#i can be normal and trusted with themes and motifs

[bakedbeanz]

"I am Normal abt Silly Oc ships" and other hillarious jokes I can tell myself :] Randy belongs to @grimbothefool

[vulpinesaint]

ummm actually i know i said i was going to bed in the tags of my last post but. i think my approach to religion (specifically catholicism and the way it exists in my head) will always be in the aspect of like. was going to call it a story but i think the better term is a text. obviously there are rules and tenets and expectations set out by the religion but all of this is done by extrapolating that information through analysis of the literature. and taking greater meanings and examining authorial intent is only part of it, because if it's a story, that means that it has characters, that it has a narrative, that it exists in the context of how we tell stories and it has a universe within it that operates on the rules established by the story. so the figures in the bible are both figureheads for the concepts that they represent and also characters of their own right, ones that you can examine the motives of. and none of this necessarily means that you believe in satan as like. an Actual Guy who is out there doing things. but you can engage both with the theological concept of him as a representation of all the evils presented by the church and also with the character that is present within the story. multiple aspects of the text. literary analysis from multiple perspectives. i don't even know what i'm saying anymore this made more sense in my head tbh

[shapes-nd-colors]

Why the FUCK aren't the monster fucker girlies talking about Juniper and Thorn by Ava Reid

DID I MISS THE MEETING?!??!

[abyssmalice]

(seeing a tweet mention that thing about childe's weaponry having some not-subtle links to enkanomiya and it makes for good incentive now to mention before i forget, again that in my head, i also envision tonitoni's elemental weaponry looking like that!!

like when toni makes her usual polearm from cryo, it 100% looks like childe's just simply made from cryo

and if she gets to the point of using homing projectiles, they either look like simple floating icicles (common, when she's prioritizing speed or a "relentless ambush" type of tactic) or simplified versions of childe's swords (uncommon, when she's trying to make some dramatic statement or focusing on putting more strength into the attacks bc the more intricate the projectile = the more elemental energy is being used for it)

bonus: as a hypothetical playable unit, she does have a "normal" polearm weapon equipped, which is the vaguely heart-shaped one i like drawing her with. (one day i will draw it......... i will draw the exclusive tonitoni polearm one day!!!!!!!!!!!!!!!!!!!)

on an extra side note, as previously mentioned, tonitoni (and her older counterpart, who gave them to her in the first place) also carries a set of knives on her, mainly for throwing - these knives also bear a heart-shape of some kind on it, primarily the stylization of the hilt)

[helpfandom]

Batwheels! Music Meister and Toyman Teamup

thank you @artisticdoofusxx for enabling me!

Also, @littlelambscandyland made me think of this and inspired this with several of their fics! Thank you for writing!

The forced age regression age is 5-7, although I try to ambiguous.

This will be HCs and a little scenario testing out a new concept that I've been interested in. Forced age regression // age regression.

These two... are actually more compatible than one might think.

While they both have different themes and motifs, they bounce off of each other very well, with Music Meister being impulsive, just like Toyman, and while they both have a mixed opinion on which thing you should go into, (music or creation), they both agree that you're just too sweet, and they need to show you the ways of the world.

They likely started to team up together because they both saw the other following you, with Toyman far more focused on this new person and this threat to your attachment to him, whereas Music Meister saw Toyman as more of a problem, a tiny one since he knew you would always be attached to him like he was with you, but still, a problem.

Then, when they confronted the other, They both saw a good opportunity, and they surprisingly worked well together, agreeing on certain things like your protection, and thus they teamed up.

It was turbulent for a while, Music Meister being upset with Toyman manipulating his toys just so he can see you at all hours of the day (with respect to your privacy - if stalking has that.) But he relents and gives Toyman the benefit of the doubt, although he still has trust in your neverending friendship with them, he understands and ends up watching over you far more than he would normally due to this new access to you.

They created a system, Music Meister would stick with you while Toyman attempts getting the do-over remote again, or Toyman would stick with you while Music Meister tries robbing Gotham bank. Of course, any time given to you without them was because they were scheming and preparing your new home, a feed from Toyman's camera on his remote control marauders up upon the screen Toyman has.

They work together, Music Meister insisting on having a few toys that play music, repurposing Toyman's dance belt to simply only play music when you put on, rather than forcing you to do anything you don't want to do. Poor Robert Robin has to deal with the brunt of the toys that Toyman creates, often having to deal with the restraints unwillingly, since they need someone to test it, and it might hurt you if they have you try on the various things they have set out to entice you into their care. The dance belt, for one, for two, the speaker system in your room doubling as a camera isn't able to really be tested beyond Music Meister watching the feed as Toyman creates toys in your room.

Beyond this though, they create a terrible duo for you, because they can always be whatever you need them to be. Want to play with dolls? Crazy how Toyman created dolls that look like your daddies and you so you can play with them! Want to sing or hum while cleaning? Music Meister is right there with you, singing along despite his failing knowledge of those songs. Until he asks Toyman for the songs you frequent, Toyman watches everything, Music Meister just trusts that you will do the right thing.

Music Meister stocks up on everything music related, Toyman creates a seemingly endless amount of toys catered to your preferences, they work together to watch you living your life. Music Meister teaches Toyman to trust you, waltzing into your apartment (Remember, he breaks in often) and dropping off some belongings of his, telling Toyman to watch the feed and see how you react. Toyman teaches Music Meister to be sneakier, sometimes singing at night is a dead giveaway that he's in your apartment and about to drag you along on some adventure.

Besides Toyman's new appreciation for rhythm games, a natural occurrence of each of their talents, and Music Meister's new appreciation for this insight into you, they each have different parenting styles. Toyman wants to spoil you and let you play with toys all the time, Music Meister wants you to hang around them and see them perform their villainous deeds in hopes this younger you will want to join in.

While Music Meister wants you to join in, Toyman holds him back, rationalizing that a little itty bitty kid like you couldn't handle Gotham like they would, which is why they need this room in Toyman's adopted hideout to be yours. You need protection, and they're going to give it to you, even if you don't want it.

Toyman's base of operations has his usual arcade games, workshop, your room, and then Music Meister's area where he has impromptu moved in, Voice Box staying outside as it wouldn't fit, but at least covering up Toyman's symbol on the door. Music Meister can't help the smugness when he realizes that he is closest to your room in terms of running to your side when you cry, scared of all this new information, and how Music Meister can get to you faster than Toyman can. But Toyman always has his cameras watching, Music Meister

°⁺⁎⋅❤︎⋅⁎⁺°⁺⁎⋅❤︎⋅⁎⁺°⁺⁎⋅❤︎⋅⁎⁺°

A cream coloring on the walls, with little pastels on the edges featuring the toys you saw ever so frequently darting around your home and music notes you've come to despise. The heavy blanket covering you didn't help stop the suffocating feeling that had arisen when you awoke. It's unfortunate you slightly recognize the layout of the space, having been here before.

Toyman had recently dragged you to his lair, insisting that he needed your help with his latest idea and half baked scheme, and while you were bored and looking around, came upon this room, although not fully furnished with such childish looking furniture, like a plastic table with paper and coloring pencils, or an excessive amount of singing toys, pianos, xylophones, anything that could make music without posing a way of harming you. It's honestly disturbing how childlike it looks. It hadn't looked that way he had dragged you, more so had the tons of toys and musical pieces, but not the bed with a baby gate propped up on it, or a dresser with little notes and treble clefts painted on it.

Pushing the heavy blanket off of you, accidentally hitting the baby gate causing it to clatter onto the ground, you cringe as you hear two different footsteps running up to where you are.

"Oh! You're awake!" Toyman notes, picking you up and spinning you around. Music Meister, however stops him from spinning and takes you out of his arms, holding you instead. "My, our little star is awake! Good morning!" He sings out, vibrato popping out with the last part of his sentence. "Indeed, they are!" Toyman says, practically jumping with energy, "Do you like your new room? I know it's the not the style you used to have, but it combines the styles of your papas!" He swirls around, gesturing to everything and anything.

Your face contorts to a confused look, eyebrows scrunched up in that little way you do when you don't understand. Toyman squeals and grabs at your face. "Well, little star, you're just to precious for the rest of Gotham, we need to keep our little star safe from everyone who might hurt you!" Music Meister can feel your heartbeat increase, and begins humming a lullaby, rocking you back and forth. "Don't worry star, we've got you. We know it's scary to be in a new place, but your daddies are here!"

[nomsfaultau]

Hello hello which characters from your Fault au would be which fear's avatar? (The Magnus Archives, you can google the fears and their descriptions if you don't know them)

ok I haven’t listened to the Magnus archives (since I’m not a horror fan) but I have entity assignments for the guys of I can find it in discord. Funnily enough Fault and Magnus Archive language overlaps, since Fault also invokes a language of ‘avatar’ for its magic system, even if the characters are far too wrapped up in their own problems to explore the world building lore. Minor spoilers I guess.

Tubbo is the corruption obviously since come on bee hivemind that has minor siren properties that force you to want to belong to the hive. From what I know that fits the corruption very well. Honesty Rosalind’s subsumption into the hive probably is a scene straight out of the Magnus archives. Also the way Tubbo twists their own revulsion into justifying their morals/prejudices. Not that uh being revolted by massacres isn’t normal but their atavistic gut reactions feed more of their philosophy than they’d admit. I’ve had The Blade as a toss up between the slaughter and the hunt. Like he is literally an avatar for the god of Slaughter and Supremacy buuut I think the hunt wins out because it’s a chase. He’s compelled to finish a fight, and will find anyone who’s begun a battle no matter what as if magnetized to them. And it’s not entirely unpredictable violence since it’s always retaliation. Plus I think The Blood God has a preference for animal vessels, or at least most of their vessels haven’t been humans since they’ve been active since the first cell killed another cell. Tommy is the lonely. I mean he is a vessel for slaughter just like The Blade but loneliness defines him. He’s spent his time in the Foundation as a training exercise, desperately latching on to any human connection only for handlers assigned to him to suddenly move on, or hurt/despise him. Extreme abandonment issues, and spirals when he’s left alone in the dark with his gloves. A curled up figure in the center of a massacre, reaching out desperately and dooming all he touches. Tommy is the lonely to a T. Wilbur could be the darkness? Since I mean hello vessel for the void and things that crawl in and are shadows. However I think the stranger is more interesting for him. He doesn’t fit in unfamiliar human places, spent his entire life trying to infiltrate into society to survive. Yet he’s constantly hyper aware of his distinction from humanity. He’s never had a home, always on the run, and so he’s never had a place that’s familiar. He’s always the new stranger in town. Wilbur is the uncanny figure, the not quite human, the thing that doesn’t belong. Plus the theme of being replaced for the eventual Namestealer arc. Philza is the desolation. He’s not a vessel for a god/conceptual but rather is one so powerful he made himself real, so idk if that translates in MA to being the entity rather than an avatar but idk. Regardless he’s the god of Fire and Fury so desolation it is. Philza inflicts a lot of cruel destruction, and is very precise in the torture he causes even at a mass scale. But he’s also experienced a LOT of loss over the millennia, each time losing some of his commitment to being a person. His entire theme is building attachments and then losing them.

little bonus for the villain ocs: Webb is. The web. No he’s the spiral, given how he amnesticized and gaslit Philza into a complete mental spiral, unable to trust his own fraying memories or remember his loved ones. And come on, Tommy’s doorway is a MASSIVE motif in that arc. Dr. Blake is actually the web, given how she manipulates anomalies in order to survive. Also a large theme with her is how she manufactures choices that both serve her in order to distract victims from making a decision outside her control. Also a key player in Tommy believing he has no agency.

[mikuni14]

Laws of Attraction Ep 4

So. Where to start. I don't know. All I want to say is wtf, how can this show do this to me in broad daylight. They have no shame 😦

LoA took my favorite tropes, motifs, what appeals to me and packed it in the prettiest decorative box, tied it with a cute little ribbon, put a kawaii Hello Kitty sticker on and gave it to me with Charn's a beautiful, if a little unhinged and full of sharp teeth smile.

LoA has everything I like. First of all, it has mature characters. Who sometimes behave stupidly, exaggeratedly, emotionally, but they are still adults. Charn and Tinn are adults with each other, in their relationship. What absolutely delights me is that they know who they are, who they are FOR THEMSELVES, they are FULLY aware of how they affect each other and what it is that they feel about each other. There is no insecurity, self-discovery, discovering their sexuality, bumbling around, figuring out their feelings, running away, physical contact sending into panic, being completely clueless about themselves and the other person. Don't get me wrong, I have NOTHING against it, after all, I really like Hidden Aagenda right now, which is a bit like that, but my absolute beloved thing is when the characters are just... aware of themselves and their surroundings 🥰 Charn and Tinn have felt attracted to each other since they first met, and they both know it. Charn knows perfectly well why Tinn stares at him, recognizes his stares, and also he knows why Tinn does NOT look at him when he is getting dressed. Tinn knows perfectly well what Charn's smiles, his looks, his heavy flirting mean. What I also like is that they consciously play their game, flirt together, but neither of them crosses the line. And that they are absolutely relaxed with each other. When Tinn is buttoning up Charn's shirt when he is hugging him and being possessive, Charn just lets him, his body language shows that he trusts him, that he enjoys it, and that he is open to him. Just like when Charn brings all his heavy artillery against Tinn, when he invades his personal space, touches him, holds his hand, cuddles up to him, Tinn doesn't freak out, just lets him, he's also totally open to him. Whenever Charn proposes sex, Tinn reacts completely normally, like it IS normal, not something creepy, dirty or whatever. It's great to watch two actors play their characters with their bodies so well, but they were just as relaxed with each other in To Sir, With Love 💖

The two are fascinated by each other, Tinn would have asked Charn out if he hadn't turned out to be the Senator's attorney, and even now, the only thing standing in their way is, um, Charn's morality :) But what's wonderful is that they both know it. Gods, I love this series.

What else. It's how the show takes classic themes and tropes that otherwise would be cringe or even creepy and does fantastic things with them. The show IS romantic, it has romantic scenes that, instead of embarrassing me, just fry my brain. Tinn is possessive in one of the best scenes in Thai BL EVER, but he's not creepy about it like many other jealous guys. And then he doesn't deny he did it, or gets defensive, he just owns it. The scene from the trailer with the flower, the scene of preparing a meal, cooling it down for Charn. Thee who keeps his eyes on Tanthai, even at night. All this is unbelievably romantic, but in such a wonderful way, without causing the secondhand embarassment. A lot of times when I see couples being sweet with each other, I turn my head away because I feel so embarrassed. In LoA, as in Khun Chai, I always feel like a child at Christmas and I want MORE.

The series also makes great use of dramatic shots. So cool!

I love Charn, I love how unapologetic he is. He does what he wants, says what he wants, knows what he wants, has his own lifestyle, clothes, behavior, is an absolute princess, does not compromise with anyone, does not adapt to others. And I love that Tinn sees it all and is like ok, fine, whatever. And he criticizes him ONLY FOR what his conscience disagrees with. Tinn accepts Charn as he is, and what he disagrees with, he is open about. I love Tinn for who he is. That he is a good parent, that he absolutely stands by the child, that he can behave in any situation, that even if he screwed something up, he can apologize and fix what he broke. That he's so incredibly manly, but without the toxic masculinity. (I love Charn for his looks straight at the camera which never fails to creep me out 💀) Both are different from each other, but they are just different type of adults. A little damaged, doing their best and sometimes failing adults. And I love it, I love them.

And what is it? WHAT IS THIS? New favorite dynamic?? Tinn and Thee??? I have Thoughts and Feelings™ about them. So many thoughts and feelings! 😳👀 I feel sorry for Thee. Eventually, he'll have to do something because the situation won't last long. Thee lives in limbo, thinking everything will be fine as long as he can be by Tanthai's side. But Tinn is right about Tanthai, even if Thee doesn't accept it yet (Tanthai's face when he talks about the guy who is being arrested! also are Tanthai and Thee childhood friends? how long has Thee been in love??)

I adore this show, I love Charn, Tinn and Thee, I really like the side characters, except for the senator and his son (Tanthai lost a lot with me when he acted like a coward first running away from Tinn and then beating him up when he was tied up and couldn't fight back). I even like Beer lol

LoA and Jun & Jun just make perfect use of my favorite yaoi tropes. No wonder I'm obsessed 💖

[skittleswonders]

The fourth and final Tritanian eeveelution is finally here representing the final new type, Ancient. I feel these four eeveelutions where a great way to introduce Tritania's handful of new types and I hope each has given you a good introduction to all four's themes and vibes. Pokédex: Arguably the most elusive and mysterious evolution Eevee has Hadeon is different from most other ancient type pokémon in that it represents something much, MUCH... older. Floating whilst coiled around super-heated molten orbs not dissimilar to freshly formed planets they have no mouth to communicate and piercing eyes to overlook the safety of the orb. While they can be a bit hard to raise due to their esoteric and almost alien nature once fully trusting in their trainer they can unleash the primeval wrath of creation to defeat even the most fierce foes. Misc Notes. Evolves from Eevee when leveled up while holding an Eldritch Artifact and knowing an ancient type move, only at night. Design and name are direct references to the Hadean era, Earth's earliest period of history in it's celestial infancy. Also has motifs of angelic or celestial gods. Ability: Wrath of Aeons. Hidden Ability: Originate. Wrath of Aeons: Summons Primeval Storm an ancient type weather effect for 5 turns on entry. Originate: Upon entering battle warp reality as such the game's rules, logic, balance and mechanics reflect generation 1 (bugs and all.) Any type non-existent in generation 1 becomes normal. Base Stats. HP:200 Attack:20 Defense:80 Sp.Attack:90 Sp.Defense:80 Speed:55

[suenitos]

i'm like if a lot of motifs and themes and song lyrics became a person. Anyway as i said very normal . CAN HE RELLEASE THE SONGS

YEAH i rlly adore music and the meanings behind songs/lyrics you get me thats why i liked that dream released the meanings to his songs like he really knows the way to our hearts fr. also the devastation i felt when he said trust issues was unfinished was enormous man. he should finish and release trust issues and mask and roadtrip dreams version @ DREAM I KNOW YOU HAVE THEM IN THE VAULT RELASE THEM

[samuelroukin]

oh cmon that sounds cool asf kudos to 14yo ben

Wasted Potential Normal Guy is one of my favorite kinds of guy. i love me a story about a regular ass dude. and urban fantasy is so nice!! (and suits you so well imo). love the idea of a world where people are like "oh and this is josh he has Visions sometimes" and it's no big deal. speaking of deals, The Deal sounds mysterious and engaging and very curious 🧐 btw wonder how he got ex bf from hs to tag along (such a funky backstory for a friend. very fun. love it)

anyway that sounds just like my type of story. what a surprise! almost as if you were just my type of author or something. like if i liked your writing loads (haha loads) and that was the reason why i read it. huh. imagine that.

but fr it would probably Change me irreversibly. love me some good themes and motifs and the little bit you said already hit home lol. a book like that would fit my tastes to an almost concerning degree

(now give me some time i need to grieve that this is not a book i can pick up and read rn)

btw im being nice to you because i want to and i can and i mean it 😼

ough yeah there's so much to it (and i'd have to cut like 80% of background shit lmao) Many fun characters too, i have a full cast besides the main guys 😌 he (matt) and ex bf (hakim) haven't seen each other in years at that point and recent(ish) he walked into the coffee shop and they were like HUH bc whole different state. and instantly gelled again. and it certainly doesn't hurt that he's looking for a Film Project for school (yes he's nearing thirty and going to uni). and documenting a road trip like this sounds like a good opportunity lmao

slkjhsjkghfhgst fair! but trust me, the potential of it is better than anything i could actually Do so we'll both have to settle for wishing it was real 🫡

well stop it bc i clearly don't know how to handle it 🙏💀

[girl-hills]

i am normal and can be trusted with pearlescentmoon doing a farmer theme with sun motif

*i have purposefully misinterpreted that comment under episode 8

[pastorfutureletthembe]

Exactly, my point is different. I argue that tropes are not harmful, not that they aid the story. They are useful to readers/authors/viewers to understand how to approach something. I also understand that is not the point made in the confession.

I don't understand the argument in the confession and I'm explaining why I do not understand it by defining what charadesign/looks serve as in a storyteller's POV. The "equated" word seems strong. How can people do that? Different medias, different characters, different ships. "Compare", maybe. If people equate two different things to say they are the same, yeah that's annoying. The appearance/looks depends on a storytelling tool tho, so I argued that it's only normal to see similitudes in some ways, and it might be the creator's goal actuality.

I agree with everything you say but there is something I don't understand.

Do people expect all tropes to apply the exact same way on every single character that could belong to a specific category..? I don't know, it sounds like science fiction to me. Dystopic, even. What's the point to even try anything else, then? I don't invalidate your point. I just don't understand it. It is stupid to expect someone who likes bananas to also like strawberries. And kinda insensitive. I get it. But it's actually just as important to me that people understanding fries, mashed potatoes and tartiflette are absolutely not the same thing. Do we really need to point it out is my question ? It's just common sense that those don't have the same texture and flavour. It's not the same recipe. Fact is, it still is potato 🥔

"Once things are grouped, typically one only focuses on the similar aspects, not the differences. We thus lose out on the unique aspects of each duo's relationships. These unique traits are incredibly important in both story and how we interact with the world."

Once again, yes, totally, the details are what make each ship interesting and important. Unique. No ship is exactly the same. (Again, what would even be the point to create/read/watch anything at all if lt was?) You misinterpreted what I meant: the interest is in the difference. Just like we can think "oh that's a show about time traveling" but the reason we stay is how that trope is used and developed and the consequences on the characters.

The point that I was making is, I do not, personally, in my humble opinion, think it hurts any ships or medias or characters to attach tropes to them. This is what I don't understand. How does it hurt the original media? The worst thing that can happen is losing time trying something new. Stupid thing that can happen is deciding not to try tartiflette because we don't like mashed potatoes. Cheese is good, trust me, it changes everything, but it's okay if the onions disgust you 😂

Following your reasoning the issue isn't this trope but all tropes, then. What we're really arguing about seems to be that categorizing media is reductive. It's not really the point of categories in my opinion. Netflix's algorithm is reductive. Ao3 classifications are helpful. Tropes are not supposed to be reductive, it's supposed to help us understand a concept, what we're dealing with. It's a starting point, not a finishing line. It's a narrative tool. Some of it might be overused or used badly, but then the use we make of is annoying, not the tool itself. And this, I do understand. Hate the player, not the game, and all that haha.

Tropes are a theme or a motif: a metaphor. It's not meant to be taken literally.

I don't have any particular issue with the confession itself. I just don't think trope means what people tend to think it means. Not the person in the confession but the type of people the confession is about. Agreeing with you on every one of your arguments just proves to me the problem isn't the fact we associate a concept with a character. The problem is not the trope itself but the fact people tend to read everything too literally. My only real issue with that is that maybe one day, because of this, complex and audacious storytelling might disappear because fans are just not equipped to deal with the codes attached to it. Just like our parents couldn't understand some codes we did while watching a movie in the 90s. That's what I meant when I said media literacy. It's just how it is, I guess.

lowkey i'm kinda sick of shiguang being equated to every other set of characters with black&white colour schemes when most of the time they're not even similar as actual characters beyond the appearance trope. I can see the appeal a bit, but it strikes me as reductive more than anything.

[welcometogrouchland]

I have had a million important things happen this week w/ more to come (got 5 college offers, get to be interviewed on local radio, have to meet the mayor for the third(?) time this year, get to attend a film pitch, etc) and I can't appreciate any of it because I am just so scared of an email I have to send

[aimlacely-sapphic]

Building on my pervious post about the meanings of the arcanums I love that tdp chose the specific arcanums to represent each season not only based on the types of magic the characters encounter but also based on the thematic developments.

Book 1: Moon is about death and about characters seeing past the illusions and lies they believed in. Harrows assassination is the foundation of the plotline and throughout the season the other characters have to unlearn and relearn because of the assumptions they held. From Rayla realizing that vengeance is not the answer, Callum realizing he can trust Rayla, to them all seeing past their assumptions of what is normal and okay in the world, Season 1 is all about lies and illusions. Some of that does carry over into season 2 but the establishment of the idea that all is not as it seems is fundamental to season 1.

Book 2: Sky is about love and trust. It is about Callum and Rayla coming to fully trust each other and love each other (because even if their romance comes in season 3, season 2 is where the deep platonic love and trust gets fully established). It is also where Callum and Claudia declare their love for Rayla and Soren respectively by pushing beyond the boundaries of what they are supposed to do in order to save the ones they love (Fire and Fury). Callum also connects with his parents through Harrows letter and his dream and it is in those connections to and acceptances of love that he understands the world better and is able to connect with the sky arcanum.

Book 3: Sun is about passion. Fire is the arcanum most connected to battle and conflict so it makes sense for this season with the big final conflict to be the associated with the sun. Beyond the main conflict this season is about relationships forged in the heat of battle and bold declarations. Callum jumps off a cliff, Soren tries to kill his dad, Ezran gives up his crown, Rayla kisses Callum. Where in the previous seasons more of the decisions were based on steadier and more constant feelings and beliefs, season 3 is about strong feelings, strong ideas, passion and anger.

Book 4: Earth is about life and growth. It is about Claudia bringing back to life her dad and them having to reckon with their understanding of the worth of life. It is about Callum and Rayla slowly rebuilding a relationship, growing into is as steadily as a plant grows. It is about the taking of life and the saving of it and the shaking of steady foundations.

This also gives us clues as to what the last 3 seasons could look like.

Book 5: is probably Ocean. It is probably going to be a season of transformation, in the world, in character dynamics, in beliefs and relationships. Season 4 shook foundations and created some of the chaos through which change and transformation can occur in Season 5. By making season 5 about change, it also allows the creators to set up the stage for the final arch of major conflict in season 6 and 7 where the world will have to face a complete reckoning and far greater conflict than season 4 or 5 will provide.

Book 6: is probably Stars. It is probably going to be a season focused on destiny. Bits and peices of this theme have come through in the previous seasons but with Aaravos probably out of his prison by this point, or at least holding much greater power, Callum is going to have to resist his influence and grab a hold of his own destiny. Rayla will also probably have to face her own perception of her destiny as a protector and a self sacrificial hero (hopefully because decoining her parents will force her to rethink her identity). And this will hopefully be the season where Claudia starts considering a redemption arch as she questions her destiny and purpose in life for the first time.

Book 7: I hope will be Dark Magic. Because the final conflict will probably have a motif of dark vs light but also because the ultimate question will be what we want the world to look like. It will push all the characters to the limits of their morality and force them to decide what they care about the most. They are going to have to reckon with why dark magic really exists and how a world after conflict can look such that peoples needs and desires are met.

[aspoonofsugar]

Penny’s Final Word

Cinder might have had the final word of the volume and that is a meta for another time. Still, there is another character who got to have another important final word:

Penny: Let me choose this one thing.

Penny’s arc has always been about self-actualization and escaping objectification.

She was created to be a weapon and everything was decided for her by basically... everyone:

Both enemies and loved ones alike ended up choosing for her multiple times, so it is fitting that Penny herself is the one who has the last word about herself. She makes the final choice that decides how her life should end and what her legacy should be.

At the same time, Penny’s final choice and sacrifice perfectly tie together all the major themes explored in the Atlas arc.

This analysis will try to explore her arc and to show how it is central to everything the Atlas volumes wanted to convey.

PENNY AND HER FAIRIES

What makes a person a person and not something else?

This is a key question in Penny’s story and it can’t be answered without addressing who her Blue Fairy is.

Is it Fria?

Or Ambrosius?

The answer is neither and both. These two characters are definately references to the Blue Fairy, but they are not the ones who make Penny feel human. The one who does is ironically a red fairy:

You saw my soul Through the nuts and bolts You're the friend I can trust Helped me see I'm not just a machine

It is Ruby’s aknowledgement of Penny’s personhood that makes Penny feel alive.

So, what about Fria and Ambrosius? What is their role?

Fria chooses Penny as the next Winter Maiden. This is a powerful moment thematically because it is an aknowledgement of Penny’s humanity. She has always been a real girl, a Maiden at Heart, hence she can be given the powers and protect them.

Ambrosius removes Penny’s robotic parts and makes the “real” Penny come to the surface:

Ambrosius: Okay, but if I take the robot parts out of her, that would leave...

Blake: Penny. The girl who's always been there underneath it.

Penny’s new body is human because Penny has always been human and has always wanted to feel human.

In short, these two moments are moments of recognition of Penny’s humanity. She becomes a human both in soul (Fria) and body (Ambrosius). In particular, she has always had a human soul and this is why it can be tied to the power of the Maiden. When it comes to her body, she aquires a human one because her new appearance is nothing, but a mirror of her soul.

Still, even if these two moments are both meaningful, they are also moments where Penny receives something passively. They are aknowledgements of Penny’s humanity yes, but Penny wants more. She wants personhood aka to live as her own person.

To truly become a person one must be able to make their own choices. And interestingly, Penny’s free will is linked to both moments with her two blue fairies.

Ambrosius’s magic does not simply give Penny a human body, but it gives her back her freedom. Not only that, but it makes it impossible hacking her ever again.

Fria’s interaction with Penny is more complicated.

First of all, Fria does not impose the power on Penny, but asks her to make a choice:

Fria: Penny. Are you the one?

Penny: I…

And Penny does so in a sense, but it is gray. Penny is given no time to think about this choice, differently from both Winter and Pyrrha. It is something imposed on her by the events:

Penny: But taking the Maiden power was the only way to stop--

Moreover, it is something she very clearly does not want:

Penny: I was the protector of Mantle, but now, I am much more than that, and I wish I was not.

In short, Penny’s interaction with Fria is a recognition of her humanity, but also a duty imposed on her by external occurrences.

It is not what Penny herself wants. To truly be human, instead, Penny should make her own choices and be given the chance to pursue what she wants.

Still, what does she truly wishes for?

PENNY AND HER JIMINY CRICKETS

Penny’s wish is made obvious since her first appearance:

Penny: "You called me 'friend'! Am I really your friend?"

Ruby: "Uuuum... Y-Yeah, sure! Why not?"

My wish came true That day that you appeared And called me friend

She wants friends to the point that Ruby’s awkward aknowledgement of their friendship is enough to make Penny completely loyal to the other girl.

At the same time, there are many Jimini Crickets that go in the way of Penny’s wish for friendship:

Penny: I've never been to another kingdom before. My father asked me not to venture out too far, but... You have to understand, my father loves me very much; he just worries a lot.

(...)

Penny: I... was asked not to talk to you. Or Weiss. Or Blake. Or Yang. Anybody, really.

Ruby: Was your dad that upset?

Penny: No, it wasn't my father...

Both Ironwood’s high expectations and Pietro’s overprotectiveness make so that she is not free to enjoy her own life as she wants.

She arrives to the point that she comes up with a plan to stay at Beacon with her new friends:

Penny: Ruby, there's something I've been wanting to talk to you about. I want to stay at Beacon.

Ruby: Penny, they'll never let you do that.

Penny: I know, but I have a plan.

However, we never discover what this plan is:

This does not happen by chance and Penny’s plan is not a dropped plot-point. It is symbolic of how her agency is completely negated. She is objectified to the point that her story is interrupted before she can take any action. It is a meta-way to comment her character and her major struggle.

Penny’s first death is more than a murder. It is a way to refuse Penny’s personhood and agency:

Ruby:  And Penny… was killed… just to make a statement.

She is used as a symbol of Atlas’s shady research. Penny’s own self is forgotten in the chaos that follows.

The same thing happens in Atlas as well:

Ruby: I don't think Robyn was their target. Salem's goal has always been to divide us. I think Penny was exactly where they wanted her, just like at the Vytal Festival.

This time she is not framed as a victim, but as a perpetrator and used as the symbol of an authoritarian regime.

Her enemies’ objectification of Penny is made clear in many ways:

Cinder: I have come too far to be stopped by some toy!

Cinder: You’re just a tool to be used!

Salem:  Although he remains in captivity, it seems that he has worked with Ironwood to gain some control over the puppet masquerading as the Winter Maiden.

And Watts’s virus is just the culmination of it. It is the embodyment of the Jiminy Cricket trying to overwrite what Penny wants.

At the same time, though, Penny’s enemies are not the only ones who try to control her:

Pietro: I lost you before. Are you asking me to go through that again? No. No. I want the chance to watch you live your life.

Penny: But dad… I am trying to.

Penny’s loved ones have tried to protect her all along. However, this wish of protection ends up going in the way of what she really wants:

I've been combat-ready since The day dad made me Now I'll fight for something more Might sound wholesome, But strangely I've got friends Fighting for

What Penny wants is to fight together and for her friends. She does not want her life to be considered less than others’. Still, she does not even want it to be put before others’:

Cinder: I don’t serve anyone. And you wouldn’t either, if you weren't built that way.

Penny: That is not…I choose to fight for people who care about me.

In short, it is as Maria says:

Maria: Don’t you think Penny has had enough people telling her what to do?

PENNY AND BEING A REAL GIRL

At its root, Penny’s struggle has always been this:

Penny: I feel like I wish I could do both the things I need to do and the things I want to do. Is that normal?

She wants to reconcile her duty and her personal wishes.

It is her duty to accept the power of the Maiden and to protect it.

It is her wish to live with her friends and to protect them.

These two things end up coming into conflict multiple times:

Penny: And after the launch, I’ll return to help you all with the evacuation.

Pietro: About that, Penny. When Amity goes up, I think you should be on it with Maria and I.

Penny: But they need me here. Right?

Ruby: Well, if you stay far out of Salem’s reach, then she can’t open the vault. She can’t get to the relic. So...

Weiss: Maybe it is for the best?

Until the finale where Penny makes a specific choice:

Weiss: Penny, no!

If Penny were to act as the perfect Maiden, she would have just gone to Vacuo with the staff. In this way she could have protected both the relic and the power. Even if Cinder had ended up killing all her friends, Salem would have still lost.

However, Penny decides not to act as a Maiden, but as a friend:

Penny: You wouldn’t know anything about friends.

Even the reason why Cinder manages to mortally wound her is because Penny is worried about Jaune and Weiss and gets distracted for a second:

However, it is specifically in the moment of her death that Penny is able to make a choice to reconcile both who she is and what she has to do.

She chooses to protect the power:

Penny: She can’t get the staff..and the power.

And to save a friend:

Penny: I thought of you. And here we are.

Winter would have died without the Maiden powers and the same can be said about the people stranded in Vacuo. Penny saves all by choosing to be the one in control of her death.

Her choice is extremely powerful thematically and it ties together all the themes explored in these last two volumes.

1) It is a choice about trust:

Penny: Trust me.

Winter: Thank you for trusting me with this.

Penny asks to be trusted and chooses to trust as well. After all, this is what friendship is all about:

Attached but not By strings

It is a choice that uses the motif of “the part of you” in two different ways.

2)  Becoming a part of someone else can be seen as a reference to the process of grieving, which is one of the themes explored in this volume:

Grieving means to come to terms with your loss, to accept your feelings for the people who are gone and also their contradictions:

Robyn: Clover was a lot of things. You respected him, but I gotta tell ya, I think you’re the better Huntsman.

Vine: Then perhaps Clover was wrong too.

The lost ones will be missed regardless:

Harriet: Don't you dare! Clover was... He was...

Vine: ...Important to you.

Still, once you manage to finally grieve, you’ll realize the other person has become a part of you:

It does not matter if Qrow’s semblance has evolved, if it is a part of Clover’s power having stayed attached to the pin, both or if it is Clover looking out for them.

What’s important is that Clover will keep on living inside Qrow because Qrow will never forget him or what Clover has taught him:

Clover: You shouldn't do that, you know.

Qrow: Don't worry, I-I gave that up.

Clover: I meant deflect a compliment. Those kids wouldn't be where they are without you. You've had more of an effect on them than you realize.

Qrow should love himself. Only in this way he can stop being a self-fulfilling curse. Only in this way he can start looking at his own life with hope and wish for good luck.

Similarly, Penny won’t be forgotten and her legacy will live through Winter:

Penny: She's… gone.

Winter: No. She's a part of you now.

Penny: I won’t be gone, I’ll be part of you.

3) Penny becomes a part of Winter because Winter is finally able to do this:

Winter: But yes Penny, we must still acknowledge our personal feelings, wrestle with them. It ensures us that we're on the right path. It's what makes us human.

Winter is the one who taught Penny this, but it is obvious that through volume 7 and 8 she has avoided to face her feelings for both her family and Ironwood. By the end of volume 8, however, she is finally able to accept her emotions. She can finally follow her heart. Penny becoming “a part of her” is symbolic of this. As a matter of fact their dynamic has always been about Winter acting as “the mind” and Penny being “the heart”.

Symbolically they integrate because they both are becoming their own person even if in different ways.

Winter becomes her own person because she rejects this mentality:

Winter: Penny. The general is making hard choices so we don't have to.

Penny becomes her own person because she is finally in control of herself and her destiny. Moreover, she is able to do for Winter what Ruby has done for her:

Winter: No, Penny, you were always the real Maiden at heart. I was just a machine. Just… following orders.

Penny: You’re my friend.

She affirms Winter’s personhood and in this way she affirms her own as well.

In other words, this version of Pinocchio does not end with the protagonist being transformed into a real boy by the Blue Fairy, but with Penny transforming Winter in the Blue Fairy:

So “becoming fully human” in RWBY means to do this:

Qrow:  This last great creation would be given the power to both create and destroy. It would be given the gift of knowledge, so that it could learn about itself and the world around it. And most importantly, it would be given the power to choose, to have free will to take everything it had learned and decide which path to follow - the path of light or the path of darkness. And that is how Humanity came to be.

It is about gaining knowledge, like Penny does about feelings and relationships, loving life and accepting death. Finally, it is about making a choice, even if it is painful.

This is because being human is not always simple. It can be hard:

But I found that humanity It came with sacrifice

Having a human soul means you have a duty to do the right thing out of your own free will, like Fria’s gift showed.

Having a human body means you can experience the warmth of a hug:

But it also means you can be mortally wounded:

This is Ambrosius’s teaching.

Still, it was worth it all for Penny because she got the chance to meet friends and to feel alive:

An answered prayer A chance to Share the world To be a girl Who fin'lly felt alive

This is why her second death can be juxtaposed to her first one. Both times she was killed by Cinder. However, the first time she was used as a pawn in Cinder’s plan. This time instead she is not letting herself be controlled and she negates Cinder what she really wants out of her own free will.

In conclusion, there is this phrase by Jean-Paul Sartre:

Freedom is what you do with what's been done to you.

And I think it sums up Penny’s story perfectly.

Penny does not choose to be born a robot or to be used as a weapon. She is objectified in multiple ways...

Still, she manages to make something amazing out of herself.

[questionablygourmet]

Will and Hannibal: participation and transformation

An anon prompted me recently to talk about why Will fell in love with Hannibal, and I’ll rarely turn down an opportunity to wax rhapsodic about certain themes in the show, so here we go!  

There’s a few key places where Will himself addresses the issue.  The first one I want to mention is in Contorno, where Will says of Hannibal to Chiyoh,

We afforded each other an experience we may not otherwise have had.

The direct context of this is that they’re talking about violence and influence, but it’s true far more broadly than that, as is referenced many times over the course of Hannibal and Will talking with each other and numerous other characters - their relationship with one another is a unique experience to both of them, being known and understood and accepted in a way they’ve not otherwise encountered.  

There’s a bit of commentary about this from Hugh that makes the rounds often enough that I’m not going to bother fishing up the direct quote, but to paraphrase, he says it’s like Will’s a chess master who’s never met another person in the world who plays chess, until he meets Hannibal.  It’s not just about Hannibal being very intelligent, as most of the characters on the show fit that description, but Hannibal being specifically equipped to operate on not just the same level as Will does, but the same wavelength.  To extend the metaphor, someone like, say, Alana doesn’t really play chess, but she’s an expert at Go.  People who play chess and people who play Go might have plenty to talk about and appreciate about each other, but they’re not playing the same game, so they can’t play together, at least not equally.  

This is something that we see starting to show itself even early in season 1 - Will’s initial standoffishness toward Hannibal rapidly dissipates as Hannibal shows that he’s not just another psychiatrist who wants to study Will, but someone who can understand and enjoy Will - his thoughts, his sense of humor, his company - as a whole human being and not just a “unique cocktail of personality disorders and neuroses” (thanks, Chilton).  Of course this gets rather tragically undermined throughout season 2, initially by the bombshell betrayal of Will’s trust, and later as Will sees a pattern in Hannibal’s patient history via Randall Tier and Margot Verger, but even through Will’s seething anger and distrust, the dynamic persists.  Even when they’re at odds, they speak the same language and connect to one another to an elevated degree.

(Incidentally, this is a really common - albeit not uniquely or exclusively - neurodivergent experience of deep love, be it romantic or otherwise.)

Continuing on that theme of both understanding and appreciation is a bit of a more esoteric discussion of different conceptualizations of love as represented in the show.  In Shiizakana, Will has a dream where he kills Hannibal via stag-powered squishing, and in the dream Hannibal says to him,

No one can be fully aware of another human being unless we love them.  By that love, we see potential in our beloved.  Through that love, we allow our beloved to see their potential.  Expressing that love, our beloved’s potential comes true.

This is a near-quote from Man’s Search for Meaning, by Viktor Frankl, which you could say both Will and Hannibal have diegetically read, since Hannibal gets to quote it in another scene in the waking world - “An abnormal reaction to an abnormal situation is normal behavior” - or you could just say that Bryan Fuller has clearly read it and the characters don’t know they’re quoting something, but that distinction isn’t important here.  What is important here is that it’s coming from Will’s mind and it’s indicative of some of his attitudes about love - in a vacuum, one could perhaps argue that it’s just indicative of how he thinks Hannibal thinks about love, but then in Secondo, he says, with almost painful sincerity to Chiyoh,

I’ve never known myself as well as I know myself when I’m with him.

I think this is a really succinct and potent re-affirmation of that concept of love-as-actualization/transformation (self and other), which goes hand in glove with Will and Hannibal’s shared anxiety toward their love as a bringer of violent change to the self.  (Briefly, because s2-3 are positively brimming with relevant quotes, “Do you think you could change me, the way I’ve changed you?”  “If you don’t kill him, you’re afraid you’re going to become him.”  “We’re conjoined.  Curious if either of us can survive separation.” etc)

And I think the reciprocal aspect here is also very important: I don’t think Will would have fallen for Hannibal, or at least not nearly so deeply and inescapably, if Hannibal hadn’t also fallen for Will in a very similar manner (though the specifics of how it develops for each of them differ).  The mutuality of their otherwise-unique experience with one another is intrinsic to how special the relationship is, rather than incidental - to return to the chess metaphor, it’s not just that Hannibal understands the game of chess and can appreciate Will’s playing, but can and does play with him, which means he’s got his own pieces on the board and is responding to Will’s every move.  Or, because I can’t resist hammering on a parallel motif when I see one, he’s a participant, not an observer.