#Analysis and planning

[sitaram500]

https://netleon.com/blockchain-development

[mythalism]

You seem to be both a solavellan and mythal fan so maybe I won’t get shot for this question lol

Veilguard was my first game. I kept default settings, which meant solavellan world state.

I genuinely wonder: what makes people think Solas loves Lavellan? Or that if being with Mythal possible, he still would choose Lavellan?

He is so clearly not over Mythal. Last game is filled with references to their connection, she herself confirms that both still love each other. He is very protective of her while arguing with Elgarnan. Statues of them everywhere, him painting and playing songs about her, his very own room having statues of Mythal… In the end he discloses he does it all for her, refuses to stop after Lavellan’s appeals, and only does so after Mythal shows up.

In comparison, Solas describes what he had with Lavellan as “entanglement he selfishly grow close to” he both regrets and cherishes. Most of the romance is carried on Inquisitor’s shoulders, as she both explicitly tells what he means to her, reaches out to him and ultimately shares his burden of atonement.

I couldn’t understand why this ship was so popular, so I watched solavellan romance in DAI. And while it was beautifully done, having the context of Veilguard, I just keep seeing Mythal in every “we shouldn’t”/his face after balcony kiss/ultimately abandoning her in the end. It feels almost unfair and cruel for him to enter another relationship while his heart isn’t free. And to visit Lavellan’s dreams afterwards

What am I missing?

a lot of people would shoot you for this. but dont worry i am not one of them. be careful out there tho

i think the first thing i would say is that instead of watching a video, you would need to do play a full solavellan playthrough of the game if you do want to genuinely understand the relationship and why it is so beloved. im not sure which compilation you watched, but even one that includes all their conversations (rather than just the cutscenes, of which there are very few) cannot do the relationship justice. so much of understanding solas as a character and how he loves people, by extension, is wrapped up in how he reacts to the world at large, its people, its history, its institutions, and its metaphysics. assuming you're new to DA and wouldn't know this, solas's romance in inquisition is the shortest, most sparse romance in the game, and was added later in development. as a result, much of his essential characterization happens outside the bounds of romance content, but still adds deeper meaning, context, and depth to the relationship. even in terms of romance specific content, some of my favorite content occurs in banter that probably was not included in the video you watched. the solas romance is less a standalone love story, in the way many of the romances are, and more of a big juicy delicious cherry on top that helps you better understand the overall dragon age solas plot/cake you're eating.

theres a couple non-romance specific scenes that shed significant light on solas & mythal's dynamic from his perspective that i am not sure if you have seen and honestly i wouldnt recommend watching them because, again, i think you should just play inquisition and experience them in the proper context. but solas's companion personal quest is directly about his corruption at the hands of mythal, though we didn't know that until veilguard came out and contextualized it. and this quest pretty explicitly demonstrates how he feels about what she did to him: rage, beyond forgiveness, deserving of death. he also comments on her at the temple of mythal, and his comments are mostly neutral but verging on judgemental, and do illuminate that while he may have loved her, he certainly did not trust her. it is he who first clarifies that she was a goddess of vengeance, rather than justice. which i cant think about too long or else i'll get angry that they ret-conned it to benevolence -> retribution or whatever the fuck and erased the anders/justice/vengeance parallel... anyway

but i think more telling is his absolute refusal to drink from the well if asked, and most telling; how he fears for an inquisitor who drank.

he specifically calls mythal dangerous, arrogant, and fickle, absolutely refuses to submit to her will once again via the drinking of the well, and begs an inquisitor he loves not to do the same lest she suffer the same fate. he loves mythal, of course, but he also fears her. he is critical of her behavior and wary of her motivations. his love for her exists alongside his recognition of what she was.

another fairly vital bit of information is how according to trespasser (cole banter), solas used to wear mythal vallaslin until he burnt it off his own face when he developed his vallaslin removal spell. its how he got the little scar above his eyebrow. meaning, if vallaslin were slave markings, that solas was effectively enslaved to her. this is... pretty important context, obviously. but we never find out what it might have been like for him. veilguard.... didnt forget but rather deliberately ignored this because it wasnt willing to interrogate the issue of slavery which had been vital to solas as the leader of a slave rebellion. ugh. anyway.

this leads into my next point which is that veilguard really drastically changes solas's motivations to be far more mythal-centric than what was set up in inquisition/trespasser. we always knew something was up with them, and people always wondered if they might have been lovers, but veilguard goes in on this idea in a way that many people would actually call out-of-character compared to how he behaves in inquisition. veilguard itself though does present their relationship as rather complex though, in my opinion its one of the best parts of the game. the two moments that i chew on most frequently are the letter from felassan in mythal's weird little dragon pit that reveals how he made that island for her but locked it away when she was killed. and my ultimate fave is how she reveals that in the literal thousands of years she has been sitting there alone since her murder, many of which he was alive and fighting a rebellion partly in her name, and in the 12 years since he woke up from uthenera, he never went to visit her. not once. its giving jane eyre and i fucking love it. in this same conversation, she also says that when he killed flemeth, he wept. this, i think, is the crux of how he feels about her. he can barely look at her. he resents her. he will use her like he did anyone else. he loves her. he feels lost without her. he will never forgive her. he misses her. all of these things are true at once, and mythal seems to feel similarly; she loathes him. she understands him better than anyone. she resents him for betraying her and abandoning her. she calls him a pathetic little crybaby pussy ass bitch. she loves him.

i dont think anything you said in your message is necessarily wrong. i do think he loves mythal still. i think he always will. i think mythal is valid when she says that they have a bond that no one will ever understand. i agree he is protective over her. i also interpret their relationship as romantic though a lot of people do not. i just love drama. but i think you are misinterpreting his reluctance to be with lavellan as coming from his attachment to mythal as a person, rather than his attachment to his duty to what mythal represents - the world he ruined, everything he's ever done wrong. to say that solas would actually consciously choose mythal over lavellan if they were the final two contestants on the bachelorette is honestly, absurd. sorry. because actually he would choose neither, he would dramatically let the rose fall to the ground and run off to restore the elven people while chris hansen (felassan) dramatically runs after him. both women are secondary to him when it comes to the good of the entire world, and fixing what he broke. he has had plenty of moments to choose mythal and run away with her if he wanted. he has literally had her bertha-ing out in his crossroads attic for 10 years. he also literally does kill her via flemeth. which isnt to say that he wouldn't kill lavellan if forced to, i think he would. but the point here is that its not mythal vs. lavellan. its mythal vs. the world, and lavellan vs. the world. he should have chosen the world over mythal. he didnt. he created the blight instead. he destroyed everything. he cannot make the same mistake again, so he will choose the world every. single. time.

regardless, every time solas turns away from lavellan in the romance, he is not thinking "i wish you were her". he is thinking "if i do this to you, i have become her". prioritizing his own desires over the good of the world, stringing her along, using her as a tool to do his bidding (getting the orb back), are all things mythal did to him. he told her he would follow her anywhere. and when he begins to realize that lavellan would follow him anywhere (as she says in veilguard), he freaks out and has to end it. he knows he will have to continue to kill and cause destruction to bring his world back, so if he did allow her to join him in walking the dinan'shiral, or did anything other than break her heart and leave her, he would be corrupting her the way mythal corrupted him; a weapon to achieve his goal. but he refuses. in his mind, he already destroyed the world for love once; at mythal's behest. if he abandons the world for lavellan, he is destroying the world for love again, and making her an accomplice. so, every time he leaves her it is an act of love.

the way the inquisitor is the driving force of their romance is partly just... gameplay lol but its also consistent with the overarching theme of consent in a relationship that is fundamentally unethical and unequal. lavellan has to be the initiator or else solas becomes a predator. some would say he is anyway lol, but its clear much of the writing was designed to avoid this with the way he is constantly denying himself, backing away, trying not to give in. it might have been juicy, but for him to knowingly romantically and sexually pursue a young woman 10,000 years younger while lying to her about his identity and using her for his plans would make him an entirely different character. a character that would be a hit on romantasy booktok, but not solas. consent and ethics are so central to not only the relationship thematically, but to solas himself, and some of that is because of mythal and the inequality of their own past dynamic. solas is so passive in the romance not because he doesnt like this weird clingy bitch who wont leave him alone, but because he does not want to recreate the same dynamic that corrupted him into pride and uhhhh literally destroyed the world. i'll leave you with another essential quote that you may not have encountered yet:

Cole: It isn’t abuse if I ask! Solas: Not always true.

in trespasser, solas's duty to bring down the veil was more unambiguously to the elven people and the alleviation of his own crushing guilt, while mythal was collateral damage in his way and he used her like he would use anyone else (including lavellan loool) as a tool to achieve his goals. we see this when he kills flemeth and takes mythal's power. in veilguard they had to obscure this slightly to make him "less sympathetic", to use the devs own words. and they did this by shifting the crux of his motivations to mythal. i dont think his lap dog devotion is out of character, i adore it, but i hate that it came at the expense of his more complex and sympathetic motivations of saving the elven people and spirits from the damage of the veil. as a result, when looking at his behavior in the context of inquisition + trespasser + veilguard, i interpret it as mythal being symbolic of the destruction of the world at his hands. and not to toot my own horn but trick's interpretation that they shared on bluesky does support this, when they said that to solas, mythal represents the past and lavellan represents the future. ive written about his statement that it was all for mythal, and the tldr is that i think it is also supposed to be interpreted as symbolic and reflective of his psyche. but even if he did do it all for her, i dont think that necessarily negates his relationship with lavellan. he needs mythal to break the cognitive dissonance, alleviate his guilt, and release him, because she is the source of all of those things in the first place. lavellan could never break them because she is frankly irrelevant to those things. he is so caught up in his sunk-cost fallacy that he feels the only way is through. lavellan may not be able to break the hold the past has on him because she is separate from it, but she can offer him another path once it has been broken, a fork in the road he thought was straight; her, their future.

i think to say solas's heart is not free is a misunderstanding. he denies his heart's desire over and over, we see this clearly in the letter he sends to lavellan in veilguard that expresses how badly he wanted to put down his burden and stay with her. in his expressed reluctance to leave her in crestwood, how he refuses to lie and tell her it meant nothing. in "no matter what happens, i want you to know that what we had was real". his indulgent final kiss in trespasser. in "i will never forget you". its especially apt that you worded it this way and that vhenan means "my heart". if anything, his heart is the most free part of him. it is everything else that belongs to mythal: his body, created at her command. his path of destruction and ruin, which she set him on. his purpose, which she distorted from wisdom to pride. she, then, is the only one who can give it all back to him. and as soon as she does, he is free to prioritize his heart. and he quite literally does.

tldr; play inquisition <3

[anpanman95]

my new cinematographic trauma, everyone

[mrmeepsmadmind]

this photo fucking kills me bcs it's smoke swearing in his mind

' if this goddamn pig shirks us or pulls up with armed whites, i'm raining hellfire in five seconds.' Always on Edge

&& then there's stack thinking

'im rollin THE BEST cigarette 😸😸😸 !!'

(says that abt all the cigs he gets to roll for smoke and or anyone, for that matter)

[curtis-brothers-hug]

Look. Darry hitting Ponyboy is obviously, unequivocally wrong, and we shouldn’t make excuses for it or justify it.

But outbursts of aggression or violence can be a symptom of trauma and PTSD. And we really need to stop completely leaving that out of the debates of “is Darry a good or bad guardian/person?”

Something many in the fandom forget, despite it being a central aspect of Darry’s character, despite it being a central aspect of Pony’s character arc, despite Pony reminding us explicitly and repeatedly in his narration - is that Darry’s behaviour when we see him in canon is out of character.

Ponyboy could not be more clear about this. “Me and Darry got along before mom and dad died.” “Nobody in our family ever hit me before. Nobody.” The palpable shock of all three brothers, including Darry himself, after Darry hit Pony.

One of the main reasons why Pony finds Darry’s behaviour so distressing is because it’s new. It’s different. It’s unexpected. It came seemingly out of nowhere. He’s not used to it and it’s caught him horribly off guard. It’s yet another cataclysmic change that Pony’s had to deal with as an unexpected byproduct of his parents’ deaths. He hasn’t had a lifetime to inoculate himself against Darry yelling at him or hitting him, like Johnny or Dally or Steve with their parents. If Darry was an abusive person, Pony would be used to these behaviors. He might say something like, “Darry was always like this but now mom and dad aren’t here to protect me.” But no. Darry yelling at Pony all the time is out of character. Darry hitting Pony is out of character. Again, it doesn’t excuse the behavior, but it does raise alarm bells and give us some very important clues.

You have some acting violently in a way that is recent, sudden, and out of character. That’s the profile of someone who is suffering from trauma.

All three brothers suffered their parents’ deaths, but it’s safe to assume Darry was the one who had to identify their mangled bodies. Darry was the one who had to prepare those bodies for burial. Do you think Darry doesn’t see that image when he closes his eyes? Do you think he let Soda and Pony see that? If Pony had seen his parents’ dead bodies, he would have mentioned it. The whole point of the story is that even after his parents’ death, Pony doesn’t see the full extent of death and violence and dead bodies with his own eyes. Because Darry took care of it for him.

Darry is not only acting out of character during canon, but he’s most likely also acting on impulses that he can’t fully control and hasn’t been given the tools to do so. Mental health and trauma therapy were not really a thing in the 1960s, and even if the Curtis’ lived in the modern era, they still wouldn’t have the money and resources to access that help. Maybe a modern Darry Curtis could self diagnose through Google searches, if he ever found time, but that’s about it.

Not to mention the societal and material circumstances at play. You can’t insist that the story is about class and socioeconomics - which it is - but make Darry the sole exception, and act like his wrongdoings alone exist in a vacuum.

The whole point of Darry hitting Pony is that it’s the culmination of events, a breaking point, that is a direct result of their class and their poverty. Darry would never have hit Pony if he wasn’t at the end of his rope, not just due to their parents’ death, but all the socioeconomic conditions resulting from it.

Darry hit his breaking point when Pony came home late, not because he was mad that Pony broke his tyrannical rule, but because Pony breaking curfew could have disastrous, life altering consequences. He was worried sick not knowing where Pony was, but he couldn’t do anything about that, because if he called the police, Pony and Soda would be taken away and tossed in the system. Because Darry’s custody is constantly under threat, because they’re low class and poor. And he’s already running on fumes from the financial ruin and precarious custody that he’s had to deal with every minute of every day since their parents died. If soc kids lost their parents it would still be a tragedy and a trauma, but money and custody and college and future would not be a concern. They’d just access their trust funds and be adopted by any number of other wealthy relatives or family friends.

If anything, I think it’s damn impressive that Darry improves his behaviour toward Ponyboy as much as he does, considering he has no more resources or support system by the end than he does at the beginning. His efforts to be more gentle and patient and communicative are sheer willpower. In essence, he’s trying to override his triggers while still living in survival mode, and he manages to make progress. That’s hard enough for people who know those terms and have that vocabulary, let alone someone who very much does not.

So is Darry’s treatment of Pony wrong? Of course. Is he inherently a bad person? The narrative is very clear that he is not, that his negative behavior is an anomaly. Is there a hell of a lot of context to Darry’s mistakes that should be taken into account? Yes. Is said context literally the whole point of the story? Also yes. Would you do any better in his position - his exact position, including his age and living in his time period? Sorry, no. If you are an adult in 2025 who can’t bother to understand Darry, there is no way you would have done a better job of understanding Ponyboy or caring for Ponyboy if you were Darry in 1965. If you write off Darry as just an abuser, just an inherently bad person, I guarantee that if you lived in the 1960s, you’re the one who would think Ponyboy was just an ungrateful brat who needs a good smack to whip him into shape.

[jamtamart]

what will it take to be more than just a man

[a-realproblem]

iwtv + race, briefly dissected by intellectuals

[bellherald]

Law's Dressrosa Plan

Someone was complaining somewhere (I've forgotten now, I consume too much One Piece content) that Law's plan for Dressrosa was stupid and overly convoluted for no reason. Just kill Caesar and be done with it. I thought about it for a moment and sorta agreed at the time. It would quickly make it impossible for Smiles to be made without any problems or risk. Kaido would be very mad, Doflamingo very dead.

I had excused it as solely a facet of Law's character to be so harshly against taking a life clashing with his decision making. Law is a doctor, and we know that means he doesn't like killing. Even people who deserve it, he left Vergo to his own evil factory's explosion rather than finishing him off personally. Doflamingo points out that he would've just killed him rather than kidnapping him on the call with Vergo, so perhaps executions are a line Law will not cross. Not when Doflamingo's bullets are something Law remembers very well. Law is a sentimental man, after all. This is all still true but there is more to it as well.

I got to thinking about what Law's aims actually were. What had he wanted by making Doflamingo fall? Why go out of the way to maneuver Doflamingo into making a deal despite the danger of direct confrontation? A pincer maneuver of both the Navy and Kaido coming down on him would ensure he was screwed no matter what, sure—his two strongest supporters would be angry at him. Neither would be willing to intervene on his behalf. But Kaido was strongest in the world and could've killed him, involving the Navy was unnecessary. Doflamingo believes this too, shown not only in directly taunting Law about it later but because he was willing to even pretend to take the deal at all.

Then I specifically realized something. Law never wanted a fight to happen on Dressrosa. Caesar was the perfect bait to force Doflamingo into this position of not only losing his Warlord status but to come onto a different island where Law had told the Marines about the meeting. Assuming his plan went off without a hitch, Doflamingo would've been arrested on Greenbit. It was an assumed uninhabited island that would mean no collateral from the inevitable fight that would break out. He was saving up energy in anticipation of the fight here. Law specifically had the Navy show up on the island by giving Smoker that heads-up, and during this time Doflamingo's Smile Factory would also be shut down and no longer an option for anyone to use.

Even after his plan falls apart because of something unprecedented in the story at the time, Law still keeps the fight away from Dressrosa as long as he can. Unfortunately, Doflamingo brings him to it and from then on Dressrosa is turned into a battlefield. Law had tried to avoid that outcome from the start.

Law had gone out of his way to avoid bringing Kaido down on Dressrosa. He didn't want to, otherwise he could've made sure Doflamingo just never got his hands on Caesar again instead of going through with his plan.

When on death's door, an arm missing and threatened by the same gun that killed Cora-san, he is asked for anything and Law brings up two things. For Cora-san to come back to life and for Doflamingo to kiss the ass of every citizen here. Law cares. Law considers Doflamingo’s murder of Corazon to be one of his greatest evils and what upsets Law deeply and he then talks about Dressrosa's people too. He clearly cares. Fake-ass evil pirate.

Law's plan was unnecessarily convoluted if it was just to kill Doflamingo, but it was to stop him from being able to hurt the people Cora had tried so hard to save all those years ago too.

[drenched-in-sunlight]

I think to make sense of how Marika feels about her Omen twins, you need to follow a string of:

1/ how bad is Marika’s PTSD?

2/ how bad are people in the Lands Between in general feel about the Hornsent? The Hornsent is very much leading a whole empire that is hunting down anyone they deem inferior, even their own brethren. the fanbase tend to forget that people of Land of Shadow and Lands Between have every reason to already feel grievance towards the Hornsent royalty, even without Marika’s influence.

They were the Golden Order before Golder Order was even a thing (and they want that, btw, the Greatsword of Damnation skill description very much pointed out that the Hornsent royalty wanted to build their own Golden Order under the banner of the Spiraltree, they are just pissed as hell Marika wrenched that divinity from them and made it under the Erdtree instead).

And Marika, even as a God, was still just one person, with an ailing son at the beginning. If she wanted to consolidate power, she had to unite other people under a common cause. And I do think she promised them a world abundance of healing blessing and no death, and no one will suffer under the Hornsent anymore (sounds awfully familiar, isn't it. except that Marika was always gunning for revenge as well). Omens being shunned that badly can’t be just because of Golden Order propaganda, it’s also because people in fact did suffer under the Hornsent and still remember it too.

3/ Messmer, who is fanatical to the point of even though he admits the Tarnished has Marika’s sanction, he will still hunt them down because he considers them lightless / unworthy, who was very much around when the Omen twins were born, why did he do nothing about it?

I’m pretty sure he has no qualm about killing babies, he doesn’t gaf about his siblings chasing something doomed to fail, he very much goes extra miles to torture any Hornsent on his way. So who protected the twins from him? Who hid them from him?

1 + 2 + 3 = you have a Marika who still very much suffered PTSD from what her people went through, she thought she had escaped, she thought she had managed to build a world where everyone was free from Hornsent’s cruelty and always bathed in gentle ray of healing - something the minor erdtree in her village could never do, because there was no one there to heal. But now she gave birth to … Omens?

It’s a sign that whatever the Hornsent once did to her, it’s left a taint forever inside her (yes i very much believed she was under the Hornsent capture before she managed to run away, either via the Mimic Veil or other means). That she never really escaped that cold dark gaol. And for all of his belief in her sanctity, I think Messmer knew that too, that it’s a wound he could never heal, and now all he could do was to make sure she wouldn’t be tainted further.

And after distress, came fear. Fear for the Omen twins, even though she should hate them, she still loved them, she couldn’t help it. She carried them for months and had loved them all that time. That wouldn’t stop even when they triggered all of her trauma at once.

I think it should be noted that in the DLC there is an item that is the same as Omen Bairn item in the base game, which points out that Omen (or in their case, Hornsent) babies with overgrown horns meet a frightfully early demise. Morgott and Mogh both have overgrown horns. But they are alive! They are ! Very much alive! And grow into adulthood!

Who healed them? Who kept them alive? Who else but the woman who used to make several blessing flasks for her cursed firstborn, whose innate power is healing, right?

Before the Omen twins, Omen babies had their horns excised, causing them to perish, but once there are ones born into royal linage, exile is on the table? and again, they have overgrown horns, and still live to adulthood. if they were left to rot in prison, they would have already died.

Marika built a world with a promise that the cruel shadow the Hornsent cast would never befall there, but now… she gave birth for two of them. Her position as a God Queen was of no use if her people clamored for the twins’ death, her duty to them will always outweigh her personal feelings. But she sure as hell would not let her sons die, either.

They weren't exiled to faraway land, they were kept under the capital, presumably so Marika could visit and heal them if their horns caused them pain, the shackles were made so they wouldn't wander up above and ran into civilians that pretty much would call on the Omenkillers to go after them. it was a cruel existence, yes, but it's all she could do for them. she tried her best out of love.

That is why Godfrey never held it against her, even when it's apparent he loves Morgott (as he cradles his son's body gently in the boss cutscene). Godfrey knew she had done everything she could.

All of that above answers this 4th question: why Morgott was accepted as Lord of Leyndell, even went so far as having command over a whole army of the Night's Cavalry?

In the time of unrest, Omens were welcomed in the army, but they were distrusted, even their weapons have an enchantment on it so it could be taken back if they tried something funny.

But Morgott was trusted to command a whole army and held the walls of Leyndell for that long?

The only way I could rationalize that is after she was forced to separate from Messmer, Marika brought both Morgott and Mohg back to live with other demigods. A big part of the Erdtree's power force was in Messmer's hand, now that he was not there anymore, I imagine people would become more accepting of letting Omens join their rank. And because Messmer was not there, the twins would actually not have to deal with him. In a twisted way, when Marika lost her beloved firstborn, she gained the other two back.

Even though they weren't officially recognized as her child, but more as warriors serving in Leyndell army, Morgott proved himself with his tactical mind and combat prowess (while Mogh used the resources brought by his new position to secretly started funding his blood cult, and this is how I think he met Miquella and all the stuffs in that part of the lore happened. Like you can't convince me he built that whole palace and had all that fancy clothes without money or resources taken from somewhere else).

Then Godwyn died, and Morgott witnessed everything thereafter. and the rest of the story, we knew how it played out.

So yeah, that's my take on the timeline and story of the Omen twins. I know it doesn't have a strong official description backup as my theory on Messmer, but I feel like this makes sense with all of my other interpretation, and if you agree with those, they are what actually back up this one.

If I draw Morgott in the future, it'll also be based on this premise.

[agirlking]

Remmick is actually charming and capable of manipulation (he is also a bit off putting)

I see a lot of takes about how Remmick can't be suave, charming, seductive, so on, here's why I don't think they're entirely right.

(Though I agree he's not traditionally seductive, at least not when we see him in the film, he doesn't seem to focus on sex. But he can be seductive and tempting in another sense.)

Remmick's true strength in terms of charm and manipulation is not getting it right instantly, it's in his ability to rapidly adjust.

I think the scene with Bert and Joan shows this right away.

He stops using the word Choctaw when Bert starts using slurs. His manipulation wasn't perfect right away, but he adjusted almost right away. He sees how resistant they are and starts crying. People are going to be uncomfortable with someone they don't know crying in front of them, (unfortunately) all the more when they're a man, he was getting them to think less.

(Also he sees the robes and assumes that they don't have enough compassion to help someone out of the goodness of their hearts, which is a very reasonable assumption, and then he switches to offering money. Once again he is able to adapt rapidly.)

To touch on his limited background info; We know that Remmick came to America in 1911, and we know he lost his "family" on the boat, he was the only survivor. I personally believe that he spent the next 21 years isolated. He wasn't turning people, nor do I think turning people en masse was typical behavior for him.

He was leaving Ireland, he turned everyone on the boat (assuming none of them were older vampires who'd been with him for awhile) to hold onto his community, it just backfired horribly for one reason or another.

But if Remmick turned people like that all the time? There's no way he made it to 1300 without someone taking him out. Actually you can also look at his accent as further proof. He came to America in a time when he would absolutely be discriminated against for being Irish, and I think it must've taken time to hide his accent. If he was also super weird and off putting all the time on top of being Irish, again, he'd have constantly attracted violence. The fact he even put both the thought and the effort into faking an accent (which he's doing quite well at other than here or there where his real accent slips in) shows he's capable of calculation and manipulation.

I fully believe Remmick only turned Bert and Joan out of desperation. He approached the Choctaw (the real life Irish Choctaw history probably played a part in his decision making) wanting to turn them, the first major attempt he'd made since the boat, but they figured him out. He finally turns Bert and Joan because they were the only ones who opened the door, so to speak.

Then he gets to the Juke Joint, 21 years of isolation have him rusty, and he hasn't been around this particular community in that time I would bet. He doesn't have enough info to realize how strange he's coming across, and after seeing Sammie's gift and his desperation to see his ancestors he rushes into things. If he'd approached a group of people that didn't have reasons to be automatically wary of him then they'd likely have thought he was a bit odd but completely harmless and let him in.

(Notably, Cornbread liked the singing and so did Stack, and Stack was about to let him in but Smoke vetoed it. Even after, Stack gives him a chance and had Mary not... distracted him, Remmick would've gotten in. So it seems his manipulation isn't going too badly. Though obviously the money situation prompts a lot of that.)

When Mary approaches the group Remmick's already changed how he's handling things. His song is much more gentle and welcoming than the very creepy one he chose initially. He singles out Mary's specific pain, (I think this is key, he's better at manipulating individuals than he is massive groups. I also think he has some kind of telepathy or empathy because he seems to be able to sense Mary is grieving.), and her longing for companionship in her grief.

The way he speaks to her initially is completely normal ("were you lookin' for some fresh air, or?"), the only particularly strange thing is how Bert and Joan are acting (which I have thoughts about due to @cannibalfogdreams and I discussing this privately, but this post is long enough). When Remmick truly starts acting strange it's not because he can't act human or normal (he's been doing just fine in this conversation) it's because he's in a rush and doesn't need to do that. Mary's far enough away from the Juke Joint she has no chance of getting back to it even if she ran. He's already won.

I imagine if Remmick wasn't so frantic and if his goal had only been to turn Mary he would've taken his time and kept manipulating her and breaking down her walls until she was more inclined to listen to what he was saying. (I'm not swearing she ever would've fully bought into what he was selling, just that he was clearly succeeding at swaying her to some extent before he stopped bothering.)

Also why is it Remmick backs off when Mary pulls a gun on him? It's obviously not going to kill him, and there's reason to think their ability to feel pain (minus coming from something like garlic) is muted. Stack tells Sammie in 1992 he wouldn't hurt anymore, and Cornbread seems to be doing fine even with a ton of his face missing, same for the gentleman who got sliced up by the guy using loaded dice. So I don't think it's because a gunshot would be that painful for him.

I think it's because someone could've heard her fire and that would've made them suspicious of her and even more suspicious of Remmick and co than they already were. That's calculating.

He not only backed off and wiped his face when she pulled the gun, he waited until she fully turned her back and was walking away to attack and turn her. He could've just grabbed and bitten her then, but she probably would've fired a shot and/or screamed.

Later on he still attempts to convince everyone, but when Stack and Mary show up he lets them basically take over, and I do believe that is their own words, they are in a hivemind but their own self is not gone, just influenced. (As mentioned in a previous post I think they're basically high.) And it almost works! Stack nearly gets Smoke out the door. He knew to step back and let the people that know those in the Juke Joint take over the attempts at convincing.

There's probably more I'm forgetting but this has been bugging me a lot. Just because Remmick acts very strange sometimes doesn't mean he can't be suave and charming, it just depends on the situation, how much he wants to be convincing, and how much information he has.

TLDR: "Remmick is weird" and "Remmick is a capable, charismatic, manipulator" are takes that can coexist.

[champion-of-love]

alice has to go home. that's part of the story. that's the happily ever after. alistair knows this. knows it from his grandfather who went through it. knows it from his mother who did the same. knows it in his bones. that one day's going to be the day he leaves wonderland, for good.

bunny knows this too. knows that as soon as he follows her down that rabbit hole for the last time, the clock is going to start ticking for when he has to leave. so she steps back. tries to stop herself from spending all her time with him. from laughing at his jokes. from loving him. because she doesn't know if she can survive the heartbreak when it's time for him to leave.

the cheshire cat knows this as well. that it's supposed to happen. that it's because of destiny. that it's all bullshit. it's this anger that floods her senses and pushes her to steal that damned storybook of legends. the book that they signed on legacy day. the book that sealed their destiny. the book that stole alice from her.

so she sends ever after into a topsy turvy with a little curse. so what. maybe it's boredom. maybe it's pettiness. maybe it's sending a postcard to an old flame up above asking remember me?

cheshire remembers when she saw little alistair, the spitting image of his mother, for the first time in wonderland. the mad hatter was accompanying him, of course, as his mom couldn't. kitty asked if she could go meet him, but cheshire didn't react at first. her feet were glued onto the floor as buried memories came bubbling to the top.

her love had come back to haunt her.

[boinin]

...how did Isagi end up like this?

On one hand, there's a clear difference between these two Isagis. The Neo Egoist League and Kaiser did a number on him, particularly during the last match. He's reached new heights of egotism.

On the other, cute or not, Isagi was showing signs of megalomania even after the U20 match. A belief in having changed the world with a single goal? Not the conclusion of an average teenage boy.

But even before that...

...the story showed that he's always been a little too into winning through subjugation.

In short, Isagi's always been this way. Blue Lock simply made him aware of it and gave the monster an environment to thrive in.

[gayofthefae]

"I should have explained myself because maybe then Eleven would have taken me with her, but - I don't know. I didn't know what to say."

That isn't what he said the first time.

"I should have said something. And maybe if I had said that thing, Eleven would want me there with her."

The sentiment of him being with her and knowing/ensuring she's safe is consistent. But he isn't actually repeating himself. There's no need for him to as a person and as a screenwriter, repetition should DEFINITELY be cut.

He's changing. He's brainstorming. He's starting to consider other angles of the "could have"s. The "what if"s.

He starts with "what if I'd just forced an 'I love you'". But I think he likely settles on what we can logically deduce for ourselves in that situation - "I made the right choice prioritizing with what I knew of the consequences at the time".So he changes. He changes.

He changes to "I should have explained myself".

"Explained myself" is NOT the same as "said that thing" and that is VITAL.

I should have just sucked it up and told her I loved her if it meant keeping her safe.

No, I did the best I could with the information I had

I should have told her the truth. Maybe she would have taken it better if I had just told her that I don't love her but it's my fault, not hers. Now she thinks it's hers and that I'm hiding it.

And, perfect timing, Will comes in with (in Mike's pov) "It makes sense why you didn't, though, don't beat yourself up. She was gonna get hurt either way and everything would have been a risk as to how much."

And Mike nods. And the next time we see him, he's saying

"Will she still even want me in her life if I can't give her the love she wants? All I can do now is to make sure she knows it isn't her fault, that's the selfless act I can do for her, but if I confess I don't love her, what other use am I to her? Will doing what's best for her by telling her it's not her fault, it's mine, instead of continuing to lie make me lose her?"

He says "explain". He starts with "maybe I should have changed the 'what'". Then he shifts to "maybe I should changed what she thought of the 'why'". Ironically, his question in the van once he's come to that conclusion is "how?".

The first pitch he makes is "maybe I should have told her I loved her" and Will says "don't worry, you'll have another chance", and he turns away and introspectively reacts with

aversion.

But then he says "maybe I should have just explained the real reason behind my actions instead of denying them all together" and Will says "that's a scary thing to do. It's a hard decision. You're doing your best", and he turns away and introspectively reacts with

understanding.

Honestly, being understood. And sometimes that's what you need to find understanding. He's been confused this whole time, that's been his whole thing, but he looks like he's starting to piece something together now - finally. Will put his own feelings into words for him to hear out loud so could finally get them and get them in a validated way.

Instinctively, he knew the first one was easier but wrong. He didn't want to lie to her. Both times Will said "if that's what you want to do, I believe in you", but only once did he agree. He knew it felt like the wrong choice the first time and you can see it. The second time was a new choice he was considering.

And you know what? While we're here. Telling her he loves her: aversion. Telling her the truth: understanding and drive. What happens next?

He expresses "what if when I tell her the truth, as I've decided is the right choice, she appreciates it but doesn't need me for anything else beyond that?" And Will says "she'll stay. You got this.", and he reacts with

Comfort.

He didn't know what to do. Then he did, but he was scared to do it. Then he wasn't so scared anymore.

He's thrilled to see her and forgets for a second but - much like El with Will on roller rink day - is reminded by seeing Will that now that she's actually here, it's real. He's committed to his actions and they're impending.

But he's not so scared anymore. Bravery, though, doesn't mean no nerves. He's hesitant and not happy looking when he talks to her about it first. He tries to lighten the mood - "the whole world went to shit and everything" - and he's watching her reactions like a hawk. It feels like less of a risk now enough that he can do it, but not so little that he isn't scared. Either way though, it's worth the risk for her to know the problem isn't her.

He didn't know what to do. Now he does. He was scared, but he's not as much anymore. Not too much to do it. They're interrupted. Okay, oh well, he'll find another time.

And now to break your heart:

Mike had an idea, Will said it was good, but Mike met that with aversion.

Mike had an idea, Will said it was good, Mike met that with understanding and agreement.

Mike was scared, Will said he had no reason to be, Mike met that with comfort.

(I'm sorry) Mike was scared for El - unrelated - and looked to Will for comfort - as he had every other time - when he tapped him on the shoulder, Will said he should tell her he loves her, and he reacts with

anguish.

This was not Mike's plan.

This was not their plan, so he thought.

Mike's reaction tells us everything about what he knew and what he meant for what's to come. This was not what he meant. That was not what he was going to say. This was not his plan.

And there's that part of you too that always wishes to go back to semi-ignorant bliss. Even if just panicked confusion. Because wasn't it nice: when telling her you loved her evoked this

And not this

Wasn't it nice when you knew...just a little less?

Wasn't it nice, in a way, when you couldn't see the happy ending so clearly?

Don't you sort of miss - when you couldn't taste it?

also fuck it for just for that list bit and the bridge of this song here's my illicit affairs edit linked because "you showed me colors you know I can't see with anyone else"

[raayllum]

I get that in general a lot of kids shows do utilize the protagonists ('good guys') in ways where they're supposed to be role models, particularly because some do have a "lesson of the week" where the character does bad things, then clearly learns and explains what they should've done instead by the end of the episode.

That has just... never been how TDP has operated, and I don't get how and why people think we're supposed to take what anyone does in the show as being unilaterally good or evil. Particularly in arc 2; any moral simplicity that was hanging on by a thread in arc 1 has been taken out back and shot numerous times by now.

TDP very rarely calls anything Evil or Good, and when it does, it's always filtered through the characters' biases, and rarely does more then 2-3 characters ever have the same opinion on something for the same reasons. Soren and Rayla, who have inverted character arcs, are some of the only characters to ever use the term villain / good guys or bad guys, and are two of the most staunchly black-and-white thinking characters, heavily to their detriment, I might add, in terms of coping with the increasing complexity of their lives. They have cognitive biases. They're not always right, and are frequently wrong. This is true for everyone in the show.

The show refuses to condemn murder, indirectly and directly condemns the expulsion of humans from Xadia routinely (Evrkynd being a city for everyone, Ezran arguing with Karim, who is the most wrong about the most things), and shows a variety of viewpoints on all things.

The show understands that the choices people make—whether the same character trait is a flaw or a strength—as well as 'moral' choices are all circumstantial.

Are you wrong to burn people alive? Mostly yes (2x07, 6x08) but also no (3x09). Are you wrong to kill people? Sometimes yes, sometimes no, sometimes whether it's 'wrong' or 'right' doesn't even factor in. Are you wrong to use dark magic, or use the dangerous Staff of Ziard, or coin someone and condemn them to a 'fate worse than death'? Sometimes yes, sometimes no. Is lying or hiding the truth to protect someone wrong? Sometimes yes (1x06, 2x03, 3x03, 5x01, 7x04, 7x06) sometimes no (1x02, 2x03, 6x06, 5x08, 7x08).

Are you doing the right thing?

Do you have no choice? Is that true, or is that just what you think, or how you rationalize it yourself?

When is it right or cowardly to leave (Viren, Lissa, Rayla, Callum, Ezran, the Cosmic Council, the offer made to Karim's troops)? When should you stay? When do you decide to share resources (2x05) to your potential detriment or withhold them in the name of protecting yourself and your own people (Xadia and magic)? At what point(s) do you prioritize your own pain and grief, or someone else's (i.e. the Keeper vs Callum vs Ezran)? At what point is someone too dangerous or 'too far gone' to keep alive (Runaan about Harrow, Ezran about Aaravos)? At what point do you decide someone cannot change? When do you refuse to change (Karim, Terry) who you are no matter what happens, and when do you decide that you must (Ezran, Soren)? When is it wrong to use illusions to trick someone (3x09 and 7x06) and when is it more reasonable (2x03)? When should you be willing to sacrifice others (Rayla with her family, Runaan and Rayla with Callum, Soren with Viren) and when should you refuse? When should you sacrifice yourself, and when it is wrong to? Did you betray them, or did they betray you, or both (usually both)? When should you betray or stay loyal to your family? What is the right thing to do?

The show, tbh, doesn't know, at least 90% of the time. It's not interested in knowing. It's interested in exploring. That's the whole point. At most, it says you should work towards harm reduction, but what constitutes harm, and what peace looks like, is also something that greatly differs for all the characters.

Rayla is willing to sacrifice the love of her life, Ezran is willing to create weapons of mass destruction and wield one, and Callum used a torture spell on someone when he absolutely did not have to. The idea that any of the protagonists are meant to be paragons of unblemished virtue who are always 100% right, or that any of the antagonists do not canonically have a good point of contention with anything that's happened and are always 100% wrong, is reductive to everything the show is and explores, because it is Quite Literally not what the show does, ever tbh.

They literally spelled it out this past season as a core theme; I don't think they needed to have a character directly point it out every time a main character did something that was Kinda Fucked Up or Complicated But Understandable to know that the show knows it was Canonically Fucked Up or Complicated But Understandable.

There is not a single character or action in TDP that is always right, and there is not a singular character or action in TDP that is always wrong. Hell, even narrowing it down to "this is 'right' or 'wrong'" feels counterintuitive because it's so subjective within the narrative.

Every choice the characters make is often well reasoned, aligns with their values and world views, and fits into how they work through problems. Every choice has benefits and consequences, for them or for others. That doesn't mean it's Right for everyone involved. That doesn't mean it's Wrong for everyone involved. That's what makes the show interesting. Everything has nuance. Everything has Complexity. I'm not interested in a simplified version of TDP. I'm interested in the show as is.

I hope you are, too.

[midnight-in-town]

Long dead contractor or fake one ?

Thinking again about this guy ^ who probably isn't the Polaris Star Lord (because Polaris from ch169 doesn't have the similar neck tattoo thingy).

Crack theory from my insomnia : the thing is, we know UT checked Seb's cinematic records during the Campania arc and thus knows what contract Seb made with Ciel (i.e the 3 rules from ch138)...

...the remaining question though is whether he saw more than what we readers saw of Seb's CR.

When it comes to humans, their cinematic records start at birth and end at death. However, we don't know enough about demonology in Kuro to be sure

whether Seb's own CR only begins at his current summoning,

or if he has centuries old CR depicting his entire existence as a demon and thus all his previous contracts.

Depending on the answer, this means UT could have seen just Seb's existence since being summoned by our!Ciel, or also past contractors. Noteworthy, when Grelle briefly checked Seb's CR during the JTR arc, she too only saw moments of Seb's "life" as Ciel's butler.

So, if UT had access to Seb's memories of previous contractors, then he could have somehow found this guy and brought him back to life (somehow finding his corpse where Seb ate his soul, idek).

However, if UT didn't have access to Seb's CR before the current summoning and contract with our!Ciel, then the question remains : who is this guy from the cliffhanger and how did he end up involved ?

Considering UT's goal of separating Ciel from Seb...

...if UT had no way of finding a previous recent contractor and bringing him back to bizarre doll state, what if he faked one ? After all, he doesn't have to play fair when it comes to fighting against a demon.

Seb's contract with Ciel is based on the 3 main rules they discussed during ch138. Namely in that chapter, Seb and Ciel discussed the matter of possible betrayal and...

...while Seb said that multiple contracts were against his aesthetics, UT could have taken a corpse and altered his CR (by adding fake memories, like he did with the Campania BDs) to trick Ciel into thinking Seb broke their agreement of no multiple contracts, thus rendering the contract null.

This would explain the whole "would you like me to give you a hand ?"

And "then why did they welcome us ?"

Now, for anyone who might come at me saying "but Ciel would never believe such a thing" : I understand the feeling since Seb is indeed too stupid to betray his own aesthetics, but I beg to differ considering the Green Witch arc, the "90% serious" incident and mostly the fact that...

...Ciel doesn't trust that Seb has his best intentions in mind, far from it.

It will take convincing arguments for sure, but UT is not some ordinary villain and, again, the Nectar Springs Hotel staff was expecting them. Lastly, considering the theory that UT could be Cedric K. Ros, Frances once said in ch14...

...and I think it could apply to UT as well.

I mean, so far, the Campania, Weston and Blue Sect arcs saw UT winning every time. As for the current investigations, Mey and Bard were successful but Finny & Snake weren't, meaning that if Ciel & Seb lose, it's going to be a tie (which would keep real!Ciel longer in the story).

Maybe this arc will highlight that Seb was right in ch14 and our!Ciel can't win against UT and his brother if he doesn't add more Phantomhive brains to his side (aka Frances becoming some sort of mentor like Seb mentioned) :

TL;DR I don't know if Seb's past as a demon before the contract with Ciel could be relevant to the plot, so I wouldn't put it past UT to create a fake contractor to try and make the contract with our!Ciel null.

UT doesn't know how to mourn but he does know how to hatch conniving plans.

[blind-alchemists]

the thing with Solas is that he's proud, and wise, and clever, and cunning, and regretful, and guilty, and honest when it'd be so much easier to lie, but while canon tells (and shows) us all of that, it doesn't tell us that the other deep-seated emotion that drives him is shame.

shame about what he did, shame about what he's going to do; shame about what he was, shame about what he is; shame about killing his friend; shame about viewing the people of the current Age as shadows; shame about not knowing better; shame about not wanting to know better; shame about a befriended/romanced Inquisitor, shame about the friends he made; shame about hiding in plain sight, shame about not telling the truth; shame about making the same mistake twice, knowing how it'll turn out; shame about his outbursts, shame about not being good enough; shame about feeling attached to the current Thedas, shame about not feeling attached enough to stop; shame about not having anything to be proud of anymore.

I was recently struggling with a scene that didn't go the way I thought it would, until I realized that neither pride nor guilt nor regret nor wariness was the the real motivation; they were just the result, the display, the cover: the real motivation was the shame.

and then everything kind of clicked into place, precisely because pride is such a focal point of Solas' character - if shame is a deep-seated emotion, it contradicts his pride, his wisdom, his intellect; if shame is a deep-seated emotion, it fuels his regret, his guilt, his determination; if shame is a deep-seated emotion, it's the one thing he's actually managed to conceal. (then again, I wonder if he's even aware that what he's feeling is shame.)

and, as I kept thinking about it, it kept making sense: to be ashamed is a grave sentence for someone like Solas, who's entire character revolves around his pride and his wisdom and his regret. he regrets enough of his mistakes to be disappointed, unsatisfied with himself, to be uncomfortable with what he's done; he's wise enough to know that he has no logical reason to feel ashamed for half of these things and yet even more reasons to feel ashamed for the other half; he's proud enough to loathe admitting to this shame. he gets wary if you poke at him, defensive if you manage to get to close to this sore spot, upset if you keep at it. his pride won't allow him to admit to his shame, and his wisdom won't allow him to not admit to it, and his shame won't allow him to speak about it, and that keeps him stuck in this vicious cycle.