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andrewwtca · 1 year

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a Soriku Endgame, Actually essay on Light and Darkness

Also available to read on Archive of our Own.

Kingdom Hearts, with Sora and Riku in particular, has been on my mind as of late. It’s always been on my mind, to be honest, ever since I first got into the series. It’s grabbed my hand and hasn’t let go, especially with all the new lore. And yet, I’ve been struggling to make peace with myself.

On one hand, I don't want to get my hopes up, thinking that Sora and Riku would ever become something 'more' or that what I’m seeing is anything other than in-depth speculation. I've had my heart broken before and this series means too much to me for me to foolishly dive in like this.

On the other hand, I can't ignore what the story is telling me, as a literary analysis enthusiast and as a diehard fan. There have been parallels established, setups finally going through, and Nomura has said before that “this series is not intended to be child-focused, and so the complexity of the story is purposely made prominent.” I can’t keep turning a blind eye, knowing everything I know, thinking everything I think. If I did, I feel like I would be doing a disservice to both my experiences with the series and my experiences as a person.

So yeah—Soriku Endgame, Actually. Today, I’m arguing its canonicality because of the balance of Light and Darkness (or lack thereof) throughout the series. Please enjoy my messy and impassioned essay!

a sky of falling stars

The Children of Destiny is a new concept introduced to us in the finale of Dark Road. To summarize, they are people with the ability to feel what others feel, connect, and become one with them—empaths with Light.

It appears that the Children of Destiny are all descendants of Ephemer, characterized by silvery hair. There's Ephemer, there's Baldr, there's Xehanort—and, oh yeah, there's Riku.

Upon the release of the finale, a lot of people—myself included—quickly jumped to the conclusion that Sora is a Child of Destiny, which isn't all that wrong. If we're going by what the games have given us, Sora is very special. What other character has housed five different hearts inside his own? What other character had an entire arc in Birth by Sleep talking about how he felt the pain in someone else’s heart?

But Nomura has insisted since the beginning that Sora is an ordinary boy, that he wasn't born with anything special, explaining that he “had the premise that a heart like Sora’s exists within all the players. Sora is ‘ordinary’, therefore everyone is ‘ordinary.” (Before anyone argues Nomura is just going through a retcon, I doubt he would go through with one to this extent, given how he has had the ending to the Dark Seeker Saga in mind for years.)

Riku, on the other hand, has not been given this kind of treatment at all. He's always been painted as a golden child, better than Sora at everything, being the original bearer of the Keyblade. For crying out loud, he had a light in Birth By Sleep that was seen from space, not Sora. If you factor in bloodlines, it wouldn't be too far off to theorize that Riku is a descendent of Ephemer's line. Riku isn't who most look at first, but all signs lead to him being a Child of Destiny.

But that doesn't explain Sora at all. He may not have been born special like Riku, but he's special somehow. After all, Nomura did finish his ‘Sora isn't special’ line with, “I figure even if you’re ‘ordinary’, for something important, everyone can exhibit a special power just like Sora.” Aqua even calls out that Sora is the one who can set things right, the boy who can touch others’ hearts.

And that is where the necklace theory comes in.

Sora has always been associated with royalty, sitting on a throne in box art or having crowns plastered around him—or on him. From his debut, Sora has had a crown necklace that has never been explained. Despite wearing it in every outfit, it's never been addressed how it came to be.

It’s after Aqua and Terra came, judging by the BBS cutscenes of him and Riku. But it’s before KH1, as that's when his journey began. That’s a huge timeframe, from being a kid to deciding to leave the islands, but it's easy to pinpoint a time when considering something the games still never fully fleshed out: the meteor shower.

In Chain of Memories, Sora and Riku fight over this memory they supposedly both had of Namine one night during a meteor shower. One of them promised they would keep her safe, and it's all cute until we remember that Namine wasn't actually in these memories. And Namine can't make any new memories—she can only rearrange old ones.

Sora and Riku both share this memory. And the way they fought over this memory gave it the utmost importance. It becomes obvious at this point that the both of them witnessed a meteor shower, and given what we know about their dynamic (and that's a lot), it would make sense to assume it was Riku promising Sora to keep him safe—almost like a charm.

The necklace theory has been around for years, but it’s only after the Dark Road finale that it was expanded upon (or perhaps it’s just me and maybe three others who think this, but I don’t mind one bit.) It isn't just Riku promising to keep Sora safe. In giving Sora a necklace, a crown, Riku has metaphorically crowned Sora. He has brought Sora up to his status as a Child of Destiny, putting all his love into a charm that he hopes can keep Sora safe.

There’s a flaw in my logic though, trust me, I know. I just said that this meteor shower didn’t happen until after BBS, and yet it’s during the game that Sora feels the pain of others, it’s during the game that Aqua says that Sora is going to be the one to set things right. But I still stand firm in my belief. Riku has always been painted as the golden child, the Child of Destiny, but his love for Sora runs deeper than his love for anything else.

Riku’s light is the one that brought Terra and Aqua to Destiny Island but Riku’s light shines for Sora; sort of like step one to Sora’s crowning. Riku’s light rubbed off on Sora, ever since they were kids—after all, a Child of Destiny’s power is to connect hearts. Why not connect his own with another? Why not share his light?

Further, in BBS, Sora can feel Ven’s pain and take care of his heart, but he isn’t fully aware of this nor is he able to really do anything about this. It isn’t until KH1 that Sora ever exhibits a power of truly connecting to another’s heart when Sora entered the darkness swallowing Riku and touched Riku’s heart’s light to obtain his Keyblade, explained by Nomura himself. And it isn’t until KH3 that Sora finds the power to wake up Ven’s heart.

Regardless of whether or not I’m right about this, it means Nomura isn't technically wrong about Sora being normal. Sora, no matter what, doesn’t have some divine birthright, but he still has the makings of someone who can bring peace to the world—all thanks to Riku.

This helps set the tone of their relationship, of the depth of Sora and Riku’s bond. It also moves the storyline forward to how they will be the ones to instigate change—but I’m getting ahead of myself. Let’s first talk about who once were and who they could’ve been.

in another life

Kingdom Hearts is pretty on the nose on parallels between Xehanort/Eraqus and Riku/Sora. Besides personality, Xehanort and Riku are both Childs of Destiny who give in to the darkness and Eraqus and Sora are endless sources of light. But the parallels don't exist to make us empathize with Xehanort/Eraqus: they're to tell us a cautionary tale of what our protagonists could've been.

So it begs the question, what actually separated Sora and Riku from becoming like Eraqus and Xehanort? Let’s start with Riku.

To recap, Xehanort was a student in Scala ad Caelum alongside Eraqus, who watched all his classmates die. He learned from Baldr about their roles as Children of Destiny and in his grief, became obsessed with wiping the world clean. He wanted a Keyblade War to create a fresh start, void of Light and Darkness, so that the world could try again.

Riku seemed to have been walking the same road as Xehanort. He stopped fearing Darkness and started dancing on the line between it and Light. Riku was angry at the world and angry at his friends, and perhaps in another life, he may too have wanted to wipe the world clean.

But every time I compare him and Xehanort, I can't help but think that a cautionary tale isn't what Xehanort/Eraqus is. Because I can't help but think that it just could never have happened to Riku, and it's for two main reasons:

1) Hope.

Riku has hope in the world. When we look at all the other Children of Light, they all had a Darkness that took them down (although in Ephemer's case, it was a literal Darkness that killed him). Baldr lost himself in grief. Xehanort lost himself in rage. But not Riku.

When Xehanort saw that the world couldn't be fixed (to how he believed it should be), Riku did not even see a world that needed fixing. Riku saw the world in all of its complicated glory. For instance, Riku is one of the first characters to acknowledge the feelings of Nobodies; their pain, and their love. He doesn't see them as an extension of Darkness or Light. They simply are.

Riku believes in redemption. It's been his entire character arc, after all, to redeem himself and walk the Road to Dawn, a term coined way back in CoM. Ever since then, Riku has been closely associated with the sunrise—night turning into day. Darkness becomes Light. Redemption. This symbolism is shown in box art, said in interviews, even his Keyblade is called the Way to Dawn.

The fact that Riku was even able to think of the Road to Dawn proves that he's nothing like Xehanort. Xehanort believes that there is no redemption because the world needs to be wiped clean. But Riku believes that there is a road he can walk, a road he can take to salvation because the world is not good or bad, but made for people to live and learn. But how? How was he able to walk that road? He has hope, but how was he able to use it? And that's the second reason.

2) Sora. Riku has Sora.

It may feel a bit obvious to say, but it's true: the fact that Riku is Riku; Sora is Sora; and their relationship is the way it is, is the key to why they would never have fallen to the same fate. We don't know the full extent of Xehanort and Eraqus's relationship, but it's safe to assume it wasn't as kind or loving as Riku and Sora's ever were. The two would play as kids, promise to keep each other safe, tell secrets—the two became princes of destiny together, destined to fight their way home.

I can't see Xehanort and Eraqus as anything more than students in a fucked up situation. Because when things got bad for Xehanort, he didn't think of Eraqus as his guiding light. He only thought of what he lost. There’s even a line in Dark Road of Xehanort hearing Eraqus crying in the other room, yet he never comforts him, never approaches him. They suffered alone, too afraid or perhaps too blind to reach for one another.

When things got bad for Riku, he saw Sora. He saw how Sora loved Kairi and sacrificed himself for her, and he saw that Sora was forgiving towards him. The reason why Riku and Sora didn't end up like Xehanort and Eraqus is that they simply aren't them. Their bond is deeper and their love is stronger, and Riku’s hope is simply stronger than Xehanort’s ever was.

It’s important to emphasize that this truly is a feat that only Riku (and Sora, one day) could’ve accomplished. It's natural to us that Riku, one of the series' protagonists, was able to do this. It's easy to shrug off the balance he managed to strike between his Light and Darkness, but for so many actually in the series, it's an incomprehensible thought. Mickey even stated in CoM, that Riku introduced Light and Darkness in a way nobody has ever seen before. To understand how this affects Sora and Riku’s relationship, it’s important to understand the way things currently are.

the light we pass down

Light and Darkness are the very core of this series. Light represents the connections you make with others, while Darkness represents the lack thereof—those with Darkness in their hearts are those who walk alone, while those with Light are those with many friends around them. Darkness is selfishness, and Light is selflessness.

Darkness is usually framed as an inherently evil source in many stories, but it's something that cannot be extinguished. Light needs to be there to balance it.

But Kingdom Hearts seems to be going down the path less taken—yes, Darkness isn't 'good', and it isn't desirable to isolate yourself from the rest of the world. But the series is asking the question many like to ignore: when does Light become Darkness?

In nearly every game, you can trace one character fed into the illusion that Light is good, everything else is bad, and the needs of the many outweigh the needs of the few. MoM to his pupils in Union X; Odin to Baldr in Dark Road; Eraqus to his children in BBS; Yen Sid to Mickey in forbidding him to speak of Aqua; Donald and Goofy to Sora in telling him that their ship runs on happy smiles. It is generational trauma.

A cycle of hypocrisy has been forced on not only the 'defenders of Light' but 'agents of Darkness.' Xehanort doesn't care who he hurts as long as he can get his own idea of balance in the world, believing his judgment to be supreme to others—despite his initial thoughts in Dark Road, that unless someone's heart is pure Light, how can one know for sure what is right and wrong? To which Eraqus responded that they as Keyblade Wielders held the supreme judgment towards morality.

Again and again, this cycle of defending what they believe is good and Light repeats, hurting themselves and hurting others, and even Sora is not free of this hypocrisy. While he doesn't go out of his way to hurt others the way Xehanort has, he is capable of hurting others: Riku was hurt by Sora in KH1 when he was silent when Kairi suggested leaving him behind or when he shrugged off Riku going missing in Traverse Town. In CoM, when the idea of him ‘abandoning’ people was presented, he acted out harshly and completely rejected the idea (this is all another parallel to Eraqus!)

He even denies the idea that Riku has hurt others. Despite Riku acting out of his own free will, the reason he feels the need to atone and walk the path to redemption, Sora believes that the Darkness was forced on Riku by others.

Sora has been carved into the same mindset as so many others, the idea heavily tackled in Dark Road, that Darkness is only brought upon by others, and that it needs to be expunged. Sora is a firm believer that the Darkness is something to be eradicated, such as with his encounter with Vanitas in KH3. When Vanitas states that he is simply Darkness, Ven is quick to understand and even accept. Sora, on the other hand, rejects this and insists that it isn’t okay.

Even our series’ protagonist is unable to shake himself from this self-righteous, black-or-white thinking. Riku is the only character in the series who has formed an actual balance in himself, with all other characters having to pick one side. Lea, Xion, and Roxas leave the Darkness of Organization XIII and become Keyblade Wielders. Terra embraces his Light, Aqua leaves the Realm of Darkness, and Ven is literally separated into a being of Light and Darkness (although not out of his own volition).

The series is not framing any of these things as negative—there’s nothing wrong with embracing Light. However, these characters are falling into the same cycle that the generations before have; they will once again be faced with a Darkness too deep to defeat and ignore. It must be talked to, reckoned with, and faced with open arms. Riku has been the only one able to return the hug and walk away.

We’ve explored what makes Riku’s character arc so significant and what Sora’s flaws are, and it’s time to dive into the murky waters of the future.

when does the sun become the night?

Sora. Oh, Sora. I love you, Sora. Now let me tear you and your smile apart.

The parallels between Xehanort and Riku are very on the nose and easy to distinguish; meanwhile, Eraqus and Sora are a bit more challenging.

In BBS, Eraqus is the Master of Aqua, Terra, and Ventus. He forms a bond between them, as one would expect, mentoring and looking out for their well-being. The Light in his heart is strong due to his connections with them, alongside being a Keyblade wielder. Although not perfect (feeding into Terra's insecurities about his Darkness, cough), he does care for them. But when the world falls to Darkness, Eraqus doesn't hesitate to be selfless, to give up his connections, the Light in his heart, to kill them to save a greater good. As long as someone somewhere can benefit from his actions, he isn't harming.

But is that selfless? Is sacrificing for a 'greater good' truly selfless? Is there a line between the needs of the many and the needs of the few? Or is there a certain ‘darkness’ that comes with these acts? Disregarding yourself, disregarding others, selfless yet selfish; it's not the right thing to do, and the series doesn't hesitate to frame it as that. What Eraqus did was wrong. He hurt others, even if he refused to acknowledge it.

And yet, no one seems to make any noise toward Sora.

Sora is a Guardian of Light. He is the cheerful protagonist who makes everyone smile and feel better. Ever since the first game, when Donald and Goofy (although not with ill intent) told him that the Gummi Ship runs on happy faces, he's been under the precedent that his emotions do not matter in the greater scheme of things. In the long run, what matters is that others are safe, the people he cares about.

Once again, like how Xehanort and Riku deviated in terms of having hope, this is where Eraqus and Sora begin to deviate from their parallels. While both are selfless to the point of ‘darkness,’ they show it in dramatically different ways. Eraqus is willing to hurt the people he cares about (and by extension, himself) to serve this 'greater good', but Sora is only willing to actively hurt himself.

I feel the need to remind everyone that this is a teenager we're talking about. If we weren't in a franchise partially owned by Disney, I feel like more people would be willing to call this what it is: suicidal. This is not Light.

We've already seen ways that this harms Sora outside the narrative and the whole getting sent to Quadratum thing in his Rage form. Sora transforms into a drive form that’s oddly reminiscent of his time as a Heartless and can unleash powerful attacks that lower his HP (hmm). Furthermore, this form only appears when his HP is low (double hmm) and stated by Nomura, “based on him going into a rampage state, controlled by feelings of anger (triple hmm).”

Back inside the narrative, the climax of KH3 was Sora believing that he's worthless without his friends, genuinely worthless, and unable to fight at all. This is the very definition of a Light gone too far when remembering that Light is the connections you form with others. With too much Light, Sora lost himself. He couldn't find himself past who he was for others.

In the section prior that broke down generational trauma as it appears in Kingdom Hearts, I mentioned that Sora does not only end up hurting himself but passively hurting others around him, most notably Riku. Sora is unable to understand that Darkness is not the absence of all good but rather the shadow that simply follows you around. Sora cannot understand that Darkness is not something to be shunned, to never talk about. (This could also be tied back to his Rage form—while he does not actively channel his anger to hurt, that is what happens; only to never be acknowledged by him.)

(Off-topic, but I find it funny that Sora, who is so keen on the idea that Darkness is Not Good, was only ever to have a proper conversation with Riku in the Realm of Darkness. It’s very telling to their characters.)

Kingdom Hearts is setting up a narrative that Light and Darkness cannot exist in excess. That Light doesn't exist to balance out the Darkness, to stop it from becoming too strong—you need Darkness to exist as well.

Sora has gotten this far along the story and still hasn't managed to learn this, because it’s just not something you can learn (or unlearn, rather) on your own. Because this kind of thinking isn’t undone with hours of contemplation; in a fitting Kingdom Hearts fashion, it’s connections that lead to the revelation.

the roads we walk

Xehanort and Eraqus fall out with each other. They stop talking and sever the connection with each other. That was a core reason things got as out of hand as they did for each other; they weren't keeping each other in check. Xehanort's Darkness left him blind and unable to see that there was Light after all, and Eraqus's Light blinded him and left him stumbling with a Keyblade for a 'greater purpose.' Their hearts fell too far to one end of the balance, leaving the scales unbalanced.

Riku and Sora do not have that. They have a connection like nothing seen in this series before—Riku had literally raised Sora to become a Child of Destiny alongside him. The Light of their hearts is just so awe-strikingly bright.

Sora, however, has lost himself in all his light. He is stuck in the same bright room that Eraqus was, stumbling around with his Keyblade. But where Eraqus was forever lost, Sora can be found: because where Riku had Sora to guide him to the Light, Sora will have Riku to guide him through the Darkness.

Riku spends the majority of his character simply proving that he is capable of redemption. It takes him the ending of a game to realize the errors in his ways and another game to figure out the solution he must fight for, and these weren't revelations he finds on his own—he found the first with Sora and the second (in CoM) with Mickey and Namine.

For Sora to even have the revelation that he cannot keep shutting out the Darkness in him unless he wants more pain for himself and others, he needs someone to help show him that is an option. And who else but Riku, who is living proof that existence isn’t just black-or-white, Light or Darkness?

Riku is Sora's foil. A foil is a character who either has pronounced differences between themselves and the protagonist or is so alike that a contrast appears. Riku is the ladder, similar enough to Sora that one can begin to make assumptions about where the story is heading. Their similarities aren't hard to find: they both hail from Destiny Islands, they both have a love for adventure, they both were assumed to walk a path of Light for the rest of their lives, and they both care deeply for each other. The contrast begins in KH1 when Riku begins his fall to Darkness while Sora remains firm in his standing.

Riku’s arc ended with acceptance; he needed to accept the Darkness and the Light inside him to find peace. It’s only natural that his foil, struggling with the same imbalance, would go through a similar arc but still different enough to be his own.

It isn't just the story telling us this. Riku has always been associated with imagery of dawn, the breaking of Darkness into Light, and Kairi is always associated with imagery of dusk, the breaking of Light into Darkness (which is a conversation all on its own). Sora, on the other hand, is associated with a large blue sky (his name, after all, does mean sky.) It's not hinting towards a journey of any kind—not a redemption like for Riku.

He is the daylight. He is the Light in everyone's lives. But ‘Sora’ doesn't mean the day sky. It simply means sky. Sky, at day or night—and I don't mind if you call me reaching at this point, but it feels like it's calling out to the fact that Sora needs to accept that he is both Light and Darkness, the way the sky is both day and night.

Nomura has even stated in an interview before when asked about the two different versions of the Dream Drop Distance illustrations that he “wanted its composition and look to remind [the player] of the title’s catch copy, ‘Darkness becomes light, light falls into darkness.’” The parallel structure of the tagline serves to mirror the parallel structure of Sora and Riku’s paths, Sora’s road to night and Riku’s road to dawn.

But I digress. Exhaustively, it’s very apparent that Sora is heading toward a climax, a Darkness he cannot ignore. His breakdown in KH3 was left unspoken, unresolved, and his disappearance only contributes to the fact that he’s heading toward another breaking point, where the cheerful protagonist can no longer remain cheerful. But like in KH3, something is going to be the same: Riku.

At his lowest point, it was Riku who was next to him, telling Sora that he believed in him. It was Riku who carried on when Sora couldn’t. Riku is going to be key in Sora's journey to night. Riku was able to find his Road to Dawn by remembering Sora. He was able to walk by remembering his love, his passion, his everything, and it was because of Sora that Riku found balance. He found the Light within himself, and he learned to accept that the Darkness would always be a part of him, the way it is for others.

Sora's arc will be spun into motion because of Riku. The next installments of Kingdom Hearts are setting up that Riku's dreams are the key to finding Sora, implying perhaps that it may be Sora and Riku all alone in a world. Whatever the case, Riku is going to be by Sora's side, as that is where they are at their best, to face Sora’s worst.

And it's fitting. Riku had to go from Darkness, defined as a lack of connections, to a balance with Light, having connections. He went from his isolation, wearing a blindfold and not being able to face anyone, to being the charming Riku we all love, fighting alongside the Keyblade wielders. His journey would have him open up, so he would be joined by memories, ghosts, not by people until he began to embrace others.

Sora will be going from Light to a balance with Darkness. He'd be going from connections to a lack (though not in the same extremes that Riku did), in a sense. Understandably, he can’t do it alone, make such a drastic change; he'd need someone.

This change, this balance, this emphasis on connections, it’s guiding us to what the narrative has been trying to tell us all along.

we can be the darkness, and the light, and the sunsets and sunrises too

When asked about the theme of KH3 and the entire series, Nomura answered, “It’s in the title: hearts. The consistent theme across the whole series is ‘What is a heart?’”

Kingdom Hearts is going to be doing something unprecedented in not only a lot of media but in its world itself. While the idea of Light and Darkness existing within characters is not new, the characters aren't exactly behind that idea. Most of the Keyblade Wielders and Guardians of Light cherish the Light above all else—while all the primary villains worship the Darkness. They fight for a balance but don't fully grasp that within (nearly) all of them lies both entities.

Riku seems to be more accepted in the world, as he did join the Light in the end. But what Sora would do is... just absolutely bonkers. He will be embracing a Darkness in him, the same kind that Terra and so many others were taught to push out. Sora will be... well, a teenager. Happy and angsty and all the things teens are.

This is where Kingdom Hearts has the chance to seal the deal, to fully welcome this balance of Light and Darkness: a relationship between Riku and Sora.

For all Guardians of Light, there is a generational trauma hanging over their heads and haunting them, and Sora will need to accept his Darkness to combat it, but the story can't end there. The games have been building up the idea that Sora will be the one to bring change to the world, that Sora will be the one to end this cycle. He won’t just accept his Darkness but lead a new age. He will be the one to show that there's a different way (or really, only one other way) to move forward:

Love.

Unconditional love. Not love depending on whether they fit the wielders' definitions of Light and Darkness, not love depending on the amount of Light in someone's heart, not love clouded by hypocrisy. Just pure love, forever forgiving and growing.

So who better for Sora’s love than Riku?

Let’s get all the arguments for Kairi out of the way first. Some may say that Kairi could still fulfill this role of spreading love in the next games, but that’s only if her role in the story is completely revamped. She represents friends growing apart as they grow older yet remaining close. While Sora and Riku represent a balance between Light and Darkness, Kairi represents holding a Light close to your heart, even when it's so far away; fitting for her story of being ripped apart from her home.

The games keep pushing the friends' growing apart narrative rather than pulling from it, having Kairi remain with Aqua to train while Riku goes after Sora. There is little space for Kairi to suddenly walk a road to dusk that leads to romance. Especially because it’s Sora and Riku who are the Children of Destiny, they are the ones who will connect to other hearts and bring change, not Kairi. Her lesson would be for herself, not for the world to see.

A relationship between Kairi and Sora would just be backtracking on this message. Sora needs to accept his Darkness, but joining forces with a Princess of Light does not challenge any norms, it does not provide a new answer. It makes sense because the core of Kingdom Hearts isn’t a Prince and Princess of Light—it’s two boys who saw the night sky fall one day, two boys who grew up together, two boys destined for something greater who write their own paths anyway. It’s Sora and Riku. Nomura himself has stated that “Sora and Riku represent the theme of the Kingdom Hearts series, which is the ‘light and dark sides of the heart,’” the essence of this essay.

Carrying on, some may stop me here and say that their love doesn't need to be romantic for a point to be made. But I argue that there is no other way.

Romantic love in stories often serves as the culmination of the story’s themes. In Leigh Bardugo's books, her romances serve to show the importance of love and healing. In the Shadow & Bone trilogy, Alina has the options between the Darkling, representing power, Nikolai, representing nationalism, and Mal, representing love. Just love. Not one befitting of a Saint, someone to change the world, but that’s not who Alina wanted to be; she just wanted a happy ending. Shockingly, she picks Mal. In Six of Crows, Kaz and Inej's romance, both traumatized teenagers, serves to show that you can heal and you can love. They're both scared of people, scared of intimacy and yet they still love with all their scars on display.

In Revolutionary Girl Utena, the romance between Utena and Anthy reaches its climax at the end of the show, displaying the vulnerability of both girls and the rawness of their feelings. But most importantly, it drives home the message: that the power to bring revolution is not the power of a prince or a witch. The power to change the world is love. The only way to change the world to be suitable to live in is through love. The power, a revolution, brought by love.

Romance is a revolution. It’s often saved for the last act of stories because of how it acts as a thread between all of the themes. In Kingdom Hearts, the theme needing weaving is balance: balance between yourself and others, balance between selflessness and selfishness, balance between Light and Darkness. Sora and Riku getting together would be Yin and Yang—a boy who had to accept his Darkness and a boy who had to fight for his Light. They complement each other and fill where the other lacks.

Likewise, a relationship between them stresses the importance of connections. Tai Yasue, co-director of the series, has stated that “the theme of the KH series is ‘connections of the heart,’” and the narrative will take advantage of any opportunity to let that theme shine. Previously, many defenders of Light would sacrifice their connections with others for a greater good. But Sora and Riku choosing to love each other, choosing to love the Light and Darkness in each other instead of trying to chase away their Darkness, is showing that love is their other option.

Sora getting with Kairi challenges nothing. It tells the others that Light must be with Light, that good must be with good. Even their grand attack in Re:Mind is two giant angel wings where they proclaim, “Light!” Sora and Riku, however, show that Light does not mean good. It shows that people can do bad things, and it doesn't make them bad, because people are not black and white. Like two kingdoms forever at war with each other, finally coming together and realizing that the other side is human and that you can't simply demonize them.

Sora and Kairi say there is nothing wrong with the world. To carry on. Sora and Riku say that there isn’t anything wrong with the world; it’s the people looking the wrong way. There is nothing wrong with what’s around us. Nothing wrong, nothing right. “Nothing is whole, and nothing is broken.” It’s simply being: being Darkness, being Light, being both, being neither.

It has to be Sora and Riku. It's always had to be them. Riku brought Sora up to the status of a Child of Destiny, and their journeys were led by each other, their character development taught by one another, and their acceptance will come from (an eventual) conversation between the two about their pain and hurt and Darkness, it’s all always been leading here. To this moment in time where they show the world all the hurt they hold and how they carry on with.

All of that, and loving each other?

They are crossing the line, as Hikaru Utada sings in Don't Think Twice. They are going to be crossing every line established in Kingdom Hearts, and this is their power. Their revolution. Their predetermined yet self-made destiny. The payoff for years and years of searching and yearning and pining and chasing is a love that brings revolution, and oh...isn't that just romantic?

That is the answer to “What is a heart?” The heart is the love you have, despite it all. The heart is the connections you make, despite it all. The heart is your Darkness and your Light and your experiences and your fights, despite it all. The heart is Sora and Riku, despite it all.

grant us the power to bring the world revolution

A lot of this analysis really depends on whether or not you believe Sora and Riku are in love with one another, I realize. You may agree with me that it seems fitting that their coming together as a pair would catalyze all the themes in Kingdom Hearts, but you disagree that it means they'd ever be a pairing. Which, I'd like to thank you for at least hearing me out.

The queerness of their relationship means there will always be naysayers to them getting together, there will always be people claiming that I'm reaching. I do not care if you see them as brothers or ‘just’ really good friends. I see a love story. I see a love story and a love story saying to love, above all else. Do not judge others for you don't know what is wrong or right, for you are biased, for you are flawed, for you are human. Love others for that is the heart's will. Love.

I see that their getting together would be a testament to that love. To that forgiveness, to those flaws we have. It would be an acceptance of Riku's pain and Darkness that he mysteriously doesn't want to acknowledge, it would be an acceptance of Sora's pain that he's been bottling up ever since the beginning of his journey, and it would be an acceptance to the Light they both share. It would be the balance that so many generations have looked for and couldn't find because they did not practice acceptance, only judgment.

Sora and Riku getting together is acceptance and it's proof that love is the answer to a generational trauma that has been around ever since the beginning of time. So yeah: Soriku Endgame, Actually.

Thank you so much for reading! I’m a really big fan of stories about light and darkness and the balance between them, stories about love, and just Kingdom Hearts in general. I didn’t want to keep these thoughts in the back of my head and I’m glad I wrote them all out, even if it’s messy (and a shocking 6k words long...) Kingdom Hearts is a bit messy, after all.

If you're interested in more about Sora and Riku's relationship or just literary analysis of KH in general, please check out Constructing Kingdoms on YouTube, as it helped give me the words to write a lot of this essay. Further, if you're in total denial that there is any queer text in Kingdom Hearts, please check out this amazing video essay on Riku being gay.

That's all I have. Please feel free to share if you have any disagreements or if any parts really spoke to you, or if you have anything to add, or anything really. These two live rent-free in my mind, and I don't mind talking about them or about how they're just so perfect to change the world.

Thank you. Spread love (and the Soriku agenda.)

#kingdom hearts #sora #riku #sora and riku #soriku #soriku endgame actually #media analysis #literary analysis is my special interest #andrew's essays #meta essay #kh meta

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riddlebot · 1 year

Text

Welcome Home - Beginner's Guide!

Want to get into Welcome Home but overwhelmed and not sure where to start? This post is for you!!

I've seen a lot of people who are interested but aren't sure where to begin, or even how to begin! Lucky for you, we are currently in the prologue, so it'll be easy to get caught up!

I'm gonna put this under a read more because it's quite a big chunk of text.

For starters, I'm going to post some of Clown's (the creator of WH, @partycoffin) wishes as far as fandom and engaging with content:

No publicly posted NSFW (as of right now) of the characters! Clown has stated they aren't sure how they feel about this just yet, and so have asked people to not do this. Do not sell merchandise or art with WH characters! This is Clown's intellectual property and he is just one person! The only person that should be making money from WH is Clown! Please don't repost people's art, including Clown's! It's really sad this has to be stated at all - everything on the website is free to use and spread around, but don't repost Clown's art from his blog or twitter! Not everything is canon and reposting old art confuses newcomers and is also just rude. Shipping is fine, as is fan works, making OC's for WH, and cosplay! Do not send Clown theories, fanscripts, comics, ect. They are still working on the story and do not want to accidentally use someone else's idea.

CONTENT WARNINGS! This is directly from Clown's website.

Common attributes in Welcome Home that may not be suitable for all audiences are listed below!

Eyes, eye contact, or staring.

Unreality or derealization.

Gore.

Puppets or mannequins.

Exploration of heavy topics, like death, isolation, and mental health.

Auditory unease, such as unpleasant sounds.

------------------------------------------------------------------------------

Its also important to note that this is currently the prologue and the story itself will not actually start for quite some time. Also, the only things that are currently canon are things that are found on the website. Any of Clown's concept art or art found not on the website is not canon within the story at this time.

Now, with that out of the way - here is where I would recommend getting started! Like a lot of other current WH fans, watching NightMind's video introducing the ARG is a great start! He also has a second video outlining some of the clues he and his audience found.

The second video isn't a necessary watch as I will be going over all the clues here, but it's there if you want it! (Note, the second video is a stream VOD of his and his stream alerts can be quite jarring and loud so just be warned.)

There is also this google document with an outline of clues, but I'm going to list most of them in this post as well in a more cohesive way.

HARD EVIDENCE - I'll be outlining them page by page, and only listing things that are not speculative evidence.

Intro Page (/welcomehomeyou) - Scroll down to the blurb at the bottom of the page titled Website Updates. In the first paragraph you should notice the letter Y in the word "your" is offset from the rest of the text.

Welcome Home (/whats-welcome-home) - Underneath the black and white drawing of Howdy there are 2 paragraphs of text. In the last sentence of the second paragraph, the W of Wally's name is offset from the rest of the text.

About Us (/about-us) - In the FAQ there are several things of note. - First, in the answer to "How did you begin you research into WH? There is hidden text visible when you highlight over it that reads "But it hurts." Seemingly in response to them being thankful to be the first to start this journey. - There is text laid over (or under?) the answer to "Why did you make this website?" It reads: "When I unwrapped the first letter, I felt it. I heard it. Open. Open. Open. I want it out. I’m going to get it out." At the end of this answer, the apparent restoration team says "It mean it is inside of you too, then," in relation to other people having said they remember the show. There is also more hidden text that seems to follow this, asking: "Does it hurt?" - Further down, after the end of the answer about episode numbers, there is more hidden text that reads: "The numbers are so hard to read. Sometimes I can’t see them."

The Neighborhood (/your-neighborhood) I will be listing every individual's introduction page here despite them all having their own site pages just for simplicity. There are several things to note here as well- starting off with another offset letter. In the blurb at the bottom of the page, the X in expand is offset. - If you click and drag the picture of Home (mobile users can sometimes see this right away, or see it if you zoom in/out on the page) you will see that behind Home is a dark abyss with a spiral in the center of it. In front of Home there is an invisible link, if you click it, you are taken to So Below (/so-below) which shows a gif of Wally on his knees in front of one of Home's windows/eyes, which is shaking rapidly. - Clicking on the you in "you're" directly above Home in the blurb at the top of the page takes you to the secret page, You. (/you) This page resembles the neighborhood introductions pages, but the blurb is blank. There are dancing letters at the top that say You, and a white paint stroke appears and then text slowly types "Wally is your best friend." - Every resident's page says "go back" in colorful letters underneath them, aside from Wally, who has black lettering that says "good bye!" - Every character is presented in past tense in their bios aside from Wally. - Every neighbor's bio mentions them being a puppet aside from Wally, Eddie, and Julie.

News (/welcome-home-news-page) - The letter E in the gif that says News is out of sync with/below the other letters.

Links (/welcome-home-links) - Two things of note: the only gif on this site that is clickable is Barnaby's, and the WH gif that cycles through every character's eyes always pauses for a beat on Wally's.

Guestbook (/our-guestbook) - The guestbook is a beast in itself so I've left it for last because there is a lot to cover. - First: We find out last offset letter in the guestbook, on page 5. There is an entry that reads "I love you ♡" from Silly mc Billy, that has a crayon doodle repeating the words back. The V in love is offset. - On page 8, in 2 of the blank entry places, are hidden text notes. One is from Wally that reads "You're looking for me. Silly. Silly." The other is from W a L L y that reads "You won't write back." - Almost every crayon doodle over the guestbook entries are hidden messages from who we are assuming is Wally. If you open the images in a new tab, the end of the url (aka the name of the pictures) will have a message in response to the entry he's doodled over. I won't outline them all because there are a lot but definitely take a look at them!

SECRET PAGES - The result of finding all the offset letters! There are 720 combinations of the letters but not to worry, there are only a handful of pages to see! The letters are YWXVE.

try again (/yxwvoe) - Leads to a bugged version of the 404 page. Instead of Home, it shows (assumedly) Wally's telephone, and the text reads "Uh Oh! Uh Oh Loooks like you Wandered wandered wandered tooooooooo far away from Home! Head back." The ck of the word back is in a different font. - If you click on the gif of the phone, it leads to the page duet (/singingmp4) - there is a playable file here of Wally singing the song Beautiful Dreamer. After he is done singing, he says that those are all the words he knows as that is all Barnaby taught him. He asks "Do you like it?" Home answers in a series of bangs and Wally replies, "That's good, I think."

answer (/eovwxy) - a video of a static filled television. there is a lot of brown noise here, nothing can be clearly made out though. a pair of eyes flash in the video at one point as well, seeming to be Wally's eyes. they flash on the screen and roll upward.

try again (/wyxoev) - a gif of home with various cropped eyes cycling quickly over where home's eyes are, before freezing on a single pair. The word "OPEN" slowly is spelled under the gif.

try again (/voywex) - The word "Hello." is slowly typed out and a cropped gif of Wally's eyes suddenly appears. The eyes shake rapidly. More text follows, reading, "You’re there. I can't see you. Do you see me?" And then much more rapidly appearing text, "Then stay quiet."

try again (/woxyve) - This page is covered in various images. Multiple cropped images of a script for an episode of Welcome Home. A gif cycling through the resident's eyes, much like the one on the Links page, but each time it gets to Wally it pauses longer and longer - His pupils also dilate more each time and he gets closer and closer. The gif ends on Wally's red background but he is no longer there.

IMAGES - outside of the guestbook, a lot of the images on the website have interesting details of note.

At the bottom of the What's Welcome Home page, there are several images in a gallery. Several of these have interesting details. I do want to say though that several of the images in this gallery come from art Clown did in response to asks, ect. So I am not sure how much of this weirdness can be chalked up to inconsistencies and how much of it is genuine hints or clues. - Image 1: A page out of a magazine or catalog showing off some Welcome Home merchandise. The merchandise in the picture all have lettering, A-C, and the corresponding description of said merch at the bottom of the page. But there is also a letter D in the image next to a blank space, with no description. The D is crossed out. - Image 3 + 4: A We'll Be Right Back screen featuring Frank and Julie cooking. If you mess with the exposure of the B/W version of this image, it reveals faint white text over the "We'll Be Right Back!" that reads "May Your Home Be" - Image 5: At the bottom right, the text along the side of the image reads "Hello you" - Image 12: Wally's Halloween costume is a red devil. - Image 13: Wally creepily looking outside of a pitch black Home, with text that reads "There he is!" - Image 26: The book Wally is reading shows the same scene he and Barnaby are portraying in this image.

About Us has 2 interesting images: - the original version of the Julie and her siblings is covered in paint and very wrinkled, as well as the picture taken of it being very dark. The bottom of the image depicts a human hand in a blue latex glove holding the page. - in the gif of Frank's head spinning, the titles of the books next to him read (from top to bottom) Hello / It’s You Know Who / I'm your neighbor / Do you think about me? You do / I’ve felt you.

If you read this whole post, wowza! I hope you enjoy getting into WH! Despite laying out most of the hints and clues in this post, I still very much recommend going to the site yourself and poking around. There are a lot of little things I didn't cover here as they aren't concrete, so there is still plenty to discover!

Also, if you haven't already, you should go follow Clown, and consider supporting him on ko-fi so he can continue to work on this project, as well as continue their education and hopefully move into a safer home!

#p #this took.... like 3 hours to write....#wh

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kustas · 3 months

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Sorry for the incoming long rant.

I just rediscovered your blog, and I always enjoyed your thoughts on WHA and wanted to rant a little bit. I found a post of yours talking about how WHA is getting less nuanced and I feel the same way. I feel like in an effort to make every character feel like a person, the manga treats everyone’s issues as if they’re on the same level. I’m not sure if that entirely makes sense, but it feels like the manga is trying to make you sympathize with everyone to some extent, even though that doesn’t really work. For example, there is a chapter that pissed me off so much that I had to put the manga on pause. It’s the chapter where Coco shows off a spell that can clean water, and the townspeople are uninterested because they don’t need it. And the moral of the chapter is that Coco should make her spell for everyone. No. No no no. These people need to learn some damn compassion and realize that they need to help end what suffering that they are able to. The moral of the chapter should’ve been that these people need to stop thinking of only themselves. Everything else was aimed at them, so Coco’s spell didn’t need to be for them. It shouldn’t have been for them. There is also the situation with the knights. You went into this already but who gives a shit if they are offended by a grieving husband taking out his anger in them when they are a part of the system that caused his grief. The manga wants you to sympathize with everyone, and while I don’t think these people should be one dimensional their issues should not be treated on the same level as others. Anyway, sorry for the weird long rant, it’s just everyone treats this manga like it is The Most Flawlessly Progressive Manga Ever and your one of the few I’ve found who acknowledges is flaws without devaluing its strengths

Thank you for your ask! I agree with what you're saying and think you worded it very well. It's a bit of a shame it's so rare to find people openly critiquing the series in the community, while it's nothing serious (and minimized by being a bit of a hermit, lol) I've seen some animosity for doing it, I assume because many assume critiquing art means you don't like it or are opposed to what it's trying to do! Which isn't true. Granted Witch Hat Atelier contains many an obvious fantasy metaphor for real life social issues it should be under more scrutiny than normal if you ask me, because those are serious topics that affect people's real lives. I do have faith in the author's serious handling of touchy topics, but in the execution there are things I'd do differently for sure...

The manga wants you to sympathize with everyone, and while I don’t think these people should be one dimensional their issues should not be treated on the same level as others.

WHA has in its writing strong expectations from the reader regarding how you think of its cast I find hard to read through a lot - the latest arc in particular, comparatively, has much of its character based moments revolve around if they're good or bad in a way that implies it'll change how you think of a character and it disturbs me. Qifrey and Sasaran are two early examples of characters that do *not* play into that - Qifrey's beginning arcs simultaneously show him as a shady manipulator and genuinely good teacher who betters the life of his students, and it participates so much to the dramatic tension. Sasaran is a villain of the week who while shown to be a huge cunt, has a backstory that implies his original motives were not nefarious ones, and his life was not easy.

Compare this to a character like Dean who, as much as I'm a fan of his concept, falls rather flat because he's, depending on the chapter, pushed as good/bad to the reader, regarding his moral alignment. Characters who are just meant to be despicable don't have the same level of attention placed to their writing which is a similar issue. It feels insecure, like if the story was saying: we have those important characters, their role is to bring up difficult situations, please don't hate them, like them, see, they're nice too! And giving them chosen positive traits. People don't work like that and it feels cheap. Fandom's obsession with villains should show well a character being despicable doesn't make them unlikeable, and I'd like WHA's characters to be less "good"/"likeable" myself to make them a bit more human. This would detonate a fandom nuke given I still regularly see passionate debates about how mean and terrible characters like Agott or Custas are but hey

As for priorities in the depicted suffering of characters in universe - yeah, it's true some scenes feel a bit off in that department...the water cleaning scene you mention did not rub me the wrong way too hard, because it's centered around Coco, who's our main character, the story bending to give her a central role makes sense, and her unique position in witch society and how it relates to helping others are, with the responsibilities of witches, very important to the story. The apprentice backstories are an earlier example I had trouble taking too seriously because while they're all terrible, tiny silly Riche and her brother's experience with physical child abuse felt drawn with the same intensity as Agott being pushed to mental disarray by her rich fancy perfectionist family. It's all hard to complain about and might sting less if the writing was a bit less dramatic and preachy, but that might just be a me issue, I've seen many fans praise WHA's writing wholeheartedly, so...

What I am hoping is that the latest arc will conclude and lead to the shorter previous structure and we'll get individual attention brought to character stories, one after the other, instead of the all at once formula going on right now... We'll see!

#no real conclusion. if u wanna discuss more feel free to:)#ask #witch hat atelier #sounding like a broken record at this point but if you want a kids having variousproblems manga that im #o does characters right: read sunny

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princess-ibri · 4 months

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I think it is both funny and slightly alarming that there are those who possess an intense dislike for anyone who ship Asha with Star (one person even derisively called this ship “Starsha” but jokes on them i like it xD);

1) “BASIC WHITE TWINK IS MORE POPULAR WITH THIS SHIPPERS THAN THE BLACK HEROINE” I think they conveniently forget that everyone knows what Asha looks like and is more or less fine with her appearance; The Star’s human appearance, on the other hand, has not left the figurative drawing board beyond the art book, therefore it is fun to delve into character design and see how he looks more fleshed out. Also, what do they mean “basic white twink?” I’ve seen plenty of Human/noid!Star concepts with various skin tones/ethnic features/builds. Then again, I explore more social media platforms than just Tumblr.

2) “THESE SHIPPERS KEEP WHITE/LIGHT-WASHING THE HEROINE” They are exploring the concept designs that were shown in the art book. Also, Afro-Latinos/Hispanics have a range of skin and eye colors. Another also: NOT ALL OF THE SHIPPERS CHANGE ASHA’S OFFICIAL APPEARANCE.

3) “WHO’S GOING TO TELL THESE SHIPPERS THAT THE HUMAN STAR IS/WAS GOING TO LOOK LIKE HER GRANDPA?” We already know. We also know that was one of the POTENTIAL options that wounded up being scrapped. Therefore, Starsha headcanons don’t have to be tied to one single idea that could have happened.

4) “WHY ARE YOU SHIPPING ASHA WITH A HUMAN BOY VERSION OF THE LITTLE STAR WHEN _insert canon film character_ IS RIGHT THERE/ASHA DOESN’T NEED A ROMANCE?” First and most important of all, because we can and we want to. Second of all, not all of Starsha shippers headcanon the Star to be male. Third of all, no one has any issues with shipping Asha with any of her canon friends (or even a self-insert) or headcanoning her to be happy single; the only ones I see having any problems with any shipping are the ones who don’t like we are shipping the original concept of the Star and Asha.

Sorry for my rant. I just find it weird that those who don’t ship Star x Asha or who aren’t a fan of the Humanoid Star seem just so offended by the fact that this portion of the fandom exists and is having fun with their headcanons so far. It’s not like our headcanons have any effect on the official WISH Film.

P.S., I love your art and concepts! Not just for WISH, but those are some of my favorites!

Hey all absolutely excellent points! Yeah my rule is just, let people have fun with stuff? Cuz like--yeah guys none of this actually affects anything IRL of any actual importance so, chill out and go do what you want instead of getting upset other people don't want to do the same? Spending your time trying to police everyone else's fun just leaves less time for you to have any.

And thanks!! I've been enjoying working out how I want Wish to fit into the DisneyVerse and working some of the concept stuff in with the Canon the movie gave to do so! Hope you'll stick around for more!

#asks #wish 2023 #wish disney #wish movie #star x asha #wish star #asha wish #starsha #yeah you know what I like it too x)#imma go back and tag all the stuff with it xD #disney #DisneyVerse #human star

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earthstellar · 8 months

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Image Comics has dropped their solicits for December 2023, and it looks like Duke #1 is where the Transformers/GI Joe crossover is gonna start really kicking off for the Energon Universe.

I know the general reception to the crossover at the end of ROTB was pretty rough, so it's interesting that they're getting the ball rolling in a GI Joe mini-series.

Personally, my dad was drafted into two wars against his will and suffered greatly for it, so I never had any interest in GI Joe because my dad vehemently hated that shit, as he felt it glorified war to children and that this is morally unacceptable. (He preferred the depiction of Army life of that era in MASH, which he said was at least more honest and aimed at adults.)

I also had classmates who ended up joining the military who had been big fans of GI Joe, two of whom were killed in Afghanistan. I know GI Joe wasn't the only factor involved in their decisions, but it certainly does not make me inclined to like the franchise.

My mother lost her first husband in Vietnam. He had also been drafted against his will. (I strongly dislike the GI Joe Vietnam era material in particular, for perhaps obvious reasons.)

So, I admit my general dislike of the concept of GI Joe as a franchise is at least partly based in my own trauma (and that of my family) relating to the US Army.

I've never been a GI Joe person and never will be (on moral and trauma based grounds), so I fully admit I am not well versed on the lore of that universe, and as such, it's hard for me to make any guesses at what Duke #1 might bring.

But what interests me is that on certain forums and other social media, I've seen very limited audience hype about this crossover in general, especially from the Transformers crowd.

After the extremely progressive writing and fresh visual style and designs of the IDW Transformers storylines which appealed to a lot of people across several age ranges and generations of fans, it feels weird (to me at least) to suddenly have a more old school style crossover with what is essentially a US military propaganda franchise-- At a time when the sociopolitical zeitgeist is that "going traditional" is often associated with "going backwards".

All art is political, and so on.

But I do wonder if what seems to be a lack of audience hype is partially due to the fact that not a lot of Transformers fans (at least, not many under the age of 40 based on what I'm seeing around the internet at the moment) seem to be all that into GI Joe.

A lot of young people are not exactly in love with US military fantasies, and the last Transformers comic series with IDW was a big hit with younger/teen readers-- A lot of that audience might be lost, here.

(And vice-versa from what I can tell, although I'm not in any GI Joe fan spaces so I'm not sure what the mood might be in that community in regards to the Transformers element of this crossover.)

All that having been said, the Energon Universe is only just getting started, and who knows what the comics will actually contain!

I do like G1, so I like the designs for the Transformers as drawn in this run this far.

And who knows, maybe they'll do something new with GI Joe for this. I'm aware that in at least one of the cartoons, they were essentially on the run from the military instead of working for it, which is an interesting twist. Perhaps something similar might happen here, with some Joes siding with the Autobots instead?

It's not fair to judge before a comic is even released, so I'm just thinking out loud here in regards to the crossover concept in general.

I'd be interested to hear what anyone else thinks:

Will you be checking out Duke #1 as a Transformers fan interested in the crossover?

Have any of you been interested in GI Joe previously?

If you're an IDW Transformers fan, are you interested in the Energon Universe?

Any other thoughts on the crossover, any conjecture or hopes for the direction of this run?

I want to give the Energon Universe a chance, but as I mentioned, I do have some difficulty attempting to get into GI Joe in general.

That having been said, I guess we'll have to wait and see what they do with this crossover.

#just thinkin #tw military #transformers #energon universe #transformers comics #long post #idw transformers #idw 1 #maccadam #maccadams

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sigyn-fairy · 4 months

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I don't understand anti-logyn. I mean I totally get it if people aren't interested in Sigyn as a character or figure. But I don't understand the dislike of the ship. All these claims that Sigyn is a OC self insert is such unnecessary hate. The insistence on saying self-insert too. If I write a fanfic or make fan art of a MCU version Gwen Stacy is it self-insert because I'm making her the way I think is cool and want to see her?

I see people claim the Angrboda is so much better, and the she has a personality unlike Sigyn. What!? The only thing known about Angrboda is that she was scary, that's it. That's not a personality, there's just as little info on Angrboda as there is on Sigyn. And the claim that logyn shippers are anti-angrboda. I've never seen that, at worst Sigyn fans are a little salty Angrboda gets respected in adaptation and Sigyn never does, but the sentiment is never that Angrboda is a bad character herself. If anything it's the other way around. Sigyn is always put down in favor of Angrboda.

Maybe you ship Loki with someone else. Maybe you don't want Loki shipped with anyone. Or maybe you're just put off by the over enthusiasm. But to hate such a small fraction of the fandom because they want a rewrite a concept they feel was poorly done is so unnecessary. We know Loki was a crappy husband in Marvel, but that doesn't make Sigyn irredeemable as a concept.

People adore Hades and Persephone as a concept. A relationship that could only be considered good in comparison to the rest of Greek mythology. But people romanticize the hell out of it regardless. The modernize, they give Persephone agency and she really has none in the original myth.

There will always be people that ship Gwen and Peter over MJ even though In the canon it will always end with Peter and MJ. That's fine that's their business if they like Gwen more. Let fans have their thing.

#justice for sigyn #Logyn #sigyn

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00belle00lovely00 · 3 months

Text

*+_THEATER AND OG DAYCARE AU!_+* (PART 1)

(OK. THINGS FIRST, DO FORGIVE ME IF YOU SEE SUDEN STRANGE CHANGES IN THE ART STYLE, I swear to my mama I made all of these, just that I've been drawing this concept idea for the past 2 years and I somehow completely changed from my own art style for these sillies towards the cardboard cutouts that the game has us to offer. So if there's any confusion, the first image up there is the latest from a few weeks.)

So I had this concept AU idea where I wanted to explain WHY the Sun and Moon can be completely separate while Eclipse is just cast away from the whole 'brotherhood' the fandom has created. And BECAUSE I haven't seen anyone do this back when I had this idea, I decided to make it my own!

AU LORE:

Eclipse in this AU appeared way back when the pizzaplex was being built. Small variations of iconic attractions such as a smaller version of the atrium, a half-cut area of Rockstar Row and Bonnie Bowl which was, at the time, the biggest attraction at the in-construction were all located within the upcoming glamrocks with their beta versions. Back at that time, Eclipse was somewhat of a prototype for the present-day daycare attendant we all know and love. They began to work around a smaller version of the daycare, being introduced to the children with both daytime and naptime protocols to ensure their safety and fun in Superstar Daycare.

Eventually, though, the pizzaplex began to grow bigger and bigger, to the point where more clients of all ages started to watch the early performances of the beta Glamrocks. Due to funds increasing and higher-ups becoming much more daring, a new attraction was set up near the daycare, this being known as the present-day Theater where Sundrop and Moondrop were introduced as its performers. Working as entertainers and jesters for comedic acts, especially for the adults who dropped off their kids and went off for a bag of popcorn and a soda to watch the sillies on their performances.

Sun and Moon as Jesters:

Sun back at the time was his usual joyful and happy self, yet one full of ego and quite self-centered if you must say. As Sun was given the role of the main character in the majority of his performances, he kept the idea that everything must be according to what was planned. Perfect, clean and nicely done, he thinks that the smallest mistake could ruin his "character arc" and much rather be scrapped on set in front of all his fans than admit that sometimes you just have to get off your fantasies and set yourself in real life.

Moon on the other hand, oh boy, that guy wasn't any less good. As the antagonist of the majority of the performances, he grew a 'villainous wanna-be' personality. Where he tries to prank you, trick you, and make pathetic yet silly obstacles before laughing away in an 'evil' laugh. I mean... what would you honestly expect? This is Moon who we are talking about you guys, there's no way this guy can be a calming presence to be around, not even before the virus situation.

FAMILY BONDING:

At first, Eclipse seemed a bit shocked and wary about how there were suddenly two completely identical modelled animatronics that resembled a lot of him living just near his daycare. At some point, they didn't want to be involved in whatever these two jesters were.

But as time went by, admittedly Eclipse grew attached to the twins. Having an older sibling bonded with them as they were the ones making sure those two imbeciles wouldn't go at each other's necks for dumb reasons like a scrip, a mistake in their performance on stage or even just a simple argument. Which they had. Multiple times.

Things were always a ruckus with the jesters. They hung out on their after-hours, helped each other with their usual routines for the day, and even there were rare occasions when Sun and Moon were invited into the daycare. That, of course, was where Sun learned how to adore arts and crafts. Seeing the beauty of art from his own viewpoint. As for the Moon jester? Well, he learned about disciplinarity, the need for perpetual rest and most wholesomely, he grew to like naptime due to Eclipse's soft lullaby that they would spread to every kid alike. Although too proud to admit, he is slightly jealous of Eclipse's calming nature. In a good way.

ANYWAY, ILL UPDATE ALL WITH THE 2ND PART SOON BYE-

#fnaf moon #fnaf art #fnaf sb #fnaf au #fnaf fanart #fnaf security breach #fnaf #fnaf sun #fnaf superstar daycare #sundrop #moondrop #moon #eclipse #fnaf ruin #ruin eclipse #brotherly bonding #art #I LOVE THEM SO MUCHHHH AAAA

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snackugaki-jestsjapesjokes · 6 months

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blep blah, here have some old ass backrooms doodle content when the topic of "the beach episode" concept came up bluhp blooh brain nyooming but art hand isn't arting

i think what is super cute in modern fandom expression that I've seen is that in terms of making OCs or AUs is that sound seems to have a bigger role now than from what I remember when I was young. which I'm thinking has a lot to do with being able to clip audio easily or being able to make multi-track playlists whenever. y'all out here with reels of your art with voice claims and some of the most thoughtfully and artfully crafted soundtracks-- not even playlists, some of that shit is a straight up soundtrack level be real

89% tempted to try one of those shady "free" video/audio editing programs to make a LoFi chill beats study girl visualizer playlist with my iteration's boys ...

anyway gonna contemplate music headcanons for my iteration under the cut

From Turtle Tracks fan letter section, Archie run, #24

so real quick, my iteration is literally just them chilling, hanging out, being together in their mid 30s- early 40s, and then sometimes flashing back to their child/teen years in the 90s because tl;dr i have miiiiiinor beef my childhood turtles weren't quite as "90s" as they "could have been" (nvm I'm cackling at the milennial pop culture refs in Mutant Mayhem drop kicking me back into my adolescence)

but mehehehehe, keeping that they listened to Public Enemy and The Jungle Brothers

and aside from Top 40 musicians of the time... I feel like being outsiders themselves, having to sneak around to explore and learn about people and what's above the sewers had them eavesdropping into a lot of nighttime venues and getting into the underground and various niche subculture scenes that daytime Top 40 didn't play.

cannot tell me the lights, thumping and noise from bands playing hardcore or house or hosting cyphers or raves didn't attract these curious and funky little green dudes like moths to a flame

... Leo definitely fell in deep with the gregorian chant phase, soothing sounds of nature fads , a big fan of Orbital and he fell into that electronic, house, trance, eurodance rabbit hole right after. he also got into Celtic folk music but when his brothers caught his ass studying Michael Flatley to incorporate Riverdance footwork into his ninjutsu he got teased so mercilessly that he took great care to hide listening to it... which just made his stealth better so joke's on them heehoo

Not to mention they're from New York City, the underground music scene is always bangin' no matter the decade; feel like rap and punk got a lot of tracks on their mix tapes back in the day

Raph getting into the metal scene in his own exploring the city trips, and then progressed to music with that boom bap sound (cuz baby boy needs a way to come down off those high intensity moods idk ijs)

Donnie... just the amalgamation of his brothers, he needs that background noise while he's chewing on schematics and protoype development, he would definitely have been the mixtape maker/recording bootlegger (along with Mikey)

Mikey absolutely tagged along with his brothers sometimes whenever they went to their spots for music, though he himself backflipped into ska 'cuz Mikey is always for the people

my tmnt iteration (where everyone made it past their 20s, splinter’s alive just old, venus is here, and they deserve some goddamn respite and shenanigans)

tmnt iteration omake 1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11

lny visit 1 | 2

Keep reading

#reminds me i need to make a battle map for them #i think what also tickles me #is I've seen a few fan iterations set themselves in the 90s too #granted seem to always be late 90s #which this is just me but #there's something a little fascinating about that #the 87 cartoon ran til 1996 #Those iconic trilogy movies did happen and were technically set in the 90s #and my beloved Next Mutation was also late 90s #They held a Save the Animals fundraiser rave that's peak 90s shenanigans #Archie comics also ran into 1995 after veering from the cartoon #but aside from NM... the depiction of teen culture then was always so broad as to be generic which makes sense in a way...#.... shit am I gonna fucking make a dissertation about this in the tags?#no... not today methinks #anyway tl;dr the kids who set their fan iteration anywhere in the 90s? ilu #y'all can wrest Leo being into gregorian chants that led him into trance and house music from my cold dead hands #Donnie (general) reeks of 'my watch is also a calculator' energy #so mine just extrapolated from there and mehehe

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defining-skyology · 2 months

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Finding the Light. (Defining Megabird #1)

I've mentioned the term 'loremoth' quite a lot, but haven't really elaborated on my definition of it. Within Sky's in-game social community, being a 'moth', or a new player, is a visually traceable status, showing on their backs and of their clothes, showing by the lack of seasons they've experienced and glitches they've overcome. But the Lore community is a Space held externally from the game, leading to it not being so much of a visual dogma, but rather more of... An Experience.

Hungry new lore theorists are fueled by their own personal preferences of thumbnails, baits, and key words; pulled in by what they find interesting, and after they devour that magical initial subject, they hopefully will look and then find the next thing.

Each of these sudden lore hooks end up being their Drive to have more, to dig for more, and to understand more. They feel it's become special to them; that they're in on 'the secret' now.

And one of the best topics to make loremoths feel like they're in on an absurdly colossal secret...

Is the topic of the Megabird.

[[[Continue Reading]]]

In the early crazes of Lore, during the first year of Launch, interest in the Megabird skyrocketed, and when curious Sky players asked others who seemed more involved and invested in theorizing about the story, many users of Lorechat in Skycord would casually reply, "Well it's basically the god of Sky".

Most murals and concept art depict the Megabird as a giant flowing golden angelic thing, with extravagantly long wings or tails. Sometimes it would be made of feathers, sometimes it would seemingly be shown as made of Creatures of Light.

Early concept art refers to it as "One", some concepts say "Megabird", while others say "The Megabird", and late-stage concepts begin to refrain from calling it Megabird or 'The Megabird' at all, instead detailing a concept of "The Light" that was still unarguably the same 'character' from before. Post-launch content has never described it as The Megabird.

Despite this, Megabird ended up being heavily personified from 2019 to late 2021 by the community, and fans gobbled up anything about Megabird, especially Megabird as a character; as a god who would interact with the Elders and skykids. Megabird's fanbase grew to the point where it'd be given nicknames; it's most famous moniker being "Megan the Megabird". If only for the sake of having a character to use as a foundation for bountiful headcanon and fanfics, people seemed to cling fanatically to the idea of Megan; to the idea of having a deity. Perhaps there are or aren't some further psychological takeaways from the eagerness of the fanbase to have a 'god of Sky', but let's move on to a different notation for a while, and head back into the game.

Picture posted to Tumblr by lowkey-loki245

For the 4 years that players found themselves in the Descendant's era, creatures of Light have always been seen migrating at all times towards the beacon of Ascension in the Eye of Eden, but this isn't an absolute rule. Creatures often will be found frolicking and soaring wherever they want, far from the main path to Eden. Mantas will take elegant laps around wide open areas, and rarer creatures are either hardly or never seen ascending up into Orbit.

But water doesn't halt its cycle, and Light shouldn't either. Water rushes down mountains, through valleys, flooding plains and reservoirs, yet not all of the water gets to the Ocean like it should. But though it gets stuck in spots, underground rivers and evaporation ensure the water cycle will always occur. It has to be the same for Light.

The lore community has long since determined that all beings in the world of Sky (so far) all are made of Light. {There can be a post explaining that on another day, because not everybody is so willing to believe this.} This includes: creatures of Light, Ancestors, Descendants, and yes, even dark creatures are made from Light; just warped light, to be exact.

If we're to continue with our comparison to the water cycle, then this means all of those living Beings are made out of {metaphorical} water. Water flows from the Source and descends until it reaches the Main Body of the ocean, and all Light cycles throughout the world until it can get to Orbit again. This cycle of the life energy of Light flowing in and out of a main body is exactly what we need to focus on, and lo and behold, quite a few pieces of concept art confirm this.

The meaning and purpose of some of these concepts have been long forgotten, and don't reflect the lore of the game today in post-launch, but there is one big theme going on here that they still intend to this day; all Beings of Light will eventually journey to rejoin the Megabird.

We talked before about how they slowly transitioned towards using a simple base word to describe the megabird instead of giving it an almost characterizing name, and I believe they had to have done this intentionally. (Well, as intentional as TGC ever gets.)

We can and may still call it 'the Megabird', but from now on we understand that we are referring to 'the Light'. So, why did they depersonalize Megan into a character-less thing? As we ascend through orbit and into the Ocean of Light, the Main Body of our life energy; lore theorists all over the interwebs would still be looking for the character Megabird. "Where is Megabird? Surely it's that constellation above us? Maybe it's the giant gate that sends us towards rebirth? Maybe it just hasn't shown itself?" But as the voice of Aurora calls to us and the warmth of the ultimate Light pulls us in, vaporizing darkness as we come, I just have to ask:

"Isn't that the Megabird that we're entering?"

A pure, deep, limitless orb. We are drawn in by its intensity, and as we get closer to being Absorbed we can see creatures swimming in and out of its surface. In the Sea of Light. All things here in unison, all things belonging to One; each moving speck of Light, a drop of water in an endless pond of pure harmony.

Whenever we enter the Light; when we enter the Megabird, we become dissolved into that sea, and we join One in it's neverending song.

But we'll have to research further into proving THAT on Thursday, because unfortunately, this post has gotten way too long.

You might notice we're not going to end with any solid Defining going on, and that's because you're supposed to take this in and think about what you make of it. It'll be important for part two.

Thank you to the two readers who got this far, and I hope you can all think critically, never perspire, and have a wonderful rest of your week.

#sky children of the light #sky children of the light lore #sky cotl lore #sky cotl #sky game #sky lore #sky rambles #skychildrenofthelight #skychildrenofthelightlore #skycotl

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anneapocalypse · 11 months

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DAI Companion Styles: Sera

Dragon Age Companion Styles series

The fashion in the Dragon Age universe (in keeping with the overall aesthetics of the games) has undergone an interesting kind of evolution over the course of the three games, various side media, and fourteen real-world years this franchise has been around. And disjointed as some of it may be, it’s something that interests me, both in terms of its real-world influences and in terms of the in-universe implications for worldbuilding and characters. It’s an element for which I would love to see even more discussion and analysis, I thought it would be fun to dive into it by taking a look at the different base outfits companions wear in Inquisition, and talking about how they fit with the characters and the world they inhabit. I don't know how many of these I will end up doing, but I'd like to do some and I think it will be fun.

Disclaimer: I am not a fashion expert, dress historian, or professional designer! I'm just a gamer who likes to sew and has a casual interest in historical fashion, and a great interest in fantasy worldbuilding and the implications thereof, and that's where I'm coming from on these posts. I'd also love to hear thoughts from fans who have a more in-depth background in historical dress, textiles, etc. Also I'm going to be talking about clothing and not armor because I know a lot less about armor.

I’m going to start with Sera, of course, because it's me. ;)

So I've mentioned before that I really like the concept of Sera's outfit. The upper silhouette in particular seems directly drawn from the Fereldan commoner fashions of Dragon Age: Origins, the styles of Sera's youth in Denerim. For example, here's Kaitlyn in Origins, wearing some typical commoner clothing:

Note the plaid, the bare shoulders, the underarm straps (which have always looked incredibly uncomfortable to me)! We see several variations on this style in Origins, including leather vests and even some floral fabrics, but the off-the-shoulder look is nearly ubiquitous on commoner women:

Noble-born women in Origins seem to forego the cold shoulders, but we still see similar shapes in the upper silhouette, including those dang shoulder straps that go under the arms:

The commoner styles of Ferelden in 9:30 Dragon even reappear a decade later in Inquisition! Which doesn’t surprise me much, as trends move a lot more slowly for rural commoners than for wealthy aristocrats.

We even have the weird leather neckerchief thing, a staple of the early 9:30s in Ferelden (and convenient way to hide the neck seams on those character models)! Like the collars in Origins, Sera's does not tie at the back, and a close-up view of hers reveals side seams and presumably a closure of some sort.

So let’s talk about the breeches!

I'm going to call these "breeches" both because it's a word Sera uses and it's what I think they most closely resemble, especially given that they end below the knee but do not extend to the ankle. (Trousers or pants would be full-length.) First of all, it's notable that Sera is wearing breeches because it's a break with the Fereldan silhouettes we saw above, which are pretty universally long straight skirts hitting about mid-calf.

The waist of Sera's breeches is covered by her tunic, but I would guess that they might close with lacing (which can be seen on some of the Inquisitor’s Skyhold outfits) or a buttoned fall (a front panel with buttons on each side, which I think I've seen in some Orlesian noble concept art).

My guess is that Sera's breeches are newer than her tunic, because of the slim cut; they more closely resemble the Orlesian men's fashions of the present in Inquisition than the sort of looser trousers we see in Ferelden circa 9:31 Dragon. Going by the plaid alone I would have called them Fereldan, but based on the cut I have to call these breeches Orlesian, and possibly a more recent acquisition for Sera. While plaideweave does not appear to be currently on trend in Inquisition, Val Royeaux is a center of high fashion and constantly-changing trends among the upper classes and I don't have trouble believing that plaideweave might have been fashionable sometime in the years Sera has lived there.

A detail I love about these breeches is that they are cut on the bias! Synthetic elastic fabrics and machine-knits don't exist in the non-industrialized south of Thedas so far as we know, but woven fabrics have a bit of stretch and give when cut diagonally across the weave, and this would be appropriate for a pair of snug-fitting woven breeches, for someone of means. (They would have been expensive, because diagonally into a bolt of cloth means you need more fabric to start with.) We also see plenty of wrinkles and bunches in Sera's breeches, especially where her knees bend, demonstrating that this isn't a perfectly smooth, skintight fabric like a pair of synthetic leggings.

Notably, Sera's breeches have been patched—and patched skillfully, using the same fabric and with perfect pattern-matching. I think the patching had to have been done by a previous owner; Sera might have the skill (she does mention sewing in her journal), but she likely wouldn't have had access to a matching fabric or the patience or desire to pattern-match. This suggests to me that these breeches were owned by someone of lesser means; a noble would not wear visibly-patched clothing however skillfully done, but based on the bright colors I think this garment could have belonged to a noble at one point, before being cast aside. The servants we see in the Winter Palace wear neutral, muted colors in order to draw little attention, so I don't think this is part of a servant's uniform, but it could have been worn by a servant on their off time or by a member of their family. My guess is that these breeches were a once-fashionable garment, discarded by their high-class owner and taken by someone in their employ (maybe even their own tailor, who might still have access to scraps of the original fabric) to be repaired and reused by themselves or a friend or family member. I judge the large, visible stitching on both the patches and the side seams to have been added later, likely by Sera herself when the original stitching began to give out, further extending the life of this garment.

So, the breeches are great. We love the breeches.

I do have some issues with the tunic, but let's start with what's good about it.

I've already mentioned how it's consistent with Fereldan fashions a decade out of date. Based on the style and the fabric, I would say this garment was originally owned by someone in Ferelden of decent but not extravagant means, and Sera either stole it outright or swiped it from a rubbish heap. The wear on the tunic is consistent with its age: it's much more visibly tattered and falling apart than the breeches. However its construction also appears high-quality to me. If we look at the large tatters, we aren't seeing Sera's skin through them, and at the cuff where Sera has rolled up one sleeve we see the same contrasting fabric as the shoulder straps and trim. This tunic has a lining, and this also explains how it's still holding together on Sera's body with so much damage to its outer layer. The asymmetry at the bottom is jagged in a way that suggests part of it was torn off, rather than the garment being intentionally constructed that way.

My big problem with the tunic is its tightness and drape. This is a woven fabric (Highever Weave), and we can see the directionality of the weave very clearly because of the tatters; this garment was not cut on the bias. Even with the spiral-laced closure (love that they used spiral lacing instead of cross-lacing, by the way, just because it's a form of historical lacing that's often overlooked in media), this garment simply would not hang on Sera's figure the way it does in the game. (To be fair, neither would some of the Origins tunics. I have no idea what those are doing.) The form-fitting cut overall just doesn't make sense for a woven fabric, and it doesn't drape like one either—something that I'm sure has frustrated many a cosplayer trying to make this tunic with a comparable material. Without some stretch in the fabric, it's not happening. Even a moderately looser cut would make a lot more sense—compare with how Varric's tunic of the same weave hangs on him. Bottom line, Sera's tunic fits and drapes like a modern machine-knit, and if I wanted to make a cosplay that actually creates the same silhouette, that's what I'd use. Though personally I'd probably discard the silhouette and try to make something with a woven fabric that simply fits more realistically, and if I were to redesign Sera's base look, this is the one change I'd make.

The shape of the tunic is what really gives away the contemporary influence on Sera's outfit design. Leggings and skinny jeans came into fashion in a big way in the mid-2000s, often paired with a longer drapey top, and they hung on through the mid-2010s when Dragon Age: Inquisition was released, and were an obvious influence on the design of all the female companions as well as the female Inquisitor armor styles. Cold-shoulder tops were also a popular trend in the early 2010s. (I guess Dragon Age: Origins was on the cutting edge there.) Asymmetry and shredded clothing were also 2010s trends.

I also want to take a moment to look at Sera's shoes! Her base outfit includes what appears to be some kind of black slip-on shoe. These shoes are interesting to me because I think that like the breeches, they might be men's shoes. There's a similarity to the shoes in this concept art:

I think this is pretty neat because while the real-world influences on Sera's look can be clearly tied to trends in women's fashion, in-universe her clothing is probably two-thirds menswear. I think that's pretty cool and maybe something to consider with regard to Sera's personal gender presentation as a lesbian in the context of the society she lives in.

I suspect Sera's shoes to be a bit older and out of fashion, since they bear a distinctly rounded toe and the Orlesian high fashion of the moment favors a pointed toe. Like the rest of her clothing, I would guess the shoes to be salvaged or stolen.

So overall, despite a few quibbles, I think Sera's base style is pretty great and very appropriate to her character. Her look is proudly lower-class in a highly-stratified society, visibly Fereldan while living in the Orlesian capital, and gender-non-conforming amidst a highly-gendered aristocratic culture.

It's pretty cool! I like it a lot.

#sera dragon age #dragon age sera #sera #dragon age inquisition #dragon age #thedas fashion #dragon age companion styles #blunders of thedas

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