#*beyond evil analysis

[hoppipolla]

The basement scenes in Beyond Evil

Some quotes are from the Beyond Evil scriptbook translated by @/yeoyuo on Twitter. (link to the scriptbook in the comment section) The setting in Beyond Evil is always both significant and relevant: the reed field, Lee Dong Shik’s basement, Jae Yi’s butcher shop, the archives room, the Japanese restaurant, etc. These different places are highly symbolic — some more than others — and are essential to understand everything that is at stakes. 

With this post, I want to give you my analysis of Lee Dong Shik’s basement. 

The basement scenes are key moments of the drama for they mark crucial shifts, both in HJW and LDS’ relationship and in the plot itself. 

The native title of Beyond Evil translates to Monster in Korean (괴물). The very definition of ‘monster’ is quite complex and even its etymology hints at the many roles monsters can play in our society (and in History more generally). 

'Monster' probably derives from the Latin, monstrare, meaning 'to demonstrate', and monere, 'to warn'. Monsters, in essence, are demonstrative. They reveal, portend, show and make evident, often uncomfortably so. (source in comments) This last sentence encapsulates perfectly how Lee Dong Shik is seen by others; Han Joo Won acts as a reminder of such perception when he first arrives in Manyang and is convinced that LDS is the killer they’re looking for. Indeed, Lee Dong Shik is presented as someone demonstrative, whose agonising pain and temper earned him the nickname ‘nut job’ and the stares and distrust of most people in Manyang.  

Lee Dong Shik is said to be a monster because he was the prime suspect of a murder he did not commit. Because he became a person so visibly drenched in his own pain that it became difficult to look him in the eye. He then depicts himself as a monster — by interfering in Min Jung’s case — to make sure HJW will play his game and take the bait, because he desperately needs HJW to “bite him”. Because he needs his help to catch Jin Mook and to find the missing bodies. Because if everyone keeps being blinded by LDS’ seemingly craziness, then Han Joo Won needs to be the one to see beyond. He needs to see the bigger picture. 

The basement scenes play a huge part in making HJW see the bigger picture because so many elements of truth are revealed in LDS’ basement which makes me think… what if LDS’ basement was a means to rewrite Plato’s cave but in a more paradoxical way? Let me explain. 

The basement is a place of confrontation and its dimly lit interior makes it resemble a cave, somewhere underground with no real light. HJW and LDS discuss and make hypotheses in this place, so often that LDS even jokingly suggests that HJW should pay rent at this point since he’s always in LDS’ basement. 

What makes it a paradoxical rewriting of Plato’s cave is the fact that the truth is, in fact, found in LDS’ basement, on multiple occasions. However, in Plato’s cave, the cave is the place the philosopher needs to escape from to confront the real light, the sun’s light — i.e the truth — to eventually access the world of Ideas.

In Plato’s myth, the cave is a place in which chained prisoners stare at inverted shadows projected by the fire burning inside the cave and they take these shadows for reality. The fire in the cave represents the notion of culture which is to say, constructed beliefs (this is overly simplified but it’s just to give you an understanding). The people in Manyang are like those prisoners in the cave who are convinced that those shadows are what the real world looks like: they are convinced Lee Dong Shik is the cause of Manyang’s tragedy and doom despite the fact that many cases that took place in Manyang were dropped. The Manyang people believe in the evidence that is the guitar pick as fervently as the prisoners believe the shadows are the only reality that exists. Despite it not being enough to indict Lee Dong Shik, it still made him look like the killer for twenty-one years, to them at least. 

Just like the philosopher who decided to climb up and face the burning sun to get to the Truth, Lee Dong Shik is the one who sacrificed himself and ruined his life so that the truth could be established.

To come back to what makes this rewriting paradoxical, here are some truths that were discovered in LDS’ basement:

The posters of the missing people + the files of both Yu Yeon’s and Ju Seon’s cases (before LDS put them back into the archives room) → These enable LDS to carry out his own investigation.  

Min Jung’s fingers → LDS brings them to his basement before figuring out what to do with them. 

Lee Geum Hwa → LDS figures out the name of the victim of HJW’s sting operation during one of his confrontations with him which took place in his basement.

Yu Yeon’s body → LDS finds the body of his sister inside a wall in his basement.

Jung Je’s memories → Again, Jung Je’s memories come back to him during a heated conversation with LDS in his basement. 

However, LDS has to go up into the light, he has to leave the basement and his house to make the truth known. It is within hell that the truth emerges, but it is under the sun’s light that the truth needs to be revealed.

Thus it’s interesting to note that the big reveal — i.e the rain scene in ep 15 when HJW makes LDS listen to his audio recording — doesn’t take place in LDS’ basement but in his yard (outside and not underground). This emphasises the idea that, just like the bodies in Manyang, the truth needs to be dug out. 

Just like Lee Dong Shik and the philosopher before him, HJW became the one willing to sacrifice himself so that everyone could know who the real killer was: “I’ll be a monster, take Han Ki Hwan with me, and dive into hell when he’s reached the peak.”.  

[musicalmoritz]

There are too many bad and wrong takes abt Hanako. Some of ya’ll cannot comprehend anything abt his character beyond “b-but he did a bad thing😰” and I simply do not have the patience to read those analyses anymore. I’ve seen an increase in these attitudes towards him now that the Picture Perfect arc has been animated which has me a little worried for how Aoi, Akane, and Hakubo will be perceived next season

[liketwoswansinbalance]

If Rhian were a villain as his own character, in character, I feel like he'd be the kind of villain to explain his whole Evil plan, giving it away completely instead of keeping it to himself because he's incapable of keeping it to himself. He would be hyped up with excitement for his vision coming to fruition, and most importantly, he would want to do it for the showmanship as he's theatrical like that. Then again, he may be too smart to reveal it all.

If you recall his thematically-appropriate outfit during the Circus of Talents, he seems to love causing a scene, and while Rafal does share this tendency towards the dramatic, I don't believe it's to the same effect or as extreme as Rhian's.

And this brings me to the point that it's just flat-out unusual for Rhian to wear essentially the same outfit for 200 years.

I mean, that seems unlike him and extreme. For evidence, it's implied by TLEA, by the image of his midnight blue robes hanging on a hook in the tower like a relic at the beginning of the book, that he's worn that selfsame outfit all that time. Sure, he must've not had an occasion to dress up for, but when did that ever stop him? Did imitating Rafal mean he had almost given up on his fashion sense? It's not like anyone had seen him. He didn't have anyone to perform in front of after all. Maybe that's the reason: no one would see him, so it wouldn't matter? He'd probably become depressed, and perhaps, the loneliness drove him insane and away from old behaviors.

Yet, how could Rhian, the man who was a fashion icon in his better days, be reduced to wearing the same midnight blue robes for 200 years, as the first trilogy implies? Even villainous Fall Rhian with his pure spun gold cloak did better than this version of him.

Wearing the same clothes like a uniform is Rafal behavior, and while taking that trait completes his disguise, which I'm sure Rhian had down by SGE's present, if no one had the faintest memory of what the real Rafal was like, what was keeping Rhian from caring about his appearance like he once did? He only seemed to fall back into fashion and indulge in it in order to appeal to Sophie and that's it. Did he never regain the right state of mind for fashion to be of any importance by himself? Did Sophie revive that lost part of him?

In conclusion, that is the most implausible thing about the Fall twist: Rhian's lack of fashion sense. /j

[jupiter-86]

@dangermousie

You asked for some Beyond Evil fic recs? Obviously all Dongsik/Juwon, all post canon.

the bitter and the sweet - princesskay

Amazing, beautiful, a perfect sequel to the show in my opinion. I love it so much!!! Read this one if you don't read any others from this list!!!

Daydreams and Nightmares - knups

Fairly short but with great whump and hurt/comfort. Juwon gets injured (and loopy and emotional from the medication) and Dongsik takes care of him.

Three Dinners in Seoul - protos_metazu_ison

(also available in Russian btw) Dongsik visits Juwon in Seoul and everyone can see how different Juwon is with Dongsik. Getting together fic, very cute.

Every time we touch - StarlightBloom

Mutual pining, angst, fluff-- another good getting together fic.

If I think of more recs I'll send them your way. Enjoy!

[grimalkinmessor]

Just to put a lot of my posts and beliefs about Light Yagami's character in one post (headcanons not included):

• He does not do anything for purely moral reasons. The reason he started killing criminals was because he was curious, and then afterward his "crusade" was built from panic and spite. He thought using the Death Note was going to kill him, so he decided to take everyone he considered a threat to society down with him—that way he would still be good. He would still be remembered. If he can't live, then criminals don't deserve to either. The weight loss and the insomnia shown in the manga, were more likely results of a fear of dying than moral stress.

• Then Light discovers he won't die. This negates part of the spite, but not the need for a moral justification to keep himself "good". He no longer needs to be a martyr, so instead he's chosen to become a God.

• During this week and half of time, Light goes from being a bored, lonely, listless teenager disgusted with the world because it's not how his father taught him it should be, disgusted because if he can manage perfection why can't the rest of the world—to a boy with a new friend and a new mission that gives him purpose. Something interesting. If the world can't be perfect on its own, he'll have to help it. The world needs his help, making him its "savior".

• In comes L. It is no longer about Kira, no longer about saving the world from itself, even if he might tell himself it is—it's about the game. Kira was a fun pastime, yes, but L has made things so much more interesting. (Light and Ryuk are actually wildly similar in several ways it's just not immediately obvious). This game is more fun, too, because this time he has an opponent—one not so nebulous as "the criminals of the world", who offered no challenge. Light is still justifying his actions through a lens of morality, because he has to, but they're beginning to run rather thin.

• Both the broadcast and the obvious taunts to L through changing Kira's killing methods supports the above. "You're too stupid, L. If you were just a little smarter, we could've had some fun." Drawing L in was to progress their game, not Kira's goals. If Light truly only cared about Kira's vision, Kira's new world, Kira's righteous justice; then he wouldn't have continued to play the game after the broadcast. There was no way for L to find him without Light drawing him in—the Death Note is literally the perfect murder weapon. Light knew this, he just ignored it because he wanted to play.

• In the same vein: Yotsuba Light doesn't know he's playing the game. He's forgotten that there even is a game, and so he sees L as someone who's been duped, who either isn't as intelligent as he's been made out to seem, or someone who's being purposefully cruel just because he can. Either way, to Yotsuba Light, L's threat level has only increased, because Light no longer has any sort of weapon to go against him with. He can't even wield his own innocence against him, because his innocence is not certain. Even to himself. Yotsuba Light knows that he has to play along with L's plays of friendship and morality in order to secure his freedom, but he does not respect L or like him. At least, not until near the end, where they're closing in on Higuchi. Where his freedom seems closer....and yet he sees his own, true innocence as more tenuous than ever. Notably, even when Light feels positively towards L there, he still does not share his suspicions about himself with him. His own life still takes precedence over any sort of justice or morality he might have, because Yotsuba Light is still Light. And Light will always put his own self-interests first.

• After killing L, something interesting happens. Because the game ends, but Kira is still left. And Light was willing to take risks and make wild plans in his game with L, but Kira's goals always, always came after his own life. And when only Kira's goals are left, Light stops taking those big, potentially lethal risks. (i.e. bomb desk trap, killing Raye Penber in person by handing him pages of the Death Note, killing Naomi Misora in person right in front of the police station, writing Higuchi's name while sitting right beside L with the murder weapon literally in his hand, etc. etc.). Winning the game was worth dying for—Kira's ideals are not. Or, to put it even more simply: His pride is worth dying for, but his morals are not. Five years after his victory against L, he's presented with another game, but instead of feeling fearful and excited as he did with L, Light is angry. Arrogant and angry. Because this isn't a game to these opponents, as it was to L—they're playing against each other, and Light is merely a piece in it. This game is not like his game with L; it's more like his "game" with the criminals of the world. One with no true challenge, just another defense of Kira's world—worth winning, but not worth dying for.

• Light's pride is more important to him than anything. He needs to be able to take pride in himself and his actions. Pride comes before everything else, before Kira, before family, before L, even before his own desires and physical health. He does not enjoy killing—he just turned it into something he could be proud of. Into another mastering of craft. Light is not particularly sadistic, he's just spiteful. He'll only take pleasure in someone's suffering if they make someone else suffer first, especially if that someone is him. Attacking his pride would count as making him suffer, because that's the most important thing in the world to him. Even though Light also values his life incredibly highly, attempting to kill him wouldn't invoke as much hell-hot wrath as attempting to humiliate him would. And Light will always get even. Always. He does not forgive and forget.

• He believes every lie he tells himself. Every. Lie. He is a Good Man. He is Good Son. He is a Savior. He is Better. He is NOT Evil, he is Good. He's incredibly adept at not only fooling other people, but fooling himself. Even if he's vaguely aware of the truth, he'll take great pains to make sure that truth never comes to light—because it would crush him.

• Light does not take his own desires into account. If he likes or wants something that contradicts with the perfect image he's crafted, he purges it from his mind. Makes excuses for why he doesn't need it, or even convinces himself very thoroughly that he didn't even want it in the first place. If it's not something he can be proud of (or convince himself to be proud of), he doesn't allow himself to desire it.

• Light sees everyone as beneath him (family notwithstanding, Light loves his family deeply), and while it's a pyramid scale of how far beneath him they are, it's not actually ranked by things like gender, sexuality, race—it's ranked by morality and intelligence. The more intelligent and moral you are, the higher up you are on the scale. Light feeling hostile towards someone does not always mean he sees them as further down beneath him; with L and Misa specifically, it means that they're a threat. Light tends to only see people near the top of the intelligence pyramid as threats; evidenced by him dismissing Matsuda completely even with the knowledge that Matsuda was a marksmen, and yet him immediately setting out to kill Naomi when he found out she figured out one of Kira's secrets. With Takada and Mikami, he treats them exactly the same as each other because they're both on the same level of the scale—and he didn't hesitate to get rid of either of them. (Or try to get rid of, in Mikami's case). Everyone is either a tool, a threat, a criminal, a citizen, or family to him. People to use (tool, criminal), people to serve and/or placate (citizen, family), and people to eliminate (threat, criminal). Everyone falls into at least one of these categories for him.

• Light Yagami is a tragic character. And he's a tragic character because he refuses to believe he's part of a tragedy. He would rather swallow broken glass than be considered a victim of anything.

[edwardsissyhandsthtdanceslikeabb]

if azula needs redeeming, why wasnt she?

i read this analysis of Azuko? Zukla? idk but a critique of their sibling dynamic, particularly within the context of doomed siblings, and tho i don’t agree with it, it’s a testament to its writer that there’s innate value in carving out my thoughts from their own.

so a lot of my disagreement boils down to the fact that the way the analysis construed zuko & azula, from characterizing them as doomed siblings, to the way azula’s breakdown is framed, is a problem of taste and inferences, and how these interpretive elements can be incongruent with technical aspects like intent, convention, medium, or the functional mechanics of art overall.

firstly, i think its very important to highlight that while elite art is holistic and multifaceted, it is doubly focused and premeditated, and its constituents all occupy a purpose and position within it, as they are narrative elements first and foremost. which complicates things when creation and consumption are both such human, evocative processes, but i think looking at the rudimentary layers of a story are the north stars in subjective landscapes like this. and most salient of these, is the story’s anti-colonial roots, centering indigeneity explicitly, and the cultural, spiritual and earthly relationships therein, with the main conflict being restoring the dignity and autonomy of the subjugated, alongside the internal work and opposition that are necessitated in doing so. everything stems from that, and though there is complexity and nuance therein, and the story itself is immensely liberal in execution, it is also ultimately a good vs bad narrative, which it has every right to be, bc colonialism is bad, and colonialists are bad.

therefore, atla inherently adheres to convention, and has a preestablished idealistic framework. to illustrate this, it utilizes two central characters, both encapsulations of the dualistic nature of oppressor and the oppressed, and navigated thusly as foils to one another. zuko is thereby, the deuteragonist, and the depth or lack thereof, of his environment are equally conditioned by his position, as the confines of the kid’s tv medium, serialization as well as narrative structuring itself, craft him. kill your darlings and all that lol.

however, these positionalities, while abiding convention, are not binary, and while conclusive, they are not absolutist. zuko for example, is antithetical to a Madonna, stressed by him even having a redemption to realize, and azula too is done an injustice by any reduction to a whore / imperfect victim archetype. this compartmentalization, is luckily ill-fitting in accommodating their totality, and doesn’t incorporate the fact that consequence, in avatar, is not a condemnation of personhood, but a retaliation to action, and has mangled indiscriminately, with azula’s case actually, being the reclamation of principles and in-world intentionality.

to begin with, zuko, while most recognized for his redemption, is not functionally the redemptive character™, he’s an example of the sacrifice, sincerity and labor that are inherent to anti-colonial action facilitated by an absconding oppressor, of the inborn empathy and active resistance that are needed for a system to change, and how you don’t just get there through platitudes or amicability. those thematic niceties are ofc inherent to his story bc he’s fleshed out and the things that inspired him thusly are too, but that emotional and relational floweriness is a consequence of his actions, not their driving force (being embraced by imperial idolization, by his royal family, was not fulfilling), what drove him is a fundamental and intrinsic ideological disdain for the imperialist war machine — it was ultimately, an abstraction of self – by acting in service of others, which unlike letting imperialist standards (e.g. chauvinism and parasitism and “honor”) puppeteer him as an instrument of violence, is ironically, an act of true autonomy and discernment. deriving your value from mutualism and earning one’s stature, instead of asserting yourself on others and letting corrosive and paternalistic worldviews (and by extension the selfishness & self absorption i.e “honor” innate to that) rule your destiny.

azula, however, is meant to be an inversion of that, is meant to reflect what happens when you reject morality or connection, instead letting control and superiority entrap you. she is explicitly a cautionary tale, which also comes with its own oversights and inelegant implications, but she likewise, greatly exemplifies the internal decay and loneliness inherent to alienating yourself through cruelty and stratification. and is it not possible then that a girl who has valued herself by what she can inflict on others, would then have the very sanctity of existence warped at no longer being able to dominate, no longer deemed the ideal? is infection not a thing that savages, before it spreads? in this way, azula is poignant.

as the more intimate face of imperialism, she is humanized in her parasitism, but it is not used to soften her behavior, nor is it used to hand her redemption. it is not smth that she is owed for the very coincidence of her birth or blood, its earned, and she did not earn nor want it.

so when a character that suggested the utter evisceration of marginalized groups, and thereafter tried to murder a personification of colonial survivor’s guilt and endangered practices, is consequently left to mourn her superiority, just as her father before her, its smth we sympathize with within reasonable boundaries. when her brother, who she abused, doesn’t martyr himself to azula’s interiority, instead laboring towards his own destiny and happiness, rather than the genesis of azula’s redemption, that is not inconsistency, it’s peace. its making peace despite the fact that some would rather rot in the entrails of imperialism than afford its victims value, would rather hurt others, and in turn themselves, than embrace healing and progress

— (plus inflicting his values may not in fact heal, when healing is not inherently uniform, and growing is not innately moralistic).

now, there’s a whole nurture vs nature angle to this as well and these ontological arguments are often touchy, yes zuko had ursa and iroh. yes zuko was forced to challenge his preconceptions, but zuko wasn’t diametric to these things, and the supplementations he did receive were always compensatory. zuko was deemed genetically inferior by ozai and thusly ostracized, hence ursa’s gentle partiality, zuko was then mutilated and exiled, and naturally needed supervision, which was provided by an overseer who mirrored his disgrace. if denied these safeguards zuko would’ve been denied even palliative care, whereas azula was perceived as needing none when she was revered positionally and familialy.

yes being pit against zuko was toxic and destructive but its not at all equivocal to the outright abuse zuko suffered. ofc the threat of it was implicit but those who abet or orbit abusers are not inherently under threat, and i think azula is characterized similarly. it's not fear that colors her outburst against ozai, nor coerces her silence, its entitlement and a sanctifying of hierarchies: “i deserve to be by your side.” - it’s respect that earns her silence and it’s the promise of respect that goads her acquiescence, the prospect of accumulation. this is ofc not a healthy mindset to have bc azula hinges her value on perfection, performance and status, and it's evident how the pressure of that collapsed her, but it was a pressure she had embraced before. it was her adeptness that ozai latched onto, and before the inviolability of it was challenged, azula took advantage of her nature, she weaponized it, and it was that eagerness that ozai exploited.

as viewers we process this as the objectification it is, but its reality, is a systemic natured dehumanization, ingrained in any culture that seeks to mechanize its constituents (which is all societies actually. we are all complicit). ozai thinks he is honing her as did his father and his colonialist forefathers prior, and herein is not abuse in the conventional sense, but rather a tradition of commodification that extricates skill and hegemonizes personhood, it’s an existential death necessitated by imperialism. it’s the death of agency. azula embraced this necrotic philosophy until she was confronted with the consequences of her rot, and *that’s* what she got. consequences. of which she was spared throughout.

it was never personal.

sure we get glimpses of her humanity, her vulnerability, but they’re paltry and muddied too by an undercurrent of duplicitousness. azula flaunts zuko’s impending demise, yet later, includes him in her outings. azula relishes zuko’s mutilation, but also fetches him from the beach house. she falsely welcomes zuko back, then implores he join her sincerely. and azula shares her pain from ursa yet spurns softness still, from MaiKo’s juvenile fondness to ursa’s own guiding attempts. azula is ceaselessly cruel to zuko, then spontaneously benevolent to him once he has seemingly subsumed the apparatus of colonialism. and gives him credit for killing the avatar, yet shows a sly inclination of his revival. this isn’t to insinuate that azula is ontologically evil or that she’s an unnuanced, mono-faceted individual. and she was a child. yet zuko’s youth didn’t spare him from the grotesque terrors of death and alienation, and it didn’t temper her perpetual antagonism and bloodlust, she is demonstrably self-serving, and this is evidenced throughout.

this is not to shame her in her passivity, nor an expectation that she martyr herself or even commiserate with her brother. rather, her downfall is a reaping of autonomy, made subject to the tendency of one’s active leanings. in which the choice of her sibling abuse exacerbated her societal abuse, all festering, foremost, the abuse of her own soul.

so, relatedly, is it not possible that a character of her cunning, who emotionally degraded her own sibling while gleefully championing his attempted imprisonment, before graduating to attempted murder by preparing to electrocute him while he was enfeebled on the ship, then later tried to kill aang, tried to kill katara, gloated abt intending to kill zuko at the air temple, injured iroh while making her escape from the gaang + zuko. also endangered and coerced ty lee into joining her, imprisoned mai, nearly killed zuko as he tried to save katara (which was likely her intent, or at least meant to cripple zuko’s composure — dishonoring the agni kai) — need i go on. azula’s benevolence is conditional, and consistently transactional, and so is it not possible then that she gauged zuko’s swaying allegiances against her own armaments - when faced with iroh, a waterbending master, an earthbending master with groundbreaking abilities (>_-), and the literal avatar, after observing their – plus aang’s growth, and having been cornered before, then decided rather, that having another asset, puppet, contingency plan, in her pocket wouldn’t hurt.

maybe she was being benevolent, or maybe, azula, who too sat in liberated territory and was gifted a chance for growth and morality, rejected that chance over the value therein, tenderized for extraction, parasitizing instead. maybe azula too, was acting in the imperialist tradition of exploitation. maybe she holds the capacity for compassion and care — which we have gleaned regardless — but the tangentials and hypotheticals of the world are often not what is actualized, and they are not a thing that can be affected. empathy is an active pursuit, and it is mutualistic, provisional — and so there is not a ‘who’ of azula’s redemption, but a what, the ‘what’ that is to be influenced. the personalization of one’s own form, of an internal receptiveness to commiserate with. bc as is, azula is merely a husk of colonialism, and being a husk of colonialism is meant to be sad, its deliberately tragic, unflinchingly pitiable. disorienting. life shattering. that’s what you’re meant to feel, it is not an inadvertence of zuko’s arc, and it is not a coincidence of the narrative.

she is a trajectory within herself, and her fate is a whole within itself. just as zuko labors towards rectifying his nation bc he needs to, bc there is value in dismantling colonialism, not bc the imperialists are owed it, but bc everyone else is. zuko also watches, not with apathy or boredom as his sister implodes at this, but with pity, with grief, bc azula manipulated herself a bed of corpses, and it is not him who must choose not to lie in it. when healing is intentional, is active, and zuko has chosen to heal. when azula cannot be handheld and shielded from her war crimes and systemic violence bc she wasn’t hugged enough as a child. zuko too lost a core sense of support mournfully young, and moreover at many points in his development journey, but the inclination that told him to speak up in the war room is doubly the same inclination that told him to afford jin affection, or help the earth kingdom family, and save his crew member in the storm, despite this very vulnerability catalyzing his banishment.

azula had friends and she had adoration and she had paternalistic validation, but contentment is unattainable when accumulation is your driving force. and the only thing left to cannibalize is yourself. with this, azula’s downfall was not only inevitable, it was natural, foretold even. and just as iroh doesn’t adhere to whatever deficits were sewn unwittingly into ozai, nor is it demanded — it also isn’t azula’s fallibilities that now damn her. azula isn’t the “bad sibling”, devoid of nuance, she’s the bad person™. despite it all.

katara has ptsd and toph is blind, sokka is a non-bender and zuko was deemed handicapped then maimed thereafter, instability is not azula’s punishment, its an externalization of her decay, and its meant to be unrelenting and all-encompassing, because abstraction and objectification are totalitarian afflictions. likewise, her condemnation is not a consequence of gender marginalization, tho the undertones of spoilt brat tropes and somehow unconventional, inevitably crazed women sully our palates. we taste bias even where it perishes, even as the fire nation is seemingly meritocratic, and unabashed, imperfect girls are idealized story-wide. from toph to azula herself, who may be conflated for a sanist archetype, yet challenges gender roles and infantilization in her prowess and militancy, as she’s sterile and calculating and impassive, where zuko is feeble and undermined, aimless, emotional. she is far beyond any trope, contrivance or embellishment, and doesn’t flourish or encumber zuko’s arc, as he equally isn’t made to for her’s.

azula is a force beyond zuko, until she can no longer deny him, and azula haunts zuko until she doesn’t, until her own crossroads loom, her contrived dualism of failure or victor, aggressor and victim. and she is forced then to reckon with loss. azula’s end is not a reductionism at hands other than her own, her fall is not zuko’s win, nor does the show frame it gloriously, there is no joy in her misery, no minimization of her tragedy, from the score to the tone, in her chilling, animalistic pules, azula languishes in her self-destruction, and it is one entirely independent of zuko. with this, we are shown azula’s nuance, the unthinking allyship she inspired, yet the coercion and dereliction it veiled. the camaraderie and kindness she offered, to warn zuko against visiting iroh, to credit him unduly, yet the threat it masked, to stay unadulterated, to stay unctuous. the vilification she detested, and yet the love she scorned for its fragility and irrepressibility. ursa doesn’t confirm azula’s worst fears, ironically, sadistically, any love she may have held haunts her, is nearly derisory. impossible.

and while no debate exists that ursa neglected azula, or that she failed her duty to nurture and cater her parenting to azula’s needs and interiority, the factors that complicated that, such as ozai’s own domineering hold, alienated mother and child from any means of cultivating real love, and thusly the influences azula did ingest were brutality, unchallenged in nature, entirely singular. it’s a self-flagellation, a ritualistic and sustained self alienation, amputating any vulnerability, all perceived pluralities.

so azula, despite not consistently having her perspective expressed, still encompasses the products of colonial rearing, and its destructiveness isn’t meant to be contested, sugarcoated, not with others and not with the self. fascism has denied us azula the person, and that may be a consequence of format, but it isn’t a consequence of the narrative. nor realism. we are meant to acknowledge azula’s complexities in the intentionality of their artful crafting, while not undermining that architects of oppression still bleed. one can see themselves in azula’s struggles, in the humanity of her endeavors, while not decontextualizing the tenets of her positionality, while not undermining that every character that claimed their redemption, did so by choosing another, by loving.

and azula’s journey to love, to embracing her own humanity, is a journey solely her own. this isn’t to say that she doesn’t deserve support or guidance or love or care, but that’s not the point. that wasn’t the intent of her character, and that wasn’t the thematic priority of the show. it's an extrapolation. bc some ppl suck and that’s ok. and there are ppl you cannot help and that is ok. and sometimes the ppl you love will suffer, and that has to be ok. bc sometimes you choose yourself, sometimes you choose what you can, and that is ok. it is okay to grow, and it is ok to move on. that’s the point. it is ok to spit out the poison. forgive any tactlessness therein, but it’s a tough pill, and its meant to have an aftertaste.

however, it's not cynicism that one is meant to internalize, and it's not intended to inspire fatalism either, although the symbology of azula’s toxicity is excised, the human struggles she encapsulated remain, the intimacy of our empathy persists, and it will color the fire nation’s vices and pitfalls. bc when one can’t just will away indoctrination, as we saw with both azula and zuko, and even still with paku or toph’s parents, as hierarchies are intersectional and multifaceted, and in the trials of decolonization there will thusly be azulas’, but there will also be zukos’, and pakus’, and sokkas’. all with their very intimate, equally human complexes to confront, unravel and rectify. just as there sit your perspectives, as there too exist my own influences.

and while zuko may merely be a beneficiary of the prevailing zeitgeist (tho imperialism explicitly requires non-consent lol), where azula once functioned, and he may be no more ontologically owed redemption than azula, or deserving love over her, when in the forever-war of subjugation, it isn’t abt ontology or criteria, nor logicisms or hypotheticals, its abt action. so zuko tries. and that resistance, that anti-colonial praxis, is a good start, it’s the most meaningful start. zuko isn’t king, or redeemed, bc he’s genetically “good”, its bc he tries. that’s the point. not how efficient he is or how proficiently he embodies apparatus.

reparation. that’s. the point. the triumph of resistance juxtaposing the tragedy of complacency. bc nothing is immutable, and so nothing is too far gone.

.

.

Besides… it’s only a kid’s show heh.

[andromeda-galaxy2877]

Okay this has been driving me CRAZY since I watched the movie almost two years ago so I gotta talk about this. I haven’t personally seen anyone make a post about it but I did see this in a fanfic once (I unfortunately forget the name) which just fueled the fire for how crazy this drives me, so here you go!

I know people love the idea that Leo was in the Prison Dimension longer, that maybe the dimension’s time works differently than it does on Earth. That is insanely creative and really cool to see, the Prison Dimension has so much potential to be explored but…what if it was even more plausible that Leo was in there longer? But it had nothing to do with the dimension itself or its properties?

So at the beginning of the movie, we see Future Mikey make a time gateway into the past to the day the Key got stolen, right? He stretches out his arms, and rips that hole in the fabric of time and space, and sends Casey to the past. And then, y’know, explodes, but that's besides the point.

What does Mikey do to save Leo from the Prison Dimension?

He does the exact same pose, the exact same technique. Of course this was probably just done for the parallel, but…what if Mikey can’t open regular portals?

What if that was another time gateway?

Obviously it couldn’t have been as much time as Future Mikey did, since Leo didn’t look any older. So what if he was in there for just a few extra minutes? A few extra hours? Maybe a few extra weeks, or even a few extra months?

None of them would have any idea. Only Leo would. If it were just a few extra minutes, no one would have any way of knowing. If it were a couple days or weeks, maybe Leo thought it took them awhile to actually get him out and didn’t realize it was the same day. (Sure he could’ve figured it out from the scenery after getting out, but like. He got beat up pretty bad, he could’ve been too out of it to realize)

It doesn’t really make sense to me either to have Mikey be able to make portals like Leo does. I adore Mikey, he is INSANELY powerful and I love all his crazy abilities, but Leo’s like. One thing is that he can make portals and teleport. It feels strange to me to have Mikey also have that. Like it’s cool, but at the same time it would be the EXACT same power then. 

So, in other words for all of this, oh my god I cannot wait till I’m done writing my current fanfic and can move on to the next one. 

[pepi-nillo]

just passing by to tell yall i'm taking a cinema elective class and i'd love to dissect all of beyond evil's camera angles and shots. my brain flashed BE scenes the entire time my professor was explaining the powerpoint i'm not even joking

the way we were introduced to the characters? those very first scenes? i love how juwon's first and last shots are close ups in a full circle way, but they're entirely different from one another. when we meet him he looks like a git in a bright blue sports car, and when we say goodbye he's smiling softly, almost tearing up, showcasing his character development in his appearance with his hair and clothes

also i think the night they found bang juseon's body is an amazing way to introduce dongsik, with the camera chasing him all shaky in the middle of the night and all, cause that's how the last 20 years have been for him 😀👍

i am, still, going insane over this show

[kprdotexe]

Hello. Are you going to write your opinion on Tagatha?

I have no clue how old this ask is. Imma be so honest, I'm only now learning how this system works but YEAH SURE I'LL TALK ABOUT TAGATHA

haven't touched the books in a hot year or so but i remember some spirit waking up inside me and making a google slide so i have guidance, let's allow my brain to catch up as i read this.

Disclaimer, I think the book should have ended at 3. I think any further kinda rips away the happy ending those three had so my opinions are that of the first three books.

Now, I enjoy a good enemies to lovers as much as the next person but my _god_ did I not like it with Tagatha at all. They just never seemed to really get each other??? The constant bickering was never really cute to me and maybe I just need to reread it, but it always seemed like their romance was very surface deep.

They were both kids— teenagers basically at this point in the story both in societies that glorified one side and villianised the other, so their opinions and way of going about things reflected that. Honest to god? Great set up, didn't like the execution. I feel like it's because it never felt like Tedros was even meant to be a love interest in the first book.

Tedros had a lot of good traits to him in the first book (heck, mans became my favourite character when I started writing him because I found him and his story really interesting) but he just never felt like a person to me at that point. It never felt like this love story that made me want to ship them, it just... set the stage of everything really well.

He was there to be an obstacle, at least to me! One of the many things Sophie had been dreaming of her whole life but then couldn't have. From a technical stand-point, I could only imagine Tedros and Agatha being together to further add to Sophie's anomosity and jealousy and further show that the girls were in the right schools.

Agatha was a princess, in her Good School with her Prince who she would then marry and make her a Queen. Agatha was meant to be the best, both because she obviously was and to give a good subversion of tropes, and Tedros fit the bill.

And maybe that's the intention and if so, okay! but it never appealed to me as all.

Their original relationship felt a fair bit rushed as well. While confidence in a person does make them more attractive, does it really just erase all the previous history they had?

Like okay, if we're relying on Tedros just being a himbo and focusing more on the pretty face (something I despise mind you) alright, fine but Agatha? She also lets bygones be bygones, forgets all the valid arguments and the reasonable dislike she had for Tedros? Seriously?

Their dislikes of the other were valid! And even when they did good things or things that kinda went against what they thought, how would they be sure y'know? They never talked. Never had a moment where they sat down and just tried to understand each other and that was highkey the worse part of it all.

I always thought it'd be something nice to have the two learn from each other, or rather grow with the other because they both have very harsh views on the other gender— based on upbringing both harsh and limiting but they always just fell back into the habit of just assuming the worse of each other. And maybe I'm too aro for this and maybe the book is just a product of the time (I still didn't like it then though) but I never got the arguing like a married couple thing.

Why is that cute? Like yeah, sometimes spending time with one another can have you learning new potentially annoying things about each other that you dislike but my god, not a scrap of understanding out of either of them? I guess that's how you can tell they're young.

The worst part of their bickering as well is they never actually work through a good few of their issues! The plot (or the Storian, I suppose) just moves them along to the next thing so they have to work together and thank god they can manage that at least.

In the grander scheme of things, it just sucks for the both of them! They're kinda just nudged towards each other by fate and just stuck together because the Omniscient Magic Pen said they were meant to be and they just rushed into it.

So, that's my opinion on them. I like them both! But I just don't ship them. Honestly, I think they belong with other people. (Maybe prioritise some healing from past trauma and deconstruction of some core beliefs before yall jump into relationships but that's just me.)

[hoppipolla]

Episode 10 — Sink (가라앉다)

One of the things that hurts the most about ep 10 and this specific scene is that all the events that led to Nam Sang Bae’s death acted as constant reminders of what happened that night during which Lee Dong Shik lost his former partner, Sang Yeop. Not only did Lee Dong Shik have to relive one of the most traumatic experiences of his life, but he was also about to lose the one person that saved him from drowning in his own pain.  

What Han Joo Won says on the phone to Lee Dong Shik are the same words Sang Yeop told Lee Dong Shik the night he died. Lee Dong Shik is all too aware of that and even though a wave of panic threatens to take over him, he forces himself to remain calm so as to make sure Han Joo Won stays safe. When Han Joo Won says he will wait for him to arrive, I can’t help but think that Lee Dong Shik desperately wants to cling to his words, to see them as a guarantee that the events of that tragic night won’t repeat themselves. Because Sang Yeop hadn't waited but Han Joo Won said he would. And then Lee Dong Shik hears Han Joo Won’s shaky breath on the phone and he understands that something made Han Joo Won unable to wait and so everything turns into a nightmare. Han Joo Won is now out of reach and from now on, nothing can shake off this awful feeling of déjà-vu. Death is lingering.  

And yet, when he arrives at the scene, nothing is as expected. The camera first chooses to show Han Joo Won and then Nam Sang Bae. The camera’s movements mimic what Lee Dong Shik is feeling: instant relief when he sees that his partner is still alive mixed with utter shock when he sees Nam Sang Bae’s body covered with a blanket. He refuses to believe it at first and looks at Han Joo Won instead. Han Joo Won confirms what he already knows which makes the ground crumble under his feet, forcing him to his knees. 

As if that wasn’t enough, my mind started to think about the contrast between Joo Won’s warm body against Dong Shik and the coldness of Nam Sang Bae’s now dead body. 

Dong Shik holds onto Han Joo Won’s warmth by grabbing his hand, by making sure he is still there by his side, unlike Nam Sang Bae who has left him. As he holds Joo Won’s hand, you can hear Nam Sang Bae’s voice, singing the following lyrics: “Without you I feel so lonely on this road. I feel so lonely. Don’t cry tonight, don’t cry.” But how could Lee Dong Shik do that? And so he cries while Han Joo Won hugs him tight and waits for his breath to steady itself.

[gillianthecat]

Joo Won looks v. good in this winter white turtleneck sweater and wool coat.

Apparently he's dressed up for his date with Dong Sik justice. And Dong Sik finally gets him in handcuffs! Hot.

This strategy was very clever, both in-universe and from a narrative perspective, and yet I did not see it coming at all.

(Joo Won seems to have been slowly easing up on his blacks as his slips further from his father's influence and moves closer to Dong Sik—first were his browns and greens on the fishing trip, and now he's gone to the full opposite. My color coding guesses: Dong Sik as blue-green, Joo Won as a black brooder repressing his true natural brown self.)

[liketwoswansinbalance]

Okay so I've got this weird question (fun to ponder tho)

How do you think Rafal would react if Sophie slapped him?!

(Both the prequel Rafal and the TLEA Rafal.)

And perhaps the prequel Rhian too. Although I'm mainly curious about Rafal (since he has more of a connection with Sophie, I think.)

Ahaha! This is absolutely a fun one on this very fine day, Anon. Here goes—

Because prequel Rafal most likely wouldn't have a connection to, a care in the world about, or any feelings toward Sophie, she could just be another student to him. And if she slapped him, a blatant show of disrespect to her School Master, I think his first impulse would be to send her to the Doom Room, or to react explosively, retaliating with sorcery. Maybe, he'd slam her to the wall. We've seen that happen with the pirates and he has a short fuse.

If he stopped to think about why she'd slap him, if he were in a more tolerant state of mind, say, as Fala in his disguise, he might be able to reevaluate whatever he said to her to have earned that slap. (Probably, he would have said something about how she's worthless as an unconventional, Everish, and superficial Never, who only cares about appearances, who is a disgrace to her side because she wants to find True Love, and who'd never amount to anything, I'd imagine.)

And, maybe, just maybe, she'd actually break through the ice with the slap, or by following it with some critical yet truthful jab about him, thereby reaching his humanity and inspiring some self-reflection on his part.

Yet, I do not believe Sophie reaching him or succeeding in cuing him into recognizing his flaws would be the most likely outcome. I'm not sure what other fault-finding he'd do with her, and we know he just loves disproportionate retribution, which is why I'm most inclined to say: torture it is.

⸻

TLEA "Rafal" is the more uncertain answer.

He does have feelings for her and has exhibited sadistic and masochistic traits. (Remember the moment when they kissed after Sophie returned? He seemed to actually enjoy his bleeding lip for some reason.)

So, this may seem controversial, but he might redden and could potentially feel aroused and/or disoriented/dazed and be unable to react, frozen in place, considering that she opposed his authority, and that he hasn't been contradicted by anyone in about 200 years.

Besides, regardless of whichever of these would occur, I don't think he'd be able to keep a clear head in this particular instance.

If that aroused thought process happened, I think he would try not to lose his cool or get flustered, and would flee the scene abruptly, leaving Sophie to wonder how he took the slap (and unfortunately, worry for her life and what could possibly be in store for her, if he came back).

I'm not sure if her slapping him (probably due to his daily proposal ritual, him telling her to address him as "Master," or something equally controlling and irritating to her) would change their power dynamic. But that possibility does exist.

If their dynamic changed, maybe he would yield to her more often than he already did in canon, or could involve her in more major wartime decisions because slapping him definitely would've exhibited even more of her force of will and agency to him.

If their dynamic went in the opposite direction, he might become paranoid that she lifted a hand against him at all, and try to monitor her more than he already did, exercising his authority over her more oppressively.

Another fairly realistic option would be their having a verbal argument or a shouting match. But, it could be one-sided, if Rafal just decided to endure some kind of berating from her.

He might just allow her to get away with yelling at him while he either defends himself, calmly, maintaining his composure without yelling. Or, he could take everything in stride, or at least silently, and listen to her, seemingly unperturbed or perhaps, wincing the whole time at her sharp tongue? Internally, he could be very pained by all the horrible, hurtful things she's saying, that he would probably deserve. Another route is that he could, strategically, agree with her and yield to her, to regain her favor, but that could be too transparent of him.

Eventually, Sophie would run out of fuel for her vituperative fire and halt her tirade against him, and she might be a little remorseful or blush, but he'd let it slide because it's her. And he needs her.

He'd probably accept any apology, half-apology, blame-shifting, or non-apology from her, just to stay on her good side. And if he were able to swallow his pride, he could give his own speech as he's wont to do, appear to understand and even empathize with her societally-oppressed, downtrodden Evil soul and heart, and apologize himself, like any good Evil "activist" would.

(Personally, I like to interpret TLEA Rafal as The Ultimate Evil Activist™. So, er, take that however you want.)

I think he'd hold himself back from violence against her if it crossed his mind because he probably has the self-control to know that aggression would only worsen his chances with her, no matter what satisfaction it could bring him in the short term.

Alternatively, he could seize her and initiate a kiss against the wall in the same forceful way Sophie did to him once.

If not that, shock is another option I can go back to. He knew, to an extent, that she viewed him as "all-powerful" even though he wasn't. Maybe, he'd be impressed by how brazen she was to slap him at all. He'd never admit that to her, I think, but he'd probably glow inside about the fact that he's (why not credit himself?!) influenced her enough (ahem, provoked her enough) to become more violent, even if it backfired against him. Plus, he could harness that violence of hers during the upcoming war and redirect, train, refine it, towards a more productive cause. Their victory. Because, that violence is also an indicator that his plan for her to embrace Evil wholeheartedly is succeeding, even if his parallel plan to court her is simultaneously failing. (Picture mental fist-pumping, like: yes, yes, yes, basically.)

So, there's a chance he'd remain expressionless. However, he could display shock on his face if he weren't able to control his emotions, or he could grin like a pathetic, love-sloshed idiot, much to her disdain or ire at not being taken seriously.

Whether or not he'd recognize and agree that he was in the wrong due to whatever he'd done to earn himself the slap, he could also try to make it up to her, whether his apology is sincere or not. I'm sure that in either case, he'd resort to personally bringing her (or materializing from afar) more and more opulent gifts—because, what more does he know about her that he could use to his advantage? Not a lot, to be fair.

Maybe, the gifts would appease her while he temporarily stays out of her sight, so she doesn't get mad at him again?

The least likely scenario, in my opinion, would occur if he truly didn't know whether slapping were a thing that "normal young people" did while "dating," and he took the slap as a sign of things going regularly, if not badly.

To be fair, he's watched Ever courtships for years (and he surely must've observed Agatha punch Tedros in the eye over the Gargoyle debacle), but this is Evil's Love—something unheard of, something never before seen. Should it be held to new standards? If so, what standards? What should he expect? What should he set, if the standards are up to him to determine? Should he really hope to imitate the Evers' love on every front? He's had zero successful past relationships, so how could he know?

If this happened, I bet he'd obsess over the meaning of Sophie's slap.

He might have to process it and puzzle over what exactly went wrong for days before he returned to set things right with Sophie. And if he did that, he'd potentially inadvertently abandon her in the tower for those several days, leaving her to wonder if she's going to starve there as her punishment, or die from "the plague," assuming he forgot about everything else and his obsession took hold of him.

(And leaving her alone could be a strategy itself, whether intentional or not, so she would begin to crave his presence again.)

This would also mean, he'd have deal with far more external complications because the assumption that he'd desert Sophie for a short period, the way he did to Rhian for six months in the prequels, would mean he'd also desert his war-training responsibilities, leaving the Old and New students to fend for themselves, and perhaps, to devolve into anarchy—if he's not quick enough to return, provided that his Deans failed to maintain order and discipline during his absence. In fact, I could see Aric actively undermining Lady Lesso's efforts, and encouraging vicious hallway brawls and overall barbarity with Rafal gone.

Also, his love was never "enough" for his brother in the past—that could easily spiral into self-doubt, even if his ego would protect against it. Then again, he's likely more sensitive to rejection if it's from her specifically since he actually values her opinions of him. I feel like he'd just brood in the no-longer-Blue Forest, sit there and do nothing but cycle that thought around and around, because, his plan, his plan that he's had for 200 years, his last hope, is currently falling through all around him, all due to one slap, and what if that means all hope is lost!? All that work for nothing. A terrifying prospect. What then? He'll have nothing if he doesn't have Sophie by his side.

I think he'd know better than to think that so quickly though. Dramatizing things just entertains me.

⸻

Now for Rhian.

Rise Rhian could easily say something about the inferiority of Evil, and that could've insulted Sophie indirectly because I don't believe he would, while still Good, stoop to insulting her directly.

He'd probably just assign her a benign punishment, like dishwashing duties, or confine her to her dorm, given that she is a student and technically one of his wards, even if she's a Never because in this case, she acted against him, not the Evil School Master. So, perhaps, it wouldn't turn out like it did in book 1 with Lady Lesso. If he had no jurisdiction over the Nevers though, the punishment could be the Doom Room, if the decision fell to Rafal. And Rafal would not give a student preferential treatment if they slapped his brother!

Now, if Rhian were sympathetic enough to Sophie and her ongoing suffering in Rafal's School, he could cover the incident up and spare her. Let's face it: while Good, he seems like the lenient, bleeding-heart sort. Maybe, to him, it'd be the right thing to do because she seems kind of fragile and vulnerable. And she's Everish, which could appeal to him emotionally.

Then again, Rise Rhian has poor judgment, so maybe he'd stall and overthink deciding on any course of action, and wouldn't know what to do with her. He might not even feel like he could bring himself to discipline her, and might just continually obsess over it, as the indecision eats away at him. And, in the moment, maybe, he'd just flush red and tear up a little because she's been so cruel to him!

Fall Rhian, on the other hand, would probably insult her and do it so scathingly well. If she slapped him... she'd probably be a dead girl walking at that point. Could he incinerate her? Very possibly.

Midway through Fall, Rhian might just assign her a demanding punishment or task, really, of the same nature (and severity?) as Midas'.

⸻

And that is all I have for now. If there are any outcomes I haven't thought of, feel free to tell me what you think!

[autisticagathasblog]

I remember being a kid and cringing at the parts of Nicola clinging to Hort. But looking at it now, that's how I would react if I met up with one of blorbos in real life. That is how everyone would react if they weren't in denial.

[kiwibirdlafayette]

I think Tom (and all his alts) strive for freedom…

OH ABSOLUTELY

I totally agree!! I think just like- the nature of Tom and his alts (who ofc meta wise were all written after him) is that they’re all dependent people of some kind, usually as the result of their circumstance of existence

Whether that be like in Tom's case because Dianite (or Mianite in Godswap, albiet different dynamic) is the one to grant him reanimated life, making him sort of indebted to him- or Cassell who isn't necessarily bound to his god moreso that he's bound to his creators (Flash and Ianite). Mot also sort of has that tether element to him because Dianite technically also saved his life from the creeper spore infection iirc but I think it makes the principle of freedom a little different to him esp. because it turned into like a business partners to unrequited crush to sorta lovers kinda thing depending on your post canon

All of this translates to me into their kind of devotion as champions, and again how that's like different from Ianitee flavored devotion (based on the guidance of Ianite and trusting in her judgement to lead them the right way so she can keep them safe), or Mianitee flavored devotion (Like knights to a king, similar to Ianitees follow orders for order, kind of follow his principles rather than specific instructions from him). Dianite being Dianite and the elements of chaos being how it is, Dianitee devotion is like being an extension of him, not via principles or guidance but by intent like being mercenaries in service of him while still being tethered in fear of punishment if its not done right. And maybe yknow they don't mind the implications that come with that title (Mot's case, for example) I think that's where that desire for freedom comes for- a want to have an existence that isn't tethered to their god

side note this could not apply as much to Dianite and Cass in Aitheaca because Dianite takes the Ianite role in terms of swapped god positions (and Cass runs off Dianite's guidance in the same way as Jordan would to Ianite) as Flash and Ianite are more similar to Tom and S1 Dia but bear with me xD

So kind of like extrapolating from that- their more specific desires for freedom are all sort of tied to Tom's need for spiritual freedom- I want to like refer to the whole thing of the Thauminomicon-y traits Marsh had mentioned before, and how Tom has 'fabrico', which stands for craft/repair. It connects in the sense of yeah he's a zombie he's stiched back together but. ok hear me out. Who would have stitched him back together? It was implied in an episode of Isles that c!Tom doesn't remember the Minecraft Project- (because they're memories he can't return to, just big empty void in his head), or when he was alive/ill from zombification, but he hadn't died yet. The person that arrives on Mianite with Tucker is that Tom, he is all that chaotic goofy Tom is, but at the same time he's partially someone else's creation, sewn together in intricate ways to be the bringer of chaos for the god he serves- but beyond that? His humanity. At his core, he's human, not someone who'll just take orders blindly and him striving for his freedom from that tether is refusing to deny the things that makes him alive. And I think the other alts like ya said follow suit, in Mot maintaining his humanity regardless of his ailment through choosing to care for Alyssa rather than being just a ruthless chaotic killing machine when Rux!Dia dies or in Aitheaca the way I want to write Cassell as someone who was born as a weapon for Ianite but loves collecting vintage human things and views his innermost self through music. The visual I kind of go to is the idea of Tom literally crafting and repairing the parts of himself that make him feel trapped by breaking them apart, burning it, adding new things when he takes the hands of friends and yeah!! And I think this sort of aspect could also tie into him becoming Mecha Dianite as well in finding freedom by choosing the person he is, and owning it

[raskies456]

learning python rn and nothing boosts your confidence like finding the bug while the person teaching you is coding live

[fionnaskyborn]

one day when i am not busy dying on the inside and out i will write an honest-to-god essay about how people are, for the lack of a better descriptor but simultaneously for the lack of a more perfect one, too edgy about five.