#analysis

[ellaismydog]

Thinking about the different forms of transportation in Trigun and what they say about the characters. Because the way a character chooses to travel is a metaphor for how they go through life yada yada, there's a sick part of my brain that misses writing uni essays and Trigun just brings it out in me.

Vash is usually depicted as walking. It's pretty consistent across all versions of Trigun, to the point where it's featured pretty heavily in both anime intros. It's a slow approach, but then Vash is a very patient man - he'd have to be after 150 years. He wanders across the planet, and he might do it slowly, but it's inexorable. He'll always get to his destination eventually, whether he likes it or not.

It's also lonely. No one else can wander the way Vash does - no human, anyway. They're mortal. They simply don't have the time or the built-up patience for it. It's another thing that separates Vash from the people around him, and shows just how different his perspective really is.

Then, there's Wolfwood's motorcycle, in both Trigun 98 and Trigun Maximum (and hopefully Trigun Stargaze, please please PLEASE give that man a bike).

If we look beyond Angelina just being cool as fuck, I think this choice of vehicle is very interesting, because it's almost as lonely as Vash's walking. Traditionally, motorcycles are only meant to accommodate one person. There's only one seat, only one person can sit comfortably (two if you want to get romantically coded, but we'll get to that later). Sure, as a method of transportation, it's faster than Vash's walking, but then Wolfwood is only human, so he has to go through life much faster than Vash does. But the fundamental LONELINESS is still there. Wolfwood doesn't have room to travel with anyone else. He expects a lonely existence, and that affects his choice of vehicle.

Then, you take into account the sidecar. Something you can tack onto the motorcycle, almost like an afterthought, to let someone else accompany you. Due to his mission, Wolfwood quite literally has to accommodate Vash, and involve him in his life/journey. So, the vehicle that could only seat one, has now grown to seat two - but that's it. Vash is the one person Wolfwood really 'lets in' in this way. I dunno, I just think that's really sweet.

In Tristamp in particular, there's also Meryl and Roberto's car. For as many times as it breaks down and Meryl runs people over, the car is really a symbol of safety throughout the show. Wolfwood and Vash are shown sleeping in the backseat more times than they're shown sleeping in an actual bed, and the design is just so LIVED IN, what with Roberto's stash of cigarettes and the little knickknacks scattered everywhere. There's something almost domestic about it. It's the first method of transportation I've talked about that seats more than one-two people, and it shows. When Vash travels with his three friends in this way, it's like he's with his family.

I think this is especially important in the Tristamp episode with the sand steamer. Vash and Wolfwood need to leave the car behind to board the steamer, and it's not really under the best circumstances. Roberto kinda urges them out - he's suspicious of Vash after finding the photograph with him and Rollo, and wants to protect both himself and Meryl by getting as far away from him as they can. So, Vash is ejected from the car in the same way he's ejected from the family dynamic they'd been building. Only for Roberto and Meryl to literally follow behind him in said car when they realise their mistake, inviting him back in and giving him their trust once again.

Incidentally, once Vash leaves the car, he goes straight from one form of transportation to another: the sand steamer.

The sand steamer is the biggest, most public form of transportation I've talked about so far. If Meryl's car portrayed a family dynamic, the steamer is more like it's own country, filled with all types of people and strangers from different backgrounds. So, when Vash leaves the car and enters the sand steamer, he's being ejected from life in an insulated place of safety, to life in the wider public - and is attacked almost immediately.

Really, this is representative of his relationship with the rest of the world. It's why he chooses to walk and why he lives alone - because people hurt him. It also serves as a fantastic comparison to Meryl and Roberto's car, showing that while he isn't safe around the general public, he is safe around them. His family.

The last form of transportation I could think of is the Thomases. Originally, I didn't have much to say about them - but the more I think about this series, the more insane I get, so have some half-formed ramblings.

Because I kinda see the Thomases as a symbol of Vash's connection to No Man's Land? Like - they're native beasts (I think? Let me know if I'm wrong), and Vash is shown to have such an affinity with them, especially in Tristamp. He rides them with such ease, after so many years of learning from Brad and his own hundred years' experience, that it's practically second nature. It's a form of transportation specific to No Man's Land, and it's something Vash has perfected, because he's tied to this planet in a fundamental way.

It could also be tied to the fact that Thomases are not human, and neither is Vash. They have that connection. So, while travelling by Thomas is still fundamentally lonely, without anyone else to talk to, there's still a level of understanding there, which shines through in how easily Vash can ride them.

I think it's also interesting that Vash chooses to walk in spite of this. He could make his wandering easier on himself by riding a Thomas instead, but he doesn't. Because that would mean putting the Thomas in danger. Because walking isn't so painful for someone like him - and even if it is, he can take it. Because he feels he doesn't deserve to make it easier on himself. This character makes me upset.

I don't really have a conclusion lol. This series just has me by the throat and I need to scream analysis into the void until it lets go.

[the-kiss-of-wet-asphalt]

Also the fact that Toriel says that there's pancakes for dinner in the fridge but all there is is is Sans's ketchup... hoo boy...

I think Toriel is an alcoholic. The scene at the very end of chapter 4 where she's dancing with Sans, I wanted to highlight Kris's reaction.

They're disappointed and embarrassed Suzie has to see this, but they're not surprised like she is. They don't want to engage in this situation at all.

She's a happy drunk, having a good time, sure. She offers Kris some food, but doesn't engage with them at all. Doesn't check in why they were out so late or on their mental state. There's so many themes of neglect in deltarune that this clearly isn't just a one off event.

This scene is just a Lot, it just struck me mostly because I watched nearly this exact same scene play out with my own mother.

[cracklinhaze]

no okay i'm gonna rant about httyd 3. i get so beyond angry at the choices made there—gods, the animation is stunning, but the story and the characterization fall so goddamn flat.

the villain's design? bad. the villain's motivation? boring.

i understand that the tv series are not necessarily required viewing, but my god, the wasted opportunity to build on the world and lore established there is such a shame.

dragons have ecological lore in the series. they have islands where species travel to die. they have migration patterns. hiccup and his riders relocate the dragons to multiple islands other than berk.

the third movie wastes so much potential. hiccup feels flat. toothless is out of character. the riders have none of the team bonding they built in rob/dob and rtte. they made snotlout an idiot: he barely interacts with hookfang. he flirts with his aunt?? where's toothless and hiccup's unbreakable bond? where's my bad bitch ruffnut who plays up bits when she's captured only to look them dead-on in the face and say "take your best shot" ?????

i understand the desire to show a more grown-up, battle-hardened hiccup post-stoick's death, but he lost so much of that spark. it's a shame that, the one thing he really didn't want—to lose his dragons and just become a normal chief—is the ending they gave him.

like. whatever. threequels have tons of pressure on them to do well and emotionally resonate with audiences, but it's like they built the entire movie around the idea that "oh, saying goodbye to the dragons will be the biggest emotional punch, yet!" instead of plotting an actual story.

anyway. ugh.

[dorky-kawa]

for me, ozawa's epilogue was about highlighting yuuji's growth as simply a person (not a sorcerer). he experienced so much in such a short amount of time. he is now on the precipice of young adulthood, but the snow is still special to him. he can still have that childlike wonder.

even though it's not ozawa's intentions, for us "do you still like snow?" can be read "are you still the same person?" and yuuji answers us that yes, even after everything, it's still him.

curses like mahito wanted to break yuuji, but they failed. even though yuuji's growing up, he still gets to keep parts of his childhood purity and innocence with him. and at the end of the day, that's all gojo ever wanted for his students.

[spookymoosestudio]

"King of the Creek" - by Me

This one is the concept illustration for the mural I made in my hometown <3 I Finally have prints available of this beauty in my shop if you are interested: https://www.etsy.com/shop/SpookyMooseStudio

Also, here is what the mural ended up looking like:

[h3artw0rms]

So the gift Powder received from Ekko was a necklace with a blue peony.

And you know me from my Vi and Caitlyn post so of course I'll look up what the flower language of that means and it's the following:

And if you look closely, you can see the profile faces of Ekko and Powder in between the petals

In this reality, the two can't be together, as he wasn't HER Ekko. But Powder still means the world to him.

[allegedallegory]

the chairman's panopticon-ass tower is also built to be comphet hell (phallic symbol, everything akio has going with the projector, the elevator, the back-lit screen in front of i guess? the bedroom? and the half-moon bed that simultaneously brings anthy & utena close while also being symbolically pulled apart-- it also places them at the same level, unlike the bunk bed! they're quite literally eye-to-eye) but it -and akio- fails at accomplishing what it set out to do.

note: the more i think about it, the more i realise their shadows on the screen do merge-- intrinsic to each other, so the screen ends up giving us more representation, however briefly.

utena and anthy don't just connect and be honest to each other despite it all. they don't just let everything fade back into barely-there subtext as the genre has historically been subjected to. what necessitated the subtext to be subtext eventually breaks down when the illusion the system set up does, and it's clear as day at the end of it. every single heteronormative role provided to utena is, by the end, thrown out, destroyed, not worn. and you don't get some grand 'i love you' from either anthy or utena. you don't need to. it's all there in what they do-- in anthy accepting and choosing to reach for utena, in utena consciously continuing to choose anthy, and in anthy deciding to leave. you get one single photograph of them, and it's one we've seen them take before with much of the context seemingly left out, or written out of our frame. but then you see the picture in its entirety. or at least, in a different light.

and the tower never could censor them or obscure them completely.

[thestargayzingheroine]

More characters need to suffer like poor Chief O'Brien did.

The man was tortured by Cardassians, replaced with a clone that thought he was him, memories of an alien prison forced into his mind, travelling backwards and forwards through time and watching himself be killed, having his wife getting possessed by an evil alien, having his daughter sucked into an alien time portal and rapidly aged into a feral adult.... and god knows what else he went through.

You wanna put a character through hell? Fair enough, but at least be creative and interesting with it, otherwise it'll just end up being misery porn all the time or just being this one awful traumatic thing that lingers with the character and doesn't really feel right.

i feel like an often overlooked downside to 10-episode seasons and the death of the "monster of the week" format is that we get way less whump variety nowadays. used to be that there'd be dozens of opportunities for your fave to get punched or kidnapped or hypnotized or what have you. these days if it doesn't fit into the main plot, it just doesn't happen. this is a tragedy. we should be protesting.

[zonatcannibalism]

The huntrix/saja boys ships are very interesting to me, narratively.

The saja boys prey on insecurity. We see this in their lyrics and their whole persona, really. They make the listener feel special, while reminding them they wont get that feeling anywhere else. Their songs are never about themselves like the huntrix songs are, theyre about the listener. The fans. How the fans are special to them. This is because their goal as a band isnt actually to make music, but to take away the power huntrix have. But its also a parallel to irl boy bands like that. These type of bands, made of young hot men, are made to be desirable. Theyre meant to fulfill every fantasy their audience, usually teenage girls, has. This is why fanfiction about these bands is the most popular type of rpf- the marketing of these things is meant to make the target audience imagine a fantasy world, where they are desirable by these hot dreamy guys. It objectifies the band members, and lets the listener turn them in their head into whatever they want. But this fantasising comes with being confronted with the fact that this is not realistic, and irl someone like the saja boys will never fall in love with you because they saw you in the crowd. The relationship between the saja boys and the listeners is one that makes the listener fantasize about a life without the things they dislike about themselves, a life where they can be someone the saja boys fall in love with. Compared to girl groups that target the same demographic, like huntrix, they are polar opposites. Sometimes they talk to the listener, but most of the time their lyrics are about themselves. Boy bands are meant to be desirable, but girl bands are meant to be relatable- often in an empowering way. Huntrix's songs are always about how cool and hot and powerful they are. Every huntrix song is a self empowerment anthem, and this is their appeal. Sure, they have more valnurable songs, but they always lead on a positive note about embracing your flaws and shit like that. Huntrix songs are meant to make you love yourself and your flaws, saja boys songs are meant to make you imagine a world where your flaws do not exist, or are desirable and socially acceptable. Huntrix, as artists, are all about loving the things in yourself that everyone else dislikes but the saja boys are all about imagining a different reality where they are liked. The saja boys make you dependent on them, huntrix make you feel like you dont need anyone but yourself.

And this is so fucking beyond perfect because the whole movie is about insecurity, and mainly about how huntrix ARE insecure. Rumi is a whole fucking mess that we know of, but zoey and mira also struggle a lot with insecurity. And the thing that helps them most IS huntrix. Being a part of huntrix helps them embrace themselves and get over their fear of being disliked. Before huntrix started, zoey and mira were in the same place that rumi was during the movie- hiding themselves, ashamed. Huntrix is the thing that helped them become confident in their own skin.

But insecurities are never really gone. Even though zoey and mira are doing well because they unlocked their self love arc earlier than rumi did, they still struggle. And thats EXACTLY what the shipping of them with the saja boys is all about. Because the saja boys are not just targeting the fans insecurities- they are targeting zoey, mira and rumis insecurities. The rumi and jinu pairing is pretty obvious- hes a demon, shes insecure about being a demon. Mystery is literally all about being someone that is ridiculously quiet and dosent have a big personality- what zoey wishes she was. Romance abd abby are fun and kinda feminine and cutsy, which are the exact things mira was always told she should be. The girls pairing with each saja boy isnt accidental, its meant to put them in the same place as the fans- wishing they were someone else and feeling like their self love is dependent on the saja boy.

This is why the saja boys succeed. They arent just taking away the fans, but targeting the thing that brings huntrix together- their self confidence and love of the parts of themselves that theyre told are undesirable. This is why the saja boys manage to get underneath their skin, by taking away their self assurance and making them dependent on the saja boys's love, just like their do to their fans. Anyway yeah short analysis

[susano0o0o0o0o]

The reason I want Byler to be canon is not because I think it’ll be cute, for representation, or for any other reason. It’s just because I have spent my whole life fighting against the idea that the curtains were just blue.

I want to believe that, in a world so hostile to art and literature, we are still able to create, to understand and to appreciate masterful writing. If Byler does not become canon, then the triangle was just facing that way, the colors just looked good together, the parallels were just accidents.

Where does this leave art?

It leaves us with the knowledge that deeper analysis only leaves you disappointed. It leaves us knowing that there is no incentive to creation in a world where the only goal is profit.

It seems a bit dramatic to say about a fictional gay ship between two teenagers from a Netfix Original show, but these same conclusions could be made from any piece of contemporary art or literature.

I have created art for almost my whole life. It would hurt to know that the thing I have given my soul to is not treated with care by the people I have looked up to my whole life, which is artists of any kind who are able to share their work with the world.

[lapislazuli-13]

One of the most perplexing things about die-hard Sakura fans who ship sssk to me is how they think it’s a good end for her.

I mean, imagine yourself in a relationship/ marriage in which your spouse is already spiritually connected to the deepest, most meaningful extent possible to another person. They might still love you in a way, maybe, since there are many kinds of love, but you will never be able to connect to them to that level. No matter how fiercely you care for them, no matter how much effort you pour into the relationship, there is always an invisible wall you cannot and will never be able to breach.

Their darkest secrets, their worst fears aren’t shared with you. Neither their dreams nor the raw and unfiltered essence of their being, since those are already reserved for that one connection that excludes you. You can never understand them in the way that person does. Their heart will never fully be yours and only yours. You’re not their soulmate, and they will not love you in a selfless and all-encompassing way as the agape love they share with that person.

Imagine having someone physically but not emotionally. You might share a home with them, but you will never be able to enter that sacred place where their soul resides since it’s already occupied by another person.

Worse thing is, you’ll be constantly reminded of it, whether intentional or not. A fleeting look, a drifting thought, a beat of shared silence that only them understand, any moment of subtle hesitations or the unspoken boundaries between you and your spouse. They may care for you with a love that is still real but incomplete, a love that feels like a compromise. It’s tempered by obligation and habit, always secondary, always less. You are their partner, their spouse, but never their everything.

Can you truly be content knowing you are not their deepest, most profound connection? Can you build a life with someone whose heart is divided, whose truest self is shared with another? I don’t know about you, but personally I don’t think I can. It requires a painful kind of selflessness to love and stay in a relationship with someone knowing they cannot love you in the same boundless way they cherish their soulmate, and I’m too selfish for that. I’d rather remain single or settle down with someone who might not love me that much, or I don’t love that much, but at least neither of us is eternally tethered to another soul.

And if there is one or two things I can tell about Sakura’s character, that she inherently is never that selfless, if not the opposite. She does care fiercely about the important people in her life, but intrinsically, she cares about her own feelings first and foremost, so she’ll definitely suffer a great deal in such a relationship. No matter how hard she tries to tame and change her feelings, there is something that’s just essentially unchangeable.

Is that really happiness for her? Do you truly wish that for your favourite?

[eldritchdemigodskywalkers]

#t h i s is so important sdgfsdfg #Ani/Vader doesn't want power for himself doesn't want to be powerful and in charge alone #he doesn't even really want to be in charge so much as maintaining order/making sure it's maintained #because he's so screwed up and so used to be powerless and in ways #stripped of personhood that for him power is safety and then power is a cage because he's alone and he's destroyed everything he strived #to become powerful /for/ and then when he finds out about Luke power again is safety - not just for himself but for his son #safety from the Jedi he hates safety from Palpatine #and they can be together and they can be a family and they can be in charge #and make things the way they need to be #but the Luke rejects him and that crazy dream of overthrowing Palpatine weakens once again #and Vader has so much power and yet where does it get him #i just#have a lot of feelings (via @theirwolfbicanthrope)

#i only wish he'd more explicitly offered the throne to padme #called her empress #you don't want to reign anakin #you want to be the right hand of a wise and benevolent ruler (via @cadesama)

[ilovemygfbro]

Amphoreus is a Mobius Strip (and Sunday is in the other cycle) 3.4 Theory:

Sunday and Phainon have uncanny parallels. Starting simply; their designs and poses.

Pretty similar, right? Well, there are also some key points in their designs that can’t necessarily be a simple coincidence.

Courtesy of TikTok, we have some side-by-side images of Phainon and Sunday to compare. Starting with the first image, the halos are very similar from a design standpoint. Both golden with points that stick out, the halos both have a part that is open, and they both glow. The two are surrounded by a golden light coming from above (which can be symbolic to ascension). They are both lifted into the air and are levitating. They both have wings — Sunday’s on his head, and Phainon’s on his waist. Sunday would have wings on his waist as well, but they were clipped early in his life, so that could easily be a parallel.

The second image is a simple correlation between Sunday’s badge/broach type-object on his chest, and what is presumed to be Phainon holding it in the 3.4 trailer, but there’s no evidence to suggest this entirely. Also, it’s intriguing because that object is very unique and isn’t exactly common to find. So, what would be the purpose of choosing that object specifically in the scene?

The third image, once again examining the broach, focuses on the gold plating. It resembles the golden stone type object that always accompanies the Flame Reaver.

The fourth image shows Sunday next to a common Amphoreous mob, doing the same exact pose when using his skill.

Now, they have similarities in personality and lore that are also uncanny.

Sunday is a day reserved for rest, and it is seen as holy, pure, and peaceful. Phainon means bright, shining, and is driven from the Greek God Phaenon (Φαίνων). He is the Sky God of the star Cronus and is placed among the “wandering stars” (the planets). Now my theory here for this is either that this is a literal meaning that he is most likely going to become a Planet (maybe a physical Amphoreous?), a star, or more specifically a Stellaron. But, taking it in a non-literal way, “wandering stars” could easily mean the Astral Express, and Sunday is riding along with the Astral Express at the moment.

They were both “guided” into a life they thought would be better by an older and wiser being, only for it to prove as a lie and only inflict suffering. Gopher Wood lead Sunday to believe that a world controlled only by Order would lead to perfection. Meanwhile, Iygus guided Phainon through the cycles because he had been seeking the Flamechase and wanted to live a perfect life.

More on the previous bullet — Sunday was originally going to be “bear a world of perfect order” for the entire cosmos. He was originally going to create a world of perfection for everyone else, even if he had to suffer forever. Phainon is suffering forever simply for the perfect world.

They both had a childhood doomed from the start, with their family dying or being cut off from them. Sunday’s mother is dead due to his homeland’s collapse and he has lost contact with Robin due to the contract. Phainon’s family is dead, also due to his homeland’s collapse.

The update is named “For the Sun is Set to Die”. That can tie into when Mydei says “Become the dawn… Deliverer,” as well as Sunday (his name).

Phainon has endured exactly 33550336 cycles. At E6, Sunday buffs 33% Crit Rate, 55% DMG and 33.6% Crit Damage.

The Fate collab is chosen to take place in Penacony and drops in 3.4. While this could simply be a coincidence, it intrigues me that not only is it placed where Sunday originally lived, but it also features Robin who has the iconic red sigil on her hand.

Images to reference from the 3.4 trailer.

Feathers are often seen as symbols of truth, speed, lightness, flight, and ascension in literature. Not only did Sunday almost ascend to being an Aeon in Penacony, but it could also symbolize the fact that he has ties to the “ascension” of the Flame Reaver.

The halo looks similar to Sunday’s, and right before the massive explosion on the trailer that light appears almost suspiciously similar to the Eye of Order. The halo could also very well represent Kephale (the Titan of World Bearing), and Sunday’s halo could just be very similar to Kephale’s symbol, though not by coincidence.

The feather Sunday holds in his idle looks similar to the pen used in the Amphoreous book. His book also bears a slight resemblance to the Amphoreous book itself, though it is a bit of a stretch to correlate the two.

Also, this may not be too important to note, but the fact Sunday and Phainon are getting banners at the same time might tie into the theory as well.

Instead of the anomaly being the trailblazer, what if it was Sunday? Either him or his parents had ties with Amphoreous. The fact he happened to be on the Astral Express at the same time they head over to Amphoreous must not be a coincidence. The Express is collateral damage of the fact that they stopped Sunday’s ascension in Penacony.

The theory is that the two Mobius Stris will bleed into each other to make the Lord Ravager and it’s going to be a sort of “final form” situation and the cycles end here. Most likely the Ravager will end up with a fused Sunday and Phainon that end the cycles while clouded with grief, with a great possibility that the Lord Ravager dies in the end.

It’s heavily unlikely, but the evidence certainly can’t be a coincidence. No matter what, Sunday does have connections to Amphoreous.

☆ Credits to @femboybootypounder for cooking this up with me over texts and helping me with most of the Amphoreous lore parts of the theory.

[avaxbacot]

i’ve seen some parallel of luffy and law being compared to garp and sengoku, and yeah their interactions and dynamics were pretty similar. you can say sengoku treated rosinante like his son (he said it himself), and even though it doesn’t make him a “grandfather” for law (not that rosinante himself was a “father figure” for law, law referred corazon as his benefactor/savior only, not someone that he looked up as a father), there’s still a connection between law and sengoku through rosinante.

and now i’m thinking “wow sengoku was such a fraud”

i’ve seen garp getting his slander enough and he deserved it, i think sengoku deserved his lashing too because i wasn’t seeing enough, not helping that i’ve been seeing a lot of marine propaganda on twitter lately for some weird reasons (i can understand if people like some marine characters but the tweets sound like actual world government propaganda, i don’t know if it’s a satire or what but yeah some people are actually serious lol)

from the doffy-law-cora flashback, we learned that sengoku found rosinante as a kid and he adopted him, and later rosinante turned into becoming a marine. i’ve seen some takes about how rosinante should be a revolutionary instead, the reason i’ve seen is because he’s the opposite of his brother that obviously loved being a celestial dragon and wanted to gain all that glory back, but in the end of the day rosinante became a marine, an opposite of doflamingo who was a pirate. 

and it got me thinking…. i feel like there’s no scene where rosinante even said or thought that the celestial dragon was in the wrong side of history, he never acknowledged “yeah i was born a celestial dragon and they’re all monsters”, he only ever referred doffy as THE monster specifically, he even said that his parents were kind people (i mean he’s not wrong), and don’t get me wrong, rosinante was a good person (okay hot take here, he’s indeed a good person but he’s not the kindest either, he’s pretty fucked in the head too lol), but the only time he made a reference to his CD root was when he mentioned about the will of D being the enemies of gods, and that’s it—and to note law himself wasn’t aware that the “gods” were meant to be the CD, he just found out doflamingo and rosinante were one 13 years later.

so yeah, rosinante was a marine commander, sengoku claimed that rosinante had a strong sense in justice so then he became a marine, but i mean we didn’t even know the details of it, like in the end rosinante still worked under the government that served the CD, the group he was a part of but then abandoned him. rosinante sure was not like doflamingo and definitely grew up to have compassion to others, but he never explicitly said he was completely against the CD as a whole either, most of his anger towards doflamingo was personal, he was younger than doflamingo that he might understand less about what’s  going on in their childhood, he was just sure that he didn’t want to be like his brother and chose a different path. i can see that he still had a little bias, but i didn’t mean in it in a way that rosinante still thought it was okay to have slave when he grew up, he just believed becoming a marine was the right path because he grew up seeing sengoku as his role model, it never really came through him that the marine was still the institution that worked under the CD.

i am also 100% sure that sengoku was the one who actually convinced rosinante to take a path as a marine like he was because he believed it was the true “justice”, just like how garp did to his son and grandsons. remember that garp, sengoku, and tsuru were the legends of the marine, the three of them were long time friends who had been through so much together and you could see they tried to get their family into the marine: garp tried but he failed, tsuru was confirmed to have a granddaughter who was a marine (maybe her child was also a marine), and sengoku had rosinante as a marine. sengoku taught rosinante his views and as a kid rosinante believed the marine was the justice, why not? sengoku saved him and raised him like a son, it was a noble job, unlike his brother, he would also become one because sengoku made him believe it was the right choice.

then we learned that garp didn’t like the CD, he didn’t even want to be an admiral because if he did he would have to work directly under them. it got me thinking, since garp and sengoku (also tsuru) were friends and it seemed like they actually shared the same views and values, it meant that sengoku didn’t really like the CD either right? like who the hell in their right mind—especially with how prideful they were about the true justice—seeing a slavery in front of their eyes and thought “oh yeah it wasn’t a problem since the ones who did the slavery was the noble i worked for”? be for real. but sengoku actually took the admiral position and then became a fleet admiral, so he did work under the CD directly. we never knew how he actually felt about it, but if he also shared the same values and beliefs as garp, was he not a bit ashamed? he might have conflicted feelings about it too maybe?

ooppss, sorry forget that he never questioned the government wrongdoings lmao.

all those decades working as a marine and even reached the highest position, he never thought to change the system at all, just followed orders that were given, and the conclusion he got before retiring was “yeah i’m tired of this shit, i’m out”. but he….. didn’t completely out, did he? he was still working under the marine as what… some senior inspector general or something like that. if i were him i would be just completely out tbh especially on that age, like there’s no reason for me to still be connected with the marine, and don’t tell me someone as influential as him couldn’t escape the marine because the world government wouldn’t let him, if kuzan could do that i thought it wasn’t a problem, sengoku could definitely retire and be out of the marine for good. did he still think he might have a chance to change it ? he couldn’t even do that as FLEET ADMIRAL. or maybe he just liked still being involved with them? you are near the graveyard just fucking retire old man, go to some nice island in south blue, get a new hobby that is not war crime.

then i remember about rosinante again. rosinante had told sengoku about his mission to cure law’s disease and it made him to stop spying the donquixote family in awhile. we already know what happened next, with the ope ope no mi, doflamingo killed rosinante, and law ran away.

i believed the event of the ope ope no mi was the turning point for rosinante. when law asked him if he was a marine, he lied “I’M NOT A DAMN MARINE” for the reason that we learned later he didn’t want law to hate him. he was also aware that he would be an enemy of everyone if he stole the ope ope no mi, including the marine, the institution he worked for, the institution he once believed was justice. but in the end he chose to betray it for a sick annoying kid he didn’t even get along with, just because he cared about law, and of course rosinante grew to love law. i also believe, at this moment, rosinante finally realized how flawed and unfair the system was, after 6 months trying to find a cure for a sick child, seeing he got rejected and even insulted because the propaganda about the amber lead that was spread by the world government, he genuinely felt hurt for the kid, he’s ready to betray not only doflamingo but also the marine, because he knew both sides had failed law, and he didn’t hesitate to do the right thing after he realized he wasn’t actually on the “right” side as he always thought he was.

but even after that event, sengoku, who seemed to be really sad over his son’s death,  didn’t even do anything regarding that? if he actually cared and loved rosinante, wouldn’t he search for a kid that rosinante tried to save? he was an admiral at that point, he had the power and the connection to do that. but nope, he did nothing. and then i think maybe it was for the best because if sengoku actually found law and raised him, he would also make him a marine, especially with having that ope ope no mi power, there’s no way the world government would let go of law. but still, it just made sengoku look like he didn’t even try to do something as what he valued for.

and don’t get me started with how the hell he couldn’t do anything about doflamingo being a warlord. okay maybe he really couldn’t do anything since all those secrets doffy knew about mary geoise, but really? after all that he still kept working in that corrupt institution without even trying to change a bit of it? rosinante, his son, whom he raised, didn’t even hesitate to leave the marine and indirectly disobeying his dad’s wishes just to do the right thing, but why it was so hard for sengoku to do the same thing? maybe sengoku was right, rosinante indeed had the true justice in him but it wasn’t just about being a damn marine. 

i would give sengoku a credit that he didn’t capture law and let him free, he also told law about how he didn’t need to find a reason why rosinante loved him, i still think it was the most beautiful thing to say and law needed that. but beside that, he’s just as fraudulent as garp, maybe that’s why they are besties. i know i know, these characterization was actually not unrealistic, it is actually very realistic for garp and sengoku, a lot of people in authority thought they did something right or tried to change the system from the inside just to end up doing nothing, and it what makes them interesting as characters. but i will still call them a fraud because i can, this is what agenda piece for right?

[fandomwe1rd0]

I like how it shows that neglect and abandonment can affect you in adulthood and leave you feeling worthless like they felt no fulfillment from their jobs despite making a difference, especially Space Beth who actively SAW the differences but felt worthless and felt no fulfillment, or Domesitc Beth was was taking care of her family everyday as the breadwinner, as when you're abandoned at a very young age, you can feel like you're never good enough since you weren't good enough for said parent who left. Might make an overanalysis on it I dunno