I'm still thinking about vampire Usopp w/sanuso btw, just like
Sanji insisting Usopp come to him whenever he's hungry, for multiple reasons, but primarily bc he's the cook, it's his job to keep his cremates fed above everything else. And Usopp going along with it, asking for blood around the same times he used to ask for food. Thinking Sanji would tell him if he ever took too much.
Sanji, however, is a fool. A very kind, but large fool. He doesn't tell Usopp when he's taking too much or too frequently. In fact their whole arrangement barely lasts a few weeks before Sanji collapses in the middle of food prep.
Like, just the idea of the guy who gives and gives and, yeah it feels nice to give, but can't fathom the idea that there are others on the crew able to do the same. That he doesn't have to give until there's nothing left.
Idk just. Physical manifestation of his problems with accepting unconditional love without having to give anything to earn it. As in, the more he gives without bounds, the more he's literally killing himself.
And then. And then.
Usopp coming into the galley, ready to sheepishly ask for a snack, just like before this whole thing, and finding Sanji on the floor.
And he yells for Chopper before looking Sanji over. Coming to the realization that this was him- this was his fault. He took too much. Asked for too much. Asked too much of Sanji.
And he's just kicking himself the whole time, telling himself it was stupid to ever think Sanji- Sanji of all people- would ever deny him a chance to fill his belly.
He comes to the conclusion he can't ask Sanji for blood anymore. He can't ask anyone for blood anymore. He couldn't risk this happening again. To any of them.
After Sanji got a transfusion and isn't at risk of falling over anymore, he and Usopp begin an agonizing back and forth routine.
Sure, Sanji can't give blood for a while- doctor's orders- but there are some rather big fish in the aquarium, and Usopp has always loved the taste of fish. He drains the blood out of a few, stores the excess in the fridge, and offers a glass to Usopp to make up for the lunch portion he never got.
Usopp says something or other about grabbing a bite from a sea king earlier and waves him off. Sanji frowns but doesn't say anything.
And this same bit continues and continues and continues, until Sanji puts his foot down. Literally.
Kicks Usopp's ass to the galley. Has an infuriating conversation with him. Continues to try and get him to drink. Ends up coming to a conclusion that Usopp only liked drinking blood from the source. A passing thought making him consider that there was only one source- one person he'd drink from.
Usopp- tired and fuzzy and hungry, so so hungry- is trying his damnedest to keep Sanji satisfied with lies he doesn't have the energy to make believable. He's trying and trying but Sanji is bulldozing through each one, not taking no for an answer and-
Is it me? Sanji asks, his voice far, far too hopeful. Do you only want to drink from me?
And if Usopp wasn't tired- wasn't literally starving and finding it hard to keep his thoughts from slipping away- he would examine that voice. That tone. Run through his own daydreams with different words, different contexts, being implied with those words.
But he is tired. And he is starving. And he needs to get a grip before he wavers even more in his resolve.
And so, it's surprising yet all too expected when Usopp declares Sanji's blood as the nastiest thing he's ever tasted. Says he never wants to get within smelling distance anymore, it's that bad. Too late, he realizes his smelling distance, now, covers the entirety of the ship and then some.
Sanji stays silent. Usopp contemplates taking it back. He doesn't.
Casually, Sanji reaches over to his knife block. Despite his current status as a member of the undead, Usopp fears for his life. He wonders if Sanji was just as skilled with a knife as Zoro was with his swords and desperately hopes that's not the case. Aloud, he tries to calm Sanji down while subtly trying to put distance between them.
Without any warning, practically without sound, Sanji tilts his head and cuts a thin line near the juncture from his neck to his shoulder. And all of a sudden, Usopp's filled with another, far more terrifying, kind of fear.
It's just like Boin, Usopp, he thinks to himself, eyes glued to the spot where dark red beads of blood well up on pale skin. Just like Boin.
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If I told you there was a series of games created before I was born, developed by Capcom, and that I was obsessed with a pairing of middle aged men within; The pairing being comprised of a someone around a decade or so older than the younger, lighter colored hair, stern and serious with a very deadpan sense of humor, along with “this is my job. I shall do it perfectly” demeanor about his work— very cat-coded in general, if you can think it, it will most probably apply— and the younger being very a determined brunette with firm morals who goes toe to toe with the older man and is frequently one of the only ones who can do so with their hell-bent insistence to do good and defend those who cannot, no matter the cost, who is quite dog-coded in reverse.
They spend a few years in each other’s company, learning about each other (even if it’s at a distance and professionally) and then. Something happens. The older one of the pair betrays the brunette — his strings being pulled by a higher power, but it does not excuse him— and in the process reveals a cowardly and vengeful side after the event, causing the entirety of the franchise we play to happen.
And then only a bit later in the storyline, one murdered the other, in cold but passioned blood, because destiny deemed it this way and they only heed the call of it. And whether or not it was intentional, leaving said murdered man’s child an orphan completely alone in the world as a side effect. For years after the event, they are satisfied with what happened, if burdened by guilt. But they were right to do so, weren’t they? They proceed to be metaphorically haunted by the man they killed for the rest of their life, however. And that will come to a head for them.
Now… am I talking about Chrisker (Chris Redfield/Albert Wesker), or Shingou (Mitsurugi Shin/Karuma Gou) ?
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Sorry for ranting but that post really resonated with me,thank you! it aways seemed so weird how everyone was ignoring these themes and focusing only on what they considered badass about the lore. When playing i could clearly see facets of the suffering that afflicts mainly women on each female character,like the old lady who mistakes you for her kid and gives you sedatives to make you forget,implies that "your fathers blood" is to blame when you atack her and remarks that "you were aways the brave one" when the player has no woes to share... it instantly reminded me of stories from older women about what life was like with abusive husbands and sedatives being prescribed freely due to their stress at home with no way out. Adellas negative levels of self esteem due to church brainwashing (that mirrors Adelines) and the presence of the female rivalry that is instilled in many of us,Ariannas entire questline and the questions it makes the player ask themselves in the end, and finally the doll and Marias whole THING,especially if seen through the lens of a lesbian or GNC woman! like how can people be so blind and not realize how womanhood is a core theme here?? I get disagreeing with individual analysis but to outright deny that there is something there is bonkers to me
okay but seriously, all of these insights are SO important!!! the women of bloodborne are so much more complex than people seem to give them credit for. the old woman and adella especially so clearly have biases. but what really gets me is how realistically those are portrayed: tools of the power structure they were born into which serve to separate and isolate each of them in their subjugation.
this got Insanely long… under the cut it goes!
i mean, seriously though. the women of oedon chapel are very different, each from a different marginalized background of their own. in addition to what you described, the old woman lives in central yharnam — which the church has essentially thrown to the dogs. arianna is a so-called “vileblood” who is forced to the margins of society because of that and her (presumed) identity as a sex worker. adella has been groomed within the church (a word which specifically implies a process beginning in childhood) to see herself as nothing but a worthless vessel for “lowly blood”. these women are all subjugated by the church in different ways, and in an ideal world, they would realize they have much more uniting them than they do separating them.
which is exactly why the church has invented scapegoats to prevent that from happening. the church tells the old woman that it isn’t them who has reduced her home to ruin and likely sent her son to die in the hunt; they tell her it’s foreigners and their tainted blood. the church tells adella it isn’t their fault of that she is treated worse than dirt and has no one to turn to when she is abducted and nearly murdered by a branch of the church itself no less; they tell her she deserves it, because she’s only worth how much she can be bled out for others. they tell her it’s the fault of “vileblood” taint turning the world mad, not their own poisoned healing and insane experiments. i mean seriously — the parallel between arianna’s (implied) “vile” blood and adella’s self-described “lowly” blood is not lost on me.
and arianna, who is wholly innocent yet painfully aware of how isolated she is in that chapel, is left to stumble into a sewer and left with nothing but madness and isolation and the wretched thing she birthed when she is raped by a god and forced to bear its child… and based on how we see the upper ward of the church positively crawling with the exact monsters that she was forced to birth, i’m willing to bet that this is exactly what the church wanted.
bloodborne illustrates how prejudice is ultimately used to subjugate and silence all but the upper echelons of the powerful; and how it is the most vulnerable in society who are left to suffer the worst of it, utterly alone and alienated from their would-be allies. it shows how a class of the oppressed can be so purposefully be driven apart, so their oppressors remain unchallenged. it shows how even those like adella who play a crucial role in their grasp on power are still treated like scum. their oppressors enable, orchestrate, and weaponize the pain these women suffer and force them to bear it all alone.
and as for maria & the doll — again, i COMPLETELY agree. lesbianism aside, maria is undeniably, fundamentally gender nonconforming, especially when compared to the other NPC women. the relationship between her and gerhman is something i plan to go more in depth on in a later post — but i will say that i actually see gerhman as more of a paternal/protective figure. that is to say: i think gerhman in the text represents the gender role of men as a protector of women taken to its natural conclusion; not as a role made for service or assistance, but rather for ownership of the woman under protection. he’s an incredibly tragic and twisted man. i want to poke him like bug under microscope etc.
i am so glad my post resonated with you!!! these are honestly the kinds of conversations i want to have with other fans — because they’re so damn INTERESTING to me to pick apart!!!
tl;dr: The Girls Should Unionize.
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“There was this girl who was broken by the world, ‘cause every day at school they’d push and shove her,
But she had a plan,
One day she would get her revenge, and those cheerleaders and jocks would be six feet under,
But behind those angel eyes lies a devilish surprise,
The prom queen has killed for her crown,
Every boy and girl she seeks never comes back in one piece,
So be careful when she tries to ask you out,
She’s a motherfucking killer queen,
A psychopath at seventeen,
A beauty in a blood-stained dress,
She’ll fill your heart with kerosene and light you up ‘til you can’t breathe,
If you break her heart, you just might lose your head,”
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