn to stop internalising things so much that he ends up exploding so they don’t get to this point in the first place. so much has flipped from the first ep where oh-aew was the one feeling lonely and out of place. now it’s teh’s turn to feel all alone as he sees everyone’s dreams and goals (but his) start to change. like everyone is moving on and learning to adjust while he’s being left behind.
when they’re promising each other that their love for one another will never change, it just makes me feel so SAD. seeing them in the moonlight like this compared to the first ep when they were on the beach in phuket and teh was so hopeful and oh-aew was so worried :( everything’s already changed so much. making this promise under the moon like this reminds me of how bkpp kept talking about how the ‘ipytm’ title itself means an impossible promise...the two of them hugging in the moonlight as the score plays just feels so painfully bittersweet somehow ;;; my heart is aching, and i want the next ep, but i can’t deny that my anxiety is slowly building.
anyway, i know the end of this sounds so negative but i’m still banking on our teh/oh-aew endgame!!!!!!! it just needs to get worse to get better, and there’s still so much space for them to grow and learn. so many more experiences in store for them.
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everythingblreview · 3 years
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Slow Damage review 2.0 Part 1
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It’s 16 pages actually 
Hello I’m back and instead of actually writing a new review of a game, or playing a new game that’s a lie I’m playing more than one VN at the same time right now. I’ve been thinking a lot about slow damage lately and wanted to write my full thoughts/analysis on it. For this occasion, I replayed the game. This will be full of spoiler of everything in the game as well as the spoiler of the short story.
Disclaimer: This is MY opinion, I’m not wanting to start a discussion, this is just how I experienced the game. Not everything here will be in a positive light and I don’t hold back from criticize what I didn’t like. This is a fictional game so please don’t attack me. But if you are fine with me babbling 16 pages about the game, you can go ahead. Important to note: Towa is my favourite character, so my thought on the routes are all Towa centered
(I probaly forgot some stuff but please excuse the game is really long)
I will start from the unlocked route and work toward the true route. Starting with Taku~
Taku
After replaying Taku’s route I noticed some differences to my first time playing.
First his route was my second favourite in the game the first time I played it, but replaying it, it was not really interesting anymore. His story is all about him developing drugs for Toono because of his deb he made so he could study to become a doctor, but if you know already about this part there is nothing else to really investigate. His backstory with his mother is ok, he feels guilty for stuff he done in his route but that’s all there is, when you already know the secret Taku is hiding, there is not much left, that’s why is lacks something if you replay it.
The second thing is his relationship with Towa, before I talk about the problem, I personally  have with it I will talk about the things I did like: Taku already was protective of Towa since he was a child, and his feeling developed into more later on, from what Taku said we can assume his feelings turned into “like” after the incident with Asakura. Towa feeling to Taku developed during the time they spent together when they were both locked in the building. Taku was someone he always felt save with, back in his horrible childhood when no one was there for him, only Taku(it was probably the only time he could get away from his crazy mother), and after the fear of losing Taku he noticed he has deeper feelings for him (at this point we can’t say that is romantic love because Towa doesn’t understand this feeling, but Taku is special for him it’s canon don’t attack me). The development part of their feelings was nice and felt pretty realistic. Secondly, I like how they dealt with Taku falling for a guy. Taku said he wasn’t interested in the same gender from the beginning, but he didn’t say stuff like “I’m not gay, I’m straight” or something like that. He just said he is not experienced with it, and he didn’t just go for it after Towa “attacked” him and was still unsure at this point, and only later when he was sure he had romantic felling he went for it, which was quite nice.   Now to for the things that I can’t get over and ruin the relationship for me. First, from the true route we learn that Taku has been lying about Towa past the whole time, (telling him his mother was a great woman) so this relationship is already based on a lie. Towa mother was not a great woman like Taku tells, she is the whole reason Towa has suffered his whole life, and while Taku may not know the everything, he knows what Towa went through but still he keeps his mouth close. There is a scene after the confession scene, where Taku wanted to say something (probably about his past) after they talked about his mother, but decides not to even after Towa asked him about it. In the end after he gets released from prison Towa asked him again and he acts like he has no idea what he is talking about and just says something else. And this brings me to the thing that annoys me the most: How Taku deals with Towa’s mental health problems, or to say it simple, he just doesn’t. The first thing I noticed when I replayed it, Taku is acting like he doesn’t know about it, even though he does. Always saying how Towa behaviour (about him drinking, smoking and sleeping with guys) “was always like this” and saying that “your heart is still dead”. Taku you know exactly how horrible his past is how can you say such stuff??? He always tells Towa how he should stop doing it, but he doesn’t think about doing something to prevent it. I know that he is worried about him but the only thing he deals with are Towas wounds. His wounds may heal but his heart doesn’t if you keep putting only bandages on him Taku. He is really bad at dealing with mental problems, his way to get over it is just not to talk about, in the hope it will go away at some point but in Towa’s case it won’t ever go away, it is destroying him slowly from the inside.
He is also overprotective of Towa in a bad way, putting a chip in Towa after getting rid of Asakuras shitty DIY wings and even going as far as TRYING TO KILL Towa and I though Rei will be the yandere after Tonno tells him he won’t let Towa go after both of the get kidnapped by Toono. I understand that he wants to protect Towa and it is indeed dangerous to let Towa do what he wants because he doesn’t care for himself, but Towa need some kind of freedom, he is not stupid. He acts like Towa is his thing and I didn’t like this part. And the last thing, that left me in a uncomfortable feeling is in the very end he says Towa causes to many problem that why you should not leave him alone, but the goal would actually be to heal Towa to a point, where he does not need help anymore but we never get to it here sadly. (and please stop with the housewife Towa look in the end it hurts my eyes)
I also don’t like the age gap of 20 years in the relationship, because I cant deal with the thought of one person dying way before and leaving the other person behind but that’s a me problem.
The first time I was not sure what to think about Taku’s route but after knowing all this stuff and replaying the route, I just can’t like this pairing sorry.
All the things above are only about Taku and Towa’s relationship, I do like Taku as a person and I enjoyed that he is like a father figure toward Towa and like a family for him. It’s really cute that he really cares for Rei too and treats him like a son better than Rei’s trash father ever could like they are a small family.
Rei
From beginning we get to know Rei as Towa’s and Taku’s best friend, who speaks like a woman and acts a little like it, we also learn that he enjoys fighting and participate in deathmatches. His route is about his struggle with the deb his father (who is a piece of trash) has and his own gender. From the second chapter we learn that Rei is a pure soul, he is a good boy that does not see the bad in human. (Compared to Towa who had a bad feeling from the start) and Rei tells us that in his past he was always mistaken for a girl.
The first time playing his route, the whole thing about his gender felt really sudden but after replaying his route, they were some hints that Rei does struggle with it. Like him telling about his past and him asking Towa what is “manly”. Rei doesn’t want his friends to get involved with his problems that’s why he tries to keep his distance, but Towa is someone he can feel at peace with. Rei’s gender struggle comes from the fact that his parents treat him as a girl when he was a child, it really messed him up because he starts thinking that he was a girl, but still got kicked out by his father after telling him he is gay. Rei hated his own gender even going as far as trying to cut off his… in front of Towa. But through his love for fighting, he realized that he wants to be a man, and after talking (and fighting for fun) with Towa he decides he will now live and act as a man.
Not gonna lie, I really like Rei for his feminine side, though I never thought of him as a woman and while it makes me a little sad that he doesn’t want to be like it, I can accept that he wants to be a man, because in the end the “fem Rei” was never real. He was forced into this feminine roll and that was not the real Rei. What I like about his character is that, while he has his love for violence, he is still a innocent and pure soul. He really cares for others and only wants his best for his friends. (He is also the person, who is looking for true love and doesn’t sleep with others for fun) Even though his father is a big shit he still wants to help his father so he doesn’t start working with child trafficking again. He knows Towa since middle school and was always interested in him, but romantically only after the whole thing with Mizuno, when Towa protected him.
What I really didn’t like the first time I played it is that, while you can really feel that Rei likes Towa, Towa doesn’t share the same strong attraction. It felt more like Towa just agreed to this relationship in the end, but replaying it, I noticed that Towa does care for him in his own way, the first time it’s difficult to say because you don’t understand Towa’s personality. Towa always agrees do help Rei if he asked him for something and he worries about him. The relationship of all the pairings starts at the end of the game so it’s always difficult to say how it works out, but Towa did have a pleasant feeling after Rei’s confession and after they slept together. I want to see more development on Towa’s side because compared to his feeling for Taku in his route it felt weaker with Rei (for me), hopefully they explore it in the drama cd.
While Rei does say some things like Taku to Towa (that I didn’t like) I can’t blame him for it because he doesn’t know Towa’s past.
Regarding  Rei’s personality, I hope they don’t change to much about him, because it would be stupid to make a character and then change him after everyone already start liking him like the way he was. They changed his way of speaking (what you probably won’t notice if you don’t understand Japanese) which if fine, doesn’t bother me but if he will start saying stuff like “I can’t eat cake anymore because only woman do” …. Yeah please no. and he cut his beautiful long hair short noooo and it looks so bad please change it We have to wait and see how Rei’s change will affect him in the end, and I want to see how their relationship will develops  especially on Towa’s side
Madarame
I wanted to replay everything, just to make sure I didn’t forget anything, but with Madarame’s route I just had to give um in the middle. The first time I played it I went through it without problems because I was expecting something from it, sadly it never happened, but this time it was just like playing a never-ending bad end, and I just felt so sad that I had to stop playing. And now I can confidently say, I hate everything about this route. And I did give this route a chance because I don’t like to go into a game thinking I won’t like character, I try my best to understand the story and characters, but it was no use here. I just don’t understand why such a route was needed to for a character like Towa. Knowing how much Towa was abused in the past and that he suffers from extreme mental trauma because of this makes everything worse, this route really brings out the worst of Towa’s mental health issues.
Starting from the beginning we learn that Towa and Madarame used to hang out together and Towa did feel good hanging out with him (they were not in a relationship and there were no romantic feelings which is confirmed). Towa tells us that this was in the past and that he is not this person anymore, also he tells us that he doesn’t like following orders and doesn’t like treatment from Madarame, that’s why dealing with him is hard and after understanding this himself, he wanted to keep his distance. Of course this is not in Madarame’s favour, he want his “pet” all to himself (He even said Towa need an “owner”).So he kidnaps him and tries to break Towa, to let him remember how he used to be. For this he uses violence and treats Towa like shit. We know that he knows about Towa’s abuse in his childhood and still he uses the same horrible methods as Towa’s mother did, taking away his freedom and chaining him to a place, keeping him in silence which he hates. Raping him (of course Towa let it happen because he is used to it) and slowly breaking his mind so Towa starts thinking he needs Madarame. When Towa says something against him, he got angry or just straight up beats him. Towa has no freedom in this “relationship” it only goes the way Mada want it. There is no communication it’s just a typical “alpha male” top and controlled bottom dynamic between them. It was so sad seeing how Towa went against his friends after he spent some time under Madarame’s influence.
In the beginning Towa is so desperate that he would rather die than to be with Madarame, and I don’t know why we have to think this is “romantic” or some shit like that? Its funny how they tried to include them acting like a couple in the second half of the route. Like Madarame said Towa doesn’t need a collar anymore, sure because he is now manipulated into thinking he need Madarame. I will never forgive him for the emotional and physical abuse he let Towa go through in the beginning.
Madarame himself just feels like he is not even human, this guy has no feeling and his feeling for Towa are like a feeling you have for your pet (or better to say animal? Because you would treat your pet better) and he treats him like a pet. (I’m really not a fan of the whole “your mine” “you belong to me” thinking, human are not objects, just because you decide to be with someone doesn’t mean you are their property) I understand they wanted to go for the “he lives in the present not the past and he is honest and doesn’t lie” thing but it made him feel like he has no feeling at all. Showing that he likes cats made no sense to me, because what’s the point if he treats a cat better than Towa? Did they try to make him look like he has a loveable side? Because it sure didn’t feel like it for me. Trying to make abuse ok by showing that this guy likes animals in that case it’s totally ok …yeah sure not.
He really did everything to manipulate Towa into thinking that he needs to be on “this side”, the side that always abused him, by slowly breaking Towa. Towa himself has no understanding for right or wrong, he just does what he thinks is right for him in this moment, that’s how his brain works.  
Madarame says he and Towa are the same because both want violence, but I can only disagree, they couldn’t be any different Towa’s love for violence is a reflection of his abuse as a child, something that was done to him and he now thinks he needs, it’s something he does to try to cope with his trauma, his love for it is not real. While Mada on the other hand, likes it because who knows why it’s not like we ever get to learn anything about this guy because he never says anything. This guy wants nothing and is not interested in anything, I don’t get what I’m supposed to like here. The route ends with Towa and Madarame running away, leaving Towa life, his home and his friends that tried to protect him, to live their life on the streets fighting and enjoying violence, and for me this is the opposite of a good end, it’s just hurt knowing Towa is forever stuck in the circle of violence. (and blond hair really looks bad on him)
I played a lot of bl games and there is always abuse, rape and manipulation involved in almost every bl game, but this has to be the worst case of abuse I ever had to go through and this is coming from a person who likes Mink.
I may said a lot of negative stuff about Taku, but compared to Mada, Taku is an angel send from heaven Funny because Madarame says Taku is trash. The theme was to throw your past away and living in the present, but it felt more like let’s embrace the mental illness and violence.
(the only thing worth going through this hell one time is seeing Mayu, Kotarou and Towa in a suit, especially Towa looks very hot, boi)
The route had an interesting start, and they had a good backstory to write something good with all the stuff with Kaga and so one, but they did absolutely nothing with it and chose to make it about abuse, rape and manipulation, the easy way to force a “romance”(because there is no) into it, and in the year 2021 I expect just something better from it, consider how well the rest of the game is written. N+C really had to bring this rape abuse combination back, didn’t they? They got rid of some bl clichés and I’m thankful for it but we are only half through it, they still need time.
The route just felt extremely disappointing and made me feel horrible.
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jackonthelongwalk · 3 years
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Yes, I was wondering if you could do an analysis on Demetri with ADHD.
Yes!! Thank you for asking me! This is a little rough as I don’t have ADHD myself luckily @beepbeepisaac and @max-eagle-fang helped me with this analysis as they both have adhd
Let’s begin
Demetri displays many characteristics of someone with ADHD. In the first scene we meet him he displays multiple characteristics!
Excessive physical movement + Excessive talking
When he meets Miguel they start talking and immediately Demetri is carrying the conversation he’s talking excessively you see lots of body language and over expression/excessive movement which I think is 1 related to his having ADHD and 2 he uses his natural over expression to help Eli.
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Okay the Kreese and Demetri scene is such a perfect example of someone with ADHD. It’s so interesting to me because I often see people (mainly in the older audience/people who don’t understand autism or ADHD) saying that this scene was “autistic” of Demetri. (Just say you think all autistic people are intelligent men with smart ass mouths 🙄) Anyways it’s classic ADHD and let’s break down why, he’s nervous from the jump at first he thinks Johnny is going to be there but Kreese comes out. So he starts talking excessively Kreeses body language is closed off his arms are crossed but Demetri is putting those signals aside because he doesn’t feel like he’s in genuine danger. This is a common trait in people with ADHD to ignore something that might be perceived as dangerous. He keeps moving into Kreeses space getting closer and more expressive with his body language and the content of what he’s saying. He gets distracted within the conversation (which is mostly one sided) by Kreeses tattoo and due to the excessive talking the criticism of the tattoo just ends up coming out. Let’s not forget Demetri is a smart ass that’s part of his personality so obviously that has an impact on how his ADHD presents. He doesn’t criticize Kreese because he has ADHD he was probably already thinking about it but because of his ADHD it comes out during his excessive talking.
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Interrupting conversation + acting without thinking
We see Demetri interrupting a conversation most clearly during the library scene, he doesn’t get why Miguel or Eli think “standing up” to Kyler and friends and getting the shit beat out of you is a good idea.
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Often his interrupting goes hand in hand with his acting without thinking. When he becomes passionate it’s difficult for him to wait his turn.
We see this at the dojo when Johnny is making fun of Eli’s scar he butts into the conversation because he wants to protect Eli and having ADHD makes it pretty hard for him to resist saying anything.
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Finally we see it with Tory in the house fight. Again he needs to protect Hawk, he’s very passionate as well as upset and even though Tory could realistically kick his ass he doesn’t care because he HAS to say it.
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Hyperfixation
So a really common misconception about ADHD is that a symptom is short attention span, it’s much more about attention being devoted to specific things!
I would not be surprised if Demetri’s hyperfixations line up Eli’s special interests usually (dr.who, the games they play the movies they watch). I actually have a headcanon/theory that the dojo and karate caused Demetri a lot of anxiety (which is really common in people with ADHD) because of how it was changing Eli hence his reactions to Eli’s intense masking and mimicking.
A great example of hyper fixation would be the active Yelp account honestly what 16 year old has a super active Yelp account?! Demetri clearly enjoys giving his thoughts (he excessively talks so why not excessively write about his experiences ?) and probably enjoys gaining status on Yelp for being a helpful reviewer. The positive reinforcement is certainly a hyper focus.
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I feel like there’s so much more to go over but I wanted to cover things that stood out most to me! Please feel free to send requests for specific scene and analysis!!
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asherlockstudy · 3 years
Text
Rhett and Link’s problems with the Enneagram
I have now watched both Enneagram EBs and the second one actually set my gears to work (So Anon here it comes! I promise it was spontaneous).
After listening to Link and mostly Rhett talk about the Enneagram again and again, I realised I have a problem but I can not place its exact root. There is either something fundamentally wrong with the Enneagram itself or maybe it’s Rhett and consequently Link who talk about it in a way that made me feel a little uncomfortable.
My problem and cause of concern was that everything that was said during the two podcasts had a clear negative tone to it. I will have to bring in myself to it to give you an example so bear with me for a paragraph. I did the test and I am a 5 (Investigator - Observer, something like that) which suits me rather well, especially since it agrees perfectly with my Myers-Briggs INTP type. The results said I was a 5w6 (essentially an emotionless analytical robot) which is definitely wrong as I am clearly a 5w4 (a sad mess who analyses the world and searches pointlessly for the true meanings in life and wants to come up with the ultimate all-encompassing philosophy). I mean, OK, they are not described exactly like that but trust me, that’s the point. But despite all the flaws associated with it, especially in the fields of socialising and tremendous procrastination due to an insane fear of failure, I am actually very much in touch with it. I revel in analysing, in trying to see the bigger picture, to make up my own theory about life and the world. It gives me fuel to go on, it fills me with excitement, it gives me a purpose.
Now, what I kept hearing from Rhett and Link are the things they would hope to run away from. I can’t seem to remember a single positive thing they said about their personalities. All traits they mentioned ( which were all pretty one-dimensional for both I dare say) were presented in the context of torturing them and having to confront them. With these insights in their personalities and the spiritual deconstructions earlier, their old (surprising back then) statement that they are “fundamentally sad people” makes more and more sense. Some of their traits, like Link’s care for perfection to the smallest detail and his moral concerns could have been neutral or positive but, no, they are almost all given as clear negatives or at least as things that have an emotional toll on them.
This gives me the impression that Link and especially Rhett have found comfort in studying the Enneagram and try to find an explanation for what they are like, to feel part of a group, represented in their misery. In short, they focus on the analysis of the flaws of their personalities as a part of who they are and avoid dealing with the root that caused said flaws. Link is more self aware while Rhett still struggles to reach the root of it, which is his childhood. Not that he doesn’t know it but he can’t just deal with the people and the situations that impacted him enough to make him a three. For instance, Rhett seems to believe that he is a natural three that his parents made manifest even more strongly. It could be the case or the threeness we observe in him is the direct product of his parents’ constant judgement. By keeping chanting he needs to “be” instead of “do”, I am not sure Rhett will achieve much. Honestly, the one impactful step he needs to take is to stop caring about what his father thinks and I am sorry to say he is still not near achieving this. Especially when I take into account how scared he was during his videocall with his dad in GMM and how relieved he looked after the call was over without drama. In short, my problem with their take in the Enneagram is that it seems that Three is Rhett’s pack of unresolved issues rather than his complete personality type.
Furthermore, Rhett speaks knowingly about all numbers / personality types which proves he consumes passionately all Enneagram information that is available. For a man of his level of active lifestyle, hectic schedule and impatience, this shows that he indeed seeks comfort in finding a detailed description and an explanation for his personality, for the way he feels and acts. What does this mean? Well, that he does not like the way he feels about himself a lot. Not only that, but he is actually in a search of self. At this point, he is no longer cryptic about it but it is more serious than he lets on. He tries to make sense of himself and he tries desperately to find something in himself to love. I hope there are people in his life who let him know that he is worthy of their love, friendship and appreciation even though he is so deep inside his head that even the affectionate feedback can only help so much. Rhett will start finding some peace only if he takes the one step I mentioned above.
And then it seems that Link’s personality type is also exclusively a byproduct of his childhood and is aggravated by his relationship with Rhett. Link’s perfectionism doesn’t cause him enthusiasm - he just dreads the disturbance of his supposedly perfectly stable world. In all honesty, Link doesn’t strike me as an ambitious person. Link would just love to have his dear routine and a loyal person to share it with. Link needs stability and companionship. He is fine with just one person as long as this person contributes to the stability of their bond. Who that one person is in Link’s life is another story…
Link doesn’t care that much about the creative process and, frankly, he doesn’t care all that much about the comedy. Link cares to keep the environment Rhett and he work stable and safe. For Link, judgement from the audience is not as alarming as Rhett’s frustration because of it. Link cares to ensure that Rhett’s idea will be successful enough to keep working and to keep working together. So Link’s entire self-identification as a one seems to stem from his fear of abandonment and worthlessness only. Link fears he has not much to contribute to Mythical and he tries to counteract that by becoming the ultimate source of management and control. Because if he didn’t even manage the company, then what would Rhett need him for? Hence, Link’s obsession for control is a consequence of his fear, he doesn’t necessarily love to be in control for the sake of it. This is proven by his plane example, which shows that he finally relaxes when he does NOT need to be in control.
Link has been working hard most of his life to ensure his position next to Rhett. This brings even more insight in his resentment for Rhett that explodes from time to time. Link resents Rhett because he tries so hard to be always by his side but due to Rhett’s opportunitism, he can’t tell whether Rhett wants his companionship or he simply needs it for their brand. Even worse, Link dreads that the reason Rhett is his friend is because Link feeds his ego with his loyalty and admiration, because he takes Link for granted and not because he loves Link for who he is.
“Do you care for me or do you revel in the fact that I care for you?”
Now, I can’t get inside Rhett’s head but I doubt he uses people. I believe his genuine care for Link can be found in the weirdest examples - those from which Rhett has nothing to gain i.e getting frustrated when Link doesn’t enjoy food as much. Yes, this is a sign of love. Rhett enjoys food so much that he wants to share that enjoyment with Link. He can’t realise Link’s tongue works differently - he thinks Link is missing out and it frustrates him. Another silly example is Rhett buying Apocalypse equipment for a clearly disinterested Link and probably never getting its money’s worth back. This is important to Rhett for some reason and he is concerned enough to protect careless Link as well despite having no personal gain from it.
The truth is that these two men feed off each other; Rhett keeps Link attached to him to always feel worthy and Link keeps Rhett attached to him to always feel safe. However, the fact that Rhett is almost his entire source of safety and that Link is Rhett’s biggest calibrator of worth is indicative of the levels of love and need. Nevertheless, Rhett and Link are not independent people. They were constantly in search of support from one another and they lost themselves in the process of satisfying others or being safe. This is something they are realising only now.
Link’s fear of abandonment is so big that it frequently leads him to an almost paranoid behaviour. It is crazy that he felt left out when Rhett communicated with the audience during a podcast whose key purpose is to… communicate with the audience. His fear here has two sides: 1) that Rhett didn’t consider him an equally important business partner so he preferred to speak directly to the audience and 2) that Rhett isn’t emotionally invested in him in order to open up to him. And by saying he can deceive people if he needs, Rhett doesn’t help Link overcome his huge insecurities. This is why Link begs Rhett to talk to him about his feelings more. He does not understand whether Rhett loves him or uses him. The notion that Rhett doesn’t truly love or appreciate him is one of his biggest fears in life.
As for Rhett, it is certainly huge growth that he starts opening up and being vulnerable to a few thousand strangers yet it all still derives from his need to be accepted by said strangers as I am afraid that the late disproportionate criticism he gets for silly stuff on Twitter and Tumblr surely don’t help him deal with his issues, no matter how hard he tries. Therefore, Rhett is trapped in a vicious circle. Besides, Rhett was overly sensitive to be hurt when Link stated the obvious; that he was being vulnerable in hopes to be understood and accepted, because that was clearly what Rhett was openly doing. However, having someone discussing openly his vulnerability immediately made Rhett retreat back to his shell because no matter how hard he tries, Rhett hasn’t managed to separate vulnerability from weakness in his mind yet.
Long story short, Rhett and Link might be Three and One respectively but I am not sure they have a good understanding of themselves anyway. They may have figured out their types correctly but they certainly narrow their entire sense of being to their unresolved issues and phobias. They entirely lack a sense of self-worth and they probably have not realised the extent of the traumas in their youth. In the Enneagram language, the nine personality types have nine levels of development. I believe Rhett and Link are either in the average levels or the mildest unhealthy level. They are certainly not in the healthy top three levels.
Their obsession with the Ennegram helps only superficially but they seem to have based an illogically huge part of their self exploration on it. The Enneagram might offer some insight but won’t offer the resolutions they long for and badly need in order to find some relief. The ones that come when you confront your environment instead of overanalysing yourself and beating yourself up because of it.
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