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starstrike · 3 months

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Mithrun's desire as an SA analogue

TW discussion of SA and detailed breakdown of aesthetics evoking SA. The way I discuss this is vivid in a way that may be triggering, though there is no discussion of actual sexual assault. Just survivor's responses to it.

People relate to Mithrun and see his condition as an analogue for a few different things, like brain injury or depression. And I think all of them are there. But I also see Mithrun's story as an SA analogue, and Ryoko Kui intentionally evokes those aesthetics. I think it's a part of Mithrun's character that a lot of people miss, but I very much consider it text. This is partially inspired by @heird99's post on what makes this scene so disturbing; so check out their post, too :)

So to start off with, the demon invades Mithrun's bed, specifically. There's even a canopy around it, which specifically evokes this idea of personal intrusion; the barrier is being pulled apart without consent or warning. The way the hand reaches towards Mithrun's body from outside of the panel division makes it almost look like the goat stroking over his body. It's an especially creepy visual detail; similarly, the goat's right hand parts into the side of the panel as well. It's literally like it's tearing the page apart; but gently. So gently.

Mithrun is in bed. It is his bed that the demon is intruding on. He's in a position of intimacy. The woman behind him is a facsimile of his "beloved" that he left behind; the woman who, in reality, chose Mithrun's brother. He is in bed with his fantasy lover, who is leaning over him. While this scene isn't explicitly sexual, it is intimate. And it is being invaded. The goat lifts Mithrun gently, who is confused, but not yet struggling.

The erotics of consumption and violence in Ryoko Kui's work(remember that the word 'erotic' can have many different meanings, please) are a... notable part of some of her illustrations. I would say she blurs the lines between all forms of desire: personal, sexual, gustatory and carnal, in her illustrations in order to emphasize the pure desire she wants to work with and evoke to serve her themes. Kui deploys sexual imagery in a lot of places in Dungeon Meshi, and this is one of them.

In this case, horrifically. The goat's assault begins with drooling, licking, and nuzzling. The goat could be enjoying and "playing with" its food. But it can also be interpreted as it "preparing" Mithrun with its tongue as it begins to literally breach Mithrun's body. The goat also invades directly through his clothing; that adds another level of disturbing to me. There's nothing Mithrun can do in this moment of violation. Mithrun is fighting, but he is fighting weakly, trying to grip on and push away when he has no ability or option to. All he can do is beg the goat to stop. And it doesn't care. This all evokes sexual assault.

The sixth panel demonstrates a somewhat sexual position, with Mithrun's thighs spread around the goat's hunched over body. In the next, the goat pulls and holds apart Mithrun's thighs as he nuzzles into him. The way the clothing bunches up looks a bit as if it has been pushed up. It has pinned Mithrun down onto the bed, into Mithrun's soft furs and pillows. It takes a place made to be supernaturally warm and comfortable, and violates it. It's utterly and intimately horrifying. To me, this sequence of positions directly evokes a rape scene. I think Kui did this very explicitly. These references to sexual invasion are part of what makes this scene so disturbing; albeit, to many viewers, subconsciously. It makes my skin crawl.

This is also the moment the goat takes Mithrun's eye. Other than this, the goat seems exceptionally strong, but also... gentle. It holds Mithrun's body tightly, but moves it around slowly. It doesn't need to hurt Mithrun physically. But in that moment, it takes Mithrun's eye. Blood seeps from a wound while an orifice that should not be pierced is penetrated. This moment, the ooze of blood in one place specifically, also evokes rape. That single bit of physical gore is a very powerful bit of imagery to me.

Finally; it is Mithrun's desire that is eaten. After his assault, Mithrun can find no pleasure in things that he once did. He is fully disassociated from his emotions. This is a common response to trauma, especially in the case of SA. It's not uncommon for people to never, or take a long time to, enjoy sex in the same way again; or at all. They might feel like their rapist has robbed them of a desire and pleasure they once had. I think this makes Mithrun's lack of desire a partial analogue for the trauma of sexual assault.

Mithrun's desire for revenge was, supposedly, all that remained. Anger at his assaulter, anger at every being that was like it; though, perhaps not anger. Devotion, in a way. To his cause. I don't know. But the immediate desire to seek revenge is another response to SA. But on to Mithrun's true feelings on the matter.

This is... So incredibly tragic. Mithrun feels used up. Like his best parts have been taken away. Like he's being... tossed aside. This certainly parallels the way assault victims can feel after being left by an abuser. Or the way assault victims feel they might be "ruined" forever for other partners. These are common sentiments for survivors to carry, and need to overcome. In the text, it's almost like Mithrun feels the only being who can desire him is a demon who might "finish devouring" him. That that's his only use. It's worth noting that Mithrun trusted the demon. Mithrun's world was built by the demon, and Mithrun, in that way, was cared for by the demon. I think this reinforces Mithrun's place as a victim.

There's also something to be said about Mithrun as a victim of his own possessive romantic and sexual desire. The mirror shows him his beloved just dining with his brother, and it infuriates him. He doesn't know if the vision is real, nor if she has really chosen his brother as a romantic partner. The goat then creates a whole fantasy world where she loves him. As Mithrun's dungeon deteriorates, she is the only person that continues to exist. Mithrun continues to have control over her. And that is the strongest desire the demon is eating, isn't it? There's something interesting there, but I don't know what to say about it.

In conclusion, I think Mithrun's story is an explicit analogue for sexual assault-- though, certainly, among other things! The way the scene plays out and is composed explicitly references sexual violation and invasion of the body. His condition mirrors common trauma responses to sexual violence. And, at the end, he finally realizes he can recover.

Let's end on a happy Mithrun, after taking the first step on his journey to recovery :) You aren't vegetable scraps Mithrun. But even if you were-- every single thing in this world has value. Even vegetable scraps.

#Mithrun #mithrun dungeon meshi #dungeon meshi #ren rambles #dungeon meshi meta #tag later #I refuse to post at prime time look at my dunmeshi meta boy #tw sa #sa tw #this is literally 1200 words slash 6 pages if I added citations and a proper essay format as well as an introduction to Mithrun's character #and general introduction of the text itself #this could literally be an academic paper #lmao #ren meta #rb this plsss i want ppl to read my essay

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theminecraftbee · 2 months

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anyway, so the hermit permits: this feel VERY MUCH like the hermits going “we did not like how little we used the shopping district in 8 and 9, we want to create a mechanism that not only brings it back but hopefully forces more collaboration by preventing one guy from having the super shop”. I’m here for it! interested in seeing how it plays out going forward, it definitely at the very least intrigues me! as does iskall mentioning that if he doesn’t keep up with demand the other hermits are allowed to rebel and take his rocket permit, sir what does that mean,

#hermitcraft #me loudly: REVOLUTION!#more seriously: it’s been A WHILE since we had a super relevant shopping district #even in s9 when it was theoretically the center of the king ren plotline that was mostly only about the shopping district on a meta level #and was really more about the quests and the storyline #so it’ll be interesting to see it come back! I hope it becomes a cool center for collaborative building

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artist-issues · 6 months

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I just NEED everyone to agree with me that Rey's parents are nobody. We should all agree about that. We should collectively, as an audience, say, "clearly the best idea was to have Kylo Ren be a dynastic heir to the major legends of the Force who wants to throw off his family's shadow, while his rival is nobody from nowhere who wants to belong--so we're going to stick with that."

And then, what should have happened is, Rey can finish her story by being able to say, "My parents might have abandoned me, but that doesn't mean I'm worthless." And eventually Kylo Ren can say, "My family might have been powerful, but I don't have to be," and all those other things that they can bounce off of each other as great foils.

It can keep being a good story about accepting past failures and choosing to grow beyond them.

Let's just all collectively ignore Rey Skypatine because of how silly that was. I mean. If they can just ignore the setups in the previous movie, we can ignore their choices in the conclusion. Right?? Right? Tell me I'm right

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vashtijoy · 13 days

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jose's star: a love token??

So I was on reddit this morning for my sins, which are many, and someone asked why they didn't get the 2/13 scene where Jose's star shows up faded and dead. This scene:

Most people thought this was something to do with Akechi's confidant, so obviously I datamined it at once:

The Star fading has, ostensibly, nothing to do with Akechi at all. But, it is conditional—and on something you might not expect: The Star will only fade if you have established one or more romance routes.

[tech]

This scene is called from the scheduler, on the evening of 2/13, in sdl02_13_PM_D_RE(). For every romanceable confidant, it checks two things:

Is their romance route active? (that is, is the flag set?)

Are they at confidant rank 10?

If these conditions are met, the game increments a counter. And if that counter is greater than zero, this star event will play.

wtf??

Obviously this raises a boatload of questions.

Why does the star only fade if you are in love with one of the girls? What is it about that that causes the star to fade? Or, conversely, what is it about not being in love with one of the girls that might mean you still need the star?...

The immediate Doylian explanation for this is that the text you get from your girlfriend(s), asking you to meet up on 2/14, is tagged onto the end of this scene. But that itself is strange. The game splits scenes into "minor events" for far less than this; I can't think offhand of another text chat or phone call I've seen which hasn't been its own little event, though I'm sure there must be some.

You can check the star on 3/19 and see that it still "emits a mysterious light"—though this appears to be the case even if the star faded. There's no alternate scene where you never get the text, which is de rigueur for texts like this. As an example, that short nothing little text you get during Sae's Palace before going to the courthouse has at least four variations. This is standard.

No, this discussion with Morgana about the star, and your plans to hang out on Valentine's Day, should have been at a minimum two different minor events. And they are not.

From an IC/Watsonian perspective, this has to mean that the star only fades if you are dating a girl. If you aren't, it seems the star has something left undone, something that requires its wishing power, and does not fade....

I'll leave the implications of that one as an exercise for all of you. Incidentally, a shoutout to the innocent redditor who hit on this theory by himself and proceeded to get downvoted to hell. smh

revision history

Click here for the latest version.

v1.0 (2024/04/16)—first posted.

#persona 5 #p5 meta #p5 tech #shuake #p5 jose #ren amamiya #goro akechi

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artbyblastweave · 7 months

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I think about Star Wars a lot more than I post about Star Wars, and I've had some free time recently to type up some thoughts on Episode 7 that've been swirling around in my head for a couple of years. There were a few ideas and plot beats, and moments of apparent self-examination in Episode 7 which I thought were fairly compelling, even though they ultimately paid no dividends:

First was Finn’s character concept. “Star Wars as experienced from the perspective of a Stormtrooper undergoing a crisis of faith” is a rich hook; humanizing and giving a face to what's basically the platonic implementation of the faceless mook. Unfortunately, the potency of the arc was undercut by the pre-existing textual ambiguity as to what stormtroopers actually are. Star Wars extended canon has settled on the idea that each trilogy features an entirely novel cohort of white-clad mooks, each with a fundamentally different underlying dynamic. The clones and the First-Order forces are different flavors of slave army; in contrast, the stormtroopers are more frequently portrayed in the expanded universe as military careerists, stormtrooper being a thing you work up to rather than a gig for a fresh conscript. A slave-soldier who defects is a very different character from a military careerist who defects, and they invite different analysis. There's a bait-and-switch going on here, in that Finn gestures in the direction of the familiar OT stormtroopers but can't comment on or examine them because he's actually part of a novel dynamic invented for the new movies. And there's one final nail in the coffin here, signaled by the number of times I've had to invoke the expanded universe so far. When Finn debuted, the racists were of course, legion, but I also ran into a number of people who were sincerely confused as to why they'd recast Temuera Morrison. Going off the seven films that existed at the time, it wasn't unreasonable to read the prequel trilogy as an origin story for where the OT stormtroopers came from. Going only off the nine films that exist now, it still isn't unreasonable! It's muddied from so many different directions by their failure to establish the ground rules in the mainline films before they tried to put on subversive airs about it. I am still irritated by this.

Next up is how Han Solo was written. I actually liked the tack they took with him quite a bit. Because initially, right, his role in the movie is just to be Han Solo. He's back, and he hasn't changed! He's still kicking ass and taking names, he's still the lovable scoundrel you knew and loved from your childhood- and the principle cast members react to his presence with the same reverence the film's trying to invoke in the audience, they've grown up hearing the same stories about him. Except that episode 7, at least, is also very aware of the fact that if Han Solo is still recognizably the same guy thirty years on, it indicates that things have gone totally off the rails for him. We find out that the lovable rogue routine is the result of him backsliding, his happy ending blown up by massive personal tragedy rooted in communicative failures and (implicitly) his parental shortcomings. It feels deliberately in conversation with the nostalgic impulse driving the entire film- here's your childhood hero back just as you remember, here's what that stagnation costs. And it also feels like it's in conversation with what was a fairly common strain of Han Solo Take- the idea that Ep. 6 cuts off at a very convenient point, and that Han and Leia's fly-by-night wartime relationship wouldn't survive the rigors of domesticity. Obviously, that's not the only direction you can take with the character; the old EU basically threaded the needle of keeping Han recognizable without rolling back his character development gains. But it felt like they were actually committing to a direction, a direction that was aware of the space, and not a reflexively deferential and flattering one, which at the time I appreciated! The problem, of course, is that for it to really land, you need to have a really, really strong idea of what actually went down-of what Han's specific shortcomings and failures were. And given the game of ping-pong they proceeded to play with Kylo Ren's characterization, this turned out to be. Less than doable.

Kylo Ren is the third thing about Episode 7 that I liked. His character concept is basically an extended admission by the filmmakers that there's no way to top Vader as an antagonist. Instead, they lean into the opposite direction- they make him underwhelming on purpose. Someone who's chasing Vader's legacy in the same way any post-OT Star Wars villain is going to, pursuing Vader's aesthetic and the associated power without really understanding or undergoing the convoluted web of suffering and dysfunction that produced Vader. It's framed as a genuine twist that there's nothing particularly wrong with his face under that helmet. Whatever it takes to be Vader, he doesn't have it, and he knows that he doesn't have it, and the pursuit of it drives him to greater and greater acts of cartoonish villainy. The failure to one-up Vader is offloaded to the character instead of the writers, and it was genuinely interesting to watch. For one movie. The problem, of course, is that if the entire character archetype is "Vader, but less compelling," you can't try to give the bastard Vader's exact character arc. You can't retroactively bolt on a Vader-tier tragic backstory when you spent a whole movie signaling that whatever happened to him wasn't as compelling as what happened to Vader. You can't milk his angst for two more movies when it's the kind of angst on display in "Rocking the Suburbs" by Ben Folds!

There's a level on which I feel like Moff Gideon was a semi-successful implementation of Vader-Wannabe concept; he's the same kind of middling operator courting the Vader Aesthetic for clout, but he's doing it in the context of the imperial warlord era, where there's a lot of practical power available to anyone who can paint themselves to the Imperial Remnants as a plausible successor to Vader. Hand in Hand with this obvious politicking, Gideon is loathsome, which relieves the writers of the burden of having to plausibly redeem the guy; he's doing exactly what he needs to do and there'll never be a mandate to expand him beyond what his characterization can support. Unfortunately, the calculated and cynical nature of how he's emulating Vader precludes the immaturity and hero-worship elements on display with Kylo, which is unfortunate; the sincerity on display in Kylo's pursuit of authenticity is an important part of why he worked, to the extent that he worked at all, and it'd be worth unpacking in a better trilogy. As he stands Kylo is a clever idea, and that's all he is- he lacks the scaffolding to go from merely clever to actively good.

#and these are my unsolicited star wars thoughts #thoughts #meta #star wars #star wars sequel trilogy #kylo ren #moff gideon #han solo #star wars finn #star wars meta #sw sequels #the force awakens #analysis

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vitruvianmanbara · 1 year

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Nana x "Where is My Place in the World? Early Shōjo Manga Portrayals of Lesbianism" by Fujimoto Yukari (tr. Lucy Fraser)

#augh #nana #upl #queue #when I first read this article I thought of them tbh like...they both come up against the ideas here in their own ways #hachi trying to moor herself & achieve maturity by pursuing relationships with men #nana wrestling with how she feels she can't succeed if she's tied to ren/managing feelings abt wanting to keep hachi close #a future with each other is not an option - both in-text and in a genre/meta sense - bc there are no men in that roadmap #nana feels so self aware in this way. like especially with hachi: by all external measures she 'grows up' - but it leaves her isolated #& still yearning for that connection she had with nana...but it's not possible within the confines of their stories and the genre #anyway i'm aware there's lesbians in shojo but the point of the article is examining why this is an anomaly. definitely recommend reading!

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pyjamacryptid · 8 months

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To Kill The King

GWEN & MORGANA (+ Uther)

I’ve been thinking a lot about To Kill The King 1x12 lately and how it established, early on, that Gwen and Morgana were narrative foils.

This would’ve been a fanvid if I had the time or less than 10 Merlin-related wips lol so it gets a meta post instead <3

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euyrdice · 10 months

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cheng xiaoshi and the loneliness of losing your parents as a child and being left alone. and the loneliness of being shunned by everyone around you your whole life and the loneliness of pushing them away. and the loneliness of living a thousand lives and carrying a strangers’ feelings and fears and loving the people they love only to leave them and their life behind and knowing it was never really yours. and the loneliness of having no one else who fully understands that constant grief.

#cheng xiaoshi #link click #shiguang daili ren #shiguang dali ren #🍓.shiguangdailiren #the inherent loneliness of being cheng xiaoshi #no one:#me: lets talk ab the loneliness in this character its ab the loneliness its ab the desire for connection its ab love with no where to go #my posts: media #link click meta #🍓.500+

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livelaughliushen · 3 months

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One day I’ll finally publish that 10,000 word long essay.

#svsss #ren zha fanpai zijiu xitong #mxtx #luo binghe #shen yuan #scum villain meta

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bisexualamy · 11 months

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thinking again about the idea that gallifreyan would have temporal pronouns that references an individual time lord ‘in general’ as opposed to referencing a specific rengeneration. and how the gallifreyan language probably has complex verb tenses or conjugations around not when events take place in the timestream but also tenses relating to where two time lords are in relation to each other.

in this vein, i love the idea that gallifreyan has three conjugations or words for the concept of “i can’t do or tell you that”:

“i am physically unable to do that / I don’t have the info you need”

“i am choosing to withhold this information and/or not do this / i promised i would not do or reveal this”

“i cannot tell you or do this because it would violate the laws of time / it gives you too much foreknowledge / it’s likely to cause a paradox”

while #1 and #2 can intersect, it makes sense to me that #3 would be its own separate concept or word. that it’s not just that you’re choosing to withhold something: you are bound by the laws of time to withhold it. you may badly, desperately, want to help this person change their future, but you know doing so could cause incredible damage to the timestream. “i’m so sorry. if it were up to me, i would tell you, but the universe won’t allow me to say.”

#doctor who #dw #gallifreyan #gallifreyan linguistics #dw meta #ren speaks #my meta

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magicpotatothoughts · 1 year

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I NEVER REALLY UNDERSTOOD LUO BINGHE UNTIL NOW

Holy shit I was so swayed by SQQ’s POV that I honestly never truly understood LBH’s intentions until I read this line In Ch 2 (SVSSS Seven Seas)/Ch 13 at the demonic evasion arc:

When a person is affected with Without a Cure, starting from their wound, their spiritual flow becomes disconnected. This schism slowly spreads to their entire body. In the end, not only does their spiritual qi coagulate and stagnate, so does their blood."

So then when in Ch 6 (SVSSS SS)/Ch 34, LBH fed SQQ his blood and subsequently used his blood to seemingly "torment" SQQ during the water prison arc, all of this got me thinking....

What if everything LBH did with his demonic blood this entire time was to save SQQ from Without a Cure?

Like yes, he probably did have other intentions such as tracking him, making SQQ horrified at the fact that he has demon blood inside him when he hated demons so much but I honestly think the main reason LBH forced SQQ to drink his blood, and I would even go further as to say that his main motivation when he trained under Meng Mo, was not to become the “strongest” in the general sense but to heal SQQ. Hear me out. The first thought white lotus LBH has when SQQ got poisoned in Ch2/13 was

the demons had harmed his teacher to the point that he might be crippled—he might even lose his life. And all because of him.

LBH probably was a direct witness to how a whole team of Cang Qiong mountain peak lords needed to revolve around SQQ, with Mu Qingfang constantly providing prescriptions and LQG clearing his meridians and probably YQY hovering around SQQ dying with worries, to maintain his health post the SHL -demon evasion, he must have felt absolutely terrible about it! And that guilt literally haunted our bing-pup like he never once stopped thinking about it; no wonder he offered himself to take care of everything including the nutrition of SQQ's food, snaccs, water, small-big errands, and even wanted to pick that "Snow something Lotus" flower for Shizun! Without a Cure affecting SQQ was on LBH's mind ever since he was 15 and for all 3 years he was in the Endless Abyss.

This is absolutely evident when black lotus LBH returned and started to chase SQQ, SQQ's inner monologue was cursing how Without a Cure is stagnating his ability to coordinate and run, I am certain that LBH was not blind to just how much SQQ was struggling with that poison in his body. My theory was further confirmed when LBH finally caught up to SQQ:

“While Shen Qingqiu was still in the midst of confusion, Luo Binghe flipped his hand over. “You were infected?” .....“This hand of Shizun’s is plagued with misfortunes.”

Bruh, LBH may be giving the sadistic energy of an abandoned demonic child (thanks SQQ unreliable narrator) but here is clear evidence that the thing he was most worried about is SQQ's blood coagulating and him dying of demonic poison. What this tells me is that Without a Cure seemed to be activated and/or further exacerbated by other demonic poisons. LBH was also clearly still carrying the guilt of SQQ saving him with that hand! Following on immediately, what he did was 1) punch SQQ, then 2) says "An eye for an eye. Since Shizun sowed the seeds, he should reap the bitter fruit himself. Shizun should personally make up for himself" and 3) straight up fed SQQ his demonic blood.

White Lotus LBH never died. Both actions are for the benefit of SQQ, 1) I think he did this to get SQQ to cough up coagulated blood after SQQ was poisoned by that Jin Lan City sower and 3) LBH's quick return from Endless Abyss was so that he can feed Shizun his heavenly-blood to help cure him. I have reason to believe that LBH's demonic blood is the CURE to WITHOUT A CURE. Why else pay such specific attention to SQQ's hand out of literally any other body-part after a 3 year reunion?

But what I find most fascinating is 2) LBH’s words are nearly always laced with double meaning. “An eye for an eye” here isn’t necessarily just him blaming SQQ for kicking him and unlocking his demonic heritage but he wants to repay SQQ for taking on Without a Cure back then by giving him his demonic blood as a cure now. Another interpretation is that LBH deflected feeling the guilt of indirectly harming SQQ by verbally jabbing him. He tried to make SQQ feel guilty about tossing him into the Endless Abyss when he himself couldn't bare to think that his Shizun got hurt again on the same hand that saved him all those years ago. SQQ of course is an unreliable narrator and tricks us into thinking that LBH's actions matched his words when if we look closer, they're LITERALLY THE EXACT OPPOSITE.

Right after the reunion, SQQ "didn’t know how he made it back to the Jin Zi Weapons Shop," which has me believing that LBH must have been doing something to surpress SQQ's Without a Cure's effects with his demonic blood.

During the Water Prison arc, LBH seems like he is tormenting SQQ by demonic blood manipulation but if we really read carefully:

…strange sensation of something crawling inside his blood vessels....Luo Binghe said leisurely, “Spleen, kidneys, heart, lungs.” Though it wasn’t to the point of extraordinary anguish, it was still awful to suffer through.

Doesn't this sound like LBH trying to get the blood in SQQ flowing again to prevent coagulation after SQQ had been in presumably a seated position for a long time jailed in the Water prison? Once again, LBH's intentions behind his actions are the opposite of his words, he may be emotionally hurt by SQQ's silent response to him asking whether Shizun regrets kicking him down the Endless Abyss but his first and foremost concern is SQQ's health. This totally explains LBH's extremely low anger points! SQQ seemingly mistook LBH’s worry as anger! If SQQ asked the System for LBH's worrywart points, it would have been like ~the limit does not exist~. 🤯🤯🤯

Bruh, it’s so telling when Gongyi Xiao went to untie SQQ's immortal binding cables two days later when SQQ noted:

His spiritual energy was unmistakably back in operation and flowing smoothly. When he’d been imprisoned, he had been in the middle of a random Without a Cure flare-up, but after two days of being tied up by the immortal-binding cables, the poison had unexpectedly been suppressed again. Was this following the same principle as fighting fire with fire, or how two negatives make a positive?

No SQQ you oblivious gay, LBH was circulating your coagulating blood for you and suppressing the effects of your poison! We as readers can get so misled by SQQ constantly worrying about how Without a Cure randomly stops his spiritual powers that we forget about the actual main issue, blood stagnation and coagulation, which can absolutely kill him. Also, when SQQ escaped the Water Prison, LBH didn't try to manipulate the blood in SQQ's body because now he didn't need to, he’s done it already. He never wanted to do more than what was necessary for Shizun’s health. LBH tried to convince SQQ to come back when he could have used his powers. SQQ always had agency because LBH loves and respects him too much.

The next time SQQ got poisoned was by that sower who hid amongst the Huang Hua Palace disciples in Hua Yue city right before his self-detonation. He couldn't attack the sower with fire but then complained that it must have been Without a Cure that flared up again. Somehow, silly SQQ kept randomly getting himself poisoned so doesn’t it make sense that LBH keeps track of his Shizun so that his own demonic blood could notify him of any potential future SQQ demonic poisonings?

Bruh, the worrywart White-Lotus LBH never fucking died, SQQ ah SQQ you silly silly man. LBH has always been, even if he says hateful words, worried about you and your health and made it his top priority. What made LBH lose his mind though were

everytime LBH tries to save SQQ, SQQ thinks that he is using his demonic blood/demonic poison to do all these unfathomable things when using demonic poison is literally the last thing LBH would do because he has literal guilt trauma around it.

SQQ keeps calling LQG, GYX and literally anyone else to save him when LBH has been the one doing all the work.

Then we arrive at Xing Mo’s recoil exacerbating LBH’s insecurities.

“Shizun, look at what I’ve become. Am I strong enough? Do you know how I spent those years within the Endless Abyss? For three years underground, at all times and all moments, my mind thought only of Shizun. I wondered why Shizun would do this to me, why he refused to give me even a single chance to explain or plead my case.”

He did so much for Shizun’s health but never got a chance to explain why! And then when SQQ self-detonated, LBH thought:

Didn’t Shizun hate his blood more than anything? Wasn’t he unwilling to even be near him, to associate with him at all? So why, at the last moment, had he so gently helped to contain Luo Binghe’s mind, as tender as he had been in those years long past?

The blood here doesn't just have racist but literal connotations, LBH literally thought that SQQ hated the very demonic blood coursing through his veins, so that's why he kept forcing SQQ to drink it. LBH's every action, with me now looking back at all this evidence, is SO fricking justified. From his POV, isn't it more like SQQ is the constantly sick child throwing a tantrum about not wanting to drink bitter medicine? LBH, After all this effort of forcing himself to go through literal hell, training himself, chasing SQQ, imprisoning SQQ (LBH is giving Lan Wangji energy here) so that his Shizun can stop accidentally poisoning himself, SQQ somehow got put in harms way again but on top of that, died because of him. SQQ died whilst also restoring and reaffirming himself as the Shizun who had once been so good to him. 😭😭😭

All this absolute adds so much more weight as to why LBH was never ever going to let SQQ out of his sight ever again, as a corpse or alive, from that moment onwards.

#Im truly sorry if this was all incredibly obvious information for the rest of the fandom but my pea-sized brain exploded ok #svsss spoilers #svsss #svsss meta #bingqiu #luo binghe #shen qingqiu #shen yuan #scumbag system #scum villian self saving system #ren zha fanpai zijiu xitong #mxtx #mxtx svsss #svsss analysis

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starstrike · 10 months

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I'm obsessed with how Shivers will outright tell you that the anodic music kids will fail. I think this implies that, even if you build up the club, nobody will ever visit it.

I think this was one of the times in Disco Elysium that I really... got it. After reading this, I decided to tell the kids to scram. They wouldn't succeed anyways. It felt terrible. I reloaded my save; I couldn't stand to do anything else. Just because hope, beauty, or love are temporary, does that make them any less valuable? Just because you know something will be snuffed out doesn't mean you shouldn't try. That hope and love is valuable for its own sake.

At the time, I was going through a severe depressive episode. I was moving out in six months before moving cross country, so why should I bother investing into my environment? I had this old fish tank I'd poured effort into, once. Got some new fancy aquasoil that would be great for my plants, but it needed time sitting underwater. I left it like that for… oh, months. This damaged, empty, sad little thing that I had once loved immensely.

But building that nightclub with those kids made me change my behavior. I got myself a $6 betta fish, shoplifted some plants from petco, and built my tank up again. Even knowing I'd need to break it apart. So what if it ends? So what if the dance club never becomes popular? You build something and dance with your community, even if your dream fails. Even if it ends. There was love there.

And I think that's one of the things Disco Elysium is about. The kids and their nightclub is a microcosm of the knowledge that the pale is enroaching on Insulinde and the rest of the world. There is a literal, tiny, hole in the world inside of that church. The hole is another reminder of entropy, of the End. And all of this takes place in an edifice of a centuries-old regime and a religion of maintaining the status quo. A religion of broken glass and broken promises. But you take those shards and build on top of them, transforming their meaning. You grow, you build, instead of apathetically letting things remain the same. You find hope and beauty and love even though you know it's unsustainable.

Because the 'now' is valuable in itself. And I love that about this game.

#disco elysium #disco elysium meta #shivers #acele #also pls rb if u like this teehee #ren meta #ren rambles

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luke-shywalker · 6 days

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I was skimming this interview Adam Driver did where he was saying 1) he’s not returning to Star Wars (good, let Ben Solo rest in peace lol) and 2) the original plan for Kylo’s character was to have him be the opposite of Vader, starting out unsure in the dark side but becoming more evil through the trilogy.

Y’all know I was fighting for my boy to be redeemed because redemption is one of the central themes of Star Wars. And a lot of the anti-Kyle Ron fans’ reasoning for not wanting him to be redeemed was that “he didn’t deserve it” (to which I was like, yes, correct, redemption is receiving mercy we do not deserve and could never earn.)

But I find the idea of Kylo Ren becoming more and more dark side and never returning to the light pretty interesting, because while redemption and forgiveness is a core part of my worldview, life in the broken world doesn’t always go that way. Sometimes parents watch their child reject the light and embrace the darkness, never to return, despite all their prayers and attempts at intervention.

We know TROS was missing a villain and that’s why somehow, Palpatine returned. It would have been interesting if Supreme Leader Kylo Ren was the big bad in the final movie. (Redeemed Kylo in TROS didn’t really feel real to me btw…I felt like I was watching Adam Driver act out “male lead” but not really know who his character was or who he was playing anymore lol)

I don’t have a lot more thought out to say, but I was just imagining dark side Kylo in his final form getting defeated in the last movie and everyone in the Resistance cheering like at the end of ROTJ, except for Leia. And Leia wondering why her father, the one she hates and can never forgive, was the one to turn back to the light and lives on in the Force, but her son, who she has loved since before he was born and cannot help but forgive, would not turn back and is gone forever.

#meta #kylo ren #the rise of skywalker

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aspoonofsugar · 28 days

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RWBY Volume 9 Epilogue: The Five Stages of Grief Again

As @greenteaandtattoos's friend noticed, volume 9 epilogue has its five narrators embody the five stages of grief:

Negation - refusal to aknowledge the truth, while clinging to a preferable reality.

Anger - lashing out on others in an attempt to channel one's pain and frustration.

Bargaining - being ready to negotiate, to give something in order to avoid loss. When death already happened, it is about exploring what ifs scenarios.

Depression - sadness, desperation and refusal to engage with others. It often comes with low energy.

Acceptance - coming to terms with one's loss and finding a new stability.

This isn't surprising, as volume 9 as a whole uses this motif. In particular, Ruby herself goes through the 5 stages twice. First to grieve over Penny and then to face her emotions towards Summer. Finally, RWBYJN reach acceptance (the main theme). Acceptance of death, loss, pain, change and of themselves. All in all, RWBYJ's journey in the Ever after is a metaphor for the process of grieving. Well, the epilogue shows us how the other characters have been dealing with this emotion.

So, here comes NORWQ as the 5 stages of grief:

Nora = anger: tbf she is the most difficult to pintpoint, as she fits the pattern less than others. Still, her section focuses on how Vacuans and Atlesians are both reacting with anger at the new status quo. Vacuans are frustrated that Atlas brought its own problems into their Kingdom. Atlesians are furious nobody came to help them. Nora herself enters into a short confrontation with two angry Vacuans and clearly projects her own past into the conflict. What's wrong with orphans? What's wrong with her?

Oscar = negation: our Little Prince is the only one that believes Ruby and the others might be alive. He even looks for an answers into books (mirroring how RWBYJ is grieving through a fairy tale). On a personal level, he and Ozpin are both fighting the merge, so they are negating a transformation, which is bound to happen.

Ren = bargaining: Lotus boy is trying to replace Jaune as the glue who keeps the team together. He is conscious of everyone's feelings and problems, but is not sure on how to handle them. Moreover, his section deals with how Salem's faction goes through a bargain. Sure, it lost some people in Atlas, but Tyrian and Mercury free the Crown, so that new forces are ready to fight for the Evil Witch of the West.

Winter = depression: our Winter Maiden is dealing very very badly with Penny and Weiss's lost. She blames herself for everything and is far away from accepting Penny's final teaching: "I won't be gone, I will be a part of you". Winter is struggling to honor both Penny and Weiss's legacy. If anything, she feels she isn't the right person to do so. Her section is also the most somber on a macrochosm level. As a matter of fact through her we discover Vale was destroyed by Salem and we see how the refugees are not handling their new situation well.

Qrow = acceptance: Qrow is Winter's opposite, as he is the closest to find acceptance. On a personal level, he shows he has integrated with Clover. He has embraced his friend's optimism and has learnt to love himself through him. This is why his semblance evolved and he is now able to bring both good and bad luck. This new found balance lets him find hope even in the bad situation the world is in. He sees how people are showing kindness and realizes Ruby's message is the first step into uniting Remnant.

Of course, our five narrators all foil each other in different ways. I have discussed Qrow and Winter here, so let's see what to say about Nora, Ren and Oscar.

RENORA = LONELY TOGETHER

Nora and Ren are going through an inversion of their dynamic. Nora is now repressing her feelings and avoiding Ren's attentions and offers of support. Ren instead is grieving openly and is trying to be open with his feelings.

Nora isn't even able to speak directly with the person she lost, but narrates talking to no-one in particular. She mostly speaks about the macrochosm and uses plural forms. "We buried our friends", "I think everyone lost someone that day", "For us it was a relief, but for the Vacuans", ""What if we can't go on, what if we are too scarred?". She is in a sense the embodyment of everyone's grief. At the same time, she is so disconnected from her own trauma, that she can only read it while projecting it on the world:

Ren: Nora, she is putting the world on her shoulders.

Ren instead is the one more focused on the feelings of the people around him. Through his point of view, we discover how the other main characters are doing. We realize Nora is too focused on the macrochosm, while Oscar has trouble with the microchosm (he just isn't himself). Ren is trying to balance out the two dimensions. He is grieving for Jaune and is inheriting his legacy. At the same time, he understands that just like his friends are fighting to overcome anger and pain, so is the world. By doing this, he once again draws a parallel between Nora and the World:

I think the epilogue of volume 9 (or the prologue of volume 10?) sets up Nora as a strong symbolic character in Vacuo. She is Vacuo itself, struggling with pain, grief and anger. She is Atlesian orphans, nameless children too scarred to go on. Ren's role will probably be to step in and remind her how beautiful she is.

OSCAR = STAGNATION

Oscar's conflict permeates both the microchom and the macrochosm. It is synthesized by this phrase:

Oscar: "You always believed in the best. You saw people for who they really were. Some of us don't know anymore."

Here, Oscar is speaking both:

Of himself, who is slowly and painfully merging with Ozpin

Of the world, which finds itself in "uncharted territory"

Oscar is uncertain. Of who he is. Of what to do. So, he looks up to Ruby, who was always certain and could "see the world through better eyes".

At the same time, Oscar's situation strongly suggests he is stagnating. He refuses to accept RWBYJ's death (he is right, but it isn't a healthy reaction). He fights the merge unsuccessfully. He can neither go back to the person he was before nor can he progress towards a better version of himself. Basically, just as Ruby is finding the path back to herself in the Ever After, Oscar is losing himself in Vacuo. This is (just like in Renora's case) an inversion to their previous dynamic. Back in Atlas, Oscar was the one progressing, whereas Ruby was stagnating. Right now, they start their stories in Vacuo in an inversed situation.

OTHER POSSIBLE FOILINGS

Of course, the epilogue/prologue offers several possible foilings that could be explored in volume 10. Here are some (but they aren't all).

Ren and Winter are both talking to the "sibling" they entered a conflict with in volume 8. Both grew distant from Jaune and Weiss, only to reconcile later on. Now, they realize how much Jaune and Weiss did to keep their respective families together. They celebrate their legacies and wonder if they might be able to live up to it. This might also foreshadow some foiling of Jaune and Weiss themselves, once they come back.

Qrow and Oscar are both talking to Ruby (to be fair, Qrow speaks to everyone, but thematically Ruby is her interlocutor). However, Qrow has managed to integrate (with Clover), while Oscar fights integration (with Ozpin (understandably so)). At the same time, Qrow focuses on how Ruby has changed the world, whereas Oscar focuses on how Ruby has changed him.

Nora and Qrow open and end the epilogue. Nora is the one who struggles to grieve the most (she is the only one who never visits the memorial, after the cerimony). She insists she must move on, but also wonders if she will ever be able to. Qrow instead is the one who deals the best with the situation. He finds serenity while at the memorial and grieves in a hopeful way thanks to the murales realized by the community. Both are very involved with helping people and the refugees. Nora is shown helping children and states she wants to help Velvet before eating herself. Qrow keeps going into meetings with Theodore, he spends time with Robyn and the kids and helps the Schnees giving out free food. Still, Nora is clearly wearing herself out, whereas Qrow genuinelly finds hope and energy. Nora is symbolically one of the orphans trying to carry the world. Qrow is instead a mentor, who has learnt he doesn't have to face the world alone.

OTHER THOUGHTS

Happy to see the Crown. I think Jill and Jax have the potential to foil Emercury to an extent, so I am happy to see them (it's them, right?) with Merc. It is also something I had always thought that Tyrian and Mercury's mission to Vacuo might have been to find some new allies there. The Crown were the obvious choice.

I feel neutral about team CFVY appearing so much in the epilogue. My guess is that they are set up to be minor foils to RWBY, kind of like the Happy Huntresses and the Ace Ops were in Atlas. I think the books give them enough set-up to solve their arc in a quick way, while commenting on those of the main characters.

I was surprised about the revelation of Salem attacking Vale. I wonder if she found the crown. I doubt it, so far and I think Glynda missing is clearly set-up as a future plot-point. In any case, we'll see. I am open to everything.

#rwby #rwby volume 9 #greenlight volume 10 #rwby volume 10 #nora valkyrie #oscar pine #lie ren #winter schnee #qrow branwen #rwby meta #my meta

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