#the ultimate battle between good and evil

[leotanaka]

the thing about the riverdale ending is that if you stop watching at episode 19 then angel tabitha won, she beat the narrative and all of the characters are free to live their lives but if you continue to watch until episode 20, then narrator jughead won and everyone is doomed to be trapped inside the narrative forever.

#riverdale #rvd text #rvd meta #jabitha (angel tabitha & narrator jughead) were the ultimate battle between good and evil #and the narrator won

[eelhound]

"I think Homer outwits most writers who have written on the War [fantasy archetype], by not taking sides.

The Trojan war is not and you cannot make it be the War of Good vs. Evil. It’s just a war, a wasteful, useless, needless, stupid, protracted, cruel mess full of individual acts of courage, cowardice, nobility, betrayal, limb-hacking-off, and disembowelment. Homer was a Greek and might have been partial to the Greek side, but he had a sense of justice or balance that seems characteristically Greek — maybe his people learned a good deal of it from him? His impartiality is far from dispassionate; the story is a torrent of passionate actions, generous, despicable, magnificent, trivial. But it is unprejudiced. It isn’t Satan vs. Angels. It isn’t Holy Warriors vs. Infidels. It isn’t hobbits vs. orcs. It’s just people vs. people.

Of course you can take sides, and almost everybody does. I try not to, but it’s no use; I just like the Trojans better than the Greeks. But Homer truly doesn’t take sides, and so he permits the story to be tragic. By tragedy, mind and soul are grieved, enlarged, and exalted.

Whether war itself can rise to tragedy, can enlarge and exalt the soul, I leave to those who have been more immediately part of a war than I have. I think some believe that it can, and might say that the opportunity for heroism and tragedy justifies war. I don’t know; all I know is what a poem about a war can do. In any case, war is something human beings do and show no signs of stopping doing, and so it may be less important to condemn it or to justify it than to be able to perceive it as tragic.

But once you take sides, you have lost that ability.

Is it our dominant religion that makes us want war to be between the good guys and the bad guys?

In the War of Good vs. Evil there can be divine or supernal justice but not human tragedy. It is by definition, technically, comic (as in The Divine Comedy): the good guys win. It has a happy ending. If the bad guys beat the good guys, unhappy ending, that’s mere reversal, flip side of the same coin. The author is not impartial. Dystopia is not tragedy.

Milton, a Christian, had to take sides, and couldn’t avoid comedy. He could approach tragedy only by making Evil, in the person of Lucifer, grand, heroic, and even sympathetic — which is faking it. He faked it very well.

Maybe it’s not only Christian habits of thought but the difficulty we all have in growing up that makes us insist justice must favor the good.

After all, 'Let the best man win' doesn’t mean the good man will win. It means, 'This will be a fair fight, no prejudice, no interference — so the best fighter will win it.' If the treacherous bully fairly defeats the nice guy, the treacherous bully is declared champion. This is justice. But it’s the kind of justice that children can’t bear. They rage against it. It’s not fair!

But if children never learn to bear it, they can’t go on to learn that a victory or a defeat in battle, or in any competition other than a purely moral one (whatever that might be), has nothing to do with who is morally better.

Might does not make right — right?

Therefore right does not make might. Right?

But we want it to. 'My strength is as the strength of ten because my heart is pure.'

If we insist that in the real world the ultimate victor must be the good guy, we’ve sacrificed right to might. (That’s what History does after most wars, when it applauds the victors for their superior virtue as well as their superior firepower.) If we falsify the terms of the competition, handicapping it, so that the good guys may lose the battle but always win the war, we’ve left the real world, we’re in fantasy land — wishful thinking country.

Homer didn’t do wishful thinking.

Homer’s Achilles is a disobedient officer, a sulky, self-pitying teenager who gets his nose out of joint and won’t fight for his own side. A sign that Achilles might grow up someday, if given time, is his love for his friend Patroclus. But his big snit is over a girl he was given to rape but has to give back to his superior officer, which to me rather dims the love story. To me Achilles is not a good guy. But he is a good warrior, a great fighter — even better than the Trojan prime warrior, Hector. Hector is a good guy on any terms — kind husband, kind father, responsible on all counts — a mensch. But right does not make might. Achilles kills him.

The famous Helen plays a quite small part in The Iliad. Because I know that she’ll come through the whole war with not a hair in her blond blow-dry out of place, I see her as opportunistic, immoral, emotionally about as deep as a cookie sheet. But if I believed that the good guys win, that the reward goes to the virtuous, I’d have to see her as an innocent beauty wronged by Fate and saved by the Greeks.

And people do see her that way. Homer lets us each make our own Helen; and so she is immortal.

I don’t know if such nobility of mind (in the sense of the impartial 'noble' gases) is possible to a modern writer of fantasy. Since we have worked so hard to separate History from Fiction, our fantasies are dire warnings, or mere nightmares, or else they are wish fulfillments."

- Ursula K. Le Guin, from No Time to Spare, 2013.

#ursula k. le guin #homer #quote #quotations #the iliad #trojan war #storytelling #fantasy #fiction writing #war #conflict #tragedy #john milton #paradise lost #greek mythology

[comradekatara]

Your atla analysis is the best so I wanted to ask your opinion on something I've found the fandom fairly divided on - what did you think of Azula's ending within the show proper? Unnecessarily cruel or a necessary tragedy? Would you say that her mental breakdown was too conveniently brought about in order to 'nerf' her for the final agni kai? Also, do you think it was 'right' for Zuko to have fought with his sister at all or would it have been better for him to seek a more humane way to end the cycle of violence?

okay so im saying this as someone who loves azula to death like she has always been one of my absolute favorite characters ever since i was a kid and i’ve always vastly preferred her to zuko and found her to be extremely compelling and eminently sympathetic. i am saying this now before the azula stans come for me. i believe in their beliefs. but i also think her downfall is perfectly executed, and putting aside all the bullshit with the comics and whatever else, it’s a really powerful conclusion to her arc. obviously that isn’t to say that she wouldn’t continue to grow and develop in a postcanon scenario (i have a whole recovery arc for her mapped out in my head, like i do believe in her Healing Journey) but from a narrative perspective, her telos is in fact very thematically satisfying.

no, she wasn’t nerfed so that they could beat her in a fight. the fact that she falls apart is what makes them feel that they can confidently take her on (although i do think in a fair fight katara could win anyway), but the whole point is that it’s not about winning or losing in combat. the whole point is that zuko and azula being pitted against each other in this gratuitous ritual of violence as the culmination of their arcs is fundamentally tragic. yes it’s a bad decision to fight her, and zuko should have chosen another path, but the whole point is that he’s flawed and can only subscribe to the logic he has spent his whole life internalizing through violence and abuse.

that’s why aang’s fight against ozai, while tragic in its own way, is also a triumph for the way in which his ideals prevail in the face of genocide, while zuko and azula’s fight is very patently tragic. there is no moment of victory or triumph. even as zuko sacrifices himself in a beautiful mirroring of “the crossroads of destiny” and as katara uses the element of her people combined with techniques across other cultures to use azula’s hubris and ideology of domination against her, it’s presented as moments of personal growth occurring within a very tragic yet inevitable situation. it was inevitable because azula had always been positioned as an extension of her father, and thus to disempower ozai also means disempowering azula, his favorite site of projection, his favorite weapon.

yeah, it does rub me the wrong way when zuko asks katara whether she’d like to help him “put azula in her place.” it’s not a kind way to talk about your abused younger sister. but it’s also important to understand that zuko doesn’t really recognize his sister’s pain, despite the fact that they obviously share a father, because he’s always assumed that she was untouchable as their perfect golden child and thus never a victim. and he’s wrong. zuko and katara expect a battle of triumph and glory, noble heroes fighting valiantly so that good may prevail over evil. but as they discover here, even more so than their previous discovery two episodes prior, a battle is not a legendary event filled with bombast and beauty until after it has been historicized. often a war is simply fought between pathetic, desperate people who see no other option but to fight.

aang’s ultimate refusal to fight despite having all the power in the world is what makes him so important as the protagonist. but katara and zuko both share a more simplistic view of morality and what it means to be good. and zuko assumes that by fighting azula, he can only be punching up, because she has always been positioned as his superior, and she (in her own words!) is a “monster.” and then azula loses, and his entire worldview shatters. joking about putting her in her place makes way for the realization that behind all her posturing and lying (to herself more than anyone) and performance and cognitive dissonance, azula has always been broken, perhaps even more than he is.

azula says “im sorry it has to end this way, brother,” to which zuko replies “no you’re not.” but i think azula is truly sorry, because in her ideal world, she wouldn’t be fighting zuko. she doesn’t actually want to kill him, as much as she claims to. she’s already reached the conclusion that zuko will only truly reach once their fight is over. she lacks a support system, and she needs one, desperately. if she could somehow get her family back, do everything differently, less afraid of the consequences, she would. she’s smirking, she sounds almost facetious, but really, she is sorry. as of this moment, she really doesn’t want it to end this way. but zuko cannot accept that, because in his mind, azula is evil. azula has no soul nor feeling. azula always lies.

her breakdown doesn’t come out of nowhere, either. it’s precipitated by everyone she has ever cared about betraying her. first zuko betrays her, then mai, then ty lee, and then ozai — the person she has staked her entire identity to and to whom she has pledged her undying loyalty and obedience, become nothing more than a vessel for his whims — discards her because she had the audacity to care about someone other than him. what i don’t think zuko realizes, and perhaps will never realize, is that azula betrayed ozai by bringing zuko back home. he was not supposed to be brought back with honor and with glory. azula specifically orchestrated the fight in the catacombs to motivate him to join her, and it’s not because she’s some cruel sadistic monster who wanted to separate a poor innocent soft uwu bean from his loving uncle, it’s because she genuinely believes that she’s doing what’s best for him. she believes that their uncle is a traitor and a bad influence, and she believes that bringing zuko home with his honor “restored” is an act of love. to her it is.

yes, she claims that she was actually just manipulating him so that she wouldn’t have to take the fall if the avatar was actually alive, but also, she’s clearly just covering her own ass. she didn’t know about the spirit water, and only started improvising when zuko started showing hesitation. but even if she was only using zuko, then that was an insane risk to take, because either way she was lying directly to ozai’s face. and zuko admits it to ozai while simultaneously committing treason, so of course ozai would blame azula, his perfect golden child who tried to violate his decree by bringing zuko back home a prisoner at best and dead at worst, and instead found a way to restore his princehood with glory.

we only see ozai dismissing and discarding azula in the finale, but it’s clearly a tension that’s been bubbling since the day of black sun. and we know this because we do see azula falling apart before the finale. in “the boiling rock” she is betrayed by her only friends. in “the southern raiders” we see that this has taken a toll on her, that she is already somewhat unhinged. she and zuko tie in a one on one fight for the first time. and she takes down her hair as she uses her hairpin to secure herself against the edge of a cliff. unlike zuko, who is helped by his friends and allies, who has a support system. it’s a very precarious position; she’s literally on a cliff’s edge, alone, her hair down signifying her unraveling mental state. azula having her hair down signals to us an audience that she is in a position of vulnerability. she is able to mask this terrifying moment wherein she nearly plummets to her death with a triumphant smirk, but it should be evident to us all that her security is fragile here.

and the thing is, even though she’s always masked it with a smirk and perfect poise, her security has always been fragile. azula has never been safe. azula’s breakdown is simply the culmination of her realization that no matter how hard she tries, she will never be ozai’s perfect weapon, because she is a human being. she is a child, no less. and there is no one in her entire life who loves her for nothing. zuko has iroh, who affirms to him that he could never be angry with zuko, that all he wants is simply what is best for zuko. but azula doesn’t have unconditional support in her life. she doesn’t even have support.

everyone she ever thought she could trust has betrayed her, and so she yells that trust is for fools. because she feels like a fool. of course fear is the only way; it’s what kept her in line all these years. azula is someone who is ruled by fear, and who is broken by the recognition that fear isn’t enough. her downfall is necessarily tragic because her worldview is wrong. the imperialist logic of terror as a tool for domination is her own undoing, just as ozai’s undoing is losing the weapon he has staked his national identity to. it’s a battle of ideals. aang v ozai: pacifism v imperialism. katara and zuko v azula: love and support v fear and isolation.

zuko is unfair to azula, it’s true. he tries to fight her even as he can clearly recognize that “she’s slipping.” instead of trying to help his little sister, he uses that weakness to his advantage, tries to exploit her pain so that he can finally, for the first time ever, beat her in a fight. it’s cruel, but it’s also how siblings act. especially considering the conditions under which they were raised, and how zuko has always viewed her. and in zuko’s defense, she has tried to kill him multiple times lately, both in “the boiling rock” and in “the southern raiders.” zuko is someone who gets fixated on a goal and blocks out everything else, including recognition of his surroundings or empathy for others. so of course when he’s promised to put azula in her place he’s going to exploit her weaknesses to do so. after all, isn’t exploiting his weaknesses exactly what azula does best? so he allows himself to stoop to her level, and in fact only redeems himself through his sacrifice for katara. but it is when azula is chained to the grate and zuko and katara, leaning on each other, look down and observe the sheer extent on her pain, that zuko realizes that “putting azula in her place” isn’t actually a victory. it feels really, really bad, actually.

they’re in a similar position as they were when they faced yon rha. and now it is zuko’s turn to understand that he is not a storybook hero triumphing over evil, but rather a human being, facing another human being, in a conflict that is larger than themselves. to “put someone in their place” is to imply a logic of domination, of inherent superiority, that someone has stepped out of line and must be reordered neatly into the hierarchy. but aang disputes the notion, ozai’s notion, that humanity can be classified along these lines, that there exists an ontological superiority among some and not others. so operation: putting azula in her place was always going to be flawed, even if she was performing competency the way she always does, because they’re nonetheless subscribing to her logic.

of course they should be helping azula, of course they should be reaching out to abuse victims through support instead of more violence. but first they must recognize her victimhood. first they must come to understand that they didn’t get lucky, and they didn’t dominate her because they are more “powerful,” that they weren’t “putting her in her place.” they must understand that they are not heroes fighting villains in a glorious trial by combat. that the logic of the agni kai is flawed. that they are all victims. that they are all just scared, hurt children who are still grieving their mothers.

#update: ok i readmored it 👍🏼 #azula #analysis #zuko #katara #ozai #azula&zuko #azula&ozai #asks #malatilata #ugh azula is such a beautiful character….. i love her sm #her arc is so beautifully perfectly tragic #just thinking abt the mirror scene gets me sooo . distraught #this was supposed to be like 2 paragraphs lol #as is always the way . with me..

[allthingskenobi]

This is honestly a beautiful love letter to the prequels AND Revenge of the Sith, and I encourage everyone to read it.

Some of the highlights for us:

In recent years, the slaughter of younglings and the ultimate efficacy of Order 66 may have become dank meme fodder to be filed alongside the droid attack on the Wookies and “Hello There!” But back in ‘05? That montage of Clones massacring Jedi across the galaxy, Anakin igniting his ‘saber at the Jedi temple, was a real watershed moment — a visceral evocation of the horrors of war and the sheer oppressive power of fascism. Thrilling and terrifying in equal measure, “Execute Order 66!” endures as a reminder of a more daring time in franchise filmmaking.

and

Even now, the emotional and technical craftsmanship of the duel is astonishing. Christensen and McGregor’s blistering choreography and the emotional intensity of their performances; thousands of man-hours’ worth of VFX blending large-scale soundstage work and real footage of Mount Etna erupting; Lucas going full Shakespeare with Anakin’s excoriating, “I hate you!”, and Obi-Wan’s anguished, “You were my brother Anakin… I loved you”; John Williams going God-mode once more with his cacophonous score. It’s an epic battle between the forces of good and evil, the culmination of two trilogies and almost thirty years of cinematic storytelling, painted on the largest canvas imaginable. Honestly, what more could you want from a Star War?

#obi-wan kenobi #anakin skywalker #revenge of the sith #star wars #star wars prequels

[remusjohnslupin]

"J.R.R. Tolkien's epic trilogy remains the ultimate quest, the ultimate battle between good and evil, the ultimate chronicle of stewardship of the earth. Endlessly imitated, it has never been surpassed." — Kansas City Star

#lotredit #tolkienedit #tlotrgifs #oneringedit #oneringnet #filmtv #fyeahmovies #moviegifs #filmedit #sourcetolkien #filmgifs #fantasyedit #tolkienmine #QUEUE.

[let-us-cultivate-our-garden]

I don't know if you were asked this before or already addressed it before, but what do you think of the argument that Belos' death was supposed to be anticlimatic

See, the problem with these arguments is that it assumes that people who were disappointed with Belos' death wanted a grand, epic battle when in reality, everyone that I've spoken to wanted him to suffer more. We wanted him to go out screaming, realizing that all he did for centuries was for nothing, since that was what the previous episodes were building up to. That's not grandiose, that's even more pathetic than what we got in canon.

Belos' death is anti-climactic because for two episodes, the show was expanding on his background, making him see ghosts or hallucinations, lashing out at the idea of being wrong when he sees "Caleb," all of this suggested that this would play into his ultimate undoing. Instead, we get Luz-With-Anime-Powers yank him off the Titan heart and then he melts in the rain. Cool.

What was the point of the previous episodes then?

Anti-climaxes can work if there is a point to them, be it comedic or tragic. But there was no point to how Belos died. Luz didn't need to learn anything about herself in order to earn the Titan powers, she didn't use anything she learned about the Wittebanes against Belos in the final battle, all that happened is that the Titan told her she's a good witch and to stop comparing herself to someone Obviously Evil like Belos. Great character moment there.

Hell, nothing about Belos played in his death. Not his backstory. None of his lies. Nothing. It just happens. Giving a megalomaniac an undignified death or defeat can work though. Just look at Ozai. He built himself as the Supreme Ruler of the World, as the Phoenix King. He sees himself superior to all others and uses everyone--even his own children as pawns. So to have him be defeated by the Avatar, by an Air Nomad child, who doesn't even give him the dignity of killing him in battle but by taking away the ultimate symbol of his power, his bending, works because it's the antithesis of everything Ozai believes in.

But Belos' death has nothing to do with him as a character or his beliefs. The idea that he needs an undignified death to bring down the megalomaniac doesn't work because Belos has suffered nothing but indignities since he got slammed into a wall. He's been dying for several episodes, lost his human form and the world he knew and loved is long gone and none of this is used against him in the final episode.

In fact, Belos' death actually supports his ideology: for centuries, he's believed that witches are evil and inferior to humans. And he justified all the evil he's done in the name of the greater good: of defeating what he saw as evil. So, picture the scene, you have a rapidly dying man who is no longer a threat to anyone, who is trying to reach out to the one person he thinks is moral by virtue of her species, only to be stomped on by beings who proudly proclaim that they are in fact, immoral.

Congrats gang. You just let the evil bigot die with his feelings justified.

Even how he died doesn't make narrative sense because we've seen him rebuild himself from a droplet and King even mentions some being stuck between his toes. How is it this fight is what finishes him off for good? He's both progressively weaker in each episode and yet is able to outrun (or out crawl) both the Hexsquad after entering the portal and Raine in the castle and possess the Titan heart. Plus, despite having possessed the literal Titan's heart, that equated to having just enough power to transform into his younger self and then get melted by the rain. Ok then.

So let's say that Belos' death works for meta reasons; that evil and bigotry should be given anticlimactic deaths. Ok fine, but it's still disappointing and boring af to watch. Giving a bigoted villain a gruesome, over the top, and entertaining death doesn't mean you suddenly validate the villain's ideals, just look at Raiders of the Lost Ark and its melting Nazis.

Also, unpopular opinion, but The Owl House is not about bigotry; it doesn't say anything about where it comes from, what perpetuates it, how people fall into it, how it can be stopped, etc. The writing is too inconsistent and the world building is too flat for any kind of deep or compelling themes. Instead, it has the grotesquely simplistic idea that "Bad Man Cause Bad Things. Get Rid of Bad Man and Bad Things Go Away."

And that's ultimately why Belos' death doesn't work; because The Owl House never had anything deep to say. It's a fun, escapist fantasy that wants to have deeper themes but can't commit to them. Anything "real" a person might interpret is largely projection because the show is too ineffectual in exploring its own world building and characterization beyond surface level meanings.

#the owl house #toh critical #toh criticism #emperor belos #philip wittebane #asks #long post #belosfanstakeover

[bloodlust-1]

༻ 3 Nights ༺ part 3

Gortash x fem Tav —mini series Explicit 18+

Summary: Gortash invites Tav to stay 3 days at his palace for the sake of an alliance. Reluctantly, she compromises for peace and it becomes an experience they won’t forget.

T/W: manipulation, angst

Part one -> here <-

As she navigated through the labyrinthine corridors of the palace, she couldn’t help but notice the hushed whispers and fearful glances exchanged by the servants. The walls seemed to hold secrets, and every step she took felt like a plunge into unmarked territory. That servant must've already spread rumors of what they had just seen. Tav cussed under her breath, she knew this was awful.

She walked through the grand halls of the palace, her heart heavy with shame. Tav had just kissed her enemy, the one person she had sworn to despise and defeat. The taste of his lips still lingered on hers, a small hint of alcohol and sweetness. Tav couldn’t shake off the feeling of betrayal. Tav had learned to hate him and his despicable actions, to see him as the embodiment of evil. But at that moment, she had forgotten all of that. She had let him in, and he had taken her to a place of pure pleasure. She hated it but didn't stop it.

As she walked, Tav found herself in a cluttered library, the walls lined with ancient tomes and dusty scrolls. The air was thick with the scent of old books and the many ladders that led to levels of books. She wandered the aisles, running her fingers over the spines of the books, searching for something to distract her from her lewd thoughts.

Tav pulled out a book at random, a book-lined with real leather. As she opened it, she found that it was a history of the kingdom, written in a language that was written in antique words used long ago. She flipped through the pages, studying the illustrations of battles and royal processions. She felt a sense of comfort in the familiarity of the images, the history she knew growing up, and its tales.

As she continued to browse, she stumbled upon a passage that caught her eye. It was a description of a similar situation, a queen who had also been torn between her duty and her heart. The passage spoke of the queen’s struggle to reconcile her feelings with her responsibilities, and how she had ultimately chosen to follow her heart.

She felt a sense of hope rise up in her chest. Maybe she wasn’t alone in her confusion, maybe there were others who had been through this before. She read the passage over and over, committing it to memory. She felt a sense of peace wash over her, and for the first time since the kiss, she felt like she could breathe again.

Tav settled the book down and sighed. She thought of her camp. How disappointed they'd be if only they knew. Tav wondered at what cost would it take to create peace? Sure it would disappoint them, but maybe a closer bond to Gortash could benefit them: help them by fighting alongside her. It was just a matter of getting him to betray his god. Not like she hasn't done it before with Shadowheart. Tav likes to think that people could have some goodness in them.

Moments turned into minutes and minutes into hours. She wasn't exactly a bookworm, but this time alone felt like an escape from reality and its troubles. A faint voice made itself closer, "Lady Tav? Dinner is ready!"

With a graceful glide, Tav made her way to the dining hall, where lord Gortash awaited her arrival. The servant pulled out her chair as she approached, and she took her seat next to him this time at the table. The lord nodded in acknowledgment, his eyes alight with anticipation as he welcomed her presence next to him. Has Tav gotten soft? She cringed on the inside from her kindness. She hated that she was so good-hearted sometimes.

The aroma of roasted meats and freshly baked bread wafted through the air and they began to eat before Tav broke the silence, " What was so important earlier?"

"Straight to the point, I admire that about you." He chuckled and continued to chew his food before swallowing. "I was doing damage control from Orin. She's not as open-minded as you are and it can be such a fucking hassle to deal with. To have her running around the city and committing murders in the name of a god who doesn't care about her existence. Pitiful isn't it?"

Tav looked at Gortash questionably before nodding, "She is one of many on my list to get rid of. I'm so close to solving those mystery murders in the lower city."

"The sooner the better for me and you, darling."

Tav perked up her head from his words, "Is that encouragement from the tyrant, Enver Gortash? How curious that is..." She averted her eyes from him. Was all it took was a kiss to get him to speak with her normally?

"Maybe, but let it not spoil your thoughts or meal," Gortash spoke lowly and it felt a bit distanced. Maybe he too was feeling conflicted that his heart raced each time he looked at Tav. This feeling was one he ran from, it did nothing but make him weak.

As the meal drew to a close, they rose from their seats with a sense of reluctance, knowing that they would soon part ways and return to their separate chambers. The weight of unspoken confessions hung heavy in the air as they exchanged polite farewells, each longing to express what remained unsaid.

In this quiet moment within the palace walls, amidst grandeur and splendor, two hearts beat in silent harmony, bound by a love that dared not speak its name.

Tav returned back to her room, silent she stood. She walked to a window and peered outside, the lights flickered and gleamed over the city in its humble structure. She felt terribly wrong and needed to push aside her feelings, quickly. She only had one more night left before she left the palace and kept forward their alliance. But a feeling of heartbreak crushed her chest. Her companions wanted Gortash dead, and so did Tav, or at least she thought she did.

But for now, she kept a strong will, Baldur's Gate was not the Absolute's play toy. She stood strong on this hill and was willing to fight for it. Tav made her way into bed and slept early in the night. Her aura filled with a somberness because Gortash never came to her side that night. He didn't even try to pick and bother her like he usually did. Tav felt like she was in over her head and her feelings may have clouded her better judgment.

But the real truth that Tav would have not known is that he kept his distance in fear of emotions. Gortash was not allowed feel affection, nor love. He was taught to stay away and not give in. These feelings were only ever acceptable to manipulate but never to act on selfishly. In his blind religion, this only made someone weak, and that was not acceptable for a follower of Bane. Even if he felt a glimmer of something for Tav, he pleaded his loyalty already.

~

The sun crept on the horizon again, this time the sky was dark and clouded with rain clouds and heavy rain. instead of feeling a sense of comfort and security, a wave of dread washed over loneliness as she remembered the events of the previous night.

Tav woke up with a clear head. She felt like she had been blinded by his charm and charisma, failing to see the darkness that lurked beneath his facade. As she lay in bed, she couldn’t shake off the feeling of heaviness that seemed to suffocate her.

the heavy wooden doors of her chamber burst open, and a contingent of Steel Watchers marched in. Their cold, metal hands bore into her skin as they demanded that she leave the palace immediately. Confusion and fear gripped Tav as she struggled to comprehend what was happening.

"Get the fuck out of my room! I'll rip you piece by piece and tell Gortash of your actions!" Tav sat up on the bed, her heart raced with confusion and nervousness. She was merely only in pajamas and her amour had been stored away with her weapon.

"We are ordered by Lord Gortash to escort you out of the palace. Seek retaliation and we will forcibly remove you." The Steel Watchers continued to grip Tav's arms, pulling her body out of the bed swiftly.

Tav tried to pull away, grunting and yelling in the process, "What? Where is he!?" She was completely distraught, why was she being kicked out a day early?

"You must leave now, he will not be seeing anyone."

Tav was forcibly escorted out of the palace, she caught a glimpse of Gortash standing at the top of the grand staircase, his expression devoid of any remorse. The realization hit her like a physical blow – the man she had feelings of care for had kicked her out in the cruelest manner possible. Tears welled up in her eyes as she was cast out into the cold morning air, her heart shattered into irreparable pieces.

The cold rain hit her skin like bullets as her nightgown soaked against her skin. She fell to her knees and stared up as the palace doors closed. She caught just a glimpse of his emotionless face just as it slammed shut. He saw her completely shocked, betrayed, and sobbing as her knees scraped against the concrete.

~

The wind whipped her hair into a frenzy, and her dress clung to her legs, weighing her down. Tav felt the sting of tears in her eyes, but she refused to let them fall. As she made her way through the wet streets, trying to make her way back to her camp.

She let out a shaky breath, feeling the weight of her troubles lift off her shoulders upon seeing the camp. They had taken shelter under a wooden structure and the campfire burned brightly. As she approached it, Tav was greeted with worrisome looks.

"Soldier! What the hells happened!?" Karlach ran up to Tav was scooped her up, bringing her body next to the fire.

Tav shivered as her teeth chattered through her words, "K-Kick o-out." She hugged her own body in an attempt to keep warm.

Wyll came running over with a blanket and wrapped Tav's body in it. Everyone seemed to surround Tav with worried questions, bombarding her all at once.

"Give her some space!" Halsin reasoned over everyone, and that they did.

The camp then silently dispersed, giving Tav the solitude she needed to come to terms with what had transpired. Some retreated to the tents, while others lingered within sight, ensuring that she was safe without encroaching on her need for solitude. They understood that sometimes, in moments of vulnerability and pain, the greatest support they could offer was the gift of space and time.

To Be Continued ~

Any thoughts? Comment 👇🏼 I love to engage!

Part 4 Here

#bg3 tav #astarion bg3 #bg3 fluff #baldurs gate 3 #bg3 #bg3 fanfiction #bg3 fic #bg3 astarion #bg3 halsin #gortash x durge #enver gortash #gortash smut #gortash x tav #gortash x reader #lord gortash #bg3 gortash

[yanderes-galore]

Hello, may I request a Nightmare Sans vs Dream Sans with a human darling concept, please ? Thank you !

The most I know about them is through Underverse so I apologize if this isn't quite what you wanted! Sorry for the long wait, hope you enjoy!

Yandere! Nightmare Sans vs Dream Sans with Human! Darling

Pairing: Romantic/Platonic - Rivalry

Possible Trigger Warnings: Gender-Neutral Darling, Obsession, Manipulation, Overprotective behavior, Sadism, Possessive behavior, Violence, Mentions of death, Forced companionship/relationship.

If I am correct, Dream is drawn to positive emotions, while Nightmare is drawn to negative emotions.

Which gives me this idea...

I think it would be interesting to play around with the idea of them appearing on your highs and lows.

So let's say you meet Dream first, due to an overflowing amount of positive energy coming from you and your universe.

When you meet Dream he's quirky, talkative, and overdramatic.

Just being around him seems to make you happy.

Dream no doubt wishes to act like a protector/guardian around you.

He's drawn to your positive energy and wants to preserve that.

But maybe something devastating happens to you.

An event happens to you and your universe and that manages to catch Nightmare's attention.

Nightmare loves the opportunity to corrupt others, plus, he can just tell Dream likes you a lot.

As a result, Nightmare would pounce on the opportunity to corrupt and use you.

Instead of being greeted by the cheery golden skeleton to help your mood... you're greeted by a sadistic monster.

Nightmare would make it his goal to make you feel worse.

After all, the more pain he inflicts, the more he can control you.

Dream is no doubt going to notice his new favorite human is being influenced.

When Nightmare leaves and Dream returns, Dream is worried when he sees you in such a bad state.

Which leads into Dream cheering you up... and Nightmare coming back to corrupt once again.

A rivalry between these two feels like it would just be a big game of Keep Away or Tug of War.

Dream is protective of you, he hates it when Nightmare uses you.

Dream tells you Nightmare doesn't care for you... he wants to toy with you and use you.

So... you should only rely on Dream to protect you.

He'll try his best.

Meanwhile Nightmare manipulates you by saying Dream can't get rid of him.

Even if Dream protects you and deters Nightmare... he'll never leave you alone.

Nightmare will keep coming back... all to play with you.

You'll belong to no one else but Nightmare.

Eventually the two are going to fight over you when they arrive at the same time.

Dream is quick to protect you, annoying yet also amusing Nightmare.

The two will no doubt then continue their rivalry in a physical battle, much to your dismay.

The thing about this rivalry is I'm not sure if it would end.

They can't get rid of each other fully, always lingering and coming back to you later.

Unfortunately, I hate to say this, but until one of them relents or you die... it may just go on forever.

Dream wants you happy and protected... while Nightmare wants you miserable and controlled by him.

The ultimate battle between good and evil... and until someone intervenes (if they can)...

You're stuck in the middle of it.

#yandere underverse #yandere dreamtale #yandere dream sans #yandere nightmare sans

[thatumbrellaoni]

Goodness! This exchange is everything. Takes place when these two lose against your team in the new Tag Duel Tournament (2024). The actual eng translation is typed up and shared here. Very thankful to them since I don't play the game and rely on gameplay videos.

As always, imo the official translators don't do a very good job. Adequate at best... (The pre-duel dialogue is fine). The way Duel Links is translated in eng comes off as very "summarized" to me. Nuances and call backs are lost, if not altogether cut, which is unfortunate. Tbh the real villains of YGO are the translation/localization team.

BAKURA: Hehehe... We lost, Yugi. Is this what you wanted out of a fair fight?

ATEM: There will always be a winner and loser in a competition. But when it comes to us Duelists, there are acceptable ways to win and lose! You have something that's of value (lit. important) to you like that, don't you, Bakura? Like when we had our own duel (aka the first BC match)!

BAKURA: ... Keh! Whatever... I'll tell you one thing. That naivety of yours will get you killed (lit. will prove fatal) in the coming battles... Hyahahahahahahahaha!

So ok!

Atem throws Bakura the same phrase Bakura used when he forces a switch back to get Ryou out of Osiris' attack.

BAKURA: I have my own preferences when it comes to winning...!! (lit. I have ways I like and ways that I don't when it comes to winning...!!)

The manga in general uses speech/thought bubbles weirdly, but it's safe to assume Bakura isn't saying this out loud, considering what's happening in this scene (Atem doesn't actually hear him say this). So it strikes a nerve in Bakura because lmao Atem is on point!

Atem's like, "hey remember when you were a big softy for your host"

And then Bakura's immediate reaction is that of a man who's undeniably guilty as charged,

This face is such a tell. It says so much lmao! It hits home he can't even hide it! Because "That naivety of yours will get you killed". Bakura, is that from experience? 🤭

Here, Atem comments that even if Bakura is an evil entity, he and Bakura aren't different in the aspect that they are meant/destined to protect their respective Item bearers. They have to, even if it comes down to sacrificing themselves.

Yugi initially says that it's a little different between the Yugis and the Bakuras, but ultimately, Yugi agrees with Atem at a fundamental level (as seen here in his conversation with Jounouchi). I think the jp title of that chapter is fitting too. 絆のために!! "For the Sake of Bonds!!"

Look, the chapter where Bakura protects Ryou was released in the March 2001 issue of Shounen Jump. It'll be 23 years since then soon, and Atem still won't let Bakura live that moment of "naivety" down 🤣🤣🤣

I love the Bakura/Atem dynamic (in reference 01, 02)! They're the "bad friends", the vitriolic best buds trope if you cut their historical animosity towards each other. Being AIs programmed by Seto gives them this freedom, I suppose.

#yami bakura #yami yugi #bakura ryou #atem #dark bakura #ryou bakura #tendershipping #yugioh #ygo #duel links #jp to eng #I made this post with bakubaku (tender) and baku/atem (idk the western shipname for this so I cant tag it) intentions #let it be known #atem biggest tendershipper on board tho #bakura its the year 2024 and you still emit loser energy #I am reminded again why bakura is called a tsundere #satan tsundere confirmed #some dark god he turned out to be #I actually cant wait to get to the bakura/atem duel #found some interesting bits in there that gets glossed over #on top of translation issues #I gotta hurry the fuck up and keep reading

[talonabraxas]

Divine Union of Lord Vishnu and Goddess Lakshmi

It is said that we reach where our thoughts lead us to. So, if we are surrounded by positive thoughts we will attract positivity and if our thoughts are related to divine energy then positive aura is the ultimate destination.

Let us revive our mind and nurture it with sacred things about god and goddesses who are the real foundation of this universe.

Hindu religion is the richest one loaded with a huge number of gods and goddesses. Among many, the tales of Lord Vishnu and Maa Lakshmi are very popular among Hindu devotees throughout the world.

Lord Vishnu along with her consort Maa Lakshmi is regularly worshipped by people for their eternal blessings in the form of good health, wealth, success, prosperity and harmony in the family.

About Lord Vishnu and Maa Lakshmi

According to the various Hindu texts, puranas, and epics Lord Vishnu is the part of trinity gods who play the role of preserver. The other two gods are Lord Brahma (the creator) and Lord Shiva (the destroyer). Lord Vishnu is the sacred Hindu god also known as Narayana who used to appear on earth to maintain a balance between the good and the evil and to protect humans and other beings from the wicked demons. Lord Vishnu has appeared nine times on earth in the form of different incarnations during the times when bad deeds increased.

Maa Lakshmi also known as ‘Shri’, the Hindu goddess of wealth, health and good fortune who is the wife of Lord Vishnu. It is believed that she also appeared in different forms on earth along with Lord Vishnu as Radha or Rukmini, Sita, Padma and more.

Both Lord Vishnu and Maa Lakshmi possess powers which are capable of transforming the lives of people. When they both are worshipped together miracles happen and the desires of people are fulfilled. They bless their devotees with abundance of health, wealth and prosperity.

Marriage of Vishnu and Lakshmi

The union or the tying of knots between the Lord Vishnu and Maa Lakshmi is an auspicious moment altogether. Lets dive into the esoteric journey of sacred marriage and bring out some best of the gems.

The story goes back to the time when Indra (the King of all Devtas) was traveling on his vehicle Airavata, the elephant. He met sage Durvasa on his way who gave him a magical garland. Indra in his arrogance did not greet the sage properly due to which sage Durvasa cursed him. As a result of which Indra and all the other devtas lost their power, wealth and possessions.

After this, devtas were attacked by Asuras the demons. In the battle they lost Indralok and other powers.

Indra along with other gods went to Brahma who advised them to visit Lord Vishnu in Vaikuntha.

Indra pleaded in front of Lord Vishnu and asked for help. Lord Vishnu advised them to go for churning of the ocean of milk that is 'Samudra Manthan'.

Lord Vishnu told the gods to take help of Mount Mandara for churning and snake god Vasuki as a rope.

Lord Vishnu himself appeared as an incarnation of Kurma avatar in tortoise form. As Kurma avatar, Lord Vishnu went into the ocean below the Mount Mandara and held it on his back providing a firm base.

This was the time when Lord Vishnu and Maa Lakshmi parted.

On the advice of Lord Vishnu, Devtas went to hold the tail of Vasuki and the Asuras were towards the head which was throwing out a deadly poison.

As the churning began, many precious gems and other things came out. Goddess Lakshmi also appeared in a beautiful form all dressed up in red saree and loaded with gold jewelry. All the Devtas and Asuras were awestruck by the beauty of goddess Lakshmi. They eagerly waited for Lakshmi to choose them when Lord Brahma interfered and organized the 'Swayamwar' for the marriage of Lakshmi. This was done to protect the rights and respect of women as in Swayamwar, goddess Lakshmi had the right to choose her husband.

Devtas and Asuras were admiring goddess Lakshmi and wanted her to choose them. Just then Lord Vishnu also appeared and posed as one of the grooms. The moment goddess Lakshmi saw Lord Vishnu, she ran with a garland towards him and chose him as her husband.

This was the moment when goddess Lakshmi tied knots with Lord Vishnu and became his eternal consort. Lord Vishnu and Goddess Lakshmi Talon Abraxas

[scoobydoodean]

do you think dean only valued cas for his powers/usefulness? i know we see him enjoying his company but do you think he would if cas had never done anything for him? this isn’t deancrit more than simply pondering

Of course Dean values Cas for more than his powers/usefulness. Dean loves Cas. Cas is family and his best friend. If Dean only cared about Cas being useful, he wouldn't have kept Cas's coat in his car for a whole season (after Cas betrayed his trust and broke his brother's brain and everything). He wouldn't have refused to leave Purgatory with Benny before finding Cas. He would have banished Ishim to save his own skin in 12.10. He would not have argued with Sam about sending Lucifer into battle against Amara inside Cas. He wouldn't have sat pleading with Cas and calling him family as Cas was beating him to death. He wouldn't have plead with Chuck to bring back Cas and kill him and Sam (15.19). Cas couldn't have been his big win in early season 13 that turned him off the path of suicide if he only cared about him being useful. This compilation video is quite exhaustive and worth a watch.

I find your second, related question very perplexing. There’s an implicit premise in that question that I object to, and that premise is that if we were to remove Cas "doing things" "for" Dean over the course of season 4 such as:

Cas showing sympathy for Dean in 4.16 to the point of getting demoted (which very much did mean something to Dean).

Cas helping Dean leap out of the flow of causality in 4.18.

Cas in 4.20 (completely of his own accord because he knew it was wrong) reaching out to Dean through Dean's dreams and begging him to meet so Cas could tell Dean the angels were going to start the apocalypse only to get attacked by angels and dragged kicking and screaming back to heaven for reprogramming before he could rebel.

Cas rebelling and helping Dean try and stop Sam in 4.22.

What we'd be left with is a sort of "neutral" but still "good" Castiel, deserving of Dean's love and friendship, but potentially denied it because he failed to do what Dean wanted him to do in 4.18 and 4.22. In reality, if we remove Cas's acts of rebellion in season 4 (which are predicated upon Cas's doubts and convictions and desire to do the right thing—not him being some poor lovesick puppy) what we are left with is someone who uses Dean.

So let's not get it backwards: Dean and Cas's relationship starts with the angels only valuing Dean for his usefulness—not the other way around—and season 4 Castiel is Dean's handler. He shows up periodically to order Dean to do things for the angels (4.07, 4.09, 4.10, 4.16), take him places against his will (4.03, 4.16), tell him vaguely what his destiny is (4.02, 4.16, 4.18, 4.21), and get him to do things for heaven's purposes like prevent seals from being broken and interrogate demons for information. Cas holds the power between them every single time they are in a room together, and without the acts of rebellion that contrast his colder moments, all we are left with is someone who might get to tell Dean he has doubts in 4.07 and might get confronted by Anna over his complicity in the evil the angels are doing in 4.10, 4.16, and 4.22, but who never actually acts on his convictions and doubts because he is ultimately (at best) a coward who values the safety of orders over what he knows is right.

Without Cas's acts of rebellion, we don't get some poor neutral wet cat. We get someone who learns his superiors are going to carry out an apocalypse that will kill billions and does nothing. We get someone who threatens to throw Dean back into hell if he doesn't obey, threatens to harm Sam if Dean doesn't stop him from drinking demon blood (4.03), manipulates Dean into doing things Cas wants him to do (4.15), kidnaps Dean to force him to torture someone (4.16), and kidnaps Dean again to store him in a gilded cage while his brother unleashes the apocalypse... and then afterward, he'd be expected to help Zachariah force Dean to say "Yes" to Michael with manipulations, beatings, and threats to Dean and everyone he cares about. Expecting Dean to love that Cas (because why? Because Cas feels "bad" about treating him like a living doll?) is essentially a demand that Dean develop Stockholm Syndrome.

Season 4 Cas and Dean are not friends (Cas himself says this first, in 4.02). When Dean asks Cas to rebel in 4.18 and 4.22, he is not asking that of Cas as a friend who wants Cas to do him a favor. He is, as a human being—begging his angel handler who he knows has doubts to be a person instead of choosing to behave as a mindless robot whose only function is to unquestioningly carry out heaven's orders when he knows the orders are wrong (Anna does the same thing in 4.16 and 4.21!) In 4.22, Cas makes an assertion about his care for Dean. He says he's "sorry", but with every intention of continuing to hold Dean prisoner and carry out the apocalypse, and Dean punches him in the face for it because Cas isn't a friend at all and his "sorry" is empty if he's just going to continue being Dean's kidnapper (Anna rejected the same sort of false-ringing "sorry" from Cas in 4.10 when he was about to execute her).

One of the most perplexing beliefs in fandom about Cas that I tend to encounter is the idea that Cas rebelled against heaven entirely and purely "for" Dean. Most of fandom pushes this idea with no ill will because it's romantic, while smaller sectors of fandom push this narrative as way of claiming Cas gave Dean some kind of benevolent "gift" when he fell and Dean now owes him for eternity for Cas being so selfless and nice and loving, and Dean doesn't appreciate his sacrifices enough. Cas did not rebel as some "gift" to Dean. Cas chose to do the right thing.

Cas's entire season 4 arc is about him struggling with doubts about God's plan. He and Uriel keep getting orders they struggle to understand, and they both (in very different ways) end up realizing they can no longer obey without losing all sense of identity and violating all of their beliefs and convictions (4.07, 4.10, 4.16). Without Dean even knowing about it at first, Cas already rebelled against heaven in 4.20, after finding out the angels were going to start the apocalypse. He simply got caught and punished back into obedience. When Dean convinces Cas to rebel in 4.22, it is the second time Cas is overtly choosing to rebel against heaven and the apocalypse plan. The first time in 4.20 has nothing to do with Dean begging or pleading—he didn't even know. Dean convinces Cas to uphold his already existing convictions in 4.22. He pleads with Cas, saying, "You were going to help me once, weren't you, before they dragged you off to Bible camp. Help me now—please!"

What attracts Cas and Dean to one another over the course of season 4 is their mutual care for others—their love for people and their desire to do the right thing. Cas keeps showing Dean that, while he is struggling and conflicted, he loves humanity and he wants to do the right thing. He just isn't sure what that is (4.07, 4.16). Dean understands that and it attracts him to Cas. Dean's conviction and bravery in standing up to Cas's superiors to protect humanity, in turn, attracts Cas to Dean. A Dean who does not fight and claw for the sake of love is not someone Cas would have grown to care for in the way our Cas does, and a Cas who never rebels is not the man Dean grew to care for either. Maybe in a coffee shop AU, they meet and Dean likes that Cas is a bit of a dork. But in the actual canon of the show, removing Cas's conviction and desire to rebel does not make him a neutral character who just isn't "useful".

The love that develops between Dean and Cas's has nothing to do with what one "owes" the other or how "useful" they are to each other because their connection was never about that to begin with. It's about common values and common love for humanity. You cannot remove either ones convictions and rebelliousness in canon and have the same story and the same characters revolving around one another with the same mutual respect and mutual understanding. Dean loves Cas for his personality, and also for his rebellion. Not because Cas's rebellion makes Cas useful, but because it is a reflection of Cas's values, convictions, and character in the world they both live in, where they are both asked to make choices that go against their convictions by forces of evil and choose to fight and claw for what is right.

Of course there's a lot to Dean and Cas's friendship. A whole 12 seasons of content!!! There are moments where I think Cas starts to feel like he only exists to be useful to others, but there are also moments where Dean feels like Cas just wants to use him too, or like Cas doesn't give a shit about him and considers him a burden or disposable. There's a strange urge in fandom to frame Dean and Cas's friendship as one where only Cas is ever left feeling insecure or hurt, and that is wildly false.

#mail #and cas is my best friend #4.22 #4.18 #4.16 #4.20 #castiels motivations #season 4

[the-bar-sinister]

Good & Evil in Ace Attorney

So one of the things I like to pick apart in a fictional narrative where good versus evil is a relevant theme, is how does the narrative depict the nature of evil, and what tools and mechanisms does it give the protagonists to combat it.

The Ace Attorney series absolutely thematically depicts a battle of good versus evil, and the narrative position that it takes is that:

good = the truth

and evil = lies.

In Ace Attorney the hard truth is always preferable to a soft lie. Characters who lie, and twist the truth– even to help someone, or for good reasons– are cast as making a choice to do something wrong– are bringing wrongness into the world. They are not effectively fighting evil. 

We can see this embodied with Simon who chooses to lie on behalf of Athena, and while this lie saves her it also is the narrative cause of her suffering and his sister's suffering. Not only this but he is literally visually shackled by his lie in the story– he's freed by the truth.

Ace Attorney also takes the position that the longer a lie goes undiscovered, the more harm that it does. A lie that's become integrated into the fabric of the world keeps people from healing from the results of harm– we can see this embodied heavily in Von Karma, and Edgeworth in the first game. Von Karma who is literally concealing the truth inside a wound in his body, and Edgeworth who is unable to move on and heal from his trauma until the truth of the matter is uncovered.

The mechanism with which the characters fight evil in the series is by discovering secrets and revealing lies, picking away at falsehoods and incorrect assumptions until only the truth, no matter how difficult to accept, remains. The narrative reality of Ace Attorney is that truth is good, that truth is healing and freeing, and that lies are like a rot or a cancer that destroy people.

The weapons by which the characters in Ace Attorney fight evil are logic and reasoning– but always tempered with faith and hope, but notice that the characters– especially Phoenix and Apollo– are motivated to pursue the truth even when it is against their best interests, and even when it looks like the truth is going to shatter their belief in someone they trust.

In Ace Attorney the battle of good and evil is presented as pursuing truth, to heal those who have been harmed and distorted by lies and false perceptions. The more serious the evil, the deeper and more ingrained in the fabric of the world the lie is. 

An ultimate battle between good and evil would potentially look like the protagonists digging up the truth in a truly ancient cold case– discovering a lie that has remained ingrained in the world for centuries, amplifying the pain of others and causing them to be unable to heal. This dovetails extremely well with the existence of literal actual ghosts and spirits in the story-- haunting the narrative until the truth is uncovered, and they can finally rest.

#ace attorney #ace attorney meta #media analysis #good vs evil #phoenix wright #apollo justice

[the-robot-bracket]

Greetings humans and welcome to the Robot Survey where we try to get data on who is the best fictional robot. AIs and Cyborgs are also included, for any human wondering.

I am the Robot-AnalystTM, so I am very interested in 'propaganda' for data collection. Please send it to me.

You may send me good Robots, evil Robots or any Robot in between, no matter which fictional universe they are originally from.

For robot submission, please use this link:

Inspired by:

@most-mistreated-characters @best-dad-battle @bracket-of-betrayal @let-me-date-them-bracket @gentle-giant-swag @ev1l-r0b0t-bracket

#robot bracket #Robot-Analyst speaks #robot poll

[sky-scribbles]

Playlist for my Aeor longfic

I failed to figure out how to do a fancy spotify embed like the kids do but uh. Here's the playlist for Gravity!

I listened to this while planning and writing, and there are even a few shout-outs to the songs in the fic... Songs are arranged chronologically, so you should be able to hear the story happening, hopefully :'D

Further yelling about song choices under the cut!

A Matter of Time - This one is... sort of the fic's opening titles in my head? I wanted to start out with an instrumental, to capture the vibes of the months before the fic opens - Essek and Caleb apart, thinking about the T-Dock, and each other. Wondering. Waiting.

Horse to Water - Essek in Chapter 1, knowing his life as the Shadowhand is ending, waiting for Caleb to come and take him away to whatever comes next. (I'm normally very picky about not putting songs that reference modern day stuff on fantasy playlists but this one's vibes were too perfect)

Dear Fellow Traveller - Two wizards heading into Aeor together.

Conquest of Spaces - A song for Aeor. A dark, beautiful city, the remains of a people who lived by greed and power. (And two wizards in the ruins, trying to draw closer to each other.)

Neptune - This is mostly for Essek's breakdown in chapter 5, as he worries he'll never break out of his Shadowhand manipulation, wanting to be closer to Caleb and not knowing what that would even look like. And it's a little for Caleb in chapter 6, too, grappling with his feelings for Essek and his fears that they'll ultimately be bad for each other.

Please Don't Say You Love Me - ... and as they move past those fears, this song is for them tentatively acknowledging what they might be to each other. Not yet. But maybe soon.

Woodwork - This is for the chapters 6-9 span, as they learn more about Brashaar's plan. The pressure of a crisis has an odd way of making them realise just how deep their trust and care for each other runs.

Two Evils - Since we're at the point where Brashaar shows up, she gets a song now! This is pretty much her internal monologue during her confrontation with the wizards (though she really should have paid attention to 'if you're not careful, you will lose her' in reference to Quaera...)

Winter - Travelling northward, and yearning. Wishing they had more time.

Mind - A song for a young Quaera, slowly forming a personality, wondering about who she is and how her identity forms...

The Tower - ... and having their own breakdown.

What Could Have Been - I love me a good villainous breakdown, and this is a song for Brashaar's. This is how I imagine she feels during the final confrontation, raging against the gods, against Caleb and Essek, against Quaera after they turn from her. Not quite able to let go of what she thinks Aeor could have been. What, in her eyes, the world is meant to be. (As a bonus, I think the second verse sounds a bit like a retort to her from Quaera...)

Everybody Wants to Rule the World - This is such a fun cinematic cover, and I can't tell you how many times I've imagined a mental AMV of the final battle with Brashaar set to it :'D

Ori, Embracing the Light - I wanted an instrumental here too, because... Essek is dead, Caleb is in shutdown, and Essek and Quaera are communing with the Luxon, a being that doesn't really speak with words. Also, 'embracing the light' is exactly what Quaera does at this point.

Would That I - I know we all use this as Caleb's 'learning to live and love again' song... and I am no exception. This is for him after the T-Dock, finally fully acknowledging his grief, and his love for Essek.

First Day of my Life - Just two wizards realising that they have a future, and agreeing to slowly work at what's between them.

Ready to Call This Love - This one speaks for itself, honestly.

Five - Both of the wizards in the final chapter, but especially Essek realising how isolated he's been from the world, and letting it all in so he can feel it. (Also, studying the universe is a love language - )

Gravity - Gravity is a metaphor for love!!!!

#please know that restricting myself to just four sleeping at last songs #is Enormous restraint for me #anyway uh have some songs and rambling #shadowgast #gravity and all that's born within #essek thelyss #caleb widogast #critical role

[sixty-silver-wishes]

The Repugnant Retrospective: Reading A Series of Unfortunate Events, over ten years later

(Note: For the sake of clarity, "Daniel Handler" will here be used to refer to the author of the books, while "Lemony Snicket" will be used to refer to the narrator character.)

I must have been in fourth or fifth grade the first time I picked up The Bad Beginning, the first book in A Series of Unfortunate Events, which contains thirteen books in all. In those days, I was a big fan of Guardians of Ga'Hoole and Percy Jackson, and read voraciously- to the delight of some of my teachers, and to the chagrin of others, who would prefer I not be reading a book for my own amusement during a lesson on mathematics. All thirteen books were in the school library, which I still look back on with fondness. It was a cozy little place- as libraries often are- that left me with plenty of memories, from going with my friends to the annual Scholastic book fair, to the unshakeable guilt of having to purchase a book on prehistoric animals because I'd checked it out and lost it, only to find it at home after the fact. I think I began reading A Series of Unfortunate Events after I finished the Ga'Hoole series, and although it was nothing like anything I had read before, I was hooked.

The phrase on paper here refers to an explanation of the basic concept of something, as opposed to experiencing it in practice. To witness an idea on paper does not necessarily mean it must be written on paper, as it could be written on the internet, or tapped out in Morse code, or spray-painted on the back of an unsuspecting associate while he waits in an abandoned bounce house for a secret message via carrier pigeon. However, it is true that reading an idea on paper may produce a very different effect than reading it in practice, whether or not paper is involved at all.

On paper, A Series of Unfortunate Events is about three children experiencing miserable things, over and over again, and ultimately culminates in an ending that is left ambiguous- a word which here means that the fates of the main characters are left unclear. When I first read them, I was used to stories involving magic, and enormous battles, and falling in love, mostly clear lines between good and evil, and an ending where there are no more secrets, because everything gets resolved. None of these things are bad to have in a story, of course, but a story does not need to have all- or any- of them to be good. Such is the case with A Series of Unfortunate Events. On paper, the series may not have appealed to me, due to the things I was used to reading at that age. But in practice, I couldn't put them down. I can remember feeling a sense of pride at figuring out the mysteries and understanding the literary references I could glean at my tender age. I can remember laughing uproariously at some parts (especially the Volunteers Fighting Disease song and the antics of Carmelita Spats), as well as feeling a dreadful pit grow in my stomach at others- which, of course, is a feeling that is typically better avoided than not. A pit in your stomach, after all, may mean you have uncovered a devastating secret, or had your heart broken, or have a nasty parasite gnawing at the lining of your digestive organs, and will need to see a doctor to extract it and seal the pit back up. Or, as was my case, it may mean an honest exploration of a truth about the world that you, at your young age, had some idea about, but had been sheltered from, and were finally seeing it laid out in a way that was simple and profound and shattering and enlightening all at once.

All that being said, I couldn't stop reading them, despite the warnings not to read them on the back of every book. The only one I didn't finish was The End, because I had to return it to the library before I could reach the end of The End, although this was not the end of my experiences with A Series of Unfortunate Events, and just a few days ago, I had reached the beginning of The End once again, and finally read The End from beginning to end. As the years went by, I completely forgot some parts of A Series of Unfortunate Events, and others refused to leave my mind. But while I would not experience another word of an Unfortunate Events book for over ten years, A Series of Unfortunate Events was constantly following me in some way or another, like three mysterious initials, or an unblinking pair of eyes in the night, or a particularly pesky neighbor I have had to move across the sea three times to get away from, but still keeps sending me telegrams in code. I was not done with the series, nor was it done with me.

When I was in middle school, through a completely different set of events altogether that would take another long post to chronicle, I decided I wanted to be a writer. I took to keeping notebooks where I wrote down my own stories, and even managed to finish a few. By the time I reached college, I was equipped with a love of history and classic literature, and majored in Creative Writing. I continued to read, and took a course on Arthurian literature- taught by a brilliant scholar whose work, I would find out a few years later, is cited on the Unfortunate Events Wikipedia page. (I also took a miserable course on English grammar that would have made even Aunt Josephine weep, and is better not elaborated on.) But also while in college, I began intensively researching a certain historical figure whose name you may already know. Like the fictional Snicket, I was researching someone whose life was full of mysteries, many of which have still gone unsolved. This person, like all people, made a number of morally ambiguous decisions, although whether or not some of these decisions were made for good reason is up for debate. One could even say that his life could also be summarized as "a series of unfortunate events," despite how prodigious, erudite, and altruistic he was- words which here mean the Soviet composer and pianist Dmitri Dmitriyevich Shostakovich- whose work, I would later learn, Daniel Handler listened to while writing A Series of Unfortunate Events. I became acquainted with, among other authors, the works of Nikolai Gogol, Franz Kafka, Kurt Vonnegut, and J.D. Salinger- whose writing styles echo in both Handler's work and my own. And of course, while I did not pick up on the reference in the books and forgot about it entirely, last year, I had been introduced to a little German flick called The Cabinet of Dr. Caligari, which of course, had absolutely no impact on me whatsoever. (If you know anything about me, you will immediately be aware that this is a blatant lie, and that nothing I say should ever be trusted.) I began working at a store that sells Puttanesca sauce and a great variety of horseradish condiments. And all the while, I, like everyone else in the world, was experiencing my own series of unfortunate events, both personal and political.

All that is to say, if I enjoyed A Series of Unfortunate Events as a young child, you can imagine what I thought of it as an adult- older, wiser, and more well-versed in things like classic literature and world politics. Most nights, I listened to the books on audio while drawing- because just as Violet needs to tie her hair up in a ribbon and Klaus needs to polish his glasses to focus on their areas of expertise, I must have something long and often thought-provoking to listen to. As I said, there was a lot I didn't remember about the books- and it wasn't just plot details and characters.

For instance, while I can’t say I remembered it the first time, when I read the first book, it really left an impression on me when Count Olaf slapped Klaus across the face, and how much the book dwelt on it. From a narrative perspective, that slap was a threshold being crossed- a sign that the Baudelaires were no longer in a safe and predictable environment, and were living with someone actively hostile towards them. But from an emotional perspective, it really struck a chord to see Klaus continue to think about it throughout the first book, processing his first encounter with abuse. There was a bittersweetness to watching the orphans grow up and learn self-reliance, and the cynicism and misfortune of the books was well-balanced with witty humor, satirical commentary, and a constant sense of hope- something, of course, that I also appreciate about Shostakovich's works.

A Series of Unfortunate Events has a great deal to say about evil, and the nature of oppression. As a kid, I don't think I realized just how awful Count Olaf was. Of course, I knew he was a terrible villain trying to make these kids miserable in any way he could, but as an adult, I could see that Count Olaf was more than that. He harassed Violet in a borderline sexual manner, just to make her and her siblings feel weak. He delighted in burning books and murdering brilliant people, so there would be less knowledge and nobility in the world. And perhaps most impactfully, we see his rise and fall over the course of the series, as for all his treachery and the pain he brings the orphans, he ultimately finds himself powerless due to his own actions, as well as the inevitable dissolution of his own troupe.

Seeing Olaf's theatre troupe gradually leave him one by one, along with the various schisms that shape the series, brought a distinctly political understanding to A Series of Unfortunate Events that I did not have as a child. It brought to mind real-life tools of oppression and ignorance, and how they are doomed to fail because of their tendencies to devour themselves in their desire to harm and ostracize others. There's an interesting situation with the carnival "freaks," who demonstrate how the oppressed can become oppressors themselves through a desire for power over their situations- and how quickly oppression turns on itself, as Olaf's troupe finds themselves being called "freaks" as they seek to exploit the carnival freaks for their own gain. The audience just wants violence, and it doesn't matter who it's against, as long as they have someone to ridicule. We also see how inaction is just as harmful as active oppression- Mr. Poe is just as responsible for putting the Baudelaires in bad situations as Olaf, and even well-meaning adults like Aunt Josephine, Hector, and Jerome Squalor endanger the orphans because they're too scared or too content in their ignorance to protect them. The colony of islanders put themselves and the entire world at risk because they refuse the apples that would have easily cured them of the fungus they were infected with, too content to follow their leader instead of "rocking the boat." With all the ignorance and malice surrounding them, the orphans instead must learn self-reliance, even with the few allies they do have.

A Series of Unfortunate Events is especially mature when it handles the topic of morality. Characters are often shown to be morally gray, even those who are initially introduced as "good" or "evil." I found Fiona to be an especially fascinating character, as she exemplifies this moral struggle, although I feel the way she's described in the narration unfairly contradicts her character. On one hand, it acknowledges that she makes similar decisions to the Baudelaires as a foil to them- both have had to make morally dubious decisions on account of their siblings- but the narration will repeatedly refer to her as "treacherous" or blame her for "breaking Klaus' heart," although we find out she regretted her actions and, if anything, betrayed Count Olaf more than she did the Baudelaires. But regarding gray areas, Count Olaf, by the end, performs an act of nobility out of love, and the Baudelaires are constantly shown coming to terms with their own moral struggles as they fight to survive and find justice- although as the series progresses, "justice" becomes more and more of an absurd concept as corruption is found everywhere- although justice still persists, and as long as there is evil in the world, there will always be people "noble enough" to fight it. It was especially gratifying to see Justice Strauss and Jerome Squalor come back in book 12 to apologize for their inaction, and to help the Baudelaires against Count Olaf, in a moment that, however brief, challenged the previously-established cynicism of the series and demonstrated that people don't have to stay complacent, and that it's never too late to take action against ignorance.

Handler masterfully presents the plethora of philosophical and harrowing concepts that the series deals with to his young audience through his storytelling, which- like Salinger- sometimes distances itself tangentially to allow the audience to process the heavier moments, relating the Baudelaires' experiences to things the readers may have experienced or read in order to help them understand them. It's an incredibly adult way of delivering a children's story, particularly one that's more mature than most. As I first read the books as a child, and then read them as an adult, I can appreciate this maturity more, although being older than the characters allows me to look at the books from a different perspective. Violet and Klaus, from the beginning to the end of the series, are respectively 14-16 and 12-14, and while as a kid, I admired them and thought they were so brilliant and mature, as an adult, there's a sort of horror in realizing just how young they are. Sunny goes from being an infant to a toddler, but her extreme intelligence and emotional maturity for her age still makes her character more fantastical and less grounded than her siblings at times.

I found the series to hold up remarkably well for the most part, except for in a few areas. The most glaring issue, although I won't dwell too much on it, is the transphobia regarding the "henchperson of indeterminate gender." While, to my understanding, this is remedied in the Netflix series (which I have not seen), it was still uncomfortable to see this character frequently dehumanized by both the story and the other characters, even if they played a relatively minor role. At times, it felt contradictory to the story's themes, as the narrative would explicitly discourage discrimination against people who are "different" (book six even defines the word "xenophobia"), but also portrays an androgynous character as inhuman. It's entirely possible that Handler was not aware of trans issues at the time he wrote the books, but this element nonetheless prevents them from aging as well as they could have.

The other issue I had with the series is that sometimes, plot elements almost seem forced within the narrative. While the orphans, of course, face plenty of misfortune, the solutions to many of their problems are often practically handed to them by the narrative. For example, when Klaus and Sunny need to figure out an anagram, they just so happen to be hiding in a closet full of alphabet soup, which they conveniently use to solve it. The wasabi that Sunny finds in the Gorgonian Grotto just so happens to be the cure to the medusoid mycelium, and it works instantly. Klaus, in an especially infuriating moment, cracks a code with an elaborately-worded phrase summarizing the central theme of Anna Karenina, and the specific words that he uses just so happen to be correct, despite the fact that there are countless ways the same idea could potentially be phrased. While the orphans all have their own specific interests- Klaus likes to read, Violet likes to invent, and Sunny likes to bite things, and later cook- they can seem underdeveloped at times because they're so heavily characterized by these interests, which they very frequently rely on. There's a moment in book four where Violet has to research hypnosis in order to save Klaus, and I really liked the idea of them having to take on each other's interests to help each other. However, for the most part, the Baudelaires tend to stick to their specific strengths, which usually allow them to solve any problem, so they don't often need to branch out.

Overall, despite its few faults, I enjoyed A Series of Unfortunate Events, probably even more now than I did when I was a kid. Each book was beautifully written, and I loved the slow reveal of plot elements, as well as the gradual descent into its philosophical themes. Being more well-read and experienced at my age than I was at nine or ten, I was able to appreciate the books far more. The humor, storytelling, and themes still largely hold up, and it was fascinating to return to a piece of media that left such a strong impression on me at a young age, and would continue to leave an impression on me the older I got. I would definitely encourage anyone to read them, especially if, like me, you also read them as a child. Perhaps you may not want to read such a long tale of misery and woe being inflicted time and again on three (mostly) innocent children, and as Ishmael would say, I won't force you to. These books, while written for a young audience, can be very emotionally heavy, and may not be for everyone. But there's a lot of truth to them, and like the most miserable late quartets of Dmitri Shostakovich, I found them a great comfort because of just how real they are thematically. Perhaps later on in life, I'll encounter even more experiences that will make me appreciate the series even more than I do now, just as I did growing up long after I first read them. Maybe then, I'll have to read them again, and as I'll watch the Baudelaires grow for the third time, reflect on how much I've grown as well. But for the time being, I'll conclude this retrospective, which has already dragged on for long enough, as I've finally reached the end- at least for now.

#a series of unfortunate events #asoue #long post #analysis #literature #book analysis #retrospective

[cienie-isengardu]

[MK1] Bi-Han & Kuai Liang. Good brother? Evil brother? Nah, just different reactions to trauma, part 2

With the first part, I hopefully established that within presented worldbuilding, 

A) characters being allied with the Good Side aren’t “perfectly pure” and may be involved in questionable actions,

B) the same as wishing to change prevailing traditions isn’t a sign of evilness, as tradition itself is not determinant of good and evil

C) there are little to no sources showing us that Lin Kuei benefits in any special way from its “honorable servitude” to Liu Kang and Earthrealm.

Before I will dwell more into details about Bi-Han, Kuai Liang and how Lin Kuei training affected who they are, let me established two more things:

First and foremost, we need to remember that during story mode Sub-Zero and Scorpion are affected by things outside of their control - frustration and grief respectively. So none of them are at their best (normal) mentally state.

Secondly, from on I’m gonna use words like “abuse” conventionally for Lin Kuei upbringing, not as I think their parents or teachers were abusive people on purpose but because installing in young children a traditional values is one thing and making them cold-blooded killers totally different matter and there is plenty to say - and condemn - about turning children into perfect soldiers (tools) to uphold someone’s authority or idea of a “greater good”.

The most vital question about the Sub-Zero and Scorpion is: how two brothers raised by the same parents, taught the same values and growing together in an isolated and hidden Lin Kuei clan could get such an opposite approach to tradition and authority?

As stated in the title, I do sincerely believe the conflict between Sub-Zero and Scorpion is not rooted in how morally or immorally characters they are at core, but how they deal with hardship (abuse) of being trained since childhood to be a secret weapon ensuring safety of Liu Kang’s Earthrealm and how this limited their life to one, dictated by someone’s else, purpose.

The game makes it clear the main theme of conflict between brothers is about tradition (father’s teaching), more precisely, whether Lin Kuei should follow the centuries old servitude or break with it. We could see this dispute between Kuai Liang, Tomas and Bi-Han twice, first when brothers were awaiting Liu Kang

Tomas: Were he here, Father would advise us to wait without protest. Bi-Han: But now he is gone and I am Grandmaster. Kuai Liang: His teaching did not pass with him. They should still guide us. Bi-Han: Guide us, yes. Shackle us, no.

and during the mission itself

Kuai Liang: We must honor his vision Bi-Han. Bi-Han: Vision is what he lacked. He was blind to our superiority. We settle for defending Earthrealm when we could help lead it. Tomas: Our clan doesn't govern. It serves. Bi-Han: That is our past. It won't be our future. 

The conflict was already ongoing issue between brothers to the point Kuai Liang feared at some point he would need to turn against Bi-Han to take control over the clan:

Scorpion’s Bio: But Sub-Zero's unprecedented moves to cast off the Lin Kuei's traditional duties have frozen Scorpion’s enthusiasm. He fears that he may one day have to battle his brother for control of the Lin Kuei's legacy.But Sub-Zero's unprecedented moves to cast off the Lin Kuei's traditional duties have frozen Scorpion’s enthusiasm. He fears that he may one day have to battle his brother for control of the Lin Kuei's legacy.

On another hand, the story mode suggests that despite those fears, Scorpion did not really believe Sub-Zero will ultimately go so far as to abbadon Earthrealm in need.

Story Mode, Kuai Liang: I knew Bi-Han's frustrations ran deep. But I never thought they could inspire such madness. We can't let his corruption spread.

The game keeps each brother’s reasoning as vague as possible, however Kuai Liang and Tomas does not provide any constructive argument beyond honoring father’s teaching. There is no given reason why exactly Kuai Liang and Tomas think Lin Kuei should still uphold a system that objectively speaking does not benefit the clan as far as sources are concerned, yet both are very firm about respecting tradition and fulfilling their original duty they were trained for since childhood. 

And so we have in story mode

Scorpion: We must chart a new course. One that both honors our Father's legacy and serves Earthrealm

or

Scorpion: "Glory? We fight for duty."

or

Tomas: We can't abandon tradition.

or

Liu Kang: As you know, Bi-Han and his Lin Kuei have abandoned their roles as Earthrealm's guardians. His brother Kuai Liang has agreed to build a new clan, the Shirai Ryu, to take its place. I must go aid his efforts.

while intro dialogues adds

Smoke: With you as grandmaster, our new clan will flourish. Scorpion: Only if we honor tradition.

or

Geras: We are both sworn to serve. Scorpion: May neither of us neglect our duties.

or

Sub-Zero: What is the point of your new clan? Scorpion: To fill the role the Lin Kuei abandoned.

As Scorpion’s Bio says “Like his cherished father, Scorpion is dedicated to the Lin Kuei and its defense of Earthrealm. “, the Earthrealm’s safety is an important matter to Kuai Liang, although whether this dedication comes from his deep sense of duty alone or he actually cares for other people is up to debate. Mainly, because the sources don’t provide an insight into his motivation beyond loyalty to cherished father, his teaching and “legacy”.

Out of three brothers, Tomas was the most sidelined character, but despite sharing with Kuai Liang a similar dedication to their father, intro dialogues at least directly address his desire to save people, so we may assume for Smoke, the duty to Earthrealm is not just matter of principle but a real care for others - something most likely tied to his survivor’s guilt / trauma after losing biological family:

Sindel: It's impossible, Smoke. We can't save everyone. Smoke: Then I'll save who I can to make up for the ones I can't.

In contrast to Kuai Liang, the sources add a lot of insight into Bi-Han’s motivation. Alongside his desire for making his clan stronger - and eventual expansion of Lin Kuei’s political-economic standing, the thirst for independence and freedom are the most frequently mentioned things and such repeated theme make it clear that for Sub-Zero the cherished by Scorpion and father’s tradition was nothing more than enslavement.

Story mode: 

Kuai Liang: His teaching did not pass with him. They should still guide us. Bi-Han: Guide us, yes. Shackle us, no.

and

Shang Tsung: I know that you wish to break free of Liu Kang’s control…

Sub-Zero’s ending:

“I had broken the Lin Kuei free of Liu Kang’s enslavement. We were now masters of our destiny and could take our place among Earthrealm’s greatest nations.”[...]

Intro dialogues:

Liu Kang: You have forsaken your family. Bi-Han: To free the Lin Kuei from bondage.

and

Liu Kang: Come in from the cold, Bi-Han. Bi-Han: And again kneel before you?

and

Havik: You let yourself be Liu Kang’s slave. Kuai Liang: An opinion shared by my brother.

or

Sub-Zero: I've gained the Lin Kuei's freedom. Smoke: You've only earned them infamy.

(the screenshots can be found here)

This visible difference between brothers gives us the first clue to understand the motives behind their choices and what kind of people they are. 

Whatever Kuai Liang experienced as a child, he fully embraced father’s authority and build his life around the duty to Earthrealm - to the point he never wished to be anything else than Lin Kuei

Raiden: Did you ever want to be an Earthrealm champion? Scorpion: I have only ever wanted to be Lin Kuei.

even if he clearly does not enjoy the fighting the way Bi-Han does

Sub-Zero (Scorpion and Smoke): You're both unharmed? Scorpion: We are, brother. Sub-Zero: Good. After years of idleness, it pleases me to again face kombat. Scorpion: I will be pleased when we complete our mission.

and actually may not like kombat that much in general

Scorpion: As Time’s Keeper, you could have abolished kombat. Liu Kang: Even a Titan’s power has limits.

Mind you, a timeline in which fighting is abolished is a world where there is no need for Lin Kuei, as the clan's purpose is tightly tied to kombat. What gives an interesting detail about Scorpion and his dedication to duty, even at the cost of his own comfort.

In contrast, Bi-Han questions everything

the purpose of Lin Kuei

Sub-Zero’s BIO: As the Lin Kuei's Grandmaster, Sub-Zero leads his ancient warrior clan in defense of Earthrealm from external threats. For centuries, it has been their solemn task. But Earthrealm hasn't been threatened in generations, and Sub-Zero see no point in limiting his clan to preparing for dangers that may never come. Under his leadership, the Lin Kuei will come out of the shadows and fight for its place as one of Earthrealm's great nations.

the authority and wisdom of father

Story mode: Vision is what [father] lacked. He was blind to our superiority. We settle for defending Earthrealm when we could help lead it.

and

Scorpion: Father would be ashamed of you. Sub-Zero: Only because he lacked vision.

and

Sindel: I knew your father. He was a great man. Sub-Zero: Yet he never understood the Lin Kuei's potential.

and

Sub-Zero: My father was a fool to follow you. Liu Kang: He wisely honored Earthrealm with his service.

the authority of Liu Kang

Sub-Zero: Earthrealm isn't yours to rule. Liu Kang: Nor has it ever been, Bi-Han!

and

Sub-Zero: I don't recognize your creator's authority. Geras: Denying facts makes them no less real.

and

Kenshi: Why do you so resent Liu Kang’s authority? Sub-Zero: Give it time. You will understand.

This leads me to see Kuai Liang as a believer (follower of Liu Kang and father’s authority) that wants to uphold the status quo because it was so drilled into him and/or without Lin Kuei he has no purpose or identity to cling to, while Bi-Han is the man questioning the system and purpose imposed on him. A purpose that without an external threat could turn out to be a wasted life. 

That Sub-Zero question authority is nothing surprising, as all major cryomancers have a rocky relationship with it, including previous timelines Kuai Liang. From in-universe perspective, this could be a reason why Liu Kang on purpose changed Kuai Liang into pyromancer, as I believe that cryomancer Kuai Liang would be much more supportive of Bi-Han’s independence streak than his fire counterpart is. 

This is solely a ground on which in next part(s) I’m gonna exploit more all the nuances between brothers and from where comes their different approach to tradition, authority and their duties. 

#mortal kombat #bi han #sub zero #kuai liang #scorpion #tomas vrbada #smoke #as the text grows longer i decided to cut it down in smaller parts both to make it easier to read and to focus on individual matters #but also to not keep everyone wait too long #sorry for that! #i know this part doesn't sound like any big discovery but i needed to lay the ground on which my take on lin kuei bros is build #hopefully the future parts will be more interesting :P