Thinking of tiny Enver, following helplessly along as he's dragged through the streets by a strong, unrelenting grip. It was the middle of the night when the warlock came for him, darkening the Flymm's doorstep. The only time his mother made a fuss when they handed over their son, sparking a light of hope in Enver's heart that they might've changed their mind, was to ask the warlock if he'd counted the amount of gold correctly. After that they were right as rain.
As the trade concluded his mother never looked at him once.
The moment the door to Flymm's Cobblers closed shut behind them with a sense of finality, his fate well and truly sealed, Enver Flymm's mind was running miles a minute. Thoughts of escape had occurred to him, of course, but even if he were to manage to overpower a warlock twice his size and make a run for it, where would he go? His parents just sold him. If he went back they'd kick him right out the door again, screaming and yelling over what he'd done. He turns his options around in his head repeatedly, but he can't think well when his heart is trying to jump its way up his throat.
They're halfway through the Lower City when the grip on his arm suddenly loosens. He could barely hear a thing at first - the city uncharacteristically quiet even for such late hours. Then, there is a sickening squelch followed by a slight thud as the warlock drops dead to the ground. He sees the vague silhouette of someone on top of the body, a smaller creature dripping with blood as it tears through flesh. It's too dark to see a face, but there is something animalistic about its movements. Either it doesn't notice Enver, or it doesn't care.
Whoever or whatever wild thing it was is gone just as fast. By some God's mercy, it passed right by him.
Enver is left alone with the mangled remains of the man who bought him, whose pockets he rifles through for gold and valuables before disappearing from the scene of the crime. Without a home he has to put his mind to work living on the streets, toiling and climbing his way steadily up so as not to ever be so powerless again. It's not a way of life that comes without soiling your hands, but sometimes the messiest deeds are the cleanest, and vice versa. Stabbed backs and broken souls are left behind in the process when you need a stepping stone or two. He will rob as many people of their freedom as necessary to preserve his own because a miracle like that will never happen again. Even so he is admired. Respected. The people of Baldur's Gate support him now in a way they never would have before.
Years pass but it's impossible to forget what granted him this chance to forge connections and climb his way up to become unreachable in the first place. However oblivious it might have been back then that murderous creature freed him, and while there is little to go on in terms of finding it again he'll never forget the debt he owes.
(It grows into an obsession.)
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[Bleach 129]
I am the kind of person who will latch onto one thing one character said one time and gnaw on it compulsively like it’s some kind of diction dog toy. These panels are fairly innocuous, relative to what comes immediately before and after them (that is, Matsumoto’s dream about her and Ichimaru’s origin story, followed by news of Hinamori’s jailbreak). But they’re also the first time we see Hitsugaya and Matsumoto really interact.
In fact, we see Hitsugaya interact with Ichimaru (throwing out death threats) and Matsumoto interact with Hinamori (handing over contraband) before we get to see Hitsugaya and Matsumoto interacting with each other. We’re being introduced to them with these two other important people already in the mix.
What might we glean about Hitsugaya and Matsumoto, before we get to the Ichimaru bit? Across the board, Hitsugaya’s speech generally isn’t that formal, because he’s a boy in a shounen manga and he’s also the boss, so there’s less of a requirement, but I also think there’s an intimacy being shorthanded here. He could be less incredibly casual, pull a Byakuya and just use plain neutral language to address his subordinate, Matsumoto, but Hitsugaya also just did an entire ream of paperwork while she stress-napped in the office. He tells her, 構わん (kamawan, it doesn’t matter), using a shortened/masculine/superior’s form of 構わない (kamawanai). When describing Ichimaru and Hinamori’s altercation, he uses the phrase モメ方すりゃ(momekatasurya), the ending of which is a shortened/masculine/colloquial version of -すれば (sureba). Additionally, this phrase is made more casual/emphatic by using katakana instead of kanji [揉め becomes モメ]. We don’t know them yet, but we’re being asked to know them. We have about thirty seconds and two lines to do so: Syllables drop out and close the distance between them.
Despite this, Hitsugaya still seems to have a dim understanding of who Ichimaru might be to Matsumoto. His full line goes something like,
Seeing your cohortmate and junior in conflict like that would probably be trying for you, too.
Hitsugaya refers to neither Ichimaru nor Hinamori by name. Instead, Ichimaru is "douki," or cohortmate, and Hinamori is "kouhai" (junior cohort). Which, knowing what we know about Ichimaru and Matsumoto’s whole deal, feels like a somewhat inadequate way to describe it. XDDD The whole sentence is couched in the epistemic mood; Hitsugaya seems a little unwilling to assert anything concrete. Maybe Hitsugaya is trying to split the difference and be sympathetic while also not making assumptions, hence "douki" instead of “friend,” or “past lover” or “your version of a Hinamori, maybe...?”
This is where I go full doggy toy, because also like, what if we take Hitsugaya at his word here and accept that this is not as convoluted as it sounds, because douki is actually a meaningful and relevant relation within the Gotei?
The Viz translation is more natural than what I offered above (I mean, outside of the decision to refer to Ichimaru as "Gin" in the same breath as Hinamori is “Hinamori”―bold move, Captain Tôshirô!). "Your classmate Gin" still feels weird, though, because in an English-speaking context that kind of makes it sound like Hitsugaya’s throwing it back all the way to like, school classes at the Academy. But you can have Work Douki, as many large companies will welcome an incoming "class" of new employees who are entering the company at the same time. ...Of course, Matsumoto and Ichimaru did not actually… join the Gotei at the same time, either. Maybe they’re close enough, in the scheme of the thousands of years a shinigami might work for the Gotei. Though this would imply that Hitsugaya’s douki are RenjiKiraHinamori(Rukia), which I doubt is something he’d claim.
So I’m kind of taken by the idea that douki could have a looser literal meaning in the Gotei, and is one of the forms of relation that aims to capture a shinigami’s social affinities outside of one’s official seated rank.
Usually, the Gotei is all about rank, rank, rank. But we know there’s also Seireitei vs. Rukongai; there’s gender; there’s degree of nobility; there’s age. These things all matter―if they didn’t, we wouldn’t have a Shinigami Women’s Association; Hitsugaya’s life would probably be easier; the Kuchiki would pitch an absolute fit because of course degrees of nobility matter. Maybe having douki helps recapture the age/experience aspect of a shinigami’s understanding of self/relation, which might otherwise be wholly subsumed by rank.
If douki really is a meaningful aspect of shinigami life, Matsumoto could, say, have a social identity with the 10th, with the VCs, with the SWA, with her douki, and also with her miscellaneous friends. I like the idea that she would get to have all five of these things!
(…All that’s missing is NON-WORK FRIENDS/LOVED ONES…)
I’ve been saying "cohortmate" as a translation for douki, but in my experience in the United States, the cohortmate relationship isn’t quite as compulsorily ride or die as douki are “supposed” to be. For example, there’s a 2004 article in The Japan Times that explains douki as a
"cross between sibling and comrade — the unwritten agreement is that all douki will stick together, whatever happens. / They work together, organize drinking parties, invite each other to their weddings, keep in touch and communicate for decades, often until retirement."
Given that it’s Ichimaru we’re talking about, though, it’s sad, because I don’t think any of those things are actually true of Ichimaru and Matsumoto’s relationship in the Gotei, except perhaps in the unwritten whisper that it should have been. They should have cultivated this support, shared these memories, expressed this loyalty—they should be ride or die for each other. But they don’t have that—at least, not in any material way Matsumoto feels.
Because in the end, Matsumoto doesn’t know who Ichimaru is, either:
[Bleach 129]
Douki...? / Do you really― That Gin ― Ichimaru-taichou ―
More specifically, she says Ichimaru-taichou no koto (市丸隊長のこと), which softens the object of her thought. She’s talking about Ichimaru, but in the amorphous sense of the kind of person Ichimaru is, his essence, things he’s done, the general idea of him. The question comes out of Hinamori’s accusation about Ichimaru killing Aizen, but I don’t think Matsumoto’s really focused on the hard facts of a murder mystery. She’s asking after her captain’s read of who Ichimaru is. Which is a related but, I think, meaningfully different line of inquiry.
After all, we don’t actually have a murder mystery to solve, because Aizen isn’t dead.
What we do have are a spiderweb of tested loyalties (between Ichimaru and Kira, Captain to VC; between Kira and Hinamori, as douki; between Kira and Matsumoto, as VCs; Hinamori and Hitsugaya, as childhood friends; Hinamori and Aizen, not as her Captain but ~"as a man"). But not, notably, between Matsumoto and Hitsugaya, even though Hitsugaya and Ichimaru end up very much at odds.
From the beginning, Hitsugaya summons this idea of "douki" into the room, and perhaps that word clarifies all the things Ichimaru is not.
Maybe it’s then that Matsumoto knew this was going to be the last time she addressed those thoughts in the form of a question.
[Bleach 180]
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me @ you calling Lucerys boring! 😆 come on, he's just a kid! cutting out aemond's eye was bad, i agree, but i don't think he was as bland as everyone says. his imposter syndrome in 8 and 10 was interesting to watch at least. he was a brave little boy.
I mean I don't really see anything brave about bringing a knife to a fight he not only had fuck all to do with but where he was clearly at fault (Aemond did nothing wrong, he tamed a free dragon, Baela and Rhaena get a pass because they're grieving but Jace and Luke had no business being involved and certainly no business escalating into 4 v 1 violence against the clear cut victim), trying to literally murder someone because I don't know what the fuck you're trying to do when you stab a knife at someone's face but it's certainly not a warning shot, showing zero remorse for it at all, and at worse acting like a little snot when in the same room with your victim. The fact that Luke got away with this scot free (didn't he literally say "I didn't do anything" you boring little asshole you stabbed out someone's eye that is the opposite of not doing anything!) is an absolute travesty of justice that stains everyone involved (mostly Viserys and Luke but I'm not letting Rhaenyra "pls torture the ten year old stabbing victim until he tells me how he figured out that these white dark haired children aren't the sons of my black platinum blond husband" Targaryen off the hook either). Aemond could have died, not only from the initial wound, but from the myriad of infections or other issues that could have plagued him during the healing process. For God's sake, Viserys nicks himself on the Iron Throne and they have to lop off his arm, his infected injuries and their treatment have already made him pretty firmly decrepit by Driftmark, the fact that Aemond healed without any serious and lifelong and further damaging complication is a goddamn miracle. And even kids know that murder is bad, I'm pretty sure that if I were Lucerys's age and I tried to commit homicide I'd have to deal with some consequences.
And I'm sorry, but I call him boring because he is! They wrote a boring character! That's not on me for picking up on it, that's on the writers and the myriad choices they made that led to them severely underdeveloping several characters, most prominently Lucerys (Jace and Baela and Rhaena at least get another season of life to develop further, Luke gets four episodes and they knew that going in). This is a song I've been singing literally since the show was airing and it's not gonna change, cuz he's dead and therefore stuck with his boring character and complete lack of characterization.
Him being a kid is not a character trait, and it certainly doesn't make him more interesting anymore than, say, his eye color would. The impostor syndrome thing they kinda tried didn't really work because 1) it's not impostor syndrome if it's true, he's not a Velaryon and Vaemond was 99% in the right in that entire thing (I don't like him throwing out misogynistic slurs, you can point out that these aren't Velaryons but Strong bastards without stooping to calling Rhaenyra a whore, I hate men sometimes) 2) in episode 8 it exists for one single line and is not a driving force for him at all for the remainder of the episode to the point that it could be cut out and mean nothing, especially since that scene was only there to introduce adult Aemond and 3) it doesn't even make sense because the person who was set up as having issues with his lack of Velaryon heritage and Harwin being his father was Jace. Jace is the one who hears the rumors and clocks it early on in childhood, Jace is the one who is deeply affected by it to the point of bitterness towards his own mother, Jace is the one who grieves Harwin but also feels angry that he can't express it. All of that was set up as part of Jace's arc, not at all Luke's, who is literally set dressing up until he decides to commit criminal offenses in the middle of the night. And then time skip, and suddenly Jace is A-OK and Luke, who has shown no issue before now (or any personality at all) is slightly concerned about it for one line in episode 8 before going back to being a piece of cardboard until episode 10.
And I'll be honest, the second that scene came out in episode 10, I immediately saw it for what it was, which was a very obvious patch job. The writers were clearly aware that they had not given the viewers any reason at all to care about Luke one way or another, so we weren't going to feel a lot when Vhagar (deservedly, imo) munches on him. So they hastily added in this really heavy-handed scene of poor uwu soft boy Lukey who is so concerned with doing right and needs to blink up tearfully at Mommy and be her sweet boy and get little kisses to assuage his worries, so that we'd feel some emotion and then be said when he becomes the Jonah to Vhagar's whale. It just doesn't work because there was nothing for him before then and therefore I don't care, I just feel bad Rhaenyra.
Luke is a bland and boring character. That's not an attack, that's just what the writers did. They tried to cram too much into a ten episode season, literally twenty years of history, and it caused a lot of characterization problems for a lot of characters, particularly for the Team Black ones. And a consequence of that is that the character with the least amount of time for development got not development and no personality. He's a plank of wood, he's a platonic version of the sexy lamp trope; there's nothing there and he exists only for us to feel bad when the lamp is smashed. Seriously, name me five individual character traits that Lucerys has. He's a momma's boy, even though I'm not really sure that's a character trait but I'll give it to him, and I guess he's devoid of empathy, considering that he doesn't appear to feel literally any remorse for mutilating Aemond (seriously, is it like the Dothraki and "thank you"? does the word "sorry" not exist in Valyrian languages? you can't even send an apology gift basket or a note?). But he's not brave, as there is no scene that shows any bravery or courage, and he's not noble or kind or thoughtful because there's nothing that shows any of that, or anything that shows him being the opposite, cruel or cowardly or weak, because he's a basically a character who could be played by sticking a wig on a mop and waving it around. And any characterization of insecurity exists as something hamfistedly crowbarred in at the last minute in his final episode to try to manipulate the audience's emotions with less sensitivity than D&D trying to tug at our heartstrings by having Drogon try to nudge Dany awake after she's killed.
But there is a character that I do consider to be a brave little boy, though I regret to inform y'all that it is Not a fourteen year old with no depth or personality or written characterization whose main claim to fame is maiming a person without apology and then dying. Nah, the brave little boy title goes to post-Driftmark Aemond. Aemond, at ten, is delivered a life altering injury whose recovery was likely very slow and very painful, involved a lot of worry about whether he'd have to deal with infection or further risk of death, and had to relearn how to do literally everything now that he was half blind, and he did all of it. He survived, and he thrived. He relearned how to walk, how to balance, his spatial awareness. He learned how to fought and even became incredibly good at it, and maintained his bond with Vhagar, as well as trying to keep himself mentally sharp as well. He did all of that, despite the huge setback he was dealt with at age ten. That's brave, go Aemond.
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