#[ meta. ] the mara's tether is firmly in her grasp. she will not pull upon it before the designated time; nor shall she relinquish it.

[araneitela]

Seeing Kafka in overtly revealing ("sexy") dresses in fan arts: I just... don't see why? Me over here: The most 'revealing' thing that I can imagine her in, if I envision her without a coat draped over her shoulders, is something like this. Am I just weird; where am I supposed to see this 'overtly revealing' nature of hers that oozes 'sexy'? That woman has class, and in that, I think she's sexy (f I have to use the word). And where do I get that impression from? Her entire default attire screams it at me from the rooftops.

[araneitela]

"Destiny has thousands of faces, why does it choose to wear this one?"

/rattles at bars /rattles at bars more firmly

Are we supposed to take this at direct face value? Tell me something, Kafka, what exactly is Spirit Whisper, and where does it come from? Does everyone from Pteruges-V possess it? I just double checked to see if I can find anything at all in any reference, and there's nothing that seems to indicate it to be the case. But also, I find no 'odd references' to any other instance of its use anywhere else, or by anyone else? I'm having a big brain moment, humor me for a moment: what if she actually is directly tied into Fate itself? Okay, let me bundle up some of my thoughts here:

Any showcasing of Spirit Whisper indicates that it doesn't seem to even remotely drain her of anything to use (I know we're speaking game mechanics here, but remember there are drawbacks to other things in this same game), regardless of the targets in question. In her trailer, she subdues (read: pit them against one another) a large number of men without doing as much as blink, the Jepella Rebellion had her very intricately control (and since this was a 'mock trial' of sorts— I do assume a lot of its dialogue to be genuine, but still?) 4 judges. But most importantly, when Kafka (of course) accompanies Blade to the Xianzhou, she likely knew exactly who to expect upon arrival due to Elio, she must've, it would also explain why she was perfectly calm and anything but unnerved. But the ones on the scene there? They're all very big players: Blade himself, Jing Yuan, Yanqing, Dan Heng who ultimately found his High Elder form; and Kafka didn't seem to flinch nor grow concerned even once. That means she was likely prepared or able to possibly intervene through SW, that means it's inherently capable of handling very significant 'foes'. Now of course, one can say that the script would have possibly reassured her, but through her SQ we know that she actively believes that fate is not by default predetermined, which tells me that there must still be an element of preparation or a 'safety net'. Yes, I know, I'm making an argument for fate, but it's very specific. Any way, it's strong and she seems to never flinch. What on earth is it?

Now, here's one thing about it: it is able to take people's choice away from them, isn't it? Isn't that on some level directly contradicting fate? Or in other/better words: is that not directly controlling fate?

The entire trailer ends on the premise of what No Country for Old Men presents, and to elaborate for those who don't know it: the entire story narrows down on the narrative that destiny is encroaching on all of us, you can't outrun destiny, any choice that you believe you have is an illusion because there is no second-guessing fate. In that final sequence, Kafka presents the final man with a coin flip, 'as for the ending, wanna take a guess? Some might think he stood a 50/50 chance of surviving this if he guessed correctly, but he doesn't,  and he never did. It's even in the way that she speaks, she never actually offers him a chance. If anything, she's simply presenting fate as inevitable. And when the scene proceeds, you hear the gunshot following almost immediately. Within this trailer, the one who controls all of their fates and how they are led to it, is Kafka herself. Throughout all of this, Kafka is in full control of their fate.

I'm talking nonsensically here, as in I'm just putting out thoughts almost maniacally, but I feel as if I'm connecting dots, I really feel like there's something here. But let me present you with the dialogue that I noted at the beginning one more time, and reread it after what I just talked about:

"Destiny has thousands of faces, why does it choose to wear this one?"

Not only that, but look at the shot that accompanies it. Yes, we know it's her spirit whisper due to the glow in her eyes (although I'm now also wondering, because at the beginning of the trailer, I don't see it as firmly; does it possibly grow fainter if its use is lighter?) but the entire moment is so immense, so overbearing. And the fact that this specific shot also feels as if it's a callback as well to Rorschach Inkblot's Fear Card, which is just perfect use of it by the way. But any way, let me point you to the other dialogue:

"Stealing a glance?"

And this line appears during the 'fulfillment' of the fate of the man we then see, at her hands, and let me show you the glimpse we're given of his final moments, just as she speaks those words. Stealing a glance at what, exactly? His fate? Or... fate? Is it her? Or part of it? — And lastly, there's another few lines that I want to point out, and they're at the beginning. And this, to me, is more so interesting because of the odd phrasing that was chosen for this. I do so wish I knew Chinese, because I'd love to know the source text and its weight/significance:

"Don't be afraid. Listen to me, wasn't it you, who invited me?"

Kafka. Kafka. Kafka. I need answers. Who are you talking to; to all of them? Why would they be inviting you? Unless we're talking quite literally, but then I present the question again: why?

Ugh. The Greek Fates, destiny. The Moirai, they weave the (silk) threads of fate. And then there's the spider, the arachnids that are all over her design. Silk, a spider weaves silk, fate could be, in part, represented by a spider within this universe (all en-compassing, coaxing, and yet not forcing), a spider that weaves silk, silken threads of fate. Am I overthinking this? I probably am, but this is so on the nose to me, that I can't imagine it to be a coincidence. Mihoyo doesn't do anything without meaning to. Ugh. Now if she is tied to fate in any capacity, that gives me something extra to hook into in terms of that 'humanity' that we're given glimpses of. No one knows better than fate itself that life will end, that it is therefore precious, that it is fragile, as all things within it are. And man, the sheer amount of references that she makes to very mortal things being beautiful is almost unnerving, especially this following one: "The human body is beautiful in its fragility"; there's also an odd sense of detachment from humanity when she speaks, and yet at other times, an odd sense of intricate connection (ie: her empathy towards Blade and the TB, her 'musicality'—).

Guys, I just have many thoughts.

[araneitela]

Deception and manipulation. And quite frankly, why I disagree with fanon's vehement inclusion of both for Kafka's character. I've been sitting on this for quite a while now, and I one day want to write a much longer meta on it, but I wanted to "briefly" touch on it for the ones following me, so that you know what to expect, and well, what not to expect.

Nothing within canon inherently thus far to me, has shown Kafka to be dishonest, and it's actually one of the things that further drew me to her character as I continued into HSR, the fact that she isn't. But, I've been re-watching all of her scenes yet again today to see if I can budge myself on this, but I'm still firmly rooted in my belief that Kafka is not deceptive as people make her out to be, and if anything, I feel even stronger about this today than I did yesterday, despite actively trying to find things that would prove the opposite. All I can see, honestly, is that she actively tells the truth when on screen. This entire belief that she's anything akin to deceptive, manipulative, or dishonest is genuinely just an audience's perception that stems from the general, go-to assumption that someone who has been brandished a 'villain' bears every bad trait in existence. And the audience comes to hold that perception because it's what numerous characters on our screen seem to think (one of the earliest examples of this would be Himeko and March 7th, but primarily the latter). She has a bounty of 10.899 billion credits on her head, yes, so far that's the highest that we've seen, but we also know that the Stellaron Hunters have been closely involved with a lot of chaos that's occurred throughout the cosmos (and the other hunters do not possess the ability that she does). But we need to not interlace bad traits where they, in my opinion, don't belong.

Let me elaborate a little bit on my stance here so I don't go haywire in my tags. Also, please note that this touches on her character/dialogue and what we see within the story, her "games" such as the Jepella Rebellion touch on a different element of her character: boredom. That's for another day. Anyway, yes, I will also touch on her spirit whisper, because I know that's also a huge contender into this 'deception' theory.

The first scene that holds proper and deeper nuance that we're witness to, is when she speaks to the Trailblazer in the very beginning after awakening them. We see 'Listen:' at the very beginning, which we know is something she uses to signify the effects of her spirit whisper. Now if one were to simply take her spirit whisper, at its essence, as manipulative and that's that without taking intent and practice into account, then there's nothing I can say, but I will assume that's not the case here. Not anywhere in the lines that follow (and here are the choices), does Kafka insinuate any specific action for the Trailblazer to take, if anything, she insists on the existence of their own choice and will to 'reach the end of their story'. 'Listen' in this entire sequence is a call to attention, in the way that a person can wave their hand in front of your eyes or snap their fingers near you. The Trailblazer in this context is confused, they've just woken up and are unsure where they are, what's happening and perhaps, even who they are exactly. So the call to attention makes total and utter sense. Her spirit whisper isn't merely hypnosis, if you look at its capabilities, it can be used in various ways. Now outside of her SW, you hear the softer and more authentic tone of her voice (for those unaware of what I mean: here) when she speaks to them, and you actively see a change of expression depending on your answer to her that, quite frankly, is too genuine to me alongside the change of voice to take them in any other way than at direct face value. And lastly, she answers every question posed to her by the TB within the time constraints that they are under. Does she answer them elaborately? Not exactly, but there is quite literally, no need for it. She's not being dishonest, she's not being deceptive, she's actually being quite caring, if one dare use the word (and I do).

Second, the Astral Express visit. For starters, not once does she actively use her SW here in any capacity. She reacts to what Himeko says to her, and even entertains the 'accusations' and even gives away a bit of information that by all accounts is true, the Astral Express and Stellaron Hunters both pursue, in their own ways, the most dangerous objects of the universe. They are in some capacity, two sides of the same coin. From thereon out, she doesn't dwindle or waste any time (hers or theirs), she gets to the point of the Xianzhou Luofu, she says where it is, explains what happened, and what she knows will happen if the crew doesn't go there. She also discloses that she wants to retrieve Blade. Does she disclose the entire 'idea' of how they will end up clearing the Stellaron Hunters' reputation? No, but she has no idea on the reliability of any of them, and two (Himeko, and March 7th) seem 'hostile' towards her, and one (Welt) is hesitant at best; there is absolutely zero grounds for her to entrust them with the steps of their plan. Aside from that, the entire plan that we see unfold after that quite literally never endangers any of them, if anything, it only makes them look good, and guess who the Stellaron Hunters would owe a favor to after all of this? The Astral Express. Who would the Xianzhou owe a favor to? The Astral damned Express. The ones going on a limb here, despite having a 'script', is Kafka and the Stellaron Hunters as a whole. Point me at the genuine dishonesty or manipulation in this, and if you want to add a scoop to it, any ill-intent.

And then we get to the actual Luofu. Honestly, I need someone to tell me where she lies. Even before she ever gets captured, and they're chasing after her; right at the beginning, she literally says why the chase continues, and why she's not stopping yet: 'What a hassle, this place is too far for the diviner. See you up ahead.' Take her at face value, it's what she wants from you. Granted, she can profit if you don't (but at this point, I would beg to differ), but she's not trying to get you to believe any lie, if she was, she'd be telling one.

"Best future? Best for who? As if you'd consider anyone but yourself." — March 7th "If I said 'best for the universe', would you believe me? Best for me, naturally." — Kafka

And as much as one might want to try and rub my nose in "it" at this point, I'd like to ask what anyone is trying to rub my nose into. Again, is she not being pretty forthcoming? She's not saying more than she needs to, but that's not being deceptive. If someone doesn't ask for more information, then why should you give them... more information than necessary?

"I have no interest in the words of wanted criminals - especially those skilled in the art of manipulation." — Fu Xuan.

/shakes the bars of my cage. Yes, she uses spirit whisper, we know that she does. But again, this is an audience's perception of a 'villain' at its definition, rather than a judgement call made for one in specific. I understand Fu Xuan, of course, I do, but I'm not taking an 'in-game' stance, I'm sitting in the audience's seat and dissecting what I see.

I just, where is she dishonest? She proceeds to talk to the Trailblazer at length, and goes as far as to admit that the Stellaron Hunters are not entirely innocent. Not once is it claimed that the SH are void of any blame, she takes it, here and during the Jepella Rebellion trailer (even if, yes, it is a mock trial and she's hypnotizing them, yes, I know, "the proof is in the pudding THERE, Sae!", I'm arguing nuance, not a case of 'Kafka is always honest). Guys, she comes clean entirely. I'm starting to go feral, I know, but I just don't understand. I don't get it. /semi-tugs at hair. We're almost at the end of her scenes, and I still don't see it.

I don't understand. I don't understand. And then in 1.2, Waterscale Gorge, she stops them all from fighting, has them stand down. And when Dan Heng asks her what she did, she answers it well enough. And guess who doesn't question it upon his arrival, witnessing it? The 'hotshot General' in question: Jing Yuan.

I understand 'interpretations', but I fail to see how the massive overwhelming part (if not bordering the entirety) of fanon has such a severe attachment to this concept of Kafka being inherently deceptive, or have her whole existence shrouded therein. I don't see where this is the case. We can even look at her trailer, a Dramatic Irony, and look when she speaks at the end to the last guard in question. Some could argue that she lies to him when she offers the flip of the coin, but she doesn't. She never once actually offers him a chance to live, she never once insinuates that if he guesses correctly, that he could live, that is an assumption that the audience makes, rather than it being a choice that she actively presents. 'As for the ending, want to take a guess?' One might try to argue deception with me here, but I'd like to simply fire back: where is her deception? It only exists if you hear something that she never says, that is not something that she puts in your head; that's a choice that you make. A choice, a choice, a choice. The entire thing that she preaches about since the dawn of time when we awoke as the Trailblazer. Where is she lying? It's easy to call someone else out on something that you, yourself, create in your mind. Now do I think an argument can be made, there? Sure, for I absolutely don't make the case for her to be exceptionally and thoroughly 'transparent', but it's all about nuance. It's about, quite honestly, looking at the imagery of a spider. Where is that little quote I came across a while back— ah yes, here:

“The spider's web: She finds an innocuous corner in which to spin her web. The longer the web takes, the more fabulous its construction. She has no need to chase. She sits quietly, her patience a consummate force; she waits for her prey to come to her on their own, and then she ensnares them, injects them with venom, rendering them unable to escape. Spiders – so needed and yet so misunderstood.” — Donna Lynn Hope

An innocuous corner that can be avoided, she doesn't scheme and try to lure you into a web that would mean your destruction; more often than not, you could see it rather well ahead of you, and the intrigue is that you would walk into it almost willingly. It's alluring, it's tempting to those of curious nature that seek to unravel and explain, it's intricate, it's beautiful, why wouldn't you want to draw yourself into it? But the spider at the center is not the one that coaxes you, even if she's the creator of that ever intricate web. And yet, when you get wrapped up into it, she is all encompassing, and most don't come out alive as we see. And your fate is cruel, just like— well, fate is cruel. But is she, like Kafka, manipulative? Or is she, while you may so strongly want to believe the opposite, much more honest than you wish she was? And is that why she is cruel? Is that not the cruelest?

[araneitela]

3. what are some features of others that attract them from the outset?

4. what are some features of others that arouse them, or they find arousing in a sexual situation?

19. are they dominant, submissive, switch, partner/context-dependent, or unsure?

(blame bladie for these questions-)

@daybreakrising // Prompt: Sexuality HCs // Accepting

3. What are some features of others that attract them from the outset? I love how this is supposed to be a sexuality prompt list and here I am, getting to predominantly respond to this non-sexually. Some features of others that attract her? Stature, their overall presentation, actually. I feel like Kafka's innate draw is to a semblance of something old-school, old-fashioned or even a bit... archaic, if you will. And I don't necessarily mean in terms of attire or anything like that, but in the aesthetic of yeah, stature, energy, mannerisms. She's not one to be courted in any capacity whatsoever, but in the olden days, the time, investment, and attention that usually were tied in with this, would find certain... appreciation from her. Outside of, but also to add into that, she does seem to have a certain attraction towards the concept of "tall, dark, and handsome", with the traditional ideals of masculinity that usually went paired with that.

4. What are some features of others that arouse them, or they find arousing in a sexual situation? Hands, hands, hands. It's the firmness of one's grip (the more I talk about these things, the more I sense her lean towards men; it's the power dynamic) that is so easily able to hitch her breath, it's the warmth of a palm, or the sensation of a thumb that travels along a curve of her body, or her face. Touch is absolutely massive, both from her (which plays into the element of 'separation' that she always has as it's rare that she doesn't wear gloves, but I digress as that's a different topic) and from who she's with. There's an inherent arousal in having someone trace every inch of you, and even more of you as each layer of clothing is peeled away and unravels even more bare skin. This is absolutely something that slowly unravels her at the seams, and it's all at the behest of one's hands. So yes, hands. But also, dark eyes, there's something inherently more intense about them when desire comes to lace them so thoroughly, especially when her gaze is then held by them while any kind of thing is done to her. Whether it's the appearance of them, or the potential unwavering connection of gazes? /shrugs slightly. I can't give away everything.

19. Are they dominant, submissive, switch, partner/context-dependent, or unsure? None of these, but that may also simply be because I don't adhere to the terminologies! I'm so difficult, I know. It's just that I see it as a little more complicated than that, but I suppose the closest to what I aim to answer would be 'switch', but even that feels ill-fitting. She doesn't play into your regular 'dominance', but she also isn't submissive by any means, but it's also not exactly a switch between the two: she plays both ends. Kafka will absolutely appreciate a sense of dominance from her partner, and she will absolutely find initiation from the other incredibly attractive and even arousing, but it usually comes after coaxing from her, or simply making her hunger rather evident. It's an even playfield, or at the most it's a bit of an agreed upon back and forth between the two, because it's an active engagement between two. But all in all? One needs a certain element of dominance to intrigue her, otherwise it's definitely a no-go. Initiation and active continuation are incredibly attractive.

[araneitela]

Notes on Kafka's trailer, "A Dramatic Irony", this'll include the obvious and the less so noticeable details. I'll be elaborating on and making use of these in the future, but for now— a little list for myself (and you?) on things I want to talk about. Oof, my dear girl, there is a lot to unpack about you and I still won't be done in a year from now: Edit: It ended up being long, but who's surprised, really?

— Background music. Entirely based on Vivaldi's Four Seasons. Most very accurately pick out 'Winter' as that's what it starts with and it's also immediately recognizable, but it actually transitions into 'Summer' just after about halfway through and beautifully ends in it. The inclusion of them both is one of HoYoverse's finest decisions musically.

— The usage of rose petals instead of blood. This one thrills me, because they add such an inherent romanticism to the concept of death, which is an ages old tale and concept (hey, do we want to tie in the beauty of how Blade craves its peace so desperately yet cannot obtain it and she cannot grant him it? I do), and it plays in beautifully to the concept of what 'fear' is usually most tied to, and how she doesn't feel it. Now what exactly are these petals of? If it's your regular red rose, then yes— it is likely referencing the intrinsic romanticism of death. I initially wondered if it could be the China rose, which would indicate longevity which could be hugely interesting but no. However, with the impending goal of 'seeking fear' and tying it directly into 'the value of life', I find the more traditional take of the red rose, a sign of intense passion/love, or a potential for the hope of passionate love, incredibly intriguing (my stance on the potentially implied ship with the MC is still where I stand, but another is creeping in through a lot of rationality and logic; because I do think that's how they plan on doing it— it's what makes most sense with implications made in her dialogue).

— Inspiration: Rorschach inkblot test. "What do you see?" It says at 0:15, and it threw me for a moment, until I looked around the text. The ink blot. Leave it paused for a second. What do you see? It's the Rorschach inkblot test. It hit me with the ferocity of a ton of bricks. For those not sure what I'm talking about, do a little search and you might have seen it used in television by some psychologists, it is a test to examine a person's personality characteristics and their emotional functioning, everyone may see something different in specific ink blots. When you leave it paused at 0:15 seconds in, that's the first card and it's called The Fear Card; intrinsically fitting, considering: "Elio said that I'm good at creating "fear", even though I don't know what it is." I didn't actually recognize the ink blot until I started typing this up and analyzed it again for the umpteenth time. I'm losing my mind, no, I've actually already lost it, because on further analyzing, I think the spider on the back of her coat also looks like it's been designed after the ink blot/card in question because it grows into a similar shape, though more so when it grows into the lines/threads of her Spirit Whisper that you see around the 1:13 mark. The entire sequence of ink blots at that timestamp give us an insight into what the guard sees that she's talking to, he sees his own death. /breathes very casually. God, I'm losing my mind, this might actually play so much more into her character. What do you see, she asks— Kafka, what do you see?

— She's so incredibly cultured. There are a lot of very classical but also archaic elements that play into the design of her character across the board. Classical music is so rarely used anymore, but it adds such a different level of sophistication to her character. Kafka stands out amidst most of the other characters, not because she's classier in general, but because they tie very old-fashioned and less used concepts into a very modern design and mold them into a perfect whole. The classical music and how she never foregoes this intense connection she has to it, the insane archaic katana versus the very modern uzis (ode to Devil May Cry, anyone? A pair of guns, one black and one white, and a katana? Along with having once worked as a 'demon hunter'? Capcom deserves the nods) and grenades, her attire especially between the coat, the high waist, the glasses and the dress shirt— but it's all beautifully put together in an incredibly modern outfit. She's so cultured, there's an intense class to her and I will not stop falling more in love with it with each passing day.

— Storytelling. 'Intermission', 'oneiric structure', 'MacGuffin', 'non- linear structure', 'fin', these are all firmly tied into the art of storytelling in film (and literature as well). Intermission is a pause in the midst of a performance. Oneiric structure refers to a structure of a tale that replicates something non-linear, so something relating to the dreamlike (oneiric comes from the Greek 'oeneiros', which means 'a dream'), think of... something surreal or distorted in reality, something that simply can't be real. MGuffin in a plot device that takes form of an a goal (an object, for instance) that is an important element in a story due to it being firmly tied to the story's characters, a driving force if you will (so for Kafka, you could see her pursuit of feeling fear). Non-lineaur simply means that a story does not follow an order of events that's necessarily chronological in terms of timeline. And 'fin' marks the end of a performance. I cannot stop being feral as to how consistent HoYoverse is with this. It isn't just referencing her trailer, or the overarching narrative of the game of Honkai: Star Rail, but also her character directly, terminology commonly used in film are in her trailer, she herself seems to be rather passionate about film (you receive a text from her regarding being alone in a movie theatre during the play of one, and she laments that there aren't more people there to watch), her eidolons being after musical terms tied to music that she thoroughly enjoys and is used time and time again to represent her. God. God.

— What some may note as being a clock counting down, is not a clock at all, but an elevator that represents a life counter. With each kill, the elevator descended one more level until it reached the ground floor. I've seen some make references to Inception and upon further glance, the reference can be intended. The 'floors' can be seen as being representative of the different levels or layers of a person's subconsciousness as she delves deeper and deeper, as she is inherently able to control and manipulate minds. God, Kafka, surely this isn't a power all from New Babylon have.

— Threads of silk; a Moirai reference tied in with the arachnid? "The silk is too fragile to be a threat, unless you're more fragile than the silk." We know she isn't fate itself, but we know, in essence, a puppeteer that ensures all sort of unfolds as Elio has foreseen, particularly with the Trailblazer, even if she trusts him/her to make the right decision. We know arachnids are far and wide associated with manipulation, which we know she's abundantly capable of and responsible for, but it goes infinitely further than that. Spiders spin webs of silk, threads of silk, threads of fate, destiny, this is an incredibly thorough and intricate character design that they settled on. Everything is so perfectly interconnected, it's absolutely unreal.

[araneitela]

Let's see here-- 7, 20. Now for the additional two 21s. - What are their preferred locations for getting comfortable or feeling that presence of the mood? Does the scene itself serve to amplify the moment (additionals like candles included in this), or is it more of a secondary addition compared to being woven in each other's company?

- How does it feel to be immersed in their particular brand of kisses? Finding their rhythm, letting their lips meld in a way that melts reality all around them? Is she a fan of having his hands roaming all about her figure or holding favor to their focus? Does she prefer leveling his more forward nature of embracing the moment for something lighter paced, or does it hold just fine the way it is? Oh what's that, actually there's one more. .- What's Kafka opinions on his habits of exploring her form? Heated eyes, that eagerness that's virtually from his fingertips to the ways he's just awed by her. How there's so little shame in taking that initiative in showing she's a treasure that needs every bit of due diligence in witnessing firsthand?

@astrxlfinale // Prompt: Sexuality HCs // Accepting.

7. What attire do they feel most attractive in? Christ, I love to talk attire and aesthetics for Kafka, but you ask me this with a question tied to sexuality. Okay, let me try to focus here: she feels attractive in her attire in general. Kafka is absolutely rooted in aesthetic details from head to toe that make it very obvious for me that her clothes are not chosen at random, there's a certain level of refinement to it just like everything else. I don't mean this to say that she takes three hours in the morning, I'm just saying that her 'being' comes out in what she wears, which is then integrally tied into how attractive she may feel. She isn't the type of woman to feel 'more attractive' in lingerie for example, just like she also wouldn't find a man more attractive if he were bare-chested, it's about class. Any way, let's not get too off-topic! Overall, I think her attire oozes a certain femininity within a mix of old-fashioned conservatism (high neck, draped rather than worn coats, and the choice of high-waisted elements), mixed in with very modern concepts (straps, clasps, belts, the choice of shorts even if mixed in with the high-waist that makes them more 'conservative' to some degree, the design of the extended leg of one of her boots, and the tights not being opaque). And while not exactly done with these intentions in mind, numerous of these noted elements are inherently known to draw the eye, and heighten a level of a woman's attractiveness (namely how high-waist is considered much more conservative than low waist, but if the cut compliments your figure, it will element all the right curves, namely a cinched waist like is the case with Kafka).

Any way, she would wear outfits that will include a variety of the aforementioned elements, but think of either much simpler belted high-waisted trousers, or this or much more intricately detailed high-waisted trousers like this. She will be prone to wearing things that are high neck without being too restrictive, so think of sleeveless high neck tops or bodysuits like the one here, and when wearing something like this, she will pair it with one of her many coats from her noted collection. If she chooses to not wear one, then I envision sleeve detailing such as this for example. And then if we're looking at slightly more formal options that still work casually, see something like this, or some of my random favorites include things that work around bustiers (with high waisted trousers) this option, or this. And if we're talking formal options and we remember her 'dinner party' avatar, then we're looking at things like this in terms of a dress/coat combination, but if we're looking at something that is more likely to be worn without a coat, I imagine something like this. In essence, she's someone who wears things that rather coincidentally draw the eye in intrigue, but never wears anything outwardly revealing. Not her taste, nor is she actively seeking that sort of gaze (unless necessary of course). Not because she is too timid, but she's classy, conservative. Any way, jesus, I just rambled a ton (this should be a meta on its own), any way, she feels attractive in everything she wears! Let's move onto sexual things, I guess.

20. Do they prefer to give or receive sexually? I think she fits into the majority here, who doesn't enjoy to be the recipient? (But as noted in that NSFW dash game, she isn't into 'woman worshipping' or whatever it's called). But it's a two-way street, I definitely don't feel like she is one to engage in sexual anything at random, so when she does, it's a give and take, also simply because the other's enjoyment adds to her own. Where it's not really likely that anyone will properly catch her attention, if someone does, there's an investment of time, as we've seen her actively do within the confines of the game so far. So take that concept and pull it into this context, if/when it reaches this point? There's something about being someone's full focus for that extensive amount of time that I think hits differently, and that plays into everything that she does; I mean we've spoken about the line said about her: "She must have sought something extraordinary; everything she does comes at a great cost" which is something I play into and draw out across the board. It stems from investment, a dedication of not just effort but also of time. And when she engages such an amount of time into a person, she's rather encompassing, and the act of physical intimacy is no different. It's no fleeting endeavour, even regardless of whether it's not as deeply emotionally investing yet, there's time taken to ensure a level of mutual satisfaction. Does she engage in oral? Yes, is she very thorough in that? Yes. The more worked up someone is, after all (in all facets in life), is a sign of investment, whether they realize it or not. So in an intimate setting? The other person's satisfaction walks hand in hand with the craving and longing for her, so the more elevated it is, the more she would also reap the benefits. Please her, and she pleases you (and vice versa).

(21) What are their preferred locations for getting comfortable or feeling that presence of the mood? Does the scene itself serve to amplify the moment (additionals like candles included in this), or is it more of a secondary addition compared to being woven in each other's company? The setting doesn't matter if the person in question (Caelus, I presume, mm?) doesn't play his cards well. It's all about that tinging sensation down her spine, you need to tickle her, you need to intrigue her, else nothing else will matter. And as a bit of a mystery herself, there's an element of curiosity from her as well, but it's always good to keep her guessing, because if you do, then she'll keep returning. Anyway, I digress again. Sure, she has her preferences in regards to locations, she's a little old-school in the sense that she prefers a bed, simply because it has plenty of room and comfort, but she's not opposed to couches, bathtubs, and even a shower, but those bear limitations. So in essence, most of the answer to this is actually a good 'ole yes to the last bit of your question.

21. How does it feel to be immersed in their particular brand of kisses? Finding their rhythm, letting their lips meld in a way that melts reality all around them? Is she a fan of having his hands roaming all about her figure or holding favor to their focus? Does she prefer leveling his more forward nature of embracing the moment for something lighter paced, or does it hold just fine the way it is? Jace, I love you to bits and pieces, you turn this into such poetic eloquence. Am I answering this in general or specifically for KafCae?! What are you doing over here, buddy pal? I'm gonna try to respond to this in a general setting, but it's gonna be a rough one because I see you. Like everything else, they're all-encompassing. I think it's more accurate for her than it is for anyone else I've ever written. It's not even done in an act of dominance, it's simply because of the focus that's being put on the other. Kafka is very much one who rather relinquishes the reigns within a context of intimacy, she almost draws/leads people into situations where then they have to... how to say it, claim the moment. And if they do, she leans into it and subjects herself to seeing whether that initiation of theirs continues or ends (it's simply relishing the moment), but she's not a full 'recipient', she's very much a... driver through surprises. She's not, let's say, the type to wrap her arms around a neck and simply receive a kiss and never indulge in lightening or intensifying it. As an example, if her arms do navigate there, it's to add stimulants to the nape of the neck, which drives the other person, does that make sense? Depending on the mood, stage, whatever's happening, these things are done to either prolong a moment as is, or to move it forward. In that sense, she is a fan of roaming hands, the traverses in exploration. As much as fanon insists on calling her dominant, she plays an interesting role where she never will fall into a role of full submission (if we insist on speaking roles), but she enjoys the other partner to hold a semblance of dominance. Propel things forward, surprise her and she'll surprise you.

(21). What's Kafka opinions on his habits of exploring her form? Heated eyes, that eagerness that's virtually from his fingertips to the ways he's just awed by her. How there's so little shame in taking that initiative in showing she's a treasure that needs every bit of due diligence in witnessing firsthand? Take 2: I dislike you, let it be known. I FEEL LIKE THIS ISN'T EVEN A QUESTION! This is you trying to get some form of acknowledgement/reaction out of her, I swear to god, how am I ever going to get to anything productive around here. Touch her all over, Caelus, roaming hands, let's go.

[araneitela]

AHHHH you're back!! this makes me so happy because i loved coming across your breakdown of her trailer and then sad when seeing you had left. i just really love kafka and i loved reading your opinions on her! so i've been meaning to ask you about something that i hope you don't mind! but what do you think about her path being nihility? i was reading into ix and found that they are tied or represented by laziness, meaningless behavior, and was kinda surprised. do you think that ties in with her? hope you don't mind this! have an awesome weekend!!

Smiling from ear to ear?! // Unprompted asks.

Oh my goodness, this is literally one of the most heartwarming things to receive (and in my case, I got to wake up to it) and so I'm really, genuinely smiling from ear to ear over here. This is one of my favorite things, and it's been years. I'm thrilled that the little meta about her trailer found its way into her tag, because I've enjoyed feedback, even if it's criticism. I live for people trying to poke holes in my logic (to see if it stays upright, as I endeavor to be as canon-strict as possible), or to simply add to it. But I'll also say that I'm the first to plead guilty to praise, who does it not improve the mood of significantly, honestly? But truly, I'm honored that you found details in it that piqued your interest, resonated with you, or even had you look into her with a bit of a specific eye; that's why I do it. And also, character analysis is part of the joy of writing for me, after all! So thank you for this, and choosing to come to me with this, my gratitude is endless! As for your question, forgive me, because I need to give a little bit of background (or scroll down to find my bit about Kafka, I'm just in a rambling mood lately):

Sad as I am to admit it the paths in HSR are not quite as high in lore accuracy as for example, Genshin Impact's visions, are. Where visions are directly tied to a character's ambitions, drive(s) and/or passions and are thus heavily tied to their personalities and actions; paths are a little less simple, as there seems to have much more of a gameplay (the 'type' of RPG role, things like DPS, debuffer, healer, and so forth) tied to them, that counters lore to a degree. Keep reading though, as I have opinions! A good example of this for starters is Jing Yuan, he was given the path of the Hunt (and from the wiki: "Those who follow the "Hunt" Path admire determination, ruthlessness, and tenacious behavior") but his gameplay fits into Erudition's gameplay role perfectly (which is explained as follows on the same page: "Deals remarkable amounts of multi-target damage. The main damage dealer against groups of enemies") though I would also argue that his personality seems to befit Erudition much more as well (again, as per the same page: "Those who follow the "Erudition" Path admire thinking, logic, and strategic behavior"), though I don't write him, so I do not proclaim to be an expert by any means. But in essence, the difficult part becomes the fact that there can be a mismatch between a character's lore and their gameplay, which will often account for a bit of a discrepancy. I also believe some characters have been tied to a specific path, but it seems more likely from a lore standpoint, that they would be part of another but it is still unplayable. So yes, MiHoyo has made this a little complicated, for it doesn't seem common that lore and gameplay overlap one another in terms of paths.

However, I'm not someone who likes to just write off the concept of 'for gameplay purposes' too easy, I'll over-analyze before I simply dismiss anything. Now it's worthy to note that I've been away from HSR for quite some months now, and am not caught up with the story, so take what I say with a grain of salt, and anyone's always free to add to this, or help elaborate!

I wonder how the narrative paths (can?) influence each other. To keep up with Jing Yuan as an example, does he pray to Lan so that he keeps these 'Lightning Lord' powers that he has? To what extent do you need to follow a path to gain any of the powers tied to it? Do you simply take its tenets and 'hold them in your heart', do you progress your faith and live out its virtues in any capacity? Does this then vary from person to person, is it different across each path, because it depends on the temperment of the Aeon tied to it? Or does it go beyond that, and there is inherently a tie to its beliefs that stems from your heart or belief? If we're speaking of how human beings work and their nuances, nothing states that you couldn't 'pledge' yourself to one path, while still adhering to virtues and tenets of another, they simply wouldn't overshadow the former. Yep, it's complicated.

As for Kafka and Nihility/IX. Yes! I do think it ties in with her perfectly. See, while IX's description ("Those who follow the "Nihility" Path admire laziness, exhaustion, and meaningless behavior") is very clear in its message, we need to keep in mind that there are actually primarily two approaches to the concept of Nihilism as a whole. One is simply admitting defeat and falling into the belief system where one believes, just like IX, that all existence is meaningless and so there's no value in life to speak of, so why live? But then if you look into the factions tied to Nihility, you can see the Doctors of Chaos and their caption says the following: "Ponderers who inadvertently encountered the Nihility. They attempt to resist the destiny of Nihility, and try to prove to the Aeon of Nihility the meaning behind the existence of all things." And this matches with what you read when you first meet IX in the Simulated Universe, where you're presented with two options to proceed:

1: You can hate that life has no meaning, turning inwards, sink into gloom and eventually become a Self-Annihilator of sorts, which is kind of, basically, the equivalent of the antimatter legion for IX. 2. You create your own meaning in life. IX presents a belief that there is no meaning, but that does not mean that you inherently need to believe the same thing, and so you find your own significance and value in life. And this seems to be paramount to all of the characters that follow Nihility to one degree or another, including Kafka. For starters, let me remind you of some lines from her SQ to prove it:

Trailblazer: Are you sure you don't follow the Aeon of Nihility? Kafka: Do I sound that negative? No. We believe that existence has meaning, but that meaning is bestowed by ourselves, not by choices.

Kafka's entire involvement in the Stellaron Hunters originates from the fact that she seeks to feel what she's never felt: fear. And this is something that, arguably, makes people value life more than anything: knowing that it's precious, fragile and fleeting. Kafka makes an immeasurable amount of references to choice (and is surprised when it indeed counters 'fate'), and then also vulnerability, which is so tightly tied to the concept of something being able to be lost (something as seemingly trivial as the coats that she collects). You don't need fear to understand the concept of importance, or value, but it inherently strengthens it. But if you wanted a stronger motivation behind it: look at how ardently she follows Elio's script, and it's because he promised her that in the future he chose, she would have what she seeks. Is that not passion within itself? Is fighting and being part of something entirely blindly, not inherently the strongest evidence of craving, a longing for something? And is that not vehemently human? Is that not... the meaning of life itself?

[araneitela]

I'm a mess (I know most are asleep and I should be too, but shh). Sometimes when I browse Youtube (and talking to Jace about Kafka as a whole, goodness, the walls that I type about this woman), I realize just how much I focus on the... how to classify this, the intricacies of reactions that are vehemently human, and that entire aspect of Kafka that was more so (/especially) presented since and in her SQ, though one I'll also say to have been inherently present before that. It's not that I neglect her violence, not at all, if anything I try to explain this element of her as to firmly tie them in together, though finding the words to do this is quite difficult, as this post will make clear, honestly. I'm a mess, this is a mess, it's a problem. Any way, this is probably why Mihoyo makes such intense use of music to convey so much for her. Cue me putting on her trailer music, and I'm literally making all of the little oddly precise head movements to each bow of the violin in it. Love her.

God, it's just, there are in my opinion, from a normal human's perspective, 'two sides' to the coin that is Kafka, except despite their intense contrasts, they work together to fit into a perfect mold of 'one'. And a good glance into this is their pull of your attention to the music that they composed (and perfectly edited, my god) for her trailer(s), Vivaldi's Winter in her main one but the very important part to note, is that it also includes compositions of Spring (? I now also feel like I recognize a snippet of Summer a glimpse of Autumn) alongside it, which is representative of something wildly differently; and then Lacrimosa in the Jepella Rebellion trailer. God, god. Yes, it's always inherently tied to mourning and grief, and one can argue that it's entirely because of the destruction outside that is happening in due part due to her (and the others; but it's worthy to note that the SH don't destroy for the sake of destroying; it all has purpose, always), but Lacrimosa can also be evident as a reaction from Kafka internally. And I say this, because if memory serves correctly in terms of my weak knowledge but stronger research, it's used within the Requiem Mass, in which it follows a 'divine judgment' movement, and Lacrimosa plays in emotional response to it, a composition displaying sorrow and grief as people seek redemption. So the question now comes— as much as Kafka 'plays with her food' so to say, could you also tie the 'mock trial' in with a response of 'divine judgement' of her own in reaction to, well, divine judgment that was executed prior? Am I making sense? In essence, what exactly is all of this in response to? Could she have been wronged by these judges? Or judgement by default, or does she simply not believe in such judgement? I also still firmly stand on my hill that Kafka has suffered an immense loss before, so could this play into that as well? Does she hold judgment within the palm of her hand because there is grief in her? The layers, guys, the layers. I'm losing my mind.

And then also, slightly unrelated: I see comments like this (and as someone who sadly never go to continue my piano playing), and I thrive, because it tells me that they aimed for this accuracy for her in specific. The violin, guys, one of the instruments if not the primary one that depicts human vulnerability in sound and play. The accuracy tells me even more that it's way too likely that she actively plays the violin. Which means, which means, that I get to thrive even more in terms of layers.. Oh, happy day.

Point of this entire post? I don't know, consider it the ramblings of a mad woman. There's no such thing as a simple conclusion for Kafka. There is simply... Kafka. A woman who is Destiny's Slave, but also inherently holds and practices her own sense of control in some ways. A woman who knows an ease in violence that we see her partake in by choice (this is so important), and with an element of emotional disengagement (one must, no? Or?) I usher my gratitude for bringing me back here. I'm thriving and will thrive on all 3 accounts.

Post-script: Okay but also:

"The old me? I used to be a Devil Hunter. (...) When people don't feel fear they are dominated by desire and pleasure — they become "devils."

But why are you not one of them? How did you hunt them, instead? /rattles bars of cage.

[araneitela]

How do they greet someone they dislike/hate? How do they greet someone they like/love? — @etherealguard // Meme: Character building questions

To say wildly differently still feels inherently lackluster, but it's a good start. Alright, let me touch on the first of the two. So to preface this, to me, Kafka does not come across in any capacity, as someone who would care to harbor the energy required to fuel a semblance of hatred towards anyone. More so than anything (and I think this is the much worse option of the two), throughout the game as we've been shown so far, I would argue that she displays a semblance of indifference and worse still, she presents herself with a sense of contempt towards many of them. Now, I have to note, this is not representative of a well-formed opinion of any individual or their character following any time spent with them, it is very much a 'default' mindset of sorts that has always dictated her view of people. You can take her by surprise and impress her during a first encounter, but those chances are slim, and if you miss said feat, we know that obtaining a second chance is even slimmer. She simply doesn't engage with most people long-term, which is inherently tied to this notion of 'boredom'. It is, honestly, as Blade said in her SQ after all: "I've yet to see anyone follow her for as long as you did... and live to tell the tale." She simply... grows bored. So how does all of this manifest in terms of greeting? There would be no actual ignorance — although she might attempt it towards someone a little too peppy, like for instance March 7th (I'm sorry, March) — but there would be a very strong air of nonchalance. An 'oh, it's you' in an obviously irritated tone would be perfectly in-character, but hey see it this way, at least it's indicative that she remembers you, right? That's already a bit of a compliment, I'd say.

As for someone that she genuinely likes (love is a big word, more on that a different day or if [/when] that comes about), there are two to three options. Look at Silver Wolf (and Elio, but he stands entirely on his own with this), someone that she's come to appreciate, she is a perfect example of someone who engages her mind just enough to keep her interest, but it also helps that I don't believe that SW and her are constantly around one another. It's the concept of 'absence makes the heart grow fonder', or rather— when you're consistently around someone else, you get used to them, and inevitably learn enough to a point where they become part of your 'routine' and they fall into this notion of normality. That equals boredom, for someone with the nature of Kafka. But, you can tell they're not quite there any way, there's even a hint of (in my opinion) that trademark 'disinterest' tone of Kafka's present in this conversation. But I digress, that's simply aimed at the topic at hand and it leans into what I said before: not everything has her interest. But look, Silver Wolf re-engages with her and you can tell Kafka regains interest. But anyway, I digress still! I'm terrible, I know.

When it comes to the other, or two, options: you're looking at the Trailblazer and Blade respectively. With the Trailblazer, especially since Kafka's SQ, she is not reactionary, she very much initiates the contact, she's curious and so she engages, but her dynamic with him/her is entirely unique, so do take this with a grain of salt. Regardless of how one chooses to react, Kafka is always the initiator of contact, and if she's turned down, she will attempt to re-engage or will prompt minor pity and/or guilt, for it is just one of many games that she plays (even if the intent behind it is to obtain and hold their attention for as long as she craves it, due to genuine interest). She is playful in her approach, but will still be direct if the situation calls for it.

As for Blade, he is rather equally as unique in the attention that he receives from her (and in the way he receives it), and honestly, since Kafka's SQ, he definitely warrants his own meta post in the future as it's a lot more complicated than meets the eye (in my opinion, any way). But to touch on it slightly, there is an element of warmth in her approach of him due to... I can't say that it is a shared experience, but there's an inherent understanding between the two of them, and there is also, arguably, a dependency from Blade of Kafka (in a meta post coming to a dashboard near you in the future; I could argue vice versa as well but vastly differently so, but this plays into theories for Kafka's 'goal' with the SH) which forces them to share space. And considering neither of them seem to be (Blades, correct me if wrong) ones to actively seek social engagement, this has created an intriguing dynamic. Furthermore, while Blade comments on the Trailblazer's prolonged presence in Kafka's life, he inherently implies with this that he has been there to witness it, he remembers it, this also means he had defies and continues to defy that same reality. As to not continue on an ages long tangent as I plan to do in the above-mentioned planned meta, I'll leave you with this: it is a vastly different warmth than what the Trailblazer receives, but it is also, in my opinion, one much the same. Stay tuned, and I sincerely apologize for the intense ramble!

[araneitela]

Character, connections, and verses: (2/2)