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#mindset analysis
courtingwonder · 1 year
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Critical Thinking Cheatsheet
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rayroseu · 2 months
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hm... i wish people dont wrangle and correct different interpretations of malleus too much lol
he is kind, he is evil, he is temperamental, he is eeriely calm, he is insufferable, he is a nice companion, he is forceful, he is also understanding, malleus is the mix of kindness and evil because his parents are the embodiments of those opposite sides (Meleanor being the Evil Princess and Levan being the only Kind fae who aspired peace).
There is no purely Evil Malleus or a Kind Malleus. I think Malleus is just growing up lol
Despite the story depicting him as "monstrous," (in my opinion) no character in the story encapsulates the "true experience" of growing up as well as Malleus' story does.
Of course, growing up means being fearful of aging, losing people, and everything changing without your control. It's not inspiring to know that despite your hard work in making yourself "a proper adult (and a royalty too in his case)", there is no reward such as "everlasting happiness" no matter how much he suffers. That he's damned to lose anything and nothing is forever. Growing up means you only have yourself (alone) in this world.
I also like the fact that Malleus' story growing up says one true thing: that everyone really dislikes suffering lol. Malleus canonical fear is the "unknown." I feel like beyond losing Lilia (and Yuu), he just can't imagine a world without them. For him, a world without Lilia is "an unknown world," a reality with no good outcomes. So he avoids that reality happening because its essentially his unknown, (his fear and suffering).
But idk, I never find any story that gives satisfying argument against "the importance of being hurt and losing anyone", I feel like its just sugarcoating if you say its needed for the "happiness to be worth it." That's why I understand why Malleus also believes he's correct for eliminating pain in the world lol I hope TWST gives a new unique answer to convince Malleus that its okay for him to lose anyone and be back in present time.😭🙏🏻✨
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loudgaybug · 3 months
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I wanted to analyse the different ways that their "deaths" affected both Pomme and Em (I say "deaths" because Pomme's was a nightmare, but still shaped her character). Both deaths were inescapable ; caused by undefeatable enemies, however while Em's was short and sudden, restrictive, being held by a leash, Pomme's was long and drawn out, breaking many totems, giving her time to think about how powerless she was as Phil tried to save her. They are narrative foils to each other in my eyes ; Pomme herself said she saw her younger self in Em. They were both young, new eggs - Em being not the absolute youngest, but still viewed and young and fragile the way Pomme was the youngest. They both started out as very caring eggs, with a love of flowers to show their affection. They are also very smart and calculative, Pomme choosing knowledge as her element and Em always paying attention to her surrounding. Em also initially had Pomme's protector mindset, which Pomme learned through experience. They almost had opposite character arcs in my opinion, largely due to the different circumstances and parenting styles they had.
After Pomme's nightmare, she hated how she couldn't fight back. Her parents reactions, particularly Etoiles, were to teach her how to fight and protect herself. They encouraged her to be strong and learn how to take a fight. Pomme's view of the world was also strongly formed by the fact her siblings had all lost lives before her, they were all in danger, they all needed to be protected. She was the only oen with two lives. Her life was less valuable, she must use it to protect others. Em, in contrast, after the egg hospital, is now the only egg with one life, rather than being the target like Pomme with two lives. Now Em is the most fragile, something I'm sure that's hard for her, as she got used to wanting to be a protector.
Em's natural reaction to conflict was to fight, however we first see that change of the day of the egg's bed trapping. She tries to keep up a strong front, but this time, she freezes, she walks around aimlessly, her hands won't work, she can't help, she can't decorate with Sunny and Tubbo. I think when Em gets somewhat stressed she fights, but when really traumatised she can't handle it and her response is to shut down.
In contrast to Pomme constantly being taught by her parents that the important thing is to be strong, and to protect others, reinforced especially by self-sacrificing characters like Bad, Em is consistently taught by her mother she should stay back, run away in conflict, and in fact they get in disagreement about this, because Em wants to help. This is compounded by Tubbo, who consistently teaches Sunny to run, and, when acting as a caretaker for Em, also encourages this mindset. Then when Em talks to her mother about it further, she reinforces Tubbo's teaching, that it's safer both for her and her siblings is Em runs away. But I think its Em's death that really solidifies this, in the same way that Pomme's nightmare solidifies that she wants to get stronger and protect her siblings and provides basis for later teaching. Children are malleable, and they listen to what they are taught and what experiences they have really shape them.
Em's death comes from being at the centre of the action, and, crucially, being restrained, not being able to run or warp away. This forms a strong correlation in Em's mind between being able to get away and being safe. This is then compounded the next day when Bad teaches her how to use the grappling hook to escape easier, and she often uses it now, I think it makes her feel safer. In the same way, Pomme would often unhide her armour, because she wanted to show her strength, and it reminded her that she was stronger now, that she has the power to protect her siblings that she's so scared of losing, and that she has to be the target, she's the safe one, the one with two lives. She also uses armour now to show care, making protective kits for Sunny Em and Pepito. In addition, Em's reminder of her death is flowers, flowers that symbolise change and transformations, symbolic of how her mindset has changed and now she realises she can't be a hero and just wants to be safe with her family. A reminder of Pomme's death and her mission is her scythe Vengeance, which she named so that she could seek revenge for her siblings. A scythe and flowers, two very similiar eggs, who learned very different lessons.
Em started out trying to be protector, wanting to be a hero, ending up realising she had to be a lover. Pomme started out as a lover and found she had to be a fighter aswell.
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sorrelpaws · 1 year
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if you could fight any celebrity who’d you fight
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ninicaise · 7 months
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"why don't we see laurent's schemes in kings rising? why does he act so helpless, like a puppet?" idk maybe because laurent & damen are no longer friends for the entire first half of kings rising so laurent is back to being completely alone and after prince's gambit he has no idea what to do without damen beside him. maybe bc laurent is not actually the domino master of the series. the regent is. maybe bc laurent is (canonically) behind in the game and the only reason he ever had a chance of winning is literally bc not him nor his uncle can ever predict wtf damen is going to do next. this is textual btw i am not making shit up. just as the "captive prince" is both damen and laurent, the "prince's gambit" is both laurent's and damen's gambit.
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good-beanswrites · 10 months
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See, Milgram said there's this kid who developed a hero complex from his video games. He got caught up in fantasies of killing the bad guy, he took justice into his own hands, and it killed someone for real. And they could have said yeah, he's a shoot-em-up game guy. He glorifies the military and oogles the tactical gear in the games. Or maybe he has fantasies of an action hero, car chases and explosions and machine guns. And that would have been such a nasty guy, yeah? I'd hate every bit of him and it could have been fine!
But no! They said he likes knights!!! Fucking knights!!! They said, he has fantasies of picking up his righteous fire sword and defeating monsters. He imagines himself in shining armor and vibrant landscapes. He's unbearably lonely and just loves the thought of leading a team of trusted adventurers who will have his back no matter what. And so now I'm screwed because I'm sitting there like FUUUUCK!! That does feel righteous!! That is the dream! I have had those exact thoughts after playing my little knight video games!! There's nothing wrong with wanting those things!! ARGGH!!
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sunlit-haruka · 1 year
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Something about Whit’s character that I don’t see a lot of people talking about is how often he is willing to hide things or even just straight up lie in order to protect people. In the CH1-9, he lies about being friends with Charles in order to prove his innocence, and mind you not only has Whit not known Charles for more then about three or four days with the only interactions between them being Whit teasing him, but Whit outright admits in CH2-2 that he used to be the most judgemental of him
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Now obviously Whit and Charles became friends after the trial, but the point here is that in Chapter 1, Charles is not someone that Whit particularly knew, and yet Whit still chose to lie despite the small chance that Charles was actually the culprit. But the instance I really want to talk about is in CH2-11 when Whit hides David’s secret from the rest of the cast. This isn’t an Eden situation where she was threatened into keeping quiet, Whit chose to keep quiet about David’s secret despite it being a massive piece of evidence and potentially risking everyone’s lives in the process. David was also someone that Whit lacked any real relationship with, I think the only time the two interacted was in the kitchen in CH2-7 and that was very brief
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Whit mentions after David goes into his emo phase that the reason he hid the secret was to protect David’s career, but honestly it feels strange that that would even be a concern in his mind in a situation like this, especially when like I said he barely knew or had any interactions with David. There is another reason for this behavior. Now, in CH2-3, Charles does say something that could give a lead
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Whit is a very empathetic person, and probably puts himself in other people’s shoes when it comes to situations like this. As such, he is not the kind of person to sacrifice someone else’s privacy willy-nilly as he can imagine how that would affect someone. This also lines up quite well with his talent, I must add. As the Ultimate Matchmaker, part of his talent probably has to do with keeping people’s secrets, and this lines up with how DRDTDev describes his talent too
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However, I do think there is another reason for this I feel like Whit and Hu share a similar mindset of wanting to assume the best in others. Hu is obviously more direct with it, but I think Whit also has this mindset to a smaller degree. You could argue that this is also due to his intuition, and I’d say it is partially that, but with the whole David situation I don’t think that’s all there is to it as every other example of his intuition has turned out to be right. Whit hiding things and lying for others probably comes from a place of wanting to believe the best in them. I don’t think Whit would really care about protecting David’s career if he thought he was a scumbaggy manipulator, nor would he lie about being Charles’ friend to cover for him if he thought he was the culprit. He chose to do those things in an attempt to see the best in them.
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sodaquail · 7 months
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My new favorite pastime is analyzing lines from my own writing ( to your joy, i tether by sodaquail on ao3)
so I bring you this one…. I made it in a jrwi discord (tidalwave thesaurus) fic channel… FIRST: the snippet, then the two analysis thingies…
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Going nuts going crazy going ill
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Thinking about how Duncan was already fairly emotionally closed off and resistant to being vulnerable and/or perceived as weak by the people around him- which is a lot of what fuelled his "bad boy" persona- and how his relationship with Courtney would've cemented the idea that he really is an irredeemable, unlovable person since all she ever tried to do was change and "fix" him, so he'd only close himself off more as a result.
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gayofthefae · 2 months
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Will saying "remember, you're the heart" right before Mike says I love you is wild because like- if she heard that, the best case scenario is it paints her a full picture of the fact that he and Will solved this issue together.
He said earlier that he had been thinking about it the past few days, but that is omitting a key detail: Will. The problem there isn't their conversation, it isn't the reference, it isn't anything revealing, really, but the fact that Will is involved in this for him. Even if it is genuine and even without the painting, the fact remains that Will resolved Mike's insecurities for him to tell her he loved her and it WORKED.
The word "remember" on its own might be more hurtful than "you're the heart", honestly. "Remember what we talked about". Even just any encouragement at all, a "you got this", tells us that he didn't contemplate this alone like she thought. Honestly, at that point, there's a part of me that's hoping you still can't say it. Because one way or another, you needed him for this. One way or another, I couldn't do it when I begged but after a couple days with him, you're good as new.
[That tiktok sound but instead of "3.5 years" and "white man", it's "I waited for eight months, gay man did it in one week. I waited for eight months, gay man did it in one week. I said I waited for EIGHT MONTHS. The gay man did it in one week.]
Even if everything is true, he couldn't figure it out without Will. And that hurts. If I'm her and I'm thinking through all this, I'm thinking "so that worked? He's what did it? You're so confused and too scared to talk to me about it for 8 months, you avoid the word "love" like the plague and can't tell me why, you lied about being able to during the conversation, but one week alone with him and you've reflected on your actions, felt remorse, and can apologize in bullet points and say "I love you" freely eight times, all of a sudden." I'd also be thinking, though, that he might not know. Give him the benefit of the doubt. I'm mad at him but I forgive him - because he might not know he's lying.
I just rewatched the scene and I think this fits. My break down of each of her reaction shots below the cut (but I encourage you to watch with it in mind yourself if you don't want my analysis to influence you too much first):
This is her when he first starts talking
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This is her after hearing Will. She knows what's about to happen. She knows what he's about to say and part of her is hoping he doesn't because of what that would mean for his relationship with Will.
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This is her right after he first says it.
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This is her as he continues into a more in depth apology, showing the amount of progress he's been able to make so rapidly the past few days. From this angle, she look she's recoiling and I've said before that it almost looks like it's shot from the POV of the vines shackling her.
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He says he can't live without her and she seems to look up again and listen more actively than she was but she also looks in thought and then squeezes her eyes shut again. This situation is oh so complicated.
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"It was so big it almost swallowed you whole." This is such a Mike joke to make. And there's something comforting about that delivery. She makes the third face above as he's saying his life started the day they met, but she laughs when he makes the joke. Because that phrasing is the most earnest thing in this speech. Everything else, however true to him, is tied to Will. But she loves him. And it was so very him to say it that way.
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But she immediately falls to this next face. Because it was the most earnest thing he's said, and though she's relieved to feel him in this speech, it still isn't for her. And the fact that it's the most earnest thing is also a bad thing. She knows he's going right back to how he was talking before.
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He says he's loved her every day with or without her powers and she recoils and squeezes her eyes shut again.
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"You're my superhero". She hardens - whether it's anger or determination/choosing to harness this as her motive, I fluctuate. But she hardens.
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He says he can't lose her. And that feels like another complicated, harder to read moment. But she does soften back to more expressive like she was before, even if what she's expressing is pain. I think she believes him. Her feelings around the context are more hard for me to read on each watch of the end of this, though.
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And I think Max is what finally gave her the most actionable motivation, because this is her the second before she notices Max again. She does not look determined, or even angry, just sad like she's looked this whole time. This does not read to me as the face of a girl about to take action like we see in a moment.
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And all of this is also consistent to me with why she wouldn't talk to him much in those two days or address but still rest her head on his shoulder in the hospital. She still loves him. And this hurts, but it isn't his fault.
And finally, to go back for a comparison shot:
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This is her when she thinks he's about to say it because he worked it out alone versus when she thinks he's about to say it, knowing that would mean it's because of Will. And that's everything I need to know. Whatever she's feeling the first time, hopeful or apprehensive, it isn't what she's feeling the second. She perked up the first time. She resigned and deadened the second.
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starryoak · 11 months
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One thing I haven’t seen considered about the massive Spider chase sequence is that like 90% of the Spider people weren’t even informed what’s going on, just that they need to catch Miles. Of course, they all presumably know about his situation, but not why they’re chasing him.
Beyond that, I wonder how many of them are thinking to themselves; I have to be the one to catch him, because some of the others might hurt him.
Like, convincing themselves that the reason they’re chasing him so violently is because, well, who knows what THAT GUY will do to him when he catches him, at least if I’M the one to catch him, he’ll be safe.
And, I mean, looking at the way Miguel chases Miles… I think that’d be a convincing thought! That, well, at least if I’m the guy that gets him, I’m not gonna hurt him! I’ll just calm him down and the situation will be over with nobody hurt!
Of course, it doesn’t make the chase less horrifying, but I think considering that angle makes a lot of sense, and helps explain why some of these more heroic Spiders would willingly pursue a child the way it went down; if they don’t catch him, Miguel will. And they can’t let that happen.
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courtingwonder · 1 year
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MindSpace - Common Cognitive Distortions
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jaguarys · 10 months
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For the record I don't think the Sannin had some sort of dramatic falling out. I think they grew apart in a way that they almost didn't notice. I think they found different interests, different people, and no matter how much they told themselves they were still as close as they'd always been they weren't. And I think it was a process of continually realizing these people aren't who you idealized in your mind; that they are maybe, kind of, sort of bad people; that they have done things you can't ignore, and that, maybe, they are your enemies. But there's no closure there. There's no sense of relief to be gained. Because you love them. You love them more than anyone in the world–– more than your students, more than your spouse, more than your family, more than your village. They know more about you than anyone ever will or ever could. They hold pieces of you, not only in your knowledge, not only in your youth, but in your soul, because they are one-third of it. You know them more, and less, than anyone could, and definitely more than you should
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gayanimebitches · 4 months
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ok. migi & dali opening. i am going to talk about it now.
throughout the opening we see so many Things. the entire series up until the second to last episode, i hadn't paid that close attention to it because god that song is a banger and honestly i was more focused on the music than the animation, despite being captivated by it every episode. but that episode for some reason. i paid more attention that time and had some Realizations.
one question i've had every single time the opening has played has been "why does one of them take the cherry pie and the other does not?" throughout the opening the two of them are seen doing the same things, effectively mirroring each other, which makes sense considering it was most of the plot for the first few episodes, so i really didn't think about it too much. but with that pattern established, it's extremely strange when, at the end, one of them strays from the shared course of action to take one of the slices of cherry pie that's sitting on the chairs.
another thing i noticed when i actually paid attention was that the one in the shadows in all their activities is always dali.
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and if that's not enough, we have this shot of migi and dali as sun and moon respectively, and i think we all have enough media literacy to understand the implications of that.
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then we have this shot of them, showing migi floating higher and dali sinking lower.
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all of these screenshots to say that the opening animation tells us exactly what the series, or at least the part that the anime currently covers, is about at its core. we see it in the series time and time again as these two try to make their way through the world.
migi is portrayed in the series as somewhat childish, frequently to a fault - generally more hopeful in what he believes, which shows in his actions and the way he interacts with others in a genuine way. dali is severe and bitter, much more driven by the idea of getting revenge for their mother, seemingly just for the sake of it at this point, and being willing to do it at any cost because he doesn't value anything other than his brother.
migi sees the good in things and, while still helping dali with their shared goal, is genuinely enjoying his life with this family and in this town. dali, on the other hand, is dedicating everything he has to their goal, not caring or bothering to invest any part of himself into anything else. (this is portrayed also by migi being in the light, enjoying the activities he's doing, and dali being in the shadows, spending all his time trying to solve their mystery.)
this conflict of priority between them results in the fight they have in episode 9. a showdown between hope and despair, over a bike in a river, all as a result of migi's off-comment about wanting to eat cherry pie again.
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and now the bike. they state this explicitly in the dialogue, but it's the first gift migi has ever gotten. so when dali throws it in, he does not hesitate even a little bit to jump in and get it. the bike is meaningless to dali - just another thing to toss and discard for the sake of moving forward. he gives up on everything so easily because he never bothered getting attached in the first place. he's so quickly ready to abandon anything and everything aside from migi. there's no way that he can be happy like that and migi knows that. migi is all he has and they both know that.
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the jealousy he expresses is just jealousy that migi is able to find happiness and value in things other than him while he's unable to do the same, as a result of his bitterness and his fixation on finding their mother's killer. he's jealous that migi is growing closer to other people and making connections that are important enough to him that he's not willing to just throw them away with the toss of a bike.
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so he takes his brother down. he forces his head underwater, and asks if he's still thinking about that cherry pie (THIS LINE IS SO FUCKING GOOD!!!!!!!!!!!). he tries to drag migi down with him into his own despair, tries to convince migi that his beloved cherry pie isn't really all that important. that it's not worth as much as migi's acting like it is.
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he tries to literally beat the hope out of migi. he is so desperate to be hopeless that he beats the shit out of his brother over and over about it.
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but, of course, that would never be enough to stop him.
and we're back to the cherry pie. dali finally caves and agrees to go back and try to sort things out, not because it's what he thinks is best for their safety, but because it's what migi wants for his happiness. he realizes that he'll only continue to hurt migi if he pushes his own cynicism on him and forces him to leave everything behind, since he had the guts to get attached. even though dali doesn't really understand the value of the cherry pie, he sees how much it matters to his brother. he sees his resolve to experience those small moments of happiness again.
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the cherry pie is taken from migi's side of the shot.
throughout the entire story, migi has been the one to see the value in the simple things, like taking walks with the dog, having friends to hang out with and do wacky bird shit with, riding a bike, and eating cherry pie together. he is not afraid to experience joy and is willing to fight for it, for both him and his brother, even if his brother doesn't see the value in it quite yet.
migi will see the good in things. he will have hope for the future. and he will take the cherry pie.
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barrel-crow-n · 2 months
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Kaz's gender
I already talked about this a lil in the tags of my sexuality post but my thoughts are complex so I feel the need to really dive into what I believe with Kaz and his gender expression and why.
First of all: pronouns. I feel like Kaz uses he/they/it.
He because he aligns himself with masculinity. He/him is his preferred and what he uses.
They is also one of the preferred ones. He/they is fine, he/him or they/them is also fine, they don't really mind.
And Kaz likes it because it feeds the whole "what is he? Is he even a person? Is he a demon?" It makes him seem less human, more demonic, and he revels in it.
Kaz definitely goes for a more masculine vibe, but honestly? They also aligns themself as other, as demonic. They're not really anything like all of these people. Even his dark mercher suits make him look like a dark stain on the city, a nightmare manifest. Sure, he looks respectable, but the eyes, the corpse-like face, the "sharp glass boy of deadly edges" thing he has going on, makes him look more subhuman, almost undead. Which fits his whole Kaz Rietveld died in the harbour and was reborn as Kaz Brekker thing.
Gender wise, I don't think they labels themselves. They lets people talk and theorise. "He's obviously a man" "They're nothing like us" "Have you seen it?? That's not even a person!" When one of the crows asks they just tells them something theatrical like "I'm the demon under people's beds, merchling" "I'm the thing in your closest, Nina dear" "I'm people's nightmares made manifest, the personification of this city. I am crime made a person, I am horror in the flesh." But they never actually answers the question. They're not really sure. He knows that he uses he/him pronouns the most, alongside they/them, but he doesn't feel like a boy, not really. He hasn't really ever been like the other boys, even as Kaz Rietveld, much less as Kaz Brekker. Always a little odd, a little more on the quiet side. Analytical, searching, constantly watching. Unnerving.
He doesn't mind terms like boy and man but prefers demon and monster because he's silly like that and it gives him a rush. I feel like he'd hate the word lad.
I also think their gender identity is explicity linked to his rebirth as Kaz Brekker. They created themselves, almost entirely from scratch. And so they pondered it, thought it over. They decided that they liked it to an extent but only in certain scenarios. He uses he/they interchangeably, but also not.
As Dirtyhands Kaz sees themself as it. A separate persona. As Kaz Brekker, it's they/them but he only associates the two because they only realised they liked they/them after the rebirth. As Kaz Rietveld it's he/him. It's another way of separating himself into different parts. But Kaz Brekker is still Kaz Rietveld, no matter how much they try and deny it. Kaz Reitveld isn't really a persona the same way Dirtyhands is. It's who he is. Kaz Rietveld is a part of Kaz Brekker, and Kaz also uses he/him alongside they/them
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posletsvet · 7 months
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My thoughts keep circling back to some similarities I spotted a while back between the Hasaba twins and Nobara. There's a handful of them, really, from what I can gather -- even if we exclude the fact that both the twins and Nobara originally come from the countryside, which would be the most obvious coincidence.
Take, for instance, Nanako and Nobara's matching personalities: they both are outspoken, confident, brash and boisterous, with somewhat an air of a typical school bully around them. At first those traits might come off as off-putting and offensive, but when you delve deeper it becomes more apparent that such abrasive attitude might just serve as a defense mechanism of sorts and what it really shows is that these girls were taught, for better or worse, how to stand up for themselves.
Then there are curious similarities between their innate techniques. Techniques of all three of them require usage of inanimate objects, and in both Mimiko and Nobara's cases it's an effigy of the target, a voodoo doll -- whether stuffed one or made of straw. Their techniques also allow them to manipulate targets from afar.
Nobara also shows unusually high tolerance of pain, and it's something that keeps bothering me. And though we know that she was trained to be a sorcerer by her grandmother, and being a sorcerer involves adopting a certain mindset, that's not something one can simply order oneself to get used to.
One other thing that doesn't seem to escape my mind is how Nobara was only ever drawn to outsiders back in her childhood, and then proceeded to look up to Maki, finding it in particular admirable how she withstands the oppression of her own family. I guess it's also worth mentioning how Nobara doesn't believe people are excused just by the circumstances they grew up in. Again, I don't think that's an attitude one can afford without facing those hardships oneself.
So what if all the similarities really stem from the background they, Nobara and the twins, come from? I doubt that being a jujutsu sorcerer in a small, enclosed society such as found in a village in the middle of nowhere is a pleasant experience. People get nosy. They also get intolerant towards something they're not prepared to include in their tiny circle. We've already seen how an outsider unwilling to assimilate, Saori, was ostracized and driven out -- and she was just a city girl. We've also seen what being a sorcerer in an environment full of narrow-minded superstition costs.
How much bias and bigotry might Nobara face? Isn't it why she jumped at the first given opportunity to leave for the city? Why she only ever made friends with newcomers to the village? Why she considered all locals to be at least at some degree insane?
I don't know where I'm going with all this, really. If anything, it serves as yet another example of how the conservative mentality of those in charge of jujutsu society harms its sorcerers. Where both sides could've benefited from cooperation, non-sorcerers are left to ignorance and the misplaced antagonism towards sorcerers which that ignorance enables. I wonder if current, somewhat anachronistic, suspicion and superstition that still lingers with some parts of non-sorcerer population are fossilized remnants of the awareness their ancestors once possessed. What was it like to be a non-jujutsu user in the Golden Era of sorcery? Was it chaos and fear of that time which created an unbridgeable rift between sorcerers and non-sorcerers? I wonder what repercussions the current situation would have for the relationship between the two. Would it be history simply repeating itself, or is there an opportunity for real, substantial change, now that the system upheld by outdated tradition is utterly destroyed? Where are we heading with the story now?
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