#this is less 'meta' and more 'my personal reading'

[sad-endings-suck]

Blue Eye Samurai: regarding Mizu’s “plot armour” or her “ridiculously over-powered” abilities.

“Mizu is way too overpowered, it doesn’t make sense.”

I feel like a lot of people don’t realize just how much the mind over matter mentality plays a roll in Mizu’s “abilities”. Mizu isn’t the best because she’s physically the strongest, or had the best training, or the most experience, or whatever. Mizu is the best because she has single-minded focus and immense tenacity that borders on psychotic due to how intensely dedicated to revenge she has been for almost all of her life. All the years she spent training, all the time she spends taking out enemies, she is being driven by single minded focus and iron willed determination that never wavers. She has been sharpening and honing not just her body, but her mind, for exactly this. She has dedicated her entire life to her quest for vengeance, and in her own words, there is no room in it for anything else.

People also seem to be making a lot of assumptions about what kind of training and how much training Mizu has or has not had. As the audience, we’ve only been shown bits and pieces of Mizu’s past, which includes her experience learning martial arts. Asking shit like “how is she so good with a sword if she’s only self taught?” is like asking “how can she read and write if Master Eiji is blind?”. The answer is that Mizu has obviously learnt these things from more than one source, but documenting her entire education in detail doesn’t exactly serve a purpose to the narrative. We are explicitly shown in one of Mizu’s flashbacks that she’s been practicing with a wooden sparring sword since she was very young. It’s actually her child self that we see in that brief particular flashback. Not her teen/tween self, her child self. She’s also following the movements and instructions of an older man that is clearly a skilled samurai or warrior of some kind based on context (which y’all love to ignore). Besides, who else would want/need a sword from a master sword-maker besides an expert swordsman? How many skilled fighters from all over Japan have come to Master Eiji’s forge hoping for a blade, and wait with nothing better to do but train while their blade is being made? How many of them have divulged information about certain fighting styles (like Shindo-Ryu, which Mizu was familiar with despite never having been to the dojo before). Or practiced around her and with her? We are clearly shown through Mizu’s flashbacks that receiving training from a visiting client has not been unusual for her throughout her apprenticeship with Master Eiji, and her little spar with Blood Soaked Chiaki was no one time event. Yet Mizu is never given the benefit of the doubt by the audience, despite context clues indicating that she should be.

“Taigen has way more training in an actual dojo, so why is Mizu better?”

Whereas Taigen, while he was determined to become more than just a fisherman’s son and was driven to rise through the ranks of the Dojo and become a skilled samurai, did not have that same desire or determination to hone every part of himself to be the most deadly weapon he could possibly be, like Mizu did. Taigen believes in the samurai code of honor and upholds it in his own way (preventing him from learning how to “fight dirty” so to speak) and he also had a life outside of his training (he had a social life, he drank, he partied, he snuck around a lot to see Akemi presumably, etc). In fact, we actually never see Taigen practice, train, learn, hone his skills, or anything (to my recollection) throughout the whole season, until he’s bested by Mizu in combat. I’m assuming Taigen had to work quite hard for several years to become as good as he is, but I get the sense that ever since he has been regarded as a prodigy he has allowed himself to get cocky and maybe a bit too comfortable. He has always been the best and always thought himself to be the best, so he never needed to give 150% effort when he fought. In fact, as he got older and more practiced, and it became more and more apparent how much better he was than everyone else, he probably stopped giving his 110% and allowed himself to get a bit comfortable putting in 100% effort, and then eventually 80% effort (which is part of the reason why I think he’s so pissed he lost to Mizu in their first fight, because he knows he could have done better: been less cocky, been more tactical, more driven, etc).

We also never see Taigen meditate or mentally or physically prepare himself the way we do with Mizu. Mizu will pray before a major upcoming battle, not because she’s religious, but because she’s mentally, emotionally, and spiritually preparing herself. We even see Mizu submerge herself in very cold ocean water (during the winter mind you) as a ritual/practice of sorts that serves to center herself and prepare mentally and physically for what’s ahead when she feels herself getting “too emotional” or too stressed or unfocused or even just slightly off kilter. Mizu sacrifices every part of her life, so that she can be the deadliest version of herself possible. She has no social life. She has no friends, or significant others (Mikio aside). She has no other activities to participate in, because she’s been completely alienated and thus being anything but the best is not an option in her mind because she has no options. She tried married life. She had the best possible life that she could have had as a biracial woman in Edo era Japan. She did as she was told by her “mother”. She showed her true self to Mikio, just as he desired. Yet the blood and vengeance still caught up with her. She has no other options anymore. Pursuing revenge is the only thing she knows how to do, because every other avenue in life has been cut off from her. So she has to be single-mindedly focused on her vengeance, which means being as skilled and as dangerous as she can possibly be. She has no hobbies or jobs or responsibilities beyond sword-making (which allows her to become as familiar with the blade as possible) and training herself. If she has extra time, she uses it to practice, to train, to improve, to simply maintain peak performance. Such as when she was hacking through those trees in episode 2. Afterwards, we see Taigen attempt to replicate her training (by cutting down trees with his sword). Though even then, it was more about curiosity and trying to suss out Mizu so he could gauge her skill level, then it was about actually honing his own abilities (until episode 3 when he practices with Chiaki’s broken blade). Which does count as training in its own way (assessing your enemy), but my point still stands. Taigen does not have the same unwavering focus and force of will that Mizu does (partially because he does not actually want to kill Mizu, as we do see Taigen go cold blooded with focus when he kills Heiji Shindo, but those are whole other discussions).

“Mizu just has ridiculous plot armour, that’s the real reason she survives every encounter.”

I feel like people that think Mizu has ridiculous plot armour are just not at all familiar with the Samurai or Western/Cowboy sub-genres at all, or even action as an overarching genre on its own. I don’t believe I have ever engaged in a single piece of action media in which the protagonist didn’t have “plot armour” in some way. Basically half of all male protagonists from any and all modern western action movies ever, have been way too over-powered and been able to take a ridiculous amount of damage that should have killed them multiple times over. These action heroes (who in western media are almost always cis-het white men) have ridiculous plot armour in the most classic sense. Yet no one complains when it’s a white man. Only when it’s a queer-coded biracial woman of colour. Shocking.

In fact, you could argue that every main character in every fictional story ever told has plot armour to a certain degree, because having an entire narrative revolve around one character is inherently “unrealistic” and therefore the main character has plot armour, yes? No? Yeah, that’s what I thought. Oh, and on the topic of the samurai genre specifically (and many martial arts based action media) there are certain genre specific tropes that are nearly integral to the genre. One of the most prominent being the samurai/ronin/warrior/martial arts master that is “ridiculously over powered”. It’s literally part of the genre. In fact, the western/cowboy genre is quite similar to the classic samurai genre. Now, how many westerns have you watched in which Clint Eastwood or John Wayne shoot 5+ guys with one pistol before any of the guys they shoot even get a shot off? A lot I bet. Is that not the definition of “over-powered” and “unrealistic”? Or is it just a genre trope, or even perhaps, a genre staple? No one thinks Arthur Morgan (Red Dead Redemption 2) is over-powered. No one thinks that Joel (The Last of Us) is over-powered. In fact, when the TLOU show came out, people actually complained that Joel, the fifty-something year old man that has been living in a post apocalyptic wasteland for 20 years, was not badass or strong enough (he kills dozens of humans and super zombies and he’s legally a senior). So, who is the “judge” of what is and is not realistic in action media that borders on sci-fi/fantasy based on how “over-powered” the protagonists “realistically” are?

“It’s just weird that Mizu is so powerful when other characters within the story are not. It makes Mizu such a Mary Sue.”

Okay… so, with all that in mind, let’s circle back to where I started when referring to Mizu as someone driven by unwavering determination, and how that affects her “abilities”. That facet of her personality and motivation is nothing new when it comes to the action genre, especially for protagonists of revenge storylines. Think of Kill Bill or John Wick. Why does John or the Bride keep going and keep winning even when they are constantly getting injured and always fighting. Is it because they are simply that much better than everyone else? Yes and no. No, because they are not superheroes (technically), but also yes. Because their single minded determination and need for revenge drives them to push that much harder than anyone else on their skill level. They are the best, but they win against everyone else that is also “the best” because they want it more. They need it more. Mind over matter. They are willing to endure what others are not through sheer will and pure cold rage. Mizu, Beatrice Kiddo, John Wick, and so many more similar protagonists in action-revenge narratives don’t keep winning and keep getting back up no matter how inured they get because they are just “that much stronger and more talented than everyone else”. Yes, they are extremely skilled and would probably be one of the strongest and most deadly combatants/killers in their respective universes regardless… but their refined skill and raw talent and power are not the only reason they win. Their unwavering force of will, extreme determination, ice cold fury, and single-minded focus on revenge is what drive them to be that much tougher. Their tenacity is their superpower. They want to win more than their opponent does. They need to win, because this is their one and only goal in life as of now. Mizu (Blue Eye Samurai) Beatrice (Kill Bill), John (John Wick), they all share a philosophy in life when it comes to their revenge, which basically boils down to “Either I kill you, or I die trying. There is no middle ground, there is no negotiating, no other choice, no path of least resistance, no other goal or motivation. You will die, because I ain’t fucking dying until you do.”

Mizu doesn’t have plot armour and she’s not over-powered. She is an archetypical protagonist of the action-revenge narrative and the samurai/western genre as well. She arguably even has better reason to be completing the feats that she does than John Wick or The Bride, because the medium of Blue Eye Samurai is animation and not live action, and the genre borders on magical realism far more than Kill Bill or John Wick. Now, how many anime protagonists (probably almost all male) can you think of that are “ridiculously over-powered” especially compared to any live action counterparts, but no one complains about it? Why does no one complain about it (aside from misogyny)? Because the medium of animation inherently has different “rules”, expectations, and set standards for suspension of disbelief, than the medium of live action film or television. For example, is it ridiculous and unrealistic when you’re watching a Looney Tunes cartoon and Bugs Bunny’s legs pinwheel in super-speed for 3 seconds straight before he starts running, or when he runs off a ledge and gravity just lets him hang there for a sec so he can look straight at the camera before he falls? No, it’s not “unrealistic” or emersion breaking, not even a little, but why? Is it because any of those things seem even remotely probable or “realistic”? Of course not! It’s perfectly acceptable because the medium, genre, target audience, atmosphere, art/animation style, narrative choice, storytelling style, and more, have all established that Bugs Bunny defying physics is normal in Looney Tunes, and therefore not a “plot-hole” or “unrealistic”. In fact, if Bugs Bunny or Tom and Jerry didn’t defy physics in ridiculous ways all the time, then it feels far stranger and off-beat than if they did. Same goes for pretty much all action anime. If the characters in those stories were strictly limited to what is 100% humanly possible in real life, most of those animes wouldn’t even have storylines anymore. They’d be turned into completely different content that may be unrecognizable from the original source material. Or wouldn’t even have any material anymore because all the characters would be dead after their first fight scene. So why is Blue Eye Samurai being held to a different standard?

Now, do y’all get it yet?

#long post #mizu #blue eye samurai #👏 genre and👏 medium matter👏 #so does author intention >>> #if a story is telling a narrative that you personally don’t like but it is succeeding at what it set out to do that does not make it bad!!! #so sick of white boys on the internet calling any physically capable or martially skilled female character a Mary Sue #and it almost always boils down just to gender #a female character could be ridiculously overpowered but so long as there is a male protagonist that is even more overpowered they don’t ga #but as soon as there is a female protagonist with any kind of proficiency a male character in the story doesn’t have all hell breaks loose #if i hear one more man so much as utter the words ‘Mary Sue’ in my vicinity ever again i will be resorting to Mizu style conflict resolutio #men never learnt what the term ‘Mary Sue’ actually means and if you don’t know what something means then either research it or stfu #it’s such loser behaviour that shows such a pathetic measly capacity for any kind of critical thinking or reasoning much less media analysi #anyway rant over #this was sitting in my drafts #blue eye samurai analysis #mizu blue eye samurai #taigen blue eye samurai #taigen #overpowered #plot armor #media analysis #mizu bes #bes taigen #netflix bes #feminist critique #bes #blue eye samurai meta #reading comprehension #rant

[godsfavoritescientist]

Building off of what I wrote in my fic "Sparks," I'm really compelled by the idea of Ford genuinely no longer being interested in sailing around in a boat with Stan by the time they were seniors in high school.

I like the idea of it not being just a symptom of the resentment that had been building between them, nor it being a dream of Ford's that only paled in comparison to west coast tech, but it being a genuine loss of interest on Ford's end. I think it complicates things even further in some really juicy ways.

Like, imagine going through high school slowly losing more and more interest in the dream you've shared with your twin and only friend ever since you were little kids. How do you break it to him? How do you explain it to him without making it sound like a rejection of him? Without it making him hate you?

How do you explain it without it feeling like a spit in the face to all the hard work he's put into a plan that started out as a way of him comforting you by telling you "it doesn't matter what people say about you, you're going to be an adventurer who sails away into the sunset and never has to hear their mockery ever again, and there will be babes and treasure and heroism, and then they'll all see how cool you really are!"

And all through high school you think to yourself, "he's going to move on to more realistic dreams any day now, and then I won't have to say anything about it!" But no matter how many times you mention something else he could do with his life that he seems interested in, or bring up the challenging logistics of traveling around long-term in a boat, he sounds just as committed to the childhood dream as ever, and completely oblivious to how apprehensive you sound.

So resentment grows, little by little. Because that's easier than confronting the soul-crushing levels of guilt that are building up inside of you, every time you don't take an opportunity to tell him you don't want to do the plan anymore. You don't have a single person in your life who modeled how to have difficult conversations for you. As far as you know, having this conversation with Stan would crush him into tiny little pieces and then he would hate you forever, and you can't stand the idea of losing the only friend you've ever had.

So tensions grow. A lack of interest turns into a bitter resentment that, if you were really being honest with yourself, is directed more at yourself than it is at Stan.

And then the falling-out happens, and it seems like you were proven right. Stan hates you now, and he's never going to forgive you for giving up on his dream. But two can play that game, so you try to hate him too. Because if you hate him too, then maybe it won't hurt as much that he never came back. That he never even turned up at school, or by the boat, or in through your bedroom window in the middle of the night. He knows what dad's like, and how he says impulsive exaggerated things when he's angry, and haven't you both dealt with his harsh words countless times before and been able to dust yourselves off and joke about it later? So why isn't he back at home, joking with you about how absurd your dad acted that night, being impossible and belligerent about ruining your dream, but at least now you're even, because you've ruined his dream too.

-

And now imagine you find out he risked the lives of everyone in existence to bring you back, right after you had accepted your fate was to die killing Bill. It would be terrifying and confusing and infuriating. If he cared so much, why didn't he do something to reconnect with you sooner? Why did he ignore you in favor of trying to make it big without you? Why didn't he take the infinitely safer and simpler action of reaching out to you without you having to track down his address and send a desperate plea for help? You were convinced that he didn't care enough to bother with you unless you had an important enough reason for him to come. But even then, he thought your plans were stupid. He didn't want anything to do with you, not even with the world at stake.

Did he save your life out of guilt? Does he pity you that much? It doesn't add up with what he did in the decade leading up to shoving you into the portal. And the dissonance between the version of him in your head that hates you, and the man who held out his arms to welcome you back to your home dimension, is so strong that you feel like you're being lied to again, like you're back in the depths of gaslighting and manipulation that Bill put you through, even though there's no way that's what Stan is trying to do... right? You can't figure it out, so you run away from it. You don't want to know the answer to whether or not Stan hates you, because you don't know which answer would hurt more, so you try to make him hate you more than ever, because at least then you would know for sure how he feels.

And in the end, after he sacrifices his memories for you, and for the world, things seem clearer. The layers upon layers of confusion and anger and hurt seem to have washed away like drawings in the sand, leaving behind the simple truth: that you two had an argument, and didn't move past it for forty years, and despite everything you put each other through, you both still want to re-connect.

So you sail away in a boat together.

And at first, it's wonderful. It's exactly what you want. It feels like an apology to Stan, and a thank-you for saving the world, and a once-in-a-lifetime chance to heal the rift between you two, and it's good to be back on earth, and you wonder why you ever doubted the dream you two once had.

But then, after the first long journey you spend on the sea together, when you get back home to dry land, Stan is already talking about planning your next adventure out on the open sea. He recaps every adventure you had on the first trip, over and over again, and he wants to chat with you all through the morning and long into the night, and you don't have the words to explain to yourself that you don't have enough social battery for this, and suddenly you're slipping back into the horrifyingly familiar feeling of Stan being overbearing and needing space from him and how could you think that? How could you think that about him after everything he's done for you and everything he's forgiven you for? But the longer this goes on, the more you realize that you still don't want to spend the rest of your life sailing around with Stan. It's great fun in moderation, but the idea of your whole life revolving around Stan and going on adventures with Stan and being in a boat with Stan with no time to be by yourself thinking about your own things and figuring out your own dreams makes your skin crawl with a claustrophobic kind of panic that you still don't know how to put into words forty years after the first time this feeling grabbed you by the throat and ruined your friendship with Stanley.

But the first time this happened, it nearly ruined his life forever. You can't let yourself feel this. You don't feel this. You're happy to spend the rest of your life fulfilling Stan's lifelong dream, and making up for the time you crushed his dream, and sure, maybe he crushed your dream once too, and maybe it would be nice for him to support your dreams like you're now doing for him, but you can't say that. He saved the universe, and it would be horrible and ungrateful and cruel for you to try to voice these feelings, especially when you don't know how to voice your feelings without it making other people feel like you twisted a knife into their gut. So you try to pretend the feeling isn't there.

You go out on a boat with Stan again. You planned out another incredible journey together, and this should be fun, and you should be happy about this, but the unspoken feeling you shoved as far down in yourself as it could possibly go is eating you alive. The worst part? Stan is starting to notice. You have never been good at hiding your emotions. The trick to it has always been to convince yourself you don't feel it at all, and not think about it, and that has always worked like a charm. But whenever the emotion claws its way back up to the forefront of your mind, you can tell Stan knows something is wrong. So you can't even give him the happy ending he deserves. You can't even convince him that you want to be here on the open seas forever with him, like he deserves. And you keep trying and trying to hide it, but Stan keeps asking in roundabout ways, like "You're being awfully quiet, sixer," and "whats that look on your face?" and eventually it comes exploding out of you like a shaken-up soda bottle dropped on its cap.

And then it's like you're back at home in New Jersey again, standing in the living room while dad grabs Stanley by the shirt. It all comes pouring out of you, in the worst possible way, with the worst possible phrasing, like a pandora's box of monstrousness, and Stan tries to fight back against the sting of your words, but you're made out of acid and you're burning through him and you can see it on his face, and there's never any coming back from this, not this time, you'll just have to either jump into the ocean or become a monster forever, so Stan can hate you more easily again, and-

-and at the end of the outburst, you're still on a boat in the middle of nowhere in the ocean with your brother, in dangerous waters, and you have things to do to keep the boat running smoothly.

You can't run away from him. He can't run away from you. You're stuck here for at least a couple more weeks, even if you turned around and sailed back towards shore right away.

-

And the thing that compels me so much here, despite how unbelievably angsty it all is, is that it sets up a situation wherein the Stans might end up forced to actually address the decades of resentment and confusion and wanting-to-reconnect-throughout-it-all that they thought they could gloss over and heal with enough time spent adventuring together on a boat. They might end up forced to actually address the crux of the issue that drove them apart in the first place: Ford wanting a little more space to feel like his own person, and to feel like he's able to have his own dreams, too.

It wouldn't happen easily, nor right away, but if they were stuck together on a little boat in the middle of nowhere surrounded by magical creatures they have to protect each other from in order to make it back home alive, then after they had one fight where they brought up all the things they silently agreed to never bring up again, it would probably happen many more times, and each time it would leave them both angrier at each other than ever, until eventually something honest slipped through amidst all the saying-anything-except-what-they-mean bickering. And once enough of these honest moments slipped through, then they would have a thread to tug on to start to unravel the gargantuan knot of their decades of unresolved conflicts.

And then, eventually, maybe Stan could learn that he can have a good friendship with his brother without needing to be glued to him at the hip, and Ford needing a certain amount of alone time doesn't mean he dislikes him or wants to abandon him, and Ford could learn that he can be honest and have a meaningful connection with someone without it driving them away and making them hate him.

#succumbed to the stan twins angst visions and wrote 2000 words about this #ford pines #ford meta #this turned into a character analysis that almost reads like a fic #godswriting #<- i need to change my writing tag to this #something bothers me a little bit about the solution to their conflict being 'ford appreciates stan more now so he is now fine with- #-boat adventures with stan'. to me it leaves the initial conflict of 'he doesnt want to do that anymore' unresolved #obviously you could easily argue that ford never stopped wanting to go on boat adventures with stan and he just couldnt justify it to- #-himself when compared to the opportunity at west coast tech. but that has one less layer of conflict #compared to the possibility that he truly was not interested in boat adventures anymore. ESPECIALLY if its a manifestation of him #feeling suffocated by the whole dynamic-twins-duo thing #its normal to start wanting a little bit more space especially at that age. to want to have space to figure out who you are #the healthy thing would have been them talking about it and figuring out a compromise. like 'when ford needs space he can spend a few hours #-alone without stan being worried the whole time that it means ford hates him' and 'we still spend x amount of time working on the boat and #-we still chat on the way to and from school every day and hang out at the beach on weekends' #like of fucking course it was never about hating stan or about wanting to get away from him because of who he is as a person! #he literally just wanted to have a little bit of breathing room to be his own separate person. he just didn't know how to put it into words #I really think the crux of it all was them not knowing how to navigate that balance between independence and identity while staying close #so ford misattributing/reducing that feeling to 'I dont have the exact same dream as stan anymore. why does he still have that dream. oh no #feels like a good way of giving that conflict a tangible aspect to it thats easy for the stans to point at and talk about as a way of- #-alluding to the REAL core of the conflict between them. #and of course the show never says 'they sail around the world for the rest of their lives 24/7' so it's not like it Actually Conflicts with #-my interpretation of the conflict and how it should be resolved. but since its the last thing we see happen between them when theyre given #their happy ending. I feel compelled to say 'hey I know them living in the shack together and traveling in a boat every single year sounds- #-really fun and like a satisfying ending but I think they should have a Little Bit more space from eachother than that. Hanging out almost- #-daily but not literally being in the same house and same boat for the rest of their lives. bc if stan was ok with ford asking for that- #-little bit of space and if ford didnt panic and isolate himself from everyone whenever he needs like one hour of alone time? that would- #-feel like a big piece of the puzzle fitting into place for their conflict resolution and growth as characters. to me #and I think they deserve to have all the tied-up-loose-ends and resolved-conflicts and character-growth in the world.

[irisbaggins]

This will contain spoilers, everyone!

(Edit: this was a preliminary attempt to think about timeline, so whilst I will let this stand, I'm not as happy with it as I'd like. This post discusses the one massive thing I overlooked, and is something I'm more confident in. So, regard this as like, an idea about mutation and magic, and not an actual analysis. It's an idea, a concept. Not proper analysis. Although, the idea of mutation and magic extending their lives has much potential. Just...this is not a Take Take, just an exploration)

On the topic of a timeline with Burrow's End, I think is a lot of interesting readings to approach it with. Due to this all being collaborative, timelines can be tricky to navigate, but also fun. Kenji's death is a little tricky, but Geoffrey and Tula's makes sense (at least to me). One of the ways in which it can, with regards to the kids, is the idea that they're slowly evolving to have longer lifespans. Specifically, in regards to Tula and Viola, they would be probably around the mid-life point, yet they act more like 30-40 instead of 50+. This, then, can be used to understand that their lives are slowly extending, where their life phases hit at different times than previous generations.

This is actually sort-of touched upon, with Tula's remark about "Old Big Walmer". In normal stoat terms, he would be much older than Tula, but as Aabria remarks, they're only a few litters apart, and they're not really that far apart in age. This little throw-away gag can, in fact, be the key to solve a little of the age puzzle. Had they been normal, un-evolved stoats, Walmer would've been much older than Tula. But, as they're slowly evolving and becoming much more like humans, they're also getting longer lives. What before may have felt like a decade in difference between two stoats several litters apart, now become less than half of that, maybe. Tula uses terms she grew up with, both to attempt to throw off her mother's attempts at meddling, and as a way to express her own distaste at the idea. Yet, they're not that far apart, she's only expressing ideas that she's heard from other, older stoats.

With this concept, therefore, I think that's what's going on with Lila and Jaysohn. The time of year they're in is slightly debatable, as we never got the actual month, but from Tula's knowledge, it was closer to winter at the start of the story. I suspect, if we're going to stretch the concept a little further (and depending on where the story takes place), we can say they're in the middle of Autumn, perhaps September-October if we're stretching it. Tula alludes to Geoffrey dying in Winter, either early or middle the season. In a rough estimation, if we're taking Aabria's narration of "knowing their dad only half their life" literally, the kids would be around 20 months, double that of normal stoat maturity. However, if we keep the idea of their lifespan being extended, that would extend the time between milestones as well. This could keep the kids still as kids, whilst also keeping to a somewhat coherent timeline.

It would also make sense why none of the others note this weird lack of maturity or age in the kids, because they themselves haven't noticed the change either. They're also having their lifetime extended, which makes it natural for them to not react all that much to such a change. The fact Lila and Jaysohn grew up so slow doesn't really matter, does it, when everything else is thrown into chaos with the death of Geoffrey and who's supposed to lead the Warren. Sure, the kids are being toddlers for way longer than previous generations, but that's just because Tula's fussing over them! (It could also be a symptom of Tula's magic leaking into her kids, extending their lives without anybody noticing. Food for thought)

It can also just be a trait with Ava's bloodline, stemming from the fact that we know she was born outside of the Red Warren, possibly having been exposed to different radiation. We don't know if the others came with Ava and her family, of came and joined them over time. It can also be from when Ava was hit with further radiation the day Kenji disappeared, and that has leaked into her family as well. They are, after all, not normal stoats, and there is so much radiation and magic going on within these stoats that it could be anything affecting them.

I suspect it's evolution and magic causing this trickery in age, meaning that they're all living for much longer than any natural stoat. They're evolving, becoming stronger, smarter. Of course they'll live longer.

It also implies that Ava might not be as old as she appears, but she has decided to be an old lady in her 60-70s, and she will make everyone believe she is closer to 100 just so they will underestimate her. Or let her get away with shenanigans. Nobody can call her out, after all, she's one of the oldest of them.

It does, however, mean for ten or more months, Tula has been a living undead. Half of her kids' life she has been something else. Viola saw Tula change, and thought it was only loss and motherhood that did that. But instead, it was Tula's own death that changed her whole worldview. Everything else affected it, yes, but her death was what tired her out as much as it did. She never got that peace, not that rest, that she longed for. She couldn't, not with her duty. Of course she feels like a fraud by giving Viola advice; hers cannot be compared to someone who's still alive.

It's just interesting to think about, how what may seem confusing at first, makes a little more sense when you take magic and radiation into consideration. Also how horrifying it must be to realise you age differently than your peers due to something in you making you different. Something making you more.

#text_loke #meta from loke #Burrow's End #Burrow's End Spoilers #Dimension 20 #i saw someone say something about a confusing timeline. and so i had to try to figure it out #PLEASE if you have thoughts about this feel free to add them! i love reading different takes! #but as someone from the sw fandom and specifically tcw. i find this timeline much less confusing #especially so when much of it makes a lot more sense when considering These Are Not Normal Stoats #they're Silly Little Guys #also. this is a collaborative effort. it's not one person's fault for the timeline. it is ✨ everybody ✨ #but yeah. i'm sticking with mutation and magic as my explainations :) #Burrows End #Burrows End Spoilers #also aabria if you see this. i love your storytelling and the way you do things #like. it has sparked my whole brain

[onaperduamedee]

And Moiraine! Moiraine! I wrote earlier about how relatable to my younger self Nynaeve would have been, but Moiraine!

There's a reason Nyn is so similar to younger Moi (pun intented), except Nynaeve is still learning and shaping herself, whereas Moiraine is hardened and worn. 

Most dear to me are all the moments you can see Moiraine reining her temper in, banging doors coolly and schooling her features to repress a flash of anger. The same process can be observed in Nynaeve who often explodes in anger at first and uses that anger to move forward. That explosion does happen in Moiraine, but it’s much more subdued, and often happens when her knowledge and caution is questioned. There were parts of TDR and now TSR where I got a little choked up about how repressed and simmering she is.

As a youth, Moiraine assigned herself the most daunting, most important task of this age, and she doesn't know! People around her need her to know everything, to guide them, to reassure them, but she cannot do that.

She cannot know everything there is to know because we’re talking about more than 3000 years of history, most of which have been lost to time, yet she still knows more than anyone on the subject. She's a mediocre mentor at best, to whom softness does not come naturally, yet she still tries to explain what she can, even when the Emonds’s Field folks get angry at her for not knowing enough or not coddling them. She struggles with caring for people, betraying Lan to save his life, alienating Rand, Mat and Perrin while doing her utmost to keep them alive; she’s so single-minded that, in her eyes, keeping them alive is the best she can do. To live through this task would be a luxury.

I wonder if her inability to take care of the emotional, empathetic part of being around people is just her not being at all aware of what goes on inside her heart and mind. The little I got of her point of view so far suggests a certain distance, deliberate, although after a certain point the mask becomes the woman. 

The fact that she cannot relate to the characters who are most like her, Rand, Nynaeve and Thom, because they distrust and frankly loathe her, and she mistrusts them just as much, is driving me buckwild: how telling that her mirrors cannot offer support or even understand her. From the beginning of the story, even the arc involving her soulmate is one of deterioration and estrangement. 

The harrowing thing is that she does care about people and wolves and cats and stories, fiercely. But she is in the eye of the storm and the storm itself is supposed to be under her aegis: her search for the Dragon never entailed caring for him, or the people in his orbit. Failing in her role would mean failing the world.

And because she cannot be anyone but who she is, she cannot be softer or humble her expertise for others. It factors a great deal in her inability to mentor the people around her, which is her reason for being part of the story she chose for herself in the first place. Her inability to fulfil the role assigned to her by the narrative is a nice counterpoint to Rand's reluctance toward his, but it's all the more remarkable that she didn't have to take this path. She decided this was her fate.

Oh, Moiraine.

Endlessly, I wonder if she wishes she was like the Wheel itself, uncaring, inhuman and sure as the river. 

#The wheel of time #Moiraine Damodred #wot book spoilers #wheel of time book spoilers #Wot meta #Remblai #More leftovers from my notes #If I talked less about these books I would be able to read them more #I love her so much #I get genuinely emotional at how controlled and angry she is #But at the same time she's very Emotions! Ah! Those are parameters #Which is the best kind of characters #Her emotional intelligence reminds me of Shaw from Person of Interest #The intersection of her personality with the mission fills my heart with the same kind of obsession I caught for Rivière in Night Flight #She is a paranormal phenomenon and I cannot look away

[boyfridged]

i don't know. the tendency to go from "jason was tim's robin" to "tim didn't care about jason at all and was only ever obsessed with dick" is so weird to me and so detrimental to honest attempts at interpreting the place of both of these relationships in his canon. no matter how you read it, his original storylines are deeply affected by his impressions of both previous robins (and their actions.)

and the general mutual tendency that tim and jay fans have to say that one of them doesn't care and the other one is obsessed... i get where that temptation comes from (and that is ignoring comics that don't suit the preferred characterisation; i, for one, don't consider the "titans tower incident" to have ever happened and couldn't care less about their relationship in n52), but i think it's pretty clear that the actual situation is that they both have complicated feelings about the other? and these feelings should not dominate the narrative but they are still relevant to their storylines.

#like don't get me wrong. i don't care about tim at all <3 and i usually completely ignore him in my meta #and i don't want to read a thing about them because i'm so tired of how people portray them #but i'm not going to lie to you and say that jay probably doesn't care about his existence *at all* #because i think the fact that there was another robin after he died does unsettle him. for all the right reasons too #personally my take is that they are awkward about each other. and then they stop caring in general #<- but their respective existence is relevant to tim's original storylines and jason''s feelings post-res #it's just that i think it's less ab jay being 'replaced' and more ab- as i said- the fact that there's another robin at all #anyway that's it. the only commentary i am ever posting on them. #dc

[peninkwrites]

.

#i never make vent posts or anything like this but I am just. so torn up about all of this #please don't take this too seriously this is my personal ramblings not a statement on some important part of the situation #ok? my feelings are my problem when there are people out there being tangibly hurt and harassed for coming forward about a serious thing. #i don't think finishing my fics would be supporting him as a cc. that isn't really my concern? #but right now i am disgusted by his very name. i can't write right now. #i don't know what to do. #i wish i had started the Mafia AU sooner. That fic is over 6 months in the making and I had/have so much story I wanted to tell. #it would be easier to cut him out of that series #but the community is so torn up who's gonna read it? I know I should write for my own sake too #but the people I met #the damn server I set up #it's because of this. #this fandom existed so independently of the ccs for so long in reference to their characters #i don't know why we have to lose that #but at the same time I understand people's discomfort. I both can't blame people for leaving and wish they wouldn't. #I don't know where I'm at comfort-wise too and maybe we're all just waiting to feel less horrified #but i already miss people just writing meta and random days with the whole dash rambling about a specific character #i know it hasn't been long. #but I guess I'm more worried it's gone forever. #i didn't feel like what we did had anything to do with him until his presence ruined it. #the cc had been on thin ice for me for a while i just. ignored his presence and focused only on rp characters. #like. why should I abandon talking about c!Wilbur and c!Quackity etc etc because one motherfucker turned out to be terrible? #this stuff is not a priority right now of course considering the reason this is happening is a matter of justice and accountability #which is why im sort of just rambling here instead of making a proper post #i've wrapped so much of my life around this fandom for the past two years. probably an unhealthy amount. but i don't know how to let go #i didn't realize that the running backtrack of my brain has been my fics. these characters. CONSTANTLY #i literally don't know what to think about. I've been writing almost nonstop about this stuff for 2 YEARS. #I've lost my joy of creation. my emotional crutch. hopefully temporarily but my god. #dream situation #vent

[sparring-spirals]

imogen being drained by her rudimentary hold on her psychic abilites vs resorting to mind reading bc she just has to get answers to any question that pops in her head and she has a hard time w frustration vs relying on what causes her immense pain as her only way to trust that they're being honest even if it means risking learning something she really didn't want to vs being repeatedly told to announce herself by ppl who unknowingly don't announce themselves on the regular vs so much more

and to add onto my messy "imogen vs" ask idk if it's the right wording and this is pure projection but: the way her relationship to her powers is transpiring kinda makes me feel the same way my ocd makes me feel like idk it's very very interesting and fascinating to me. i'm not sure exactly how to put it and which exemples to give (the character limit doesn't help my rambly nature) so this is a bit of an empty ask but yeah.... anyways keep sharing your thoughts it's always interesting! take care

First of all: thank you! You take care of yourself too. :D

Secondly: Hmmmmm. Okay. Gonna be straightforward here, I'm not sure my askbox/this space is the best option/conduit for this particular ask/line of thought, if only because. I think there is something specific in this you are resonating with/prodding at that draws from you personally, that you're trying to puzzle out.

Which! Is generally a valid and fine way to engage with media and is how some excellent metas are written. I think a lot of Imogen's struggles and characterizations resonate with a variety of mental/physical struggles, and there are so many goddamn layers to read it with. (This excellent post by @mysticalspiders comes to mind).

But also, I am not you, and so I don't feel particularly confident in interpreting something that is serving as a catalyst for your thoughts, in part because I'm absolutely going to interpret it differently, which can land differently if you're drawing from a very personal place when interpreting it.

(You don't have to feel bad about it, or anything, this is also a more general PSA so folks are aware before sending in headcanons/more indulgent projections/extensive theories- not because I dislike them necessarily, but because. I take asks for me to provide Opinions Or Analysis on things.

I definitely interpret things My Way, which can be different than intended, or even a more general "I have no thoughts about this, actually", which can land unpleasantly when people are invested or personally invested in their line of thought.

So, largely to play it safe, I'm going to say here, and also more generally, that I might not engage as much with what I understand as largely indulgent/personal hcs/metas that come through my askbox).

That aside, to the first part alone, I will say that: Yeah Imogen's brain is almost certainly going through a number of tug-of-wars and damage control at all times, and it makes her a very, very fascinating character to pull apart and poke. Definitely feel you on that. 👌

#this got long sorry. i hooe this doesnt come off as rude or blasé i understand the desire to kind of put the words out and see if i/someone #can grok the right parts and pull it out. but also i definitely think some interpretations/analysis can be more indulgence/projection based #which again. is FINE. and a fun way to engage with media (although knowing how to recognize when youre doing it/recognizing the text on its #own. but thats its own thing and not fully the point here). but also those things arent necessarily the best to send out into askboxes #bc if its inherently a deeply personal interpretation. other people are probably not going to get it right. #anyway anon if you decide to write out a meta on this it would probably be very interesting and good. #probably better than me spouting off of what is inherently your brainchild. ;P #spar speaks #ask away! #logistics #im not entirely sure how to tag this one its not very imogen related sorry anon 😅 #imogen temult #VERY tangentially sorry #i probably should have waited till i felt less fried to post this but its been a while and if i left it longer i might never answer #im wiped i apologize if this is rude or doesnt make sense #like a lot of MY readings and analysis tend to be very indulgent and projectiony. even when i try to drag it under control by laying out #all the steps in my thought process. so believe me when i say that im not judging the act of analysing characters indulgently

[pennie-dreadful]

It fucking figures that the least effort post i make for the sandman, which is just peer reviewing someone else's tags on a nonfandom post, is the one that gets notes and not the one i actually put any amount of thought into. Granted it is a very niche post for an audience of me. And i post at like 3:30 am. But still.

#personal pennie #i feel like i more or less have a grasp of the fandom and the particular part of fandom i want to hang out in #i know i said i wouldn't read the comics but. i am feeling a hankering. #but yes in case anyone didn't know disregarding canon in favor of my own headcanon and writing reams of meta to justify it #is my fandom stock in trade #but not to get anyone's hopes up but i feel like i may possibly be able to break my 8 year writing dry spell #which is fucking irritating because HELLO all the loki fic i could have been writing? #and this new thing comes along and this is what i start writing for??? #i mean also i'm not the most depressed and stressed out i've ever been in my life anymore. #BUT STILL. AGGRAVATING.

[picaroroboto]

For the past couple days, I've been unfortunately cursed with thinking about Zenos yae Galvus. I don't even particularly like him - not that I dislike him either, Zenosfuckers you can put your scythes down - but it seems to me like a lot of the fandom either greatly misunderstands him, or doesn't even care to try to understand him, which from an objective standpoint as someone who cares deeply about writing in video games kind of pisses me off. But I'm more pissed about the fact that I'm apparently going to keep thinking about this issue until I actually write a character analysis of him.

Q: "But, what even is there to analyze with him? Isn't he all about wanting to fight the WoL and nothing else?"

Well, you wouldn't be wrong with saying that. That motivation is at the forefront of his character, and even if you look closer, everything about him comes back to either "violence" or "lack of understanding of others". But there are more meaningful sides to his deceptively simple character. That question of meaning is what I really want to look into - what does his character mean, what symbolic or thematic role does he play in this story?

Q: "Better question: why are you posting this on your art blog/Fate meta sideblog?"

Good question, with a stupid answer: I have all of 6 followers on my FF14 sideblog, and around 150 here. Let's go under the cut so they don't have to read a wall of text, unless they want to.

When you look at and compare FF14's villains, you can see a very clear change, no doubts thanks to the change in main writers. ARR Gaius and Thordan are more or less two-bit villains - Gaius's memeable iconic Praetorium speech gives us insight into how fascists try to justify themselves but little into Gaius's actual personality, while all Thordan gets as far as depth of character is an NPC in a sidequest remarking that he wasn't always a bad person and was probably doing what he thought best for his nation. Nidhogg is a little more understandable, since revenge is a relatable motivation to anyone who's been hurt by others. In Stormblood, Zenos and Yotsuyu are both presented as deserving of pity even as they do terrible things. Come Shadowbringers and Endwalker though, the story takes a greater interest on why villains like Emet-Selch and Elidibus do the things they do, and the player is allowed more options to try to understand them and see how similar they are to the WoL. Hell, Hermes and the Endsinger are barely "villains" at all, with the level of sympathy the story shows them.

What I'm getting to here is that Zenos, with half his arc in Stormblood and the rest in Endwalker, is sort of caught in the middle of this shift. He played the role of the rival character in Stormblood really well, but come Endwalker, he's standing on a stage full of heroes and villains with grand causes and deep motivations, as the guy whose sole motivation is fighting for pleasure.

It seems he's not unaware of this contrast himself - when Jullus confronts him for ruining Garlemald for no good reason, he retorts with "Would you be happier had I a good reason?" Zenos makes no attempt to justify his own actions and doesn't care that his reason seems incomprehensible and unforgivable to others. Yet in that same cutscene Alisaie hits him with the fact that if he keeps living solely for pleasure, he'll die alone. When next we see Zenos, he's alone at the Royal Menagerie waxing philosophical about what he really sought in the battle with the WoL.

See, what really motivates Zenos isn't just the thrill of battle - this guy has gotten Battle High and the joy of human connection confused. Really.

Even before he gets so perturbed by the idea of dying alone, there's other suggestions, like his proposal of friendship to the WoL when they fought in Stormblood, and then later his dying words in which he explains that he never understood others - at his core, he's just lonely. I know there's an official side story that tells it, but you don't need to know the exact details to glean that he had some sort of tragic backstory. Sad, but not a surprise, considering he's the prince of the Garlean Empire, raised to take the throne and continue the Empire's legacy of violence.

At his core, he's a very lonely person, but also a thing of violence, raised using violent methods for the purpose of causing more violence. Violence is how he lives and breathes - the only way he gets any sort of connection with others in a world of hurting and being hurt is the brief connection warriors dueling as equals can sometimes find. Don't deny that this sort of connection exists - FF14 is great at making fights that are both fun and tell a story. Hence, why he goes crazy for the WoL, but also refers to them as "friend". In their fights, he senses (or thinks he senses) similarity between him and them. Beneath all the madness is a pure, genuine joy in seeing the self reflected in the other...but he also instantly gets on the train to projection-town, population Zenos, and assumes the WoL is exactly like him, ignoring or failing to notice that they also fight for deeper meanings. The worst part is, he doesn't even notice that what he's actually seeking in fighting them is connection until Alisaie's aforementioned callout.

So he goes and angsts for a while, then turns into a dragon again and flies across the universe to help us kick the Endsinger's tail feathers, then issues his challenge for that duel he'd been longing for. But what's changed is that he starts with a question - "Such pleasures you sought for their own sake, and for no other reason, is that not so?". Dying after the duel, he's full of questions too: "Was your life a gift or a burden? Did you find fulfillment?" Alisaie's suggestion that he'd die alone actually spurred him to realize what he actually sought in the WoL, and now he's asking all these questions in an attempt to, for the first time in his life, genuinely connect with another human being.

The questions aren't important just because they're a sign of how Zenos has changed in Endwalker - they're actually the thematic heart of Endwalker! ARR may have had "Answers" as it's theme, but EW is the expac of questions. Namely the biggest question of all: What is the meaning of life? Different characters have different answers to that, leading to the grand-scale symbolic conflict being the Endsinger's despair - her belief that there is no meaning in life - versus whatever reasons the WoL chooses to live for, left, as always, up to player interpretation.

When you look deeper, Zenos isn't actually as out-of-place in the symbolic conflict as he first seems. His depressed worldview - that metaphor about drowning in a swamp again - seems to align with the Endsinger's view about life being meaningless. But he aids the WoL in defeating her. In that way he serves as part of the answer to her question about the meaning of life. He may have resented life at times, but he still found meaning in chasing pleasure. Not the strongest or most beautiful reason to deny oblivion, perhaps, but it did enable him to help the WoL triumph. I think of Zenos's philosophy as being connected to the concept of "Amor Fati"...largely because this quote explaining it sounds like something he'd say, or at least agree with on some level:

"and if our soul has trembled with happiness and sounded like a harp string just once, all eternity was needed to produce this one event—and in this single moment of affirmation all eternity was called good, redeemed, justified, and affirmed."

So he does have a meaningful role in Endwalker, as the "Amor Fati" against the Endsinger's "Memento Mori". I think that in this the story shows that his reason for living, while somewhat shallow, is not necessarily a morally wrong thing in and of itself (setting aside for a second all the people he hurt in his pursuit of that). It's just that, since it is a lonely pursuit that denies everything except for his target, it still feels empty. The core of the counterargument against the Endsinger's despair is that both pleasure and fulfillment are necessary to live a meaningful life in a meaningless universe, and that's why Zenos is here in Endwalker. Why he even exists in the story in the first place.

Even if you're one of the people who deeply hates Zenos...well, you probably wouldn't have read this whole thing if you did, but I still think it's important to read into characters you dislike, because every character in a story is written for a reason. Plus, trying to understand even their worst enemies is one of the WoL's key traits as of ShB and EW. With his last breaths, Zenos was trying to understand the WoL too - carrying this understanding of him with you as we move into our next adventures is the least you can do for your "friend".

#ff14 #ffxiv #zenos yae galvus #zenos viator galvus #endwalker #ffxiv meta #endwalker spoilers #meta posting on my art blog #god why did i spend my afternoon on this all this proves is that I need to be put in an English class again purely for enrichment purposes

[kikokus]

Lucci and Kaku: An Analysis

I haven’t done long analysis/meta/essay-style posts in a while, but after seeing a comment that amounted to “every time Lucci’s shown an interest in something that doesn’t have to do with killing, Kaku’s involved” it made me think about whether or not that's true and, more specifically, whether or not there’s been sufficient build-up to justify what happens in Chapter 1111.

So let’s explore, shall we?

First of all, basic disclaimer that I’ve been heavily into One Piece since 2008 and Water 7 has been my favorite arc since the first time I read it that summer. Kaku, in turn, has always been one of my top characters in the entire series for various reasons…but this isn’t about him (at least, not entirely), so all of that is just to say that I’ve thought about these characters a lot over the years.

And I think what always struck me about them is that not only are they so fundamentally different, but that realistically Lucci should not tolerate Kaku at all. He’s pretty much everything Lucci’s not, and they’re more-or-less a perfect example of the ‘someone will die…of fun!’ meme in a lot of ways (and honestly it’s what I think of every time I see this card, but I digress):

At the same time, what happened in the latest chapter didn’t surprise me, because there’s been hints all along, and I’ve personally been waiting years for it to pay off…even though part of me thought it never would, or at least not in the way it did!

Still, how did we get here?

But First, A Bit About 相棒

So. Why is the fact that Lucci calls Kaku his “相棒” (aibou) so significant? Mostly because of the…individualistic meaning of the word. It literally translates to ‘partner’, but not in a romantic/life-partner way (not to say that it has never been used like that, but it’s not the inherent meaning of the word).

Unlike words such as 友人 (yuujin), 友達 (tomodachi), and of course, with Luffy, 仲間 (nakama), aibou generally only refers to one person. You can have many friends, teammates, crew members…but only one aibou. So by calling Kaku that, Lucci’s already placing him on a different level to anyone else in CP9 or CP0 and acknowledging openly that Kaku’s important enough to him to have earned that distinction.

Which is why a lot of us were very excited about it, since this is not a common occurrence where Lucci’s concerned.

That aside, let’s get to the actual canon content.

Water 7

Obviously at the beginning we find out they both work at the shipyard, but that in and of itself isn’t entirely significant…until you consider that, since Kalifa is pretty much with Iceburg all the time and Blueno’s running the bar, the two of them are working in much closer proximity to each other than to the other CP9 members in the city. 

The first real indication we get regarding their comfort level with each other comes in chapter 327 when Kaku gets back from examining the Merry and goes to sit down to explain what he’s discovered. Paulie’s the closest to him, but he actually ends up stepping past both him and Lucci in order to sit directly beside Lucci on the same level.

It’s quite a while before we see the two of them alone again, and it doesn’t happen until chapter 339 when they’re speaking with Robin. Of course at the time we’re not supposed to know it’s them, but there’s really nobody else it can be since this is happening at the exact same time that Blueno’s talking with Franky and Kokoro at the bar. So, as will become fairly common, the two of them are again acting as a unit of their own within the larger group.

And then, of course, we get the infiltration of the mansion prior to The Big Reveal (which I’ve spoken about before because for me it’s still the single greatest reveal in the entire manga because of how carefully crafted it is, right down to Kaku’s limited dialogue in this section being completely devoid of his usual speech quirks in the original Japanese text). Once again, Blueno and Kalifa are doing their own things while these two are working together.

This panel has always been interesting to me because immediately prior to this Lucci says he can’t let Paulie live, and then he decides to just restrain him instead. In Luffy’s case it makes sense because they gave their word to Robin not to harm the Strawhats, but he has absolutely no reason to spare Paulie, and the little lines of shock/surprise beside Kaku imply that he hadn’t expected Lucci to do that, either. The ‘why’ is still unclear, but it’s interesting nonetheless, and it’s also…noteworthy that it’s the only thing Lucci asks Kaku to do. All of the actual damage Paulie takes comes from Lucci and he never asks for or expects Kaku to harm him.

I never connected these two panels before but it’s obviously very deliberate to have Lucci telling Iceburg that feeling emotions is a sign of humanity followed immediately by Kaku…demonstrating exactly that and thanking Iceburg. It’s important to establish that part of Kaku’s character, but keep in mind Lucci’s lack of a reaction here because it’ll come back later.

Again, very tiny moment, but there’s a lot of examples of Lucci deferring to Kaku or letting him take the lead without any hesitation, and I like this because Kaku’s noticed something that Lucci hasn’t and Lucci just goes with it immediately.

I’d forgotten about this but Kaku’s also the one that decides to take Usopp with them, first by recognizing him as one of the Strawhats and then going through with it even after finding out he doesn’t consider himself a part of them anymore. And Lucci just…stands back and lets him give out orders to the others while doing so.

Okay so this is what I was referencing earlier. Kaku shows actual emotions with Iceburg and Lucci’s silent, but the moment Kalifa gets even slightly happy about completing the mission he’s berating her instantly. Kaku’s expression here is interesting too because he looks absolutely haunted and it’s very telling.

And also another visual representation of Lucci and Kaku being equal to/on the same level as each other.

I didn’t include the panel but Kaku was ‘sleeping’ when Corgi was giving them all of the information about Nero while Lucci was (seemingly) wide awake, and yet Lucci has no idea who he is and relies on Kaku to have all the information. Which he does.

Kaku being the one to take charge again and direct the others even though Lucci’s standing right there. They do this more than I’d realized at first, especially since Lucci always seems to be looked at as the unofficial ‘leader’ of CP9.

Enies Lobby

We’ve made it to Enies Lobby, which is the first glimpse we get of these two interacting with the full CP9 group outside of any sort of ‘mission’ environment.

Mostly it entails Lucci being more combative (especially with Jabra) and Kaku being more annoyed, but again I can’t really imagine anyone else taking this tone with Lucci and getting away with it while Kaku does it fairly often and Lucci never retorts or gets angry with him.

And while Kaku’s not immune to taking Jabra’s bait in the right circumstances, his typical tendency is to de-escalate situations if he can and here he’s refusing to engage despite being deliberately called out…and Lucci, without being asked, immediately takes his side and defends his choice.

This is practically the next panel and while both Lucci and Jabra are kind of equally at fault for this little display, Kaku only berates Jabra for it while Kalifa’s directing her comments at both of them.

Now that I’m actually looking for these sorts of things it’s becoming more obvious, but again we have Lucci and Kaku in an equal position to each other at the front of CP9.

This isn’t just to Kaku since Kalifa’s there as well, but Lucci’s still encouraging them to eat the fruits and I have to believe it’s coming from a place of good faith because he’d know whether or not being able to swim is that big an issue in their profession. I also want to note that Kaku echoes Lucci’s ‘it’ll be fun’ line when he actually does eat his fruit, so obviously that resonated with him.

I’ve put these two together because they both highlight the same thing, that being in both of these sequences we get almost all of CP9 giving out their individual thoughts/comments on what’s happening but Kaku’s statement both times is a direct reply to what Lucci says, so again the two of them are paired off in a way that doesn’t include anyone else there. 

The only other thing of note in this section is that while Robin’s talking about what happened during the Buster Call on Ohara, Kaku and Lucci are the only CP9 members to kind of…break formation and actually look at her while she’s speaking, which is interesting.

And for the rest of Enies Lobby they aren’t together so there’s not too much more to say here other than Kaku of course being the one to have the actual key to Robin’s cuffs, but it’s never made explicit who came up with that plan or handed out the keys so…if I ever actually do the thing and write a full analysis of Kaku’s character we can talk about it then Lark you’ve been saying you’ll do this for years IF I EVER--

Interlude - CP9’s Independent Report

Besides the fact that this is still one of my favorite cover stories, there’s a couple of noteworthy things here, the first of which is that Kaku again is taking the lead. Even though he’s the only other CP9 member other than Lucci to be injured badly enough that he can’t walk on his own, he’s still the one directing them where to go.

Other than that, I love seeing all of them just…interacting like friends and being very relaxed and casual, and pretty much every panel where Kaku and Lucci are together they’re directly beside each other so I’ve included a bunch of those here.

Dressrosa & Egghead

The next time we see Lucci and Kaku is at the end of Dressrosa, where they’ve been promoted to CP0 Oda can we please get some explanation of how this happened and let me tell you, I remember this vividly because the spoilers at the time just said that Lucci was talking to ‘someone’ and when the raws came out you can bet I went right to the dialogue to see if it was Kaku because his way of speaking is so telling.

But even in this little scene, we can see they’re having an equal conversation and there’s a major difference between how Lucci’s speaking with Kaku and how he addresses Spandam mere seconds later.

After this we have the Reverie/Levely/what-even-is-this-thing-called arc where they get all of a single panel together and while it’s the first time we actually ‘see’ Kaku after the time-skip, nothing really interesting regarding their relationship happens, so let’s move on to…

The end of the colored manga! And Egghead.

We start with a very familiar situation: Lucci asking Kaku what’s going on, and while Kaku this entire arc seems more outwardly annoyed with Lucci than he ever was in the past (which is never really explained but then again, Lucci spends a lot of the arc doing things he’s specifically been told not to do, so maybe it’s understandable…), he still has all the information and relays it.

Though Kaku’s also much more comfortable letting his real personality show despite them being on a mission while before he was always completely serious after the Water 7 reveal, especially around Lucci. It came through with Zoro and Jabra but during the cover story he’s smiling and laughing a lot with Lucci right there so it makes sense he’d be more willing to let his guard down even ‘on the job’ by now.

So here’s the first real instance of Lucci showing concern for Kaku, something which escalates pretty quickly throughout the arc. It’s subtle, and though he’s framing it as a suggestion to Stussy, if he didn’t care at all he wouldn’t have said anything. 

At this point it’s fairly obvious that Lucci and Kaku don’t really have any authority difference between them and Kaku spends a lot of time in this chapter especially telling Lucci to Not Do The Thing. Anyone that’s ever lived with a cat knows how well this works.

I’ve always found this bit of dialogue particularly interesting because Kaku’s very openly…praising Sentomaru for choosing his loyalty to Vegapunk over assisting the government, and there’s no way Lucci doesn’t hear him say this but he doesn’t say anything in return. There’s no real evidence that Lucci knows about Kaku willingly giving up the key to Zoro or how conflicted he was about Paulie and everyone else, but this seems to imply that at the very least, even if he doesn’t share those sentiments, he wouldn’t think less of Kaku because of it.

Putting these two together since they’re in the same scene but at this point it’s not even subtle concern anymore, Lucci’s genuinely worried for Kaku and you can tell this caught him off-guard.

Kaku’s the first one to suggest working together but Lucci immediately backs him up and goes with the idea. It’s logical in the sense that it’ll give them the biggest chance to survive, but willingly working with pirates isn’t exactly the sort of thing that Lucci, especially in the past, would have so easily done regardless of the situation.

So at this point it’s becoming clear that this whole 4-v-2 section is supposed to be the most…light-hearted thing going on right now and a lot of it is played to be comedic, including Lucci’s inability to lie, but yet again there’s almost nobody else that could get away with scolding him the way Kaku’s doing here.

…And then we skip ahead a day and things happen that I really hope get explained at some point because they seem important, but while Lucci’s never going to have impeccable bedside manner, he’s very concerned with getting Kaku to rest and while Kaku’s trying to justify what happened Lucci really doesn’t seem to care about that. It’s a big departure from him being willing to write off anyone he deems ‘too weak’ and it’s a nice character moment.

I’d mentioned on my liveblog that some of the things Lucci was doing after this point were confusing, but if you look at them through the lens of him wanting to protect Kaku, it makes a lot more sense. Yes, he’s deliberately keeping him out of the loop, but Lucci I think has decided that he’s going to throw caution to the wind and act alone since if Kaku can’t prove he knew about the plan, he’s probably safer being left with the Strawhats, and if the Marines show up he should be safe anyway or so Lucci thinks…

When this chapter came out, I’d said something about Lucci being a hypocrite considering what the rest of CP9 did for him when they could have easily just left him at Enies Lobby, but given what happens almost directly after and likely what he’s trying to do with this entire fight, these words feel even less genuine…

And that brings us to this. The moment that I’ve been thinking about for almost an entire week now. The moment that, looking back at…oh, wow…almost 3000 words of analysis maybe shouldn’t be as surprising as it was for most of us, but it does feel like the payoff for a long, long buildup that’s taken nearly twenty years to reach. Because really, there’s no other way to describe them other than ‘partners’, and probably hasn’t been for a long time…and I’m so glad that Lucci acknowledged it.

To summarize, I think what surprised me most about re-visiting all of this is how much the manga has framed them as equals since the beginning even though it was never explicitly stated between the characters themselves. Lucci’s always been far more lenient with Kaku than with anyone else, and Kaku in turn has never had any fear of Lucci even if he wasn’t really expressing his true self with him for a long time.

The cover story being the turning point makes perfect sense, and the progression throughout Egghead of Lucci being more outwardly willing to show his concern and Kaku not hiding his emotions at all seems like a natural progression of their relationship and their level of comfort around each other.

And the fact that Oda is never really…hitting us over the head with any of it until that final moment when Lucci says everything so plainly because Kaku’s life is the most important thing to him even when faced with a literal monster… It’s so effective. 

I don’t know where we go from here. To be honest, I’m kind of scared of where we go from here. But regardless of the outcome, I hope this little essay has been at the very least interesting and perhaps allowed you to look at these two in a different light.

Thanks for reading.

#one piece #opspoilers #rob lucci #kaku #meta #analysis #i forgot about the 30 photo limit so I had to get creative here but #3k words of me examining their relationship sure happened

[pepperf]

A love letter to the co-conspiritors

They have many names—beta reader, friend, Oh Fuck You—but you know who they are: they're the person who is as rabid as you about a ship or a character, the one you DM with your most twisted headcanons, the one who agrees that YES, he SHOULD be tied to a chair and slapped in the face—that she SHOULD be allowed a little tragic backstory, as a treat—that they SHOULD be roommates who are secretly pining for one another...the one who hashes out with you, at past midnight, how soon is reasonable for people with superpowers to have sex after one of them has been shot in the leg.

They’re the person who reads your fic before you send it to anyone else, and raves with you about that plot point that you COULDN’T WAIT for them to reach, or points out where you’ve forgotten that they were at the bar, not the library, so you need to remove the reference to book stacks, or pokes you to finish the goddamn next chapter because they want to read it, okay?

Fandom would not exist without them. They enable and encourage. Some of them are also fic writers, and you get to enable them right back. Some of them create fan art, or meta, or text post edits, or run prompt fests, or edit wikis...some of them are simply just as in love with the same thing that you are and want to feed the squee.

If you’re lucky enough to have someone like this in your life, you’ll know how much impact they have. It’s different to getting comments and kudos (wonderful though those are!), because they come in before the fic is finished, sometimes even before it’s started, and say ‘yes, do it!’. The fact that I've written so much for Community and The Umbrella Academy is completely down to @bethanyactually and @wheresmytowel respectively, and I count myself incredibly lucky to have them both in my life (and not just for all this, but also because they’re both incredibly lovely and smart and fun).

It was Fanfic Writer Appreciation Day yesterday (Aug 21st), and it made me think that we should also give a shoutout to the co-conspiritors, because without them, an awful lot more fic writers would be stress-scrolling through tumblr instead of working on their WIP, and there’d be so much less fic in the world.

#shoutout to the enablers #fanfic writer appreciation day

[dipperdesperado]

Get Organized!

I recently made a post about how to get started in doing radical stuff. Said otherwise, that post was meant to answer the question, “Where do I go, when I know the world is fucked?” This post covers similar ground, but is more interested in the theoretical side of things. Not to say it won’t be practical. It’s just saying that if you’re not the kind of person that can read a little bit and feel confident to act, or you like having a little bit more scaffolding, that you also deserve a resource. I’m hoping to contribute to that today. As the title says, we’re going to be focusing on organizing. This is one of those things that is said a lot, but is actually defined much less often. Tangentially, you should be aware and ready for this for literally everything relating to politics. Any word that you hear used, you should always ask for a definition. Many a movement would have gone differently if folks spent more time trying to find semantic alignment. Anyway.

When I say organizing, I mean catalyzing the energy of folks, acting from a specific theory of change. A theory of change is a thought process or method to create some kind of social impact in a particular context. When the world sucks in some particular way, and you want it to stop sucking, the answer is to organize, in the way defined above. By organizing, we lean on the idea of collective power to create changes that are currently only afforded to those with authoritarian power. It’s a game of evening the odds.

I will also note that this assumes that you are going to be framing your work around broad-based movements, that have (mostly) aboveground (as in “legal”) tactics. This is not necessarily a statement of what is correct; small groups that are in concert with larger movements are also able to be successful, even when doing more confrontational tactics.

So, to organize, I’d say it would be useful to be involved in movements already. You can look at my radicalism 100 post to see how that could look. Either way you have to know what your where your niche(s) lie. In other words, what sits in the middle of the intersection between what you like to do, what you are good (or can become good/have a willingness to become good) at, and what is needed in your context. I tend to center the local level, because that is the area where influence is more tangible, and fits into how I see a resilient world coming to fruition. So, you have to ask yourself, “What can I do, that I would enjoy doing, in my community?” Then, you should find some other people who are in that same vibe. Depending on your approach, this may take no time at all, or a lot of time. I listed some ideas for finding folks in radicalism 100, but to reiterate: look for social medias and IRL presences of people who are into the same topics, and connect with them. See where you can plug in, and see where the contours of organizing in your local contexts are. Ideally you can see places where gaps can be filled.

Once you find an issue that you think has potential, and you have a couple of people to do some organizing with, you have what I think of as a catalyst group. This group is meant to start (or assist) in a certain kind of reaction, but not lead it. Trying to control movements is both futile and antithetical to liberation. So, to ground us, we have two very important ingredients: a topic/issue/area of focus to organize around, and a group of folks to work with. Once this is in place, you can co-create a strategy with your organizing team. I’d recommend employing an encircling strategy as your long-term or meta strategy, where multiple sub-strategies and campaigns happen within this frame. Essentially, this allows you to employ campaigns across a matrix of tactics. Within the encircling frame, you can create a campaign (what I consider a “short-term” strategy). Campaigns are a series of actions over time. Strategies are a series of campaigns over time.

A useful way to think of strategic planning is by separating the process into stages, grouped by movement size.

Small: Organize small actions/protests, figuring out ways to build movement visibility and interest

Medium: Focus on scaling up the participation, through mobilizing efforts. Promote your actions, get people involved, and encourage meaningful action.

Large: Create a movement. The kind of thing people hear about.

To organize on the smallest level, the easiest thing might be to just do plan actions that are well within your team’s capacity, organize those actions, and execute. If you can swing it, I’d really recommend to not lean too much into symbolic actions. There are risks with every action, no matter what legal frameworks your locality has. If you’re going to do something, you have to be very intentional with:

what you hope to accomplish through the action

a high likelihood of success for the action

doomsday planning in case something goes wrong

If you’re able to do this, then you will be leagues ahead of a lot of other folks. This is not to make it a race or a competition, but it is moreso to say you can symbolically represent and catalyze action without becoming a martyr.

As you’re doing actions, you should be refining your idea of who’s impacted by the issues more and more. As that picture gets clearer, you should spend more and more time understanding and listening to those folks. Ideally, you get to a point of co-creation, where you are enabling people to fight for themselves and build their autonomy. That is the kind of thing that prevents movements from dying. Organizers should be trying to put themselves out of business, in a sense. Catalysts should be able to come from anywhere.

To scale up, I’d recommend a focus on meeting folks. Take the ideas of deep canvassing, where you empathetically have conversations with whoever is impacted by the issue you’re responding to, through the lens of giving power to those people. Rather than asking them to feed into some established system of power, encourage them to take action into their own hands, as a collective.

I’d also recommend that as capacity grows, build a “positive” or “constructive” power. This can look like a lot of things. Whether it is a block club, neighborhood pod, community council, or community assembly, dedicate energy into creating spaces where people can start building their democratic and consensus muscles. These can simultaneously act as the training ground and alternative governance structure that allows folks to start making decisions for themselves in a very specific way.

This will ideally allow the movement to really start to be intersectional. It should be intersection minded from the outset, but that can be difficult to meaningfully actualize in the early stages of the movement. since single-issue movements are inherently brittle (if your movement revolves around getting something on a ballot, winning or losing just ends the movement)—there are throughlines that connect all movements, and those lines should be made visible and traveled. Environmentalists should fight for housing rights, LandBack, Reparations, and a host of other things. The more developed our networks, the stronger our movements will be.

#economics #economy #econ #anti capitalists be like #neoliberal capitalism #late stage capitalism #anti capitalism #capitalism #activism #activist #direct action #solarpunks #solarpunk #praxis #socialism #sociology #social revolution #social justice #social relations #social ecology #organizing #complexity #resist #fight back #organizing 101 #radicalization #radicalism #prefigurative politics #politics

[interstyx]

The longer this workplace abuse situation goes on the less I'm inclined to believe it. At face value it's a very typical development for entertainment companies -- I presume at least some of you know about Telltale Games and Kindly Beast, just to name some -- but the more testimonies that come out the fishier this smells.

We know that there were some bad times during the production of Meta Runner but the given narrative of insanely quick artist turnout and crunch just isn't supported by the actual credits in MD + TADC pilot, which remain consistent and even expand throughout. If there's indeed crunch/a high turnout, it must've then stopped before MD began production or started after TADC's pilot aired, which does not line up with the narrative laid out by the testimonies at all; these suggest years of workplace toxicity and a kind of studio-wide culture change that could not have happened so quickly, all of it made weirder by Kevin Temmer's hiring (who I understand has been through industry abuse/crunch before).

To be clear -- I think Celeste's firing is a completely fucked situation, but that we'd be wiser to separate it from the AnimeAmerica testimonies. One's confirmed true by name + Glitch responded to it, the other's all uncharacteristically vague anonymous testimony.

That's my main sticking point; the testimonies themselves are very nebulous and I believe they only evolved in detail as skepticism began piling about them. This could very well be a whole buncha cope on my part but flowery language like the last testimony's "yet you [Kevin Lerdwichagul] sit on your broken throne" is very odd when it comes from an exposing of workplace abuse. It's the kind of thing you'd find in a breakup letter, not a years-later testimony is what I'm trying to say.

It's extra weird that the testimonies would be anonymous too -- Glitch isn't exactly an established player in the industry, so I don't see how blacklisting would be a concern [EDIT: though NDAs could be behind that], and by now you'd expected some ex-employee identities to have begun coming out instead of all of them being anonymous. A personal impression that could easily turn out wrong; all of the AnimeAmerica testimonies [which are themselves not verified sources, even if the person posting them is] read awfully similar to have come from different people with different trajectories, and it's definitely eyebrow-raising that they get crazier and more flowery with time.

In any case, if there's any truth to the narrative we'll see so in the credits to MD ep7. There'll be a lot of missing names compared to ep6's/TADC's, or they'll stay mostly the same.

#murder drones #glitch productions #tadc #smg4

[hyperfixatingdumdum]

This might sound very silly haha, but I just want to say, that while I do consider myself a mix of both crowley and aziraphale, personality wise, I would say that in many ways I relate more to aziraphale. I unfortunately relate to his unending need to hide his emotions, how he truly believes he cant, or atleast shouldnt carve out happiness for himself, and to think about the greater good. I also find myself relating to him because he believes that the people that have hurt him before, can truly heal and be forgiven. So really, to have a character truly be a representation of how I think and view the world (mostly), seemed like a pleasant surprise at the time

But seeing people now be so cruel to him, especially after season 2, to wish him harm, to want to see him "grovel and cry" for the things that he did (which were only done with good intentions), for people to hate him so aggressively for the silly little parts about him (like him playing damsel in distress, or him doing his magic), for people to not even TRY to understand him, not affording him the same empathy they same to have plenty for crowley, to just be.. plain mean, broke my heart. It made me think "wow. I agreed with everything that lil principality did, I feel the same way as him, I would probably do what he did, and ppl hate him. Oh, ok." I felt so awful reading all those horrible "meta's" about him, because I internalized all those things that they said and believed that I too needed to "grovel for forgiveness" from the people I loved, that my anxieties were also "baseless", and I suppose I started extending less and less empathy to myself, and I was so unhappy.

Ever since discovering @badaziraphaletakes however, and seeing not only them,but other people as well, just break down every horrible take they come across, to see them give incredible, well thought-out analysis on BOTH these characters, to finally see someone that actually wanted for aziraphale to be happy, and to understand him for what he his, and point out to anyone that believes otherwise, that he is also a victim of abuse, was very therapeutic. Finally there are some people who understand him!(and in a diluted sense, me), it truly does make my day when they post.

Thank you to @badaziraphaletakes and everyone else that I have seen on their blog, it truly is so gratifying to see people love him and care for him, and want the best for him, it truly feels like a warm hug when people say they love him for his silly lil interests(as he and I share some), and it just feels good to read such nuanced takes about him🥰

I honestly didnt expect this to be so long but haha what can one do, the rambling persists. I would once again like to thank you guys, your posts mean so much to an "aziraphale coded" person like me🥰❤️ have a great day!

#goodomens #aziraphale defense squad

[celluloidbroomcloset]

OK, a wee personal thing. Skip over if you don't care - I, too, often don't read about the personal lives of people on the internet!

I've written about what OFMD as a whole has meant to me in terms of coming out, but also...it has meant other things.

I'm actually fucking excited about film analysis again. I went to film school, I've got a Master's in Film Studies, I've worked as a critic (and a clickbait writer), I co-host a film podcast, but I haven't felt really excited about analysis in a good while. Writing meta, and talking with others about it, the past few months has reminded me how much fun it is to dig into a piece of media and pull it apart and see how it works. This in turn has made me go back to old texts and start reading film theory again and actually move forward with writing a book on Hitchcock I've been talking about for, like, years.

I'm also excited about writing fiction again. I have (another) Master's in Creative Writing, I work as a fiction editor, but I haven't really been into my own work. I've been shopping around a steampunk SF/F novel (about, as it happens, pirates...), but that is a tiring and thankless job and involves a lot of disappointment. Getting into writing fanfiction for OFMD has, in turn, made me actually pick up steam on a queer horror novel that I've had on the backburner for a while and that I'm really excited about now.

Since coming out, I've been a lot happier, just as a human being. I've been way more willing to do things that I want to without considering if other people are going to judge me about them. I'm not concealing things about myself. I feel better about men (and man have I been mad at men for a long time) and other people in general. I'm less anxious. I'm excited about stuff that I haven't been excited for in a good long while.

So, yeah, Season 3 or not, I am immeasurably grateful to this show, the cast, the writers and directors, and to the existence of its fandom. No matter what, it is net positive for me.

#ofmd #our flag means death #stede bonnet #edward teach #crew of the revenge #personal

[vitanithepure]

Can we talk about Gale again? And Mystra, one last time? Or at least let me vent? I know it seems like I can't shut up about it, but deal with me this one last time?

It's a long one, an fervent one, and possibly the last one on their relationship because there isn't much to tell for me after this. I just want to lay it to rest on my part, it's too emotionally draining, but I wanted to do this.

Spoilers for them ahead.

It was some time ago I did the talk with Mystra and Gale as an origin character and I needed some time to process this and gather my thoughts. Because I was left reeling with how personal it felt for me and I hated seeing that to bo honest, even though I think whoever did write this scene did it... very well. I feel a lot of thought went into it, so even though it does touch a delicate subject it does it as tastefully as possible.

Okay, let's begin with a real banger.

Why? This will forever read as "I gave you a solution, explain yourself why you didn't die when I asked you to." for me. What kind of messed up question is that to ask someone?

But can I say how there is absolutely no wrong anwser to that asinine question? You can roleplay however you wish, but none of them are bad anwsers. Some of them are more heartbreaking then the others, but none are in any way making excuses. There is nothing to excuse and I'm glad whoever wrote this dialogue recognized this.

I chose the "I have someone else to live for" one here, because I felt that Gale, at this point, really found that special someone, be it a friend or lover, to live for. It's gut-wrenching that he needed someone to keep him alive in the first place, but this is what having an abusive ex does to you.

But the other choices here? All of them fair. She absolutely had no right to ask that of him, no matter the crime, that's just a fucked up thing to expect.

Being afraid to die? Valid, this shouldn't be put up to question.

Two last ones? Pure gold. I treat the fourth one as a direct jab at her own teachings, on how all magic needs to be preserved and studied? It's like him saying "Hey, I did what you expected and now your mad?".

The very last one is poetic justice. "I owe you nothing." and if that were me this would be the absolute end of this discussion. Mic drop, I'm out of here.

And okay, I did take he self-pity route with "I let you down." here becuase this is what I believe is closest to how "canon" Gale feels about this. That's the most heartbreaking thing about it, that he believes he was not worth enough before and is even less now and doesn't deserve love, of any kind.

What are the other options? Well, all in character and each seems like a valid way for Gale to feel. But me, the player, who is fortunate to know some meta knowledge? Oh boy.

"I was a danger to you." No you weren't. She is the goddess of magic, one of the most powerful out here. She is magic. All you could do is make her day worse.

"I disobeyed you." Yeah, you did. And she sentenced you to a slow death for it.

"You were threatened." Eh, not really. But what comes after that statement? "You realised you couldn't control me."? Yes, that is the only thing she felt threatened about - loosing control.

"Our relationship bored you. The orb was just an excuse to end it." I mean... maybe? Not enough is known about it but seeing how all reincarnations of Mystra are fickle lovers at best I would say it's a possibility. Even if it is just his ego speaking here - damn, what a way to end a relationship.

She has the audacity to tell him "he only thought of himself". Pot calling the kettle much?

Oooh, but I love what we can say here. The amout of vicious call outs here is superb.

We get to call out how much of a control freak she is. Then we can say how out of place was her punishment. Because I feel like it was a fucking equivalent of throwing a child into a dark cellar for breaking your favorite cup, while all they wanted to do was wash it for you. That is how imbalanced this whole thing is and I'm not taking criticism on that.

We also get to straight up ask what was the lesson if she never let him know what he really did and left him without means to make things right?

Then my favorite. Straight up ask her how many lives was she willing to sacrifice to get rid of the problem?

And last but not least - call her out on her lies. That's what she did. Why? I don't know. Was she afraid? Possibly, because the Karsite Weave + Crown of Karsus combo could potentially threaten her. Potentially, because as we saw in one of the Gale endings, she has no problem with just getting rid of a newly ascended god wielding them. That leads me to believe she is not afraid of loosing power as much as just being rivaled with. The indignity she has to suffer, truly.

Hit a nail on the head here. Who cares about mortals, if they live or die and in how many droves? Competition comes knocking, so all gloves are off. And that is what I believe to be the crux of the matter. Mystra wants to remove the Absolute (because that's the new upstart god breaking the status quo), the orb containing he rival Weave, the Crown which threatens her rule over magic all in one swoop. Oh, and that one guy who tries too hard and refuses to die. No biggie. Who cares, she has a line of followers who would replace her Chosen at any given time.

I'm a salty bitch over the fact we can't keep the Crown of Karsus, but instead of using it - just hide it away again. Stablize Gale's Karsite Weave and keep that thing around, hidden away. Let her sweat over the idea someone else might find it one day and rival her rule.

I know I'm way too emotional about it, but like I said, it's very personal - I been there, done that, and never recovered in full after it. I'll die defending anyone and any pixels who are struggling with their self-worth and trying to get over an emotionally abusive relationships.

"Be the better person, die saving the world and I'll 'forgive' you." Fuck. You.

And a bonus, for those of you who stuck around till the end, because I was totally naming the screens and yelling at my monitor while doing this.

#sorry if it's too personal can't really be helped on that matter #that analysis cost me a lot but I'm so happy I got it out there #bg3 spoilers #gale of waterdeep #gale dekarios #mystra #bg3 #baldur's gate 3