#Because /she/ is the most interesting and compelling of the two characters

[clerifik]

Major Character Dissection: Alastor (Part One)

(MAJOR SPOILERS)

Okay. I've been working on a major story idea, and In order to properly plan it out. I need to figure out Alastor as a whole. I need to dissect the absolute shit out of him, and you're coming with me for the ride.

One: Alastor's Deal Making Tactics:

Alastor is a master manipulator who meticulously plans out all of his deals. He knows exactly how to get under peoples skin and he knows exactly how to gain a sense of false trust with his victims. He uses the same manipulation tactic on all of the victims shown. @vaggietheangel came up with a really cool theory that I'll elaborate on.

Alastor knows how naïve poor Charlie can be when it comes to trusting others. Even after all of the warnings she has received from Vaggie, she still manages to make a deal with him. His offer is small, there is no harm done to her, but it still is a deal that furthers Charlie's trust with him.

I also find it quite interesting after all the explanations Vaggie has given of Alastor, all the warnings she has concluded to at just how dangerous he truly is. She makes a deal with him herself. It's minor, but it is still a leg of trust that he is offering her. It just shows you how masterful Alastor is at getting under peoples skin and manipulating others to get what he wants.

With Husk, he most likely strategically gained his trust. Offered him small deals for Husk's gain, eventually added more risk to the offers, until he meticulously had Husk wrapped around his finger and he knew that he wasn't going to be able to get out of it.

(This connects back to something @artykyn said and I thought it was interesting too.) This all goes to show that Alastor knows his way around deal making. He knows the ins, the outs, how to bend the rules. He is a skillful manipulator that knows how to word his deals in a way that'll make sure he's always the one that wins in the end. But Alastor, knowing all of the loopholes of deal making, can't even find a loophole in his OWN contract that he made with whoever gained his soul, and we all know that it is RUINING him because he craves power. He needs to be the predator in every situation. This is CRAZY because it just shows how much power they truly have over Alastor, and the fact that there is someone more cunning than Alastor with deal making is just terrifying especially after everything that we already know about how skillful he is.

It also offers a further question: Knowing Alastor's morals, knowing his absolute distaste for others that are more powerful... what compelled him to not only sell his soul, but sell his soul in a contract with NO KNOWN LOOPHOLES?

Two: Alastor's Personal Contract:

There have been many theories floating around about who owns Alastor's soul, but my personal favourite one is the Lilith theory.

And yes, of course there is the "both Alastor and Lilith were gone for the same amount of time" theory. That's a good point, but I believe it goes much deeper than that.

Lilith has been described in the show as someone who absolutely refuses to submit to the will of others. She is always the one in control. She has also been described to "empower demon kind with her voice." This may be a slight stretch, but does that not sound like gaining the trust of others? Offering trust in exchange for something larger? Alastor's tactic is manipulation; giving people a false sense of hope. Does that description not also seem like it could apply to Lilith?

I'm not sure how accurate this information is, but I heard once that Viv confirmed that Mimzy's explanation of Alastor was accurate... so I'm using this to my advantage when I say this:

Mimzy said he was dismissed when he first manifested in Hell. He was essentially powerless and grew his power almost overnight. Realistically, the only possible way that this could've happened was if he made a deal with someone much more powerful than him for status and power... (Lilith). She let him have his fun. She let him kill Overlords to gain control, she let him build his name up, get used to deal making and learn the loopholes of it. Lilith gave him a false sense of control. She gave him decades of time to build his experience, before she really let her fun begin with him once she found out about Charlie and the hotel. Charlie was shown to be calling her mother around the same time that Alastor gained a sudden interest in her and the hotel. Odd coincidence If I do say so myself!

…What if Lilith's status in Heaven was due to a deal she made herself? If she can keep Hell under control... she can remain in Heaven? (Now I'm not sure why she'd want to be in Heaven, that'd be a whole other discussion post) Lucifer has stated that he has tried something similar to what Charlie is attempting, and he continuously was dismissed. If that's the case, Lilith was/is his wife, and it wouldn't be hard to notice Charlie attempting the same thing she watched her husband do. This would obviously cause a disruption in Heaven, so she calls upon her puppet that she has built from the ground up; Alastor. She sends him to the hotel to be her eyes.

I don't believe Alastor's powers are his own either.

I became more open to this idea after seeing @anthurak’s post about the same thing.

First off, aesthetically, the Overlord's powers match them. Valentino's are pink pheromones that move like air. It's sultry, It's sexy, It's everything that Valentino embodies. Vox has the ability to hypnotize people into listening to him, and he can manipulate other forms of technology. He is a literal television so yes, this too makes sense.

Alastor though? His entire character is composed of shades of red so why is it when he is using his powers, they're neon green and appear to be almost electric? Plus the tentacles? He is a deer, and there is no indication that he would have tentacles simply due to that fact It makes no sense. Whenever he uses his powers, It looks like he's throwing on an extension of himself. It doesn't seem like Alastor.

I'd also like to point out the green stitching along his mouth during the scene where he's making a deal with Charlie. A lot of people have said that it looks like they're keeping him smiling... but I think the opposite. His smile looks jagged almost like it was torn open, I think the thread is just a connotation to how he has to keep his mouth shut about his deal. I think Alastor uses his smile as a grapple on himself. He's losing control, and the best he can do is put a smile on and play a character.

The chains during the scene where he intimidates Husk too, aren't connected to him like they are shown to be with other Overlords... they're connected to his staff. This leads me to believe that the staff was given to him from (in this theory) Lilith. This links back to my, "Alastor is Lilith's eyes" theory, especially considering that there is an eye on his staff. That could be Lilith's way of spying.

This would also explain why Alastor suddenly became so powerless once it was broken during the Extermination scene. Alastor is nothing without that staff. It's his connection to Lilith, to his powers. His staff makes or breaks him. It would also explain why Husk seemed to have thought he was out of his contract. If all the contract powers are held through the staff... Did he technically lose them all?

Almost dying to Adam fucking terrified him too and it's not hard to see that. He spent years of being untouchably strong and easily overtaking everyone to the point it made his ego so large he thought he could take on THE Adam. He realized he is practically just a Sinner without his staff and powers. His deal makes him, but it's also going to break him and god that's insufferable in his eyes.

PART TWO LINK:

[skiitter]

If you ship Dramione and don't put the respect on Hermione's name that she deserves, simply do not ever fucking interact with me.

[ozzgin]

A nice character with a yandere split persona. The Yandere persona was born out of the abandonment of the character by a loved one, maybe mom. Did he kill her just so she could stay? Maybe. Only the Yandere persona knows, the character is oblivious, he just knows his mom left him. But he oddly feels ok about it as though the situation has been reconciled... which is weird to him.

Now he meets and falls in love with yn. She must not leave. It's f around and find out

Btw I love you ❤️❤️❤️ The Yokai series is my fave

Oooh, I’ve been thinking of a context for your idea and I somehow got stuck on a serial killer who is unaware of it most of the time. Since you mentioned abandonment and obsession, my mind wandered to some of the typical habits, such as collecting trophies. I’ve also been wanting to try my hand at writing a serial killer, so hopefully it turns out to your liking. (Sending back the love, always a pleasure to see your comments ❤)

Although let me include a little disclaimer, because I am aware many things in the sphere of true crime are problematic: this in no way glorifies or romanticizes serial killers. Just a reminder that this is a work of fiction and all behaviors displayed are for the sake of an interesting story, not to be admired in real life.

Yandere! Serial Killer x Reader

You're temporarily staying with a kind, quiet man renting out a room in the house he inherited. It's just the two of you, and a locked bedroom he claims to be vacant. Yet as night falls, you hear the whispered arguing of a voice you don't recognize. Is anyone else there?

Content/TW: female reader, mentions of murder, obsessive behavior, horror

You must break the pattern today, or the loop with repeat tomorrow

He stares at the locked drawer of the bureau. The clock ticking in the background fades into an irritating buzz, drumming against his ears at irregular intervals like a swarm of insects. Once again, he cannot remember where the key is. Yet he does not feel compelled to search for it. It cannot be anything of significance, he tells himself. Forgotten knick-knacks, perhaps. Despite the apparent lack of curiosity, he is drawn here every morning. He wakes up, carefully folds the sheets, and goes to sit in the office. Tick-tock. Tick-tock. Until, at last, the noon hour strikes, and the hallways are flooded with ghastly chimes.

Lately, however, other sounds have taken over the usual silence that envelops the house. The main door rattles faintly before opening with a creak.

“They were out of our bread rolls. I got a baguette instead.”

It’s you.

He stands up, as if startled from deep slumber, and hurries downstairs to greet you. He takes the grocery bags from your hands, flashing a smile of gratitude. Somehow, the idea of another person living here is still foreign to him. He’s gotten so used to the solitude, the quietness of the house. Time stands still when there’s no one else to remind you of it.

You glance up at the tall man, noticing his slight frown.

“Another brain fog?” You ask, worried.

“Don’t mind me. It’s a morning routine at this point”, he jokes. “More importantly, what would you like for breakfast?”

He always cooks for both of you. Initially, you were rather hesitant to go for his offer. You’d been looking for temporary accommodation and stumbled upon his advertisement. A cozy, vintage house the man had inherited from his lamentably departed mother, with one too many spare rooms. He had no need for all the space, he said in his description. You paid him a visit and were taken aback by his appearance. A massive, muscular frame that did not fit the rest of his mannerisms and features. He was soft-spoken, polite, and terribly shy. His eyes reflected the kind of gloom to be expected from anyone in his situation.

A sweet, gentle soul looking for company. On top of that, if you are to be technical, he’s a housemate difficult to compete against. Well-kept, mannered, organized, and thoughtful. He keeps to himself. You’d learned, soon after moving in, that he suffers from the occasional brain fog and memory loss. He goes for walks at odd hours to clear his mind. Enjoys reading in his office, although you’ve caught him just staring into space many times. Terribly inconvenient for the poor lad, you imagine.

The house itself is also not a bad deal by any means. Old fashioned, littered with trinkets and paintings. “My mother liked to collect many things”, he’d told you. It certainly has personality, to put it mildly. Some belongings are more bizarre than others: portraits of faceless people, with features smudged or distorted, doll heads in pompous, feathered collars hanging in clusters across the musty walls. Peculiar, but manageable.

Only at night does it become unsettling.

“Going for a walk?”

You’re curled in one of the armchairs, flipping through a magazine you found. It’s been hours since your little breakfast together and now the sun is beginning to set. The man is buttoning up his coat, standing in the doorframe and gazing at you with a smile.

“Yeah. I’m starting to detach a little. Maybe some fresh air will help.”

It’s nice, he thinks, having you here. He didn’t expect much when he ventured to rent out a room. He just wanted to hear the murmur of life again. Ever since his mother has passed…when did it happen, again? Better yet, how did it happen? Christ, he can’t remember. The last memory he has of her is not something to cherish. She was angrily shoving him out of the way, visibly annoyed by his cries and pleading. “Please don’t leave me”, he kept croaking in a pathetic tone, dragging his knees like a beggar. Then it’s all black. Black, like the cover they kept over her body at the morgue, to hide the mutilated remains. Black, like the tie he struggled to knot before her funeral. At that time, the sheets of her bed were still scattered, as if she never left. He could almost see her there, reflected onto the mirror’s surface – rather dirty as a matter of fact, he should wipe it soon – sitting melancholically on the edge of the mattress.

To think he’d be hearing footsteps again. A soothing voice. Even if it’s temporary, your presence in the house has been a blessing. Even if you must leave eventually. His lips purse involuntarily.

You hear the door close, followed by the key twisting inside the lock. You’re alone now.

With haste, you get up and sprint upstairs. You pull out a hairpin from your pocket and discreetly insert it in the cylinder. Today you find out if the spare bedroom truly is as vacant as your housemate claims.

When you first viewed the house, he mentioned that only this room will remain locked. It was his mother’s and he’d rather not look at it, he said. Let it gather dust, for all he cares.

Only at night, you’ve been hearing someone else’s voice. It didn’t happen immediately. Weeks after you’d moved in, you woke up thirsty and tiptoed on your way to the kitchen for a glass of water. On your return, you were surprised to see dim light coming from underneath the door of the forbidden bedroom. Visitors of your housemate? You hurried back into your bed, not wanting to intrude. But the following night you jolted up from the same mumbled voice. Strange that he’d invite someone over this late - twice in a row! - without saying a word to you. Even more, they were arguing like this. Curiosity got the better of you, so you snuck out and placed your cupped ear against the wall.

“No, no, no, no. I’m telling you, it’s different. She’s different from the others.” A deep, ragged voice retorted angrily.

Suddenly, there was a loud thud, a fist smashing against something, then glass shattering over exasperated, shouted curses. You ran back to your room, baffled. Who on Earth was there? You could feel your heart throbbing inside your chest.

Morning couldn’t come quick enough. You marched over to your housemate, demanding to know who this stranger was. He stared at you, wide eyed and incredulous. “There’s no one else here, dear. Just you and me.” Nonsense. You knew what you heard. You’d been wide awake! He gently placed the back of his hand against your forehead. “Could it be that you’re sick? Weather has been dreadful lately.” You scanned his face with hitched breath. Was he mocking you? Yet his features betrayed no such intent. The man seemed genuinely worried; face twisted in a caring frown.

Then what? A ghost? An intruder that fancied having a chat in a dead woman’s bedroom?

You fiddle with the pin until you hear the click. Finally. Surely whoever has been frequenting the place must’ve left some clues behind. You carefully open the door and peek inside. A broken mirror and some furniture covered in webs. There’s a lingering rusty smell that tickles your nostrils, and soon enough you find the source. Next to the old bed lays a cloth splattered red. On top of it, a leather folder from which scalpels and other surgical tools fell out haphazardly. Blood? Your mouth curls in disgust. You crouch to the floor to inspect the odd items and notice a jar glistening from underneath the bed. You pull it towards you and give it a rattle. Nothing heavy. You lift the jar into the light for a better look and gasp.

Fingernails.

“Oh, I forgot to put those away.”

It’s the same deep voice you’ve been hearing at night. Your stomach drops and you turn, slowly, towards the entrance. Horror is swiftly replaced by confusion once you realize it’s none other than your housemate.

“Y-you’re back from your walk?” You blurt out.

“Walk?” He inquires. “Ah, that’s what he told you.” He steps towards you and lowers himself to your level with a grin.

“Have you come to say hello?” He points towards the tall, shattered mirror. “This is (Y/N), mother. See, I told you she’s stunning. You didn’t believe me.”

He ruffles your hair with a boldness completely unfamiliar.

Nausea overwhelms you and your ears ring in panic. Whatever is happening right now is beyond your understanding.

“I’d like to go to my room now.”

“I recognize that speech all too well. You want to run away.”

Within seconds, he grabs one of the scalpels and points it towards your throat, poking your skin with its cold tip.

“Now, don’t embarrass me in front of her like that. Do you know how hard it is to convince this bitch of anything? I told her you’re not like them, (Y/N). Don’t prove me wrong.”

“Them?” You whisper, lungs devoid of air.

“Come, let’s put this with the others first.” He pockets the scalpel and lifts you up by the hand, tenderly kissing your fingers in the process. “Then we can talk.”

You follow him into the office, and he unlocks one of the desk drawers. Against your better judgment, you stretch over his shoulder and glance inside. ID cards of various women, jewelry, lipsticks. Teeth. Fingernails.

You want to cry.

He nonchalantly dumps the contents of the jar into the drawer and slams it back shut, then throws himself in the chair and pats his thigh, eyeing you. With a sob, you clumsily climb onto his lap.

“Back to our matters. What were you planning on doing?”

“I just wanted to lay in bed.”

He takes out the scalpel and draws a line across your cheek. It stings.

“Don’t lie, (Y/N). You have nothing to gain from being naughty with me.” He coos, placing a kiss over the fresh wound.

“I wanted to run away.” You confess, petrified.

“Good. Do you now understand what happens if you try to run away?”

You briefly look at the drawer and nod.

“I knew you would. You’re so smart.” He strokes your hair fondly. “Not an easy decision to make, mind you. I love you more than anything in this world. Who’d enjoy killing their one and only?”

The man ponders his next words with a hum.

“Don’t count on getting away while he’s awake, either.” He taps his temple and chuckles. “He has no idea and won’t stop you, but I can easily find you again.”

The eggs sizzle in the pan as you stare at your plate, background sounds melting into shapeless static. After a couple more minutes, the man turns off the stove and places the food on the table with a cheerful whistle.

“Eat up!” He encourages you.

You hold onto your fork with faintly trembling hands.

“This might be the last breakfast I cook for you, after all. You’re leaving tomorrow, aren’t you?” His last sentence trails off and he smiles, dejected.

“Actually, I was wondering if I could…stay here instead.”

He gazes at you in disbelief.

“Truly? I-…That’d be fantastic.” He laughs awkwardly and scratches the back of his head, a deep red blush spreading over his cheeks. “Do excuse my rudeness. To be honest with you, I’ve grown quite fond of our arrangement. I really do like having you here.”

You return the smile without responding.

“Most exciting news. I’ll get the documents from the office after we eat, so we can draft a new lease.”

“That’d be lovely”, you answer curtly.

“Say, have you by any chance stumbled upon a small key around the house? I wanted to finally unlock the drawer upstairs, but I can’t remember where I could’ve left it.”

The knot in your stomach tightens.

“Not at all.”

“Don’t sweat it. I’m sure it’s nothing important, anyways. Old memorabilia, most likely.”

[shorthaltsjester]

the thing is that the “laudna or delilah” debate i think actually misses the complexity of laudna as a character — which i think actually gets magnificently illustrated when marisha talks about and chooses her actions as laudna. like in the game, she tends to act comfortably as laudna even in those delilah filled moments once the initial indication has been made by matt that laudna feels that presence particularly in a given way. but the vehicle of a ttrpg as the medium in which laudna exists and interacts means that there is intractable ambiguity in the “did laudna do this or did delilah?” because the answer is always at the same time that both of them chose it as it is that laudna did, because matt always brings in delilah as a reaction to the choices made, either by laudna in the narrative or by marisha as the creator orienting laudna’s choices. like tonight, marisha certainly didn’t say I’m Looking At This Sword Appealing to Delilah, but she did have laudna who was traumatized by that sword engage with it while also engaged with an action she has pointedly and continuously accounted as a coping mechanism from years of solitude with nothing but the voice in her head. laudna didn’t choose to have delilah in her mind, but she did choose to ask for more power, she did choose to act without orym’s input, she did choose to use her form of dread, whether or not she chose the form which it took. especially with the the indicators that this is a storyline alluding to addiction (something i’ve long suspected but has now been affirmed by marisha in the cooldown), it is extremely compelling that laudna is both insistent of her own responsibility when it comes to intentions but is absolutely avoidant to the point of absolute denial when it comes to consequences. this was especially apparent when imogen asked if laudna’s choices and actions were all her own and laudna insisted they were, but then ended the episode with a form of dread the image of delilah briarwood fading from around her as she repeated “i didn’t mean it.”

it is particularly interesting when she is alongside imogen because i think the thing that is the most compelling to me about them right now si something that laura (iirc) alluded to in the cooldown about how imogen has chosen a significant turn away from predathos at the same time laudna has leaned in hard to delilah. in a lot of ways imogen has been very like laudna when it comes to the importance of intentions vs. consequences, at least insofar as her experience with her powers led to a different kind of isolation than laudna’s but still led imogen to experience situations in which she was confronted by the cruelty of thoughts much more expediently than she was with the cruelty of actions. and while laudna has experienced the cruelty of actions, she ties those intensely to bad intentions as well — cruel actions come from cruel thoughts. i mean, that’s what fun scary refers to — in that first interaction with those kids, we get a clear though undoubtedly unintentional insight into the perspectives that laudna and imogen both have on the cruelty that the world contains. laudna sees no harm in the fear she instills in those children because she loves kids, her intention was fun, her actions can’t be truly harmful if she never intended it. and interestingly, imogen disagrees that laudna is fun scary at all, she actually points out that laudna is scary scary, but in a good way.

and so we have this dynamic between two characters who have been the balms to one another’s solitude — which, as has been expressed in other posts, in both cases emerged from their commitments to their outlooks: laudna continued to appear as a witch on the outskirts of town, likely engaging in haunting behaviour if her actions throughout the campaign have been any indicator, and continued to run until, interestingly, someone who could read her mind was the first person to truly realize she meant no harm. imogen isolated because she was inundated with thoughts and turned misanthropic because of how often those thoughts were negative and cruel, until someone (who partakes in actions that can very easily be considered at least appearing to be negative or scary) had thoughts that were good. and they fell in love — with a confession scene where laudna raised concern that she might be a bad person, because she herself had ill intentions in reaction to bor’dor (absolutely mediated by deliliah, but her own emotional reaction that prompted that mediation). and imogen’s rebuttal isn’t a reference to laudna’s choices or her actions but to the thoughts she’s had that imogen has been witness to.

except. except it’s been months and imogen has a mother who had the best of intentions to start with . intentions that look a lot like imogen’s own, but now she stands at the side of a man willing to risk the entire world so that he can (ostensibly) no longer have to deal with divinity. imogen’s mother who allows the murder of countless people, of every member of the hells themselves except imogen, of oryms family, to get the answers and the solution that imogen herself is looking for. and as imogen has gotten further in the journey, the role of thoughts and intention has become apparent in its limits. because it’s true that they are important, it marks a difference between ludinus and liliana absolutely when it comes to likelihood that they might have a path for redemption, but it doesn’t mark much of a difference for the lives lost. and imogen has become much more concerned with this, i think maybe most clearly in her decisions around her last few predathos diving dreams because her hesitation hasn’t been that they need to consider the sides more, it’s been that, regardless of her intent to come back to the hells, to get information for their mission, her will might still lose the fight against the pull of predathos and if she’s forced to be this vessel which might allow it free, it might not matter as much what her intentions are when she dreams.

and at the same time. laudna has been confronted with the same evidence that her worldview might not paint a complete picture, but she’s still looking at that incomplete image as the whole. as is clear in her reaction to liliana, where she sets up her position to imogen by referring to her own love for her — for laudna, liliana must not actually love imogen, couldn’t possibly if the outcome of her actions is imogen growing up without her mother and liliana aiding and abetting (even if occasionally Maybe limiting) exandrias mage criminal of the decade. except, as imogen who has started to be checked on her flawed thoughts > actions perspective points out, that inconsistency isn’t one that laudna is immune to — laudna loves imogen and the hells and undoubtedly wants to see them live in a world they can thrive in, but she’ll also give up pieces of herself and make decisions without their input that have implications for those she chooses to exclude as evident in her choice with the sword,

and so tonight’s everything was delicious . when marisha’s interparty conflict beam hits it hits and it did tonight but the conversation between laudna and imogen was truly truly fantastic and so compelling because you get both laudna so locked into the familiar comforting behaviour that thinking that her intentions are all that matters is and being confronted by the fact that right now the consequences seem so enormous that the comfort is cold and imogen realizing that the thing that she’s been struggling through with her mother — and don’t get me started about imogen’s response to her mother saying she’s made her choices for imogen and the fact that laudna’s first explanation of why she chose this was a similar appeal to protecting imogen — is the same thing that has a hold of the woman she loves, though in different forms. and god, not to add another unnecessary sidebar, but laura is truly so good at coming up with heartwrenching prompts? dialogue? i dunno what to call it but the way that taliesin is insane with one liners, laura is like that with setting up conversations and then eventually spiking them into my heart because jesus the “i just watch. [as she plunges a dagger into her heart]” “i’ll always love you, i just don’t know what to do with it” “i didn’t mean it” “i know” because that’s the thing, that’s the struggle . ethel cain voice directed at laudna and liliana. imogen temult loves you but not enough to save you. because it doesn’t matter how much anyone loves laudna if she still believes in the necessity of delilah, it doesn’t matter how much anyone loves liliana if she still believes her presence at ludinus’ side is a requirement. and that’s not to reduce the degree to which they both have undoubtedly been trained to believe those things, but it is to say that both in the text and in the real world situations to which people love to refer when reducing agency to make characters more girlboss or whatever — it’s actually explicitly the role that laudna ascribes to her own emotions and choices and value that will lead her to a life where delilah does not have full reign.

the ambiguity and complexity is that as long as laudna wants (which translates to a need for her) her power, she wants delilah and whatever words that delilah will feed her to validate the need for and/or increase that power, which means that her actions are always her own, and the consequences are always hers to bear. the messiness is her continued insistence on separating intention from consequence — because laudna never means harm, for her it’s about protection, even power doesn’t seem to be power for its own sake. even with orym tonight it was about protecting orym from the sword, but also of course about finding power for delilah so that deliliah might also grant her more power so that she can help save imogen and the hells and the world. but that means when she explains to others she can make claims like i didn’t mean to, or that the choice was all her own because as incorrect to anyone else, laudna has completely committed to her founded belief that intentions matter more than anything else when it comes to the judgement of someone and their actions.

[iridescentscarecrow]

what frustrates me about fandom interpretations of makima as a one note Source of evil, apart from the fact that the manga itself refutes this, is that her character haunts and ties together so much of part two that it's impossible to fully understand without understanding her.

makima isn't ever a unilateral antagonistic force. she's an agent of the institutional evil that looms over all of CSM. she's in as much a commentary on gender and performance of gender as denji is.

and fjmt in part two enacts the "haunting the narrative" trope in such an interesting manner because you see flashes of makima in every female character. you see elements of her diluted into, most visibly, the characters of asa, nayuta and fumiko.

in asa, i see makima in that yearning for connection. i see her in the way that asa herself is fundamentally unable to approach the relationship of equals that she so desperately desires, partly due to her own social awkwardness but also because of yoru's threat: everyone she gets close to turns into a weapon. the fundamental inequality to human relationships that makima is unable to overcome.

during the aquarium date, you see asa echo makima again and again in lines that evoke makima's purposing of denji. that weaponising. "i'll grant you any request / save me chainsaw man! / you don't have to think about a thing."

and her connection with denji also founds itself upon this. yoshida talks to asa about parasocial relationships -- rerendering makima's idealisation of the CSM in how asa sees denji as a love interest. asa and denji parallel each other so organically in their gendered suppression and portrusion of desire. it's a punctuation of denji's search for intimacy that's mirrored by makima's in part one. exploring how asa is different from makima is perhaps the most intriguing part of this reflection though: an example being the way asa overthinks her outfit for her date with denji while makima seamlessly models herself into an Effortless woman.

[it's not like asa borrows just from makima. for example, there are things to be said about the way she views her Body (as compared with reze and quanxi) but examining how mkm's character bleeds into asaden is quite compelling.]

nayuta being the most visible remnant of what makima was is also interesting because makima herself appears so little in nayuta beyond the surface. nayuta's role as the control devil is hinted at frequently as is her appearance resembling makima's

but her and denji's dynamic more often echoes the hayakawa family and pochita than anything else. consider: aki giving up his goal (his 'easy revenge' that he finally sees for what it is) for the sake of his family, that warmth of blood and platonic bodily intimacy that power embodies--

it's all referenced to again with nayuta and denji, in direct panel callbacks and the plot itself! nayuta is The Family that makima constructs for denji in part one to pull him along the plot she prepares. i'm thinking about how makima is an allegory for capitalism. and what the family unit means in a capitalistic structure. the propagation of an ideal that hinges on birth and descendancy, about narrative and reproduction of narrative, about how nayuta births herself from makima and denji's relationship.

and this is also why nayuta herself exerts so much control over denji in the plot, as well as why she's used as a piece to control him. in part one, family was used to create the Chainsaw Man from denji. in part two, it's used to make denji abandon the Chainsaw Man, this icon that the church and the public now take possession of. [something something alienation of the worker from the product. from the collective. from the self.]

fumiko is perhaps the hardest to pin down here because her role evolves as the fandomisation of the Chainsaw Man evolves too. in fact, as a denji fan, she represents not just makima but multiple people who see something in and want something from denji! (think of how she references reze in her highlighting how denji is just a child; how reze uses her commentary on denji to engage with her Self. it's fandomisation,,, and what is makima but Chainsaw Man's fan?)

fumiko most obviously calls back to these wants and their conceptualisation of denji in the raw sexual violence that the events in the theater scene moving into the karaoke scene embody. the undercurrent of sa that runs through p1 and p2 is brought to the forefront in this scene -- denji falling back into these cycles of abuse, him slipping into habitating the wants of others (his initial horrified expression and then his grin during the fight. his initial inner monologue and then the cut to him licking the tentacle.)

so much of CSM rests on this fandom of denji, this theme of what production and idealisation means, one you can trace through fjmt's body of work. and this fandom reaches its crescendo in p2. what's even more interesting about fumiko is her pathos under this layer. her seeing denji as denji at some level but in the end, her handling of him is so selfish. her echoing makima's uninhibited laughter at the horror of denji's situation, her predatory cruelty. denji simultaneously humanised and dehumanised through her fandom.

fjmt's characters exist as foils, as parallels and ideas. makima's character has such a stranglehold over part one and these ideas run over into part two naturally -- as a consequence of denji being a reciever of these themes, but also deliberately in fjmt evoking the Thing that is makima repetitively -- to underscore the forever re emerging structure that denji and now asa are trapped in. the same structure that makima produced and was simultaneously caged by.

[lowkeyed1]

my friend's putting out her debut novel, and it's available for ebook pre-order (print edition forthcoming)... i was lucky enough to get to read an advance so i'm gonna put the summary below the jump an also my own ravings about it. short version, i really recommend it -- it's a space adventure, a moving meditation on grieving, and chock full of lesbian rep.

summary: After pirates kill her three crewmates, Sam decides it's time to sell her ship and get out of the space business altogether. She hasn’t got a clue what she’ll do instead, but anything’s got to be better than captaining a kraken-class cargo cruiser haunted by the memories of her friends. The problem is, just when Sam’s supposed to be meeting a buyer, she finds herself enacting a rescue instead. Of a woman who might be an entirely different kind of problem. Kate knows what it’s like to lose someone. But having lived her entire life on planet, she can’t understand why Sam would want to sell her escape to the stars. It feels like incredibly good luck when the slightly surly captain agrees to assemble a new crew take her up for one final job. But when they end up kidnapped by a space mobster and forced to track down the same pirates that killed Sam’s crew, it’s starting to look like retirement might be permanent for them both. my rant: okay. sam. i love sam so much. she's repressing and trying to stay distant, trying to stay self-contained, full of loss and fear of further pain. circumstances force her into all the situations she wants to most avoid and she slowly, despite herself, ends up engaging again. it's like watching a beautiful, very grumpy flower unfold and soak up the rain and it just moves me so freaking much. the adventure is compelling and exciting and twists and turns throughout some amazing futuristic locales. i don't want to give away too much plot but it's fun and suspenseful and the side characters are also really interesting. i loved this so much i read it in every spare minute over two days, because i had to know what happened next. i love when a book grabs me like that :) preorder link!

reblogs appreciated <3 <3 <3

[midnightshade]

GojoHime: Evidence and Discussion

Jujutsu Kaisen isn't a romance series. It's a horror action series that focuses more on platonic bonds and camaraderie between its characters. That being said, just as any shounen series, it has its fair share of ships, each with its own assortment of crumbs and small details.

GojoHime is a particularly interesting ship to look at. Being a massive fan of it myself,  it's fun to pick through the evidence that supports it. I'd like to share the evidence that I and many other GojoHime fans have found. I'll be starting with the smaller, weaker evidence first and working my way up to the strongest evidence.

Before I start in earnest, I want to clarify that this isn't made to attack any other ship. People can ship whatever they want, and no ship in the series is canon (aside from exceptions like Hakari and Kirara). I like GojoHime so I want to talk about it. That's really it.

With that out of the way, let's begin.

First, let's start with the evidence outside of the manga itself. This one isn't very compelling, but it is cute. In Japan, there is a chip brand called Bakauke. Bakauke has two mascots known as Borin and Barin, who are girlfriend and boyfriend. When Bakauke collabed with Jujutsu Kaisen, Utahime and Gojo were chosen to represent the Borin and Barin respectively, thus being depicted as girlfriend and boyfriend.

Moving on to evidence found within the actual manga, we see that on the splash page for Gojo and Utahime, the print behind them depicts arrows known as a Yagasuri pattern. In Japan, this is a symbol often used for weddings. It's meant for good luck because "a shot arrow does not return," and therefore, a married woman does not (or should not) return to her parents.

We also see depictions of them under an umbrella often used at weddings. Sharing an umbrella is also a common romantic trope in Japan.

Other smaller evidence exists in the form of their phone call. This consists a beeper code, where the number of their call spells out "I like you" in code, and another interesting detail is that Satoru calls Utahime from his recent contacts, implying that he calls her often.

Gojo and Utahime were made to be opposites. Aside from the obvious "opposites attract" trope, it creates a compelling visual story between them. Man and woman, strong and weak, modern and traditional, blue and red. Satoru hates alcohol and loves sweets while Utahime loves alcohol but hates sweets.

Gege said Gojo only puts down his Technique with people he trusts, which we see him do with Utahime. He trusts her enough to have to actively put his Technique back in place after she throws a teacup at him.

Moving on to some of the strongest and most convincing evidence, we have Waka Inoue, Utahime's very own technique, and Gege's past works.

Gojo had a picture of Waka Inoue as his background as a teenager. He clearly finds her attractive, as is common, considering she's a popular model, but the reason why this is important is that Inoue shares a lot of similarities with Utahime.

Both women have noticeable bangs, they're the same height (166cm), and they share a love for alcohol, karaoke, and sports, specifically baseball. Waka is described once as a "competitive crybaby who hates to lose," and as we see in the Anime, Gojo has a way of firing Utahime up and she is also prone to being a bit of a scaredy-cat and a crybaby. We also see her more competitive side come out during the baseball tournament between Kyoto and Tokyo.

Moving on to Utahime's Cursed Technique, as some Japanese fans have pointed out, Utahime's Soro Soro Kinku (Solo Forbidden Area) is based on a real love song about forbidden love with lyrics about a masked lover. The records from the singer, Akina Nakamori, are called Utahime records, and the singer even does Gojo's unlimited void hand sign during her live performances of her song, "Fin."

The most compelling bit of evidence for me is Gege's past works. Two of his three one-shot manga have characters who are very similar to Gojo and Utahime. The male protagonist is usually cocky and teases the female protagonist, while the female protagonist gets annoyed at his antics but is otherwise down to earth and kind.

In Nikai Bongai Barabarujura, the protagonist, Noroma, reminds me of teen Gojo in appearance and behavior. He is "the strongest" who teases Nodoka, the female protagonist, for being weak but has an obvious respect for her drive and inner strength.

In Kamishiro Sosa, we have a similar set-up as before. The male protagonist, Ganji, is very energetic and careless with the female protagonist, Rekko's, feelings, and is seen to have a very similar type of banter as Gojo and Utahime have.

Gege clearly likes that type of pairing, which isn't surprising given the bickering couple and rivals to lovers is a popular trope in romance. It's not unusual for Mangaka to reuse old ideas, and that seems to be what happened with Gojo and Utahime. Even their appearances share similarities.

As you can see, GojoHime has a lot of thought put into it, and it's very interesting to see the little details Gege has put into their dynamic. There's definitely a reason why so many adore this pairing, and I'm glad Gege has paid attention to that.

[mr-president]

I think one of my favorite Funtermina things is how it uses characters as narrative foils, specifically in how those characters interact with each other and everyone else.

Karin and Daan’s is the most discussed as it’s probably the most apparent within the text: their volatile opposing viewpoints on life via their upbringings (despite being extremely similar otherwise). When Karin and Daan interact, it’s like a person arguing with themself. They clash like ammonia and bleach, unable to reconcile how similar they are (haha cleaning chemical analogy) yet toxic in their association.

Marina and Levi represent the different realities of Prehevil, what with Marina’s privileged upbringing versus Levi’s absolute shitshow of an existence. And yet, they get along incredibly well and form a cadence with one another because through each other, they can reconcile their upbringings in Prehevil. Levi is the Prehevil Marina tried to escape—Marina is the Prehevil Levi hoped to return to.

Marcoh and Olivia are interesting because—and I will argue this to the death—their relationship is wholly as siblings. And they’re also deeply connected by their relationships with their sisters, specifically how those sisters formulated and defined how they see themselves. Marcoh has done nothing but live to protect his sister, while Olivia has forever lived in her sister’s shadow. Their identities revolve completely around their sisters, and this also colors their relationship with each other as siblings.

I wish it was explored more, but I think there’s a level of disenfranchisement when Marcoh fervently tries to protect Olivia the same way he protected his younger sister (edit: rb for amendment). He clearly sees her in that role, and Olivia’s already got guilt written into her about her disability making her a “charity case.” I say this also because of their different opinions on guns, power, and death: Marcoh has no bloodlust and seems exhausted when he has to hurt others, while Olivia becomes almost jubilant when she receives a gun. And those reactions to enacting violence are directly informed by their relationships with their sisters: a begrudging responsibility vs empowerment.

My favorite is probably Abella and O’saa as foils. As characters they’re probably my favorites, and their foil makes it even better.

Abella easily connects with everyone around her, ensuring that they’re all getting along (or not killing each other) and she tries desperately to help everyone, even at her own detriment. She cares, so much, even too much.

O’saa on the other hand, is the exact opposite. He actively chooses to connect with everyone as little as possible, to the point where you can kill someone in front of him and he won’t give a shit. This is, obviously, to his detriment in terms of his goal towards enlightenment. He cares too little, even if at all.

They perfectly represent the dichotomy between altruism vs selfishness, the mundane vs the macro, democracy vs individualism. Fundamentally, both Abella and O’saa get shit done, and what makes them so compelling as foils is how similar the results of their different processes are.

Both of them are the only two that are capable of saving everyone. Abella does so by interacting with many of the other contestants, while O’saa does this by ignoring everyone and just occam’s razoring that shit. They both get shit done and to the greatest net success, but in both cases, because they operate on extremes, it’s to the detriment of themselves. The game shows this literally because, well, they sacrifice themselves to Logic for the greater good, but the game also implies this detriment via their moonscorches.

Chaugnaur represents how others have reduced Abella to a sexual object for their pleasure or a mindless brute for labor. It is a physical manifestation of how interacting and connecting with others can be to one’s detriment because Abella often cannot control how people see and define her. Mastermind, on the other hand, is O’saa’s brain swelling and overtaking everything else on his head to the point where he is blind (save for the eye) and mute, only able to speak in mumbles. Mastermind is how O’saa values logic, knowledge, comprehension over anything else, becoming blind to other viewpoints save for his own. Additionally, it’s unable to communicate or connect with anyone else, only able to ruminate get never share its thoughts.

Abella is one of the first to Moonscorch; O’saa is one of the last. I love them as foils because even though they’re the most different in terms of anything, they don’t hinder one another at much all. They’re just kinda chill. And this makes sense because their dichotomies aren’t volatile like Karin and Daan’s, nor complementary like the others. Rather, they operate in balance—you cannot be too altruistic without some selfishness. To help everyone and to achieve enlightenment, you must consider both the mundane and the greater picture. Society operates on a shared democracy and on empowering individuals.

Still, the fact that even operating on the extremes has the greatest positive effect (in terms of utilitarianism) really says smth abt whether these values even matter. But I’d argue that they do matter, cause it’s that question of whether it’s worth it to suffer or even sacrifice for the greater good.

As a whole, each foil represents a central theme/motif of Fear & Hunger: internal vs external locus of control (Karin and Daan), environment dictating identity (Marina and Levi), relationships and their impact (Marcoh and Olivia), and the thematic shitshow that is Abella and O’saa.

Tldr; the game is about some girls and their boy best friends.

[transmutationisms]

Hi Caden don’t know if you listen to Ethel Cain but was wondering what u think abt her subverting the Americana aesthetic since I think she’s often compared to Lana, at least online. I do think she’s doing something different & to me more compelling than Lana, but I don’t really know how to articulate it.

yep i like ethel cain. i agree she and lana are doing very different things. like, i said before that lana uses american nationalism because she's playing off the fact that it makes/has an erotic appeal, and she places herself as the object of desire in that paradigm—tell me i'm your national anthem, etc. my read on ethel is that she's interested in the rural americana 'trad' aesthetic from a very different angle, where she's trying to connect the homestead and american rural social structures to the perpetuation of violence. there's some overlap here in the sense that lana is definitely also interested in sexual violence and sexuality-as-violence, but in her work the violent or abusive man is generally a specific figure who's aberrant from the norm, and a lot of the artistic interest for lana comes (i think) from her interrogating what it is about this man that's appealing to her and how she sees herself through his eyes. with ethel, on the other hand, she portrays violence as coming through the infrastructure of normal and normative social structures, like the family and the church, with abuse understood to be a feature of these and not a bug. family, church, etc are in turn understood to be part of the infrastructure of american rural communities, casting the critique she's making through the ethel character onto this entire social apparatus (& there is some implication here of how this is all a part of westward colonial settlement—which is a potentially fruitful direction to go in, the idea of expansion into the 'frontier' as a narrative of, or narrative prerequisite to, violence).

so for example this is partly why, for ethel, incest specifically is a mode of sexuality & violence that she continually uses and interrogates: she's invoking it as an intensification of the 'normal functioning' of the family, which means the whole family structure gets pretty ruthlessly questioned through the character of ethel and the violence she faces. she invokes the trad aesthetic and the idyllic family homestead, then shows you the brutality that creates and is created by them. for lana, the family is not a concern in this way and is not something she's questioning or challenging the way ethel does (the daddy/girl thing in lana's work is p far removed from even a pseudo-incestuous reading most of the time, even in her lolita references). there's a similar distinction with how ethel examines protestant theology and practice with the explicit goal of pointing out inherently violent aspects of it, whereas for lana, invoking god or christian imagery is generally more on the level of playing off the way that american nationalism resembles and uses rituals of religious worship. lana takes political phenomena like the appeal of nationalism, and expresses them through the erotic configuration of these relationships with older, dominant men. with ethel it's more that she looks at social structures and practices signified by the rural americana aesthetic, and pokes and prods at these structures until the violence inherent to them is glaringly obvious to listeners through the ethel character's story. it's a way of problematising these institutions and practices, not letting them hide in plain sight by presenting themselves as benevolent.

so yeah i can understand why people might want to compare these two artists, but i think they're actually doing very different things. i would probably not say either of them 'subverts' americana or signifiers of nationalism, which is not a criticism, i just think that concept is often poorly defined and less frequently applicable to art than people sometimes think lol. ethel uses her character's story to deconstruct and question the american aesthetics and institutions her work invokes; lana translates these aesthetics and institutions into explicitly erotic discourses and dissects them through the allegorical figures of the people and relationships in her songs. (this is not to discount the importance of erotics in ethel's work as well obvi but this post is already long :P)

[eastgaysian]

okay here's one post i have to make. Finally racism confirmed real in succession. other people have talked about this before but it is a huge blind spot of the show not to acknowledge the intersection between racism and capitalism, and the excuse that the characters are the 1% and the 1% are vastly white is pretty weak. the fact that the show sidelines its existing characters of color while every now and then broadly gesturing towards race makes this worse, especially as the show more directly focuses on fascism and just Doesn't bring race into it. like i don't even think race is totally absent as a concern of the writers but it's clearly not a priority. i think a lot about how mo's widow is a filipino woman

anyway. ken and rava's conversation in this sense doesn't really qualify as, like, revolutionary in terms of succession's commentary on race esp since it's a discussion between two white parents about their brown daughter without her present. the point of interest to me really is that kendall completely fails to recognize racism as a systemic issue, much less that he works for and is trying to sustain a company that actively works to perpetuate that hegemony. his questions are why was sophie on the street? why wasn't rava there? in the same episode where he calls matsson homophobic for saying the numbers are gay. socially aware king

it's not particularly revelatory to say that a rich white man doesn't grasp the concept of systemic racism LOL but i do think it's more than that for kendall, and i also think this trait is something his siblings don't share. it's like how he doesn't realize he's in a position of power over anna and she was pressured into attending the recny with him, and his adoption of a faux-feminist stance in s3 while continuing to treat women like shit. kendall's whole concept of Everything, including systemic social issues, goes back to logan. there's no system outside of dad. the doj doesn't find the cruises evidence compelling? that's because they're scared of logan. logan's the source of the evil in the world, therefore opposing him is inherently progressive, leaving kendall with even less of a coherent moral framework after his death. and he's completely unable to process the idea that he could be participating in and benefiting from the greater racist or sexist system, because that's fundamentally incompatible with his logan-based idea of his own identity.

i don't think roman or shiv or even connor share this particular nearsightedness. roman 'we do hate speech and roller coasters' roy knows what's going on but he doesn't really care and he doesn't believe it can be changed (or, maybe more accurately, that there's any point in trying). he doesn't buy into fascism on the ideological level, exactly, but the spectacle appeals to him and he does believe it's profitable to align with it, so he's perfectly happy to do so. i think he's the most similar to logan in this regard. and shiv and connor have actual political ideologies, even if they're far from being meaningfully opposed to fascism, which requires a base awareness of the fact that We Live In A Society and That Society Has Systems In It. for kendall it really boils down to logan and logan alone

[essektheylyss]

for the ask game: 🧡🖤💚

🧡: What is a popular (serious) theory you disagree with?

Until I see definitive proof that Ludinus is in fact as old as he wants people to believe he is, I will not believe it. I don't even really have an opinion on how old he is; I just don't think he's as old as he tries to suggest. And lest it be said that I am playing favorites, the thing about Ludinus is that he talks the way Essek talks in 91—and there are a lot of things Essek says at that dinner that I take with a good heaping of salt. It's this sense that they're talking around things that they would rather people not question; they're both very skilled at talking around things in a way where they aren't outright lying, but they'd rather you not think too hard about it because there's shit they're not saying. To be clear I also won't be mad if there does turn out to be some evidence in canon that he is that old, but thus far, there is nothing definitive, and I do not take the word of unreliable NPCs at face value.

🖤: Which character is not as morally good as everyone else seems to think?

I don't think this is really an unpopular opinion at this point, but Jester. Nice =/= good. I don't think she's evil, by any means! But her morality is a lot more complex than it's given credit for and I think it's one of the things that is most interesting about her. I'd actually consider her largely amoral; it's just not really an axis of consideration that she worries about. She doesn't want people to hurt her or her friends and she doesn't want something to destroy the world, but otherwise she doesn't really care much about what someone's morality is. "Just don't be evil to me" is an incredible sentiment for a reason. She cares more that Essek said they were his friends than the fact that he's the traitor they've been looking for. Ludinus is so insignificant to her despite his literally world-spanning evil plots that she has basically forgotten him six years later, even though two members of her friend group have spent the last six years trying to pin him down. Jester is hilariously amoral and I love that for her.

💚: What does everyone else get wrong about your favorite character?

[cracks knuckles] OKAY, this is where I've got receipts, because hooo boy do I have an opinion and I will be proving it.

Essek does not have an opinion on the Prime Deities. He does not really have much of an opinion on religion. He actually does not by the end of the campaign have any real issue with the Luxon, and frankly he primarily expressed issue with the Dynasty's worship because, until he got to Aeor, he wasn't certain that the Luxon was a real entity at all—which he contrasts against the Prime Deities, in fact!—and he seems to believe there is compelling evidence in Aeor that categorically disproves his hypothesis that the beacons are simply constructed Age of Arcanum devices.

Originally he is mostly concerned that the Luxon religion is used as a "crutch" which is "distracting them from what other good things they could do with the time and focus". He does specify that any religion can be used as such, but he only remarks upon the one he knows. His theory about the beacons, as of episode 91, is that they may be "artifacts designed in the Age of Arcanum that have been misread" that could be put to even further use.

He also does parrot the Dynasty party line in their first meeting about the Luxon being "the basis of how we've been able to free ourselves from the binds of the lineage the Betrayer Gods left for us", and while I do not take him at face value here (see the above commentary about unreliable NPCs), I doubt the truth of this statement is lost on him, considering his familial connections to Bazzoxan, which I can only imagine would not exactly endear one to the Betrayers, though this is only conjecture. If we do care to take him at his word here, it's not unreasonable, since he obviously has a lot more interest in the power offered by the beacons than anything else.

With all that being said, his tune on the Luxon itself has at least changed by the time they get to Aeor. He discusses iconography found in Aeor and when prompted by the Nein about whether the beacons were created by mortals, says, "I do not believe that they are made by anyone but the Luxon. They are of the Luxon. But they've been around since the Luxon's been in Exandria, which is the beginning."

So we started with him largely apathetic to religion, uncertain if this god was real, and by the time we circle back to him, he has now sided fairly definitively with the fact that the Luxon is an entity that has been around since at least the Founding. (For those keeping track at home, this is longer than Predathos has been around. In the Dynasty's creation myth, it may also have been around before the Prime Deities arrived, which is technically not incompatible with the creation myth of Exandria at large, but I digress.) Like most of Exandria, and as is perfectly reasonable for both his culture and his region, he probably doesn't have any love for the Betrayer Gods, but doesn't express much opinion if any on the Prime Deities. He has no time for religion, but frankly, he doesn't have time for much except for his own research, so it's hard to really ascribe any noted contempt to that.

Like, look, I've written plenty of religious trauma Essek fic, and I don't doubt that that element of it exists, but overall, in terms of canonical statements, it's pretty tame.

With that being said, I do want to fast forward a bit to draw attention to something else. Because I actually do think he ends the campaign with some measure of respect for, at the very least, the Wildmother.

In 140 after the Raise Dead fails, he talks briefly with Fjord about the unfairness of it. Fjord passively directs him to "if you were to ask my wise friend Caduceus..." Immediately after this exchange, Essek challenges Caleb to not accept defeat, and admits he wishes there was more that he or any of them could do, but concedes that, "Unfortunately, this type of magic is beyond my purview."

Immediately after this exchange, Caduceus asks for divine intervention.

Of course, he then spends several weeks gardening in a temple to the Wildmother, and seems to find some genuine clarity and perspective there, but I think this alone is enough to argue that, for a person as driven by empirical evidence as Essek, this sequence of events in 140 would be plenty to earn a wizard's respect.

So my formal belief is that Essek is not in fact anti-god or anti-religion, let alone against the Prime Deities. My opinion is that it's very easy to imagine him on his post-campaign travels leaving a small offering at any shrine of Melora he might pass, not out of actual worship but as a sign of respect.

[commsroom]

as an extension of how hera reads as trans to me, hera/eiffel resonates with me specifically as a relationship between a trans woman and a cis man. loving hera requires eiffel to decentralize his own perspective in a way that ties into both his overall character arc and the themes of the show.

pop culture is baked into the dna of wolf 359, into eiffel’s worldview, and in how it builds off of a sci-fi savvy audience’s assumptions: common character types, plot beats, or dynamics, why would a real person behave this way? how would a real person react to that? eiffel is the “everyman” who assumes himself to be the default. hera is the “AI who is more human than a lot of humans,” but it doesn’t feel patronizing because it isn’t a learned or moral quality; she is a fundamentally human person who is routinely dehumanized and internalizes that.

eiffel/hera as a romance is compelling to me because there is a narrative precedent for some guy/AI or robot woman relationships in a way i think mirrors some attitudes about trans women: it’s a male power fantasy about a subclass of women, or it’s a cautionary tale, or it’s a deconstruction of a power fantasy that criticizes the way men treat women as subservient, as property. but what does that pop culture landscape mean in the context of desire? If you are a regular person, attracted to a regular person, who really does care for you and wants to do right by you, but is deeply saturated in these expectations? how do you navigate that?

I think that, in itself, is an aspect of communication worth exploring. sometimes you won’t get it. sometimes you can’t. and that’s not irreconcilable, either. it’s something wolf 359 is keenly aware of, and, crucially, always sides with hera on. eiffel screws up. he says insensitive things without meaning to. often, hera will call him out on it, and he will defer to her. in the one case where he notably doesn’t, the show calls attention to it and makes him reflect. it’s not a coincidence that the opening of shut up and listen has eiffel being particularly dismissive of hera - the microaggression of separating her from “men and women” and the insistence on using his preferred title over hers. there are things eiffel has just never considered before, and caring for hera the way he does means he has to consider them. he's never met someone like hera, but media has given him a lot of preconceptions about what people like her might be like.

there’s a whole other discussion to be had about the gender dynamics of wolf 359, even in the ways the show tries to avoid directly addressing them, and how sexual autonomy in particular can’t fully be disentangled from explorations of AI women. i don’t think eiffel fully recognizes what comments like “wind-up girl” imply, and the show is not prepared to reconcile with it, but it’s interesting to me. in the context of transness (and also considering hera’s disability, two things i think need to be discussed together), i think it’s worth discussing how hera’s self image is at odds with the way people perceive her, her disconnect from physicality, how she can’t be touched by conventional means, and the ways in which eiffel and hera manage to bridge that gap.

even the desire for embodiment, and the autonomy and type of intimacy that comes with it, means something different when it’s something she has to fight for, to acquire, to become accustomed to, rather than a circumstance of her birth. i suppose the reason i don’t care for half measures in discussions re: hera and embodiment is also because, to me, it is in many ways symbolically a discussion about medical transition, and the social fear of what’s “lost” in transition, whether or not those things were even desired in the first place.

hera’s relationship with eiffel is unquestionably the most supportive and equal one she has, but there are still privileges, freedoms, and abilities he has that she doesn’t, and he forgets that sometimes. he will never share her experiences, but he can choose to defer to her, to unlearn his pop culture biases and instead recognize the real person in front of him, and to use his own privilege as a shield to advocate for her. the point, to me - what’s meaningful about it - is that love isn’t about inherent understanding, it’s about willingness to listen, and to communicate. and that’s very much at the heart of the show.

[chirpsythismorning]

Mike's character regression can be explained in large part by one emotion in particular: guilt

Just want to preface this by saying that, this is not Mike slander. I love this dude. In fact, I think what makes Mike such an interesting character is that a lot of his behavior throughout the series can be explained in part by previous moments, and after really looking at all these moments together, what you end up with is a pretty fucked up story.

So while some might want to take this as Mike slander, these points I'm making are a part of Mike and things he has done and said and whether they were intentionally harmful or not, it's Mike. It's all shaped him and his role in the story. The fact that we're seeing a visible shift in his behavior at all, with plenty of moments from the show to back up what brought us here, makes it compelling enough to talk about.

So, without further ado, back to our roots:

Ah yes, the infamous canon proof disputing Mike's I think my life started that day we found you in the woods, claim during his monologue. Not only that, but in this original scene from 1x02, it turns out Mike actually intended to send her away the next day (all of which El could hear Mike saying from the open bathroom door).

Mike outright calling El a weapon, again telling the others they need her because they stand no chance at getting Will back otherwise.

I wont elaborate on this now, because there is way too much to unpack that'll honestly be more worthwhile discussing further on.

For now, this is a secret tool that will help us later.

These next couple scenes right here though, are pretty painful if I'm being completely honest. The way its shot, specifically El's very visible exhaustion, accompanied by the varying priorities of others around her, leaves me feeling pretty unsettled upon rewatches.

I obviously can't remember how I felt when I watched these scenes for the first time, but I imagine I viewed them as this huge romantic moment for Mike and El (I was tricked by heteronormativity, okay?). But, again, upon rewatching them since then, I've realized I get this sort of sad feeling by the end. You'll see what I mean.

El obviously just went through something extremely traumatic. She tried to go find Will and Barb in the void, only to find Barb dead and Will presumably alive, but then slipping through her fingers at the last second (no, literally).

We then got a moment where Joyce held El while the others sat by quietly because she clearly needed a moment of comfort given what she just endured.

Then in this scene shortly after, everyone is leaving to get ready for their final attempt at saving Will.

Now, notice how not only Lucas, but also Dustin make the effort to reach out to El to comfort her affectionately after that traumatic event, with those twos' actions specifically being showcased in sequence?

Lucas, who spent the better part of the season being critical of El, is now ending the season rubbing El's shoulder to warm her up, literally soothing her to make her feel better.

Then there's Dustin, who right after Lucas' gesture makes a gesture of his own, putting his hand on her knee reassuringly, to show her he's there and he's happy she's okay.

And lastly there's Mike, who is so kindly allowing El to rest her head on his shoulder. This placement of Mike and El here is definitely a testament to the fact that Mike has vouched for El this whole time in contrast to the others and so, understandably, she put her head on his shoulder for reassurance, because out of the three of them, he's the one whose been looking out for her the most. (Right?)

Now you might be thinking that this sequence's only purpose was to show Lucas and Dustin's development with El, and that it wasn't intentional that they focused on Lucas and Dustins' priorities in this moment in contrast to Mikes'. And I raise you, this next scene.

Here we have a focus on Mike looking on to where everyone left, while the others beside him are presumably just processing what went down and taking a rest (and boy oh boy do they (El) need one).

Mike on the other-hand decides to take this moment of rest to display the most cliche and universal forms of distracted unrest known to man: he checks his watch.

Mike then stands up abruptly, causing El to fall without his shoulder there for her to rest on anymore, all while her and Dustin are looking on after him, sort of like... Okay?

It's small. It might seem insignificant. But if you actually pay attention to what this scene is trying to make you feel, after really looking at it for what it is, it's kind of sad.

In a moment that chooses to highlight the other boys' acknowledgment of El after what just happened, and not only that, but at the tale end of their final battle of the season, Mike is... distracted?

Mike, who has been presumably looking out for El more than the others in the party this whole time, is conveniently out of commission? And right now when El is looking for his reassurance the most? Mike doesn't even have a moment to say, 'Hey I'll be right back, I just want to check something. Can one of you?--', asking Lucas or Dustin to sit next to her in his place. No. Dude just stands up without even acknowledging her.

If it was any other moment in the show, under less post-traumatic circumstances for El, then I wouldn't even think much of it. But it's at this point in the story when El is essentially at her most exhausted and quite literally seeking out support from others, specifically Mike, that makes his distractedness so eery.

Again, you might still be thinking that this isn't that deep. However, I think based on the events leading up to this, and what follows right here, could quite literally hold the answer to the guilt Mike is still keeping to himself to this day.

So... How are we feeling?

Are we feeling like Mike None of you are thinking about El's wellbeing right now! She could get brain damage from using her powers too much! She's not a weapon!* Wheeler is a little bit of a hypocrite? (I told you that tool would come in handy!)

It's actually quite terrifying how similar this scene is framed to the scene in Hopper's cabin in s3, where Mike pretty much says the exact opposite. In s1 Mike goes from being one of the first people to refer to El as a weapon within the context of them using her powers to find Will, with him being completely un-attuned to the fact that she is exhausted in this moment while the others are saying El's rest and safety is the most important, to then in s3 completely flipping script and saying El was using her powers for nothing, blaming the others for treating her like a weapon and not taking her wellbeing into consideration.

It would be one thing if Mike had a little arc where he acknowledged this script flip. Because that's what it is. It is them having Mike use a word in s1 to describe El, that being weapon, only to say the others are treating her like that with that same word being used. It is them having Mike not agknowledge El's well being after overusing her powers, only to say the others aren't taking her wellbeing into consideration for overusing her powers.

And it would be one thing if Mike had spoke to El or literally anyone about how he felt like he wronged El for planning on sending her away the next day after they found her so that they could go back to looking for Will, or how he said she was a weapon that they needed in order to find Will, essentially being no better than the people she just escaped from, who also used her for her powers. But we don't get that (actually we do.. but it's not acknowledged for what it is aka survivor's guilt. It's instead seen as romantic... another tool for later...)

Now, don't get me wrong, I don't think any of Mike's behavior takes away from what Mike did do for El, because yes he was kind and accepting when the others weren't. But even despite all of that, at the end of the day, he was often at the forefront of expecting El to risk her life for them, even if he wasn't outright asking that of her.

Before you freak out, No. I don't think Mike, a literal child, was capable of fathoming that El was going into these situations risking her life. She's a superhero. El's alternative was literally going back to the lab, running, or staying with Mike. This was her safest option.

After a bunch of rewatches and putting together a lot of these moments as a whole, I've come to a point where I believe that Mike's behavior throughout s1 was him thinking that because of who El was, she's already in danger at all times. That is a constant reality for her. And so why not have her help them find Will, because she is able to, all while he can also help her. And El clearly wanted to help them, because she wanted to help good people and finally do something meaningful with her powers for a change. Unfortunately, she also had to endure PTSD flashbacks almost every single time Mike and the boys had her use her powers to help find Will.

Speaking of Will, he is currently missing and possibly dead. Will also, in contrast to El (for now...), does not have any sort of superpowers.

Mike's concern over the threat of Will's livelihood is much greater than Mike's acknowledgement to the true risks El is exposing herself to each time she uses her powers to help them. That is s1 canon.

Is there times when Mike is focused on El and her well being. Absolutely! But is there also times when Mike is not showing any display of concern to El's well being in the moment, in complete contrast to the other characters around him... Also yes.

And so the events happening the way they did, with Mike himself not fully comprehending the severity of what's been going on during these high stake situations going on around him, makes sense.

And that's what makes it all the more sad that when Mike finally does realize what he's truly been asking of El this whole time, which is to risk her life for them, it's too late.

This whole scene is obviously very emotional. All of the boys are crying, but the focus on Mike calling out for El painfully is heartbreaking.

But what's even more sad to me, is that El has been sort of used to mistreatment her whole life. She's used to having to find any comfort she could get from people in her life, all the while they were using her for her powers. I mean even despite Brenner being who he was and doing what he did, she still showed these signs of wanting to love him despite it. Which is very very fucked up. But knowing what she's gone through, makes sense.

Mike on the other-hand does greatly contrast Brenner because he was one of the first people to actually treat her with genuine kindness right from the start (before he even knew she had powers), making it a lot easier for her to care for him even despite that pesky trait of using her for her powers being almost synonymous with Brenner's very similar trait.

So when she looks back at Mike, and points him out specifically before sacrificing herself, it feels like a few things at once.

It feels like her acknowledging the fact that she appreciated him specifically for taking her in and supporting her more genuinely than anyone has in her entire life.

And yet it also feels like her, either intentionally or unintentionally, acknowledging the unfortunate side affect caused by days of Mike leading the efforts to find Will, with the expectation of her to do things to achieve that, which could have all lead to her demise technically. And so now when it all comes down to it and the stakes are at their highest yet, same as the risk, she's got to a point where she believes there is no other choice but to do just that, risk her life, especially if it means saving them.

While this is happening, Mike is backtracking in real time. He is trying to get El to stop and it's because he doesn't want her to die. Obviously.

But that's the fucked up part isn't it? When he finally realized what he's been asking of her this whole time, it's too late.

Which takes us to S2 Mike Wheeler, known by many for being a boy whose been calling his true love everyday for almost a year now because he's just so in love, but is actually in fact a boy suffering the most intense form of survivors guilt, one that involves a person who genuinely feels responsible for the persons death...

But that will probably take at least another 2,000 words so I'm thinking maybe I better split this into multiple parts.

I will tease that the next part involves one specific detail in particular that I never see anyone talk about, a detail that I think, in combination with what's discussed in this post, is so important to understanding Mike's breakdown for what it truly was at the end of season 2. I will also probably do more posts beyond that for s3-4, to delve into the impacts these moments from the first two seasons have basically put in place a perfect recipe for what is currently going down.

So feel free to stay tuned for those nonsense updates.

Continued

[fumifooms]

On beastkin tattoos and drawn/written magic

Tried figuring stuff out because I was making a tattooed beastkin oc. Take it or leave it, just a bunch of observations and theorizing. There is a focus on how the tattoos look but I also try to figure out the underlying principles of how they work.

Table of contents:

observations & important details

Stuff that beastkin tattoos look like

Theories

Non-beastkin tattoos

I called the components lines and dents in the pic above, but it’d be more accurate to call them characters I think, or even symbols. At the time I wasn’t sure if it was a specific "alphabet" used for these tattoos and if they represented anything more than lines to the people using it so I called them like dents in a line or teeth in a toothwheels or inner layers in locks, but since I made the connection to magic circles I think they do. It’s the same structure as with magic circles, lines connecting characters and favoring circle structures. All magic iirc comes from calling upon spirits, so it’s interesting to wonder what written magic does exactly, if it communicates with the spirits or simply compels them.

Observations & important details

The picture at the start summarizes my observations and the recurring patterns, but I’ll also do a rundown and add more. The fundamental structure of the tattoos seem to be lines forming big simple patterns, and then small characters that sprout from a side of those lines. Although, not all lines have characters/dents, and some characters have two lines one on both sides like on Lycion’s forearms. On Lycion’s legs, there are also lines with two rows of characters on either sides, so yeah the line & dents are the fundamental structure but it’s flexible on how it’s put into practice.

Oh yeah, also notable that when doing less intricate doodles like on her blog or Daydream Hours, she often omits details so we can’t be sure on the smaller drawings wether there are dents/characters on some lines or not, we have to assume if they’re implied or if there aren’t any. For example on Lycion’s reference all the lines on his forearms have dents, but if you look at the other beastkins it’s honestly debatable wether there are dents on the lines around their forearms and lower legs, also see Otta’s tattoos on her reference…

One of the more important and puzzling details is that beastkin tattoos look very different depending on the soul type, from werebear to wererat etc etc. BUT we also see with Lycion and that random werewolf, that there is room for difference even within the tattoos for the same soul type… Of course, if we don’t assume that those differences aren’t because the type of canine soul are different, since Lycion does mention he doesn’t know which canine type his was so there’s room for variety there apparently. But I doubt that’d change much within the same genus and whatnot, but still, then we have the question… Weretigers’ tattoos look like tiger stripes, and werebears have lines that seem to emphasize a bear’s chest fur? Those two types have a lot of wavy lines that make them look rather different from werewolf and wererat tattoos. Different soul types certainly seem to require different tattoos, but to what degree is the choice of how and where the lines are placed artistic, and to what degree is it efficient if not necessary? What’s the logic of where they need to be, going from one soul type to the next? The weretiger and werebear one seem to have fitting patterns for their animal, but werewolf and wererat have much more artifical patterns.

One of the recurring patterns with similar placements are all the lines forming circles around wrists, forearms, lower legs and ankles… Positions do seem to be important especially with the recurring placings. Maybe the lines are in the places that are expected to change the most: legs and ankles & wrists with new inhuman different joints, strong muscled shoulders for tigers, strong core for bears, etc. A tiger’s eye, with all the tattoos around them…? More lines = an easier stronger more efficient transformation? With the differences in tattoos for same soul types I don’t know how much precision in the pattern themselves are important tbh, though I imagine the characters/dents are the crux of the magic and precision there is the most important. Feet and hands tend to be untouched though, Lycion is the exception to this with tattoos on his hands and fingers. Circles seem overall important imo, lines are almost always curved, or go straight around a limb to reach its other end and form circles that way, werewolf torso tattoos, etc etc.

In Lycion’s ref the tattoo ink is a brownish red, but we don’t see if that’s the norm- is what I would have said before the new Daydream Hour came out with some tattooed elves portraits where they’re a vivid red. Fleki’s tattoos are covered in her main colored reference(and in the mangas all tattoos are black ofc including Lycion’s, while on her blog and Daydream Hours the color is inconsistent and often black too), Otta’s are black though they also seem at least partly non-magical? The snake/rope pattern doesn’t look consistent with magical tattoos in general imo. Pictures of these tattoos are compiled at the end of the post btw.

It’s also important to remember, because of the pic below, we can never truly be sure of what’s necessary for the tattoo to work and what’s just artificial flourish, though with Lycion I feel like it’s implied that there’s nothing in his tattoos trying to hide in the meaning. It’s also interesting to note that magical tattoos can have random patterns added without it interfering with the tattoo’s purpose. Is it the placement that make them harmless, or that they mean nothing in tattoo magic so it’s like an extra useless line of code that doesn’t get processed? Or is it that once your tattoo is done the meaning of it is sealed, and even if you were to fully cover it up in a solid black square of ink it wouldn’t do a thing? No clue, but it’s all very curious.

Other stuff they look like

A buddy pointed out that one of the recurring patterns looks a lot like DNA strands. Maybe the "dents" signify the different base pairs?? Probably verifiably untrue since that’d mean there would only be a few different type of dents, and also if they’re doing DNA sequencing that would be crazy, but doesn’t that just make you wonder… 👀 Tattoos are like a conduit for magic (mana? Which is also a sort of life force) so I do rlly like the idea that beastkin tattoos specialize in and target the DNA in the some way.

We never see the tattoos from up super close, but especially with Lycion’s the "dents"/characters remind me of norse runes a bit. Mostly because of the structure of straight lines and the simplicity of each character as far as I can tell. Runes being used in magic isn’t a new concept so I wouldn’t be surprised if Kui intentionally incorporated them into art/writing-based magic. Culturally it doesn’t fit well in with the elves as much, but a few of them do have old norse names. (And magic tattoos seem to be a very elven thing)

And another buddy also pointed out that with the characters being connected with a line it was reminiscent of the devanagari script. The elves have a good amount of indian coding, with names and some characters having bindis etc etc, so if intentional it’d be quite an interesting detail.

(Source for second one. I couldn’t find handwritten examples where there’s a clear line between characters much)

Oh- and if we continue the train of thought of indian coding, are reminiscent of henna! The brownish red color is especially on point.

Lastly and very much least, drawing lines that separate and denote body parts always remind me of the guidelines for butchers that people often point to and even draw on the animal when cutting. Since this is the cooking manga I wanted to put this in.

Oh yeah! I should mention that some of the tattoos, especially with the wererats and the lines going down the torsos, also remind me of dissection/vivisection scars/lines.

Theories

Magical tattoos are like a conduit for magic, is what is said. In case of beastkin tattoos, that makes me think it’s not that the tattoos are what keeps the extra soul bound to the body but that they’re what allows the human to freely shift between human and beastkin form, unlike Izutsumi who can’t because she doesn’t have tattoos. So thus the souls are merged with or without the tattoos, but the tattoos help control and reign back the extra soul and its influence both on the body and on the mind. Sort of like a seal. The soul is bound by and not bound in the tattoos. Filtering the animal soul out and not in. Close but not exactly the same theory is that the tattoos are what keep the souls separate, and if there weren’t tattoos the souls would just mix. So then the tattoos are less about control and more about separation itself.

But it depends a lot on the angle you look at it with. Like while some think the soul is within the tattoo, I think the soul is within the body but the tattoos help ‘circuit’ and control it. My friend is convinced that it’s the first and theorizes a lot around that, but I plan to mostly talk about my own take here bc I don’t find the arguments compelling personally. (Do prove me wrong if you can /gen)

We know from Lycion explaining the different beastkins that what animal you can merge with is dependent on size and stature, the build of the body, but the line where a body becomes incompatible with an animal is rather blurry. Nimble bodies become werewolves and beefier ones become werebears, and the only prospect for halflings are rats. We do also know that Izutsumi and assumedly a panther bonded just fine. Obviously, a rat and a halfling still aren’t anywhere the same size, so again the line or hard limit is blurry. My take is that this is because the bodies have to shift between human and beastkin, the transformation has to not strain the body too much. If you try to transform a square into a circle, the muscles and skeleton might really struggle to adapt if not even just mess up. Lycion talks about the physical (and mental strains) in the pics below. Beastkins that don’t have tattoos and are permanently fused like Izutsumi might have more of a wriggle room since they don’t have to transform to and back regularly? But yeah if the animal and human bodies aren’t compatible enough maybe the body would collapse, or just be incredibly painful, who knows. It’s a bit terrifying to imagine what the failed soul bindings and shiftings must have been like when developing all this know how of the magic and what does and doesn’t work. Besides height, general size and body type, the amount of fat of a person might matter, like maybe for werebears. Healing and resurrection magic does take fat away from the body so maybe transformations would be a necessary cost on top of the mana? Or just be needed to form muscles, fur, etc? But yes from the examples we saw I feel like maybe werebears need fat, weretigers need musculature, wererats need to be on the nimble side, and then werewolves have loose requirements? More like ideals than requirements, I really doubt a fat wererat is impossible for example.

My main theory is that the tattoos are more about the transformation than binding the soul to the body, right. For example places that have a lot of tattoos and lines circling around limbs are ankles and lower legs, which with animal leg structures would get changed a lot during the transformation, bones and all. So the artistic parts are more about the tattoo artist’s will and about what parts of the animals are important or require more change while shifting, rather than it being a depiction of the soul’s essence or something like that. As support I think the pictures below referring to the physical strain of being a beastkin are relevant.

With this sort of tattoo magic, it’s a gut reaction to think that maybe there’s a special magical ink used. I doubt it, I feel like if the type of ink was a big component of how the magic works Kui would have mentioned it. There are some tattoos that are black like Otta’s iirc, but all the others are generally red so that could be support to that theory. The patterns evidently do matter a lot, so I don’t think it’s implausible that the patterns on their own are enough to fulfill their purpose. There’s also how "[the tattoos] are like a conduit", so I don’t think the tattoos cost or give mana but rather they, well, conduit the mana that’s in the body to be as efficient as possible or to fulfill certain specific tasks, like transforming, / lifting the wall between you and the animal soul bound to you.

Sigh how the hell does tattoo magic even work. "The tattoos are like a circuit" SURE but the symbols have to still mean something right… But then how does adding random patterns to camouflage the tattoos come into play without affecting the meaning, and if there’s an artistic or varying aspect to it and tattoos differ from one individual to the other for the same purpose then maybe it just isn’t a strict magic at all? I do find it fun that we don’t really know the underlying principles of the magic so it’s hard to even know how it activates and whatnot. Going back to tattoos being able to have extra patterns tattooed on top of it without it affecting the performance of the tattoo... But yes I do lean towards the explanation that as long as the extra patterns don’t mean anything they don’t interfere. But like if you just drew a line over the character/symbols/dents would it register that and stop working, or no? The limits are all so blurry… Here’s to hoping the world guide book 2 has info on it!! Readying myself to either get full face slapped or to have "I told you so" bragging rights.

Theoretically, it should be possible to bind two human souls together, or a monster soul. Izutsumi and Lycion’s souls are called feline and canid monsters iirc, but that’s like calling a panther a monster, I wonder if an actual monster from a dungeon’s soul would be more unstable to bind and to shift into… Monsters can leave dungeons, but I wonder about The Demon’s influence on them, like how he’s able to manipulate at will Kensuke, maybe it’s as long as a monster is in a dungeon? That could potentially be sooo bad for the monster beastkin. Wild speculation though, and I imagine being a human-human beastkin would be super extra mega taboo, I wonder if it’s ever even been tried according to elven records. This is the section that was important for my dunmeshi oc lol, evidently I think tattoo magic is very interesting so I want to explore the limits of it with ocs, a tattoo artist trying more and more ambitious projects and soul like a lovecraftian protagonist learning about what should be left unknown, and a dude who really wants to be More Than Human and divine almost with identity issues that decides to take on like 6 different souls. If you’re interested here’s the dude, still a huge wip tho.

I think it’s important to remember that tattoos are used for different magic and effects too, not limited to beastkins.

Edit 10/2/‘24 oh hey a leak, neat

Other non-beastkin tattoos

I know that I didn’t point out every detail and difference ever, like in that magical tattoos extra with the halfbody person those assumedly aren’t beastkin tattoos even if I included it in the main pic, and how the bust in that same picture has a line of characters around the neck without any line connecting them much like in the pictures below.

Which speaking of this is a good place to talk about different cultures having different systems or characters for magic? The torso of that guy in the upper right corner for example has very different patterns than what I’d have expected with the beastkin tattoo examples. And of course, Izutsumi’s tattoo…

Izutsumi’s tattoos support that the characters/symbols are the most meaningful and important part. Also goes against the assumption that the elven written magic system is because the symbols communicate with the spirits better, since well, they seem to understand japanese just fine. Maizuru’s written magic is said to be akin to gnomic magic, and she reminds me of irl onmyodo a lot. Like many other types of magic, different regions, people and cultures find different ways to practice their version of it.

And here with Otta, what I said earlier about her tattoo being ink and her tattoos not really seeming magical imo, maybe except the ones around her forearms.

[sleeplesssmoll]

Hot Take/Analysis: Sonetto went from the Foundation's cage to Vertin's leash.

Sonetto has more freedom in a physical sense. She can explore the world, experience new things, all that good stuff.

But mentally, she's still trapped.

Sonetto believes she's merely a supporting character in Vertin's story, almost admitting this to Sophia in the most recent chapter. She perceives her role as clearing the path for more significant figures capable of making an impact.

This echoes her mindset from her time with the Foundation.

Despite her undeniable prowess, Sonetto humbly sees herself as a tool for advancing supposedly "more important" causes, thus undervaluing her own worth.

When Sonetto and Vertin save Regulus and the Investigators from Manus, Sonetto's teammates express relief upon seeing her, trusting in their captain to save the day. Though Vertin initiates the action by reacting to the threat faster (her perception and ability to sense arcanum is beyond many other arcanists), Sonetto's swift response and strength play a crucial role. Despite their collaborative effort, she credits Vertin disproportionately, attributing their success mostly to Vertin's guidance and perception. It's a reocurring pattern for Sonetto to downplay her own brilliance. This leads into my next point.

LOOK AT VERTIN'S FACE WHEN SONETTO IS IN DANGER. Sonetto is so quick to defend Vertin, she ends up stressing the Timekeeper out. She was ready to die a martyr, now she's ready-- too ready to die for Vertin.

While we know Vertin has expressions, their usually subdued because she's "stoic". For her to spring up out her chair like that and show real panic is something we haven't seen from her thus far. For example, we know she gets furious with Arcana because her bangle starts searing into her skin, but her expression just looks a little mad without displaying the full extent of her fury. Btw I go more in depth Sonetto's effect on Vertin in this post and this one I made later if you're interested.

Sonetto is highly competent, but completely dependent on others in the fact that her "purpose", her "value", is assigned to her by others.

Sonetto doesn't need Vertin to shine, but only Vertin seems to get that out of the two of them. At least she dotes on the puppy? She didn't put the leash there but at the same time...

Do you think Vertin would want to remove it? Isn't it a nice safeguard if Sonetto thinks she needs Vertin? If the puppy is happy, isn't it fine to keep the leash their so it doesn't wander too far? Maybe she'll let Sonetto break this habit on her own instead of giving her insight as usual.

Vertin asks for nothing, wants for nothing, and is always ready to share joy with others.

So can't she be a little selfish this time? Can't she have just one thing in her life that? She's already lost so much.

Is this post just an excuse to lay the groundwork for Toxic TK14 due to codependency??

Codependency: An unhealthy dependence on relationships. The co-dependent will do anything to hold on to a relationship; to avoid the feeling of abandonment. An extreme need for approval and recognition. A sense of guilt when asserting themselves. A compelling need to control others. Codependency is a circular relationship in which one person needs the other person, who in turn, needs to be needed

[mdhwrites]

Honestly I personally believe Sasha Waybright character arc was better written and engaging than Hunter and Amity’s arcs combined mostly because there was more agency in her arc and while the other two characters who go from enemies to allies to friends just didn’t engage me as much as Sasha’s.

I’m especially dissatisfied with Hunter and how his story while interesting wasn’t as cool as it could’ve been

So I've talked a lot about this in the past but the angle I'll take this time is simple: Sasha is more compelling as a villain to ally arc because the show let her be a villain.

That might sound simple but it's clearly something TOH itself struggled with. One could argue that ALL of the redemptions in TOH follow a pattern of one bad action followed by them being tenuously on the same side and then on the same side. Amity is out of character for her first episode and then Luz is actually at fault for Covention, even if Amity takes it too far. Then Amity is weirdly antagonistic during Hooty's Moving Hassle and then NEVER AGAIN. Three episodes into knowing her and she is now the person we are supposed to sympathize and want around and her biggest crime feels entirely out of character for the rest of her portrayal.

Hunter is similar. His first appearance is not Hunter. It's the Golden Guard who is WAY more fun a character than Hunter ever was and kind of a bastard. Then the mask is removed in his second real appearance (not counting the stinger in Escaping Expulsion) and he is someone to start sympathizing and working with. He is the sad but mad boy by his third major appearance and his second appearance makes him somewhat sympathetic, just like Covention did for Amity... Or For the Future does for The Collector despite lines like "I can't wait to play amongst the bones!" in Hollow Mind that feel, drumroll please, OUT OF CHARACTER TO THE REST OF HIS WRITING!

Lilith is the only to subvert this... Kind of. No, they actually go out of order but still the same essentially with her. Her first appearance makes her sympathetic and not properly a threat because she's still willing to play ball with Eda for a one on one competition, then she spends the second half of S1 just palling around in shenanigans she should not be allowing but is because... Fuck you. Then we get her one truly evil action in kidnapping Luz, coupled also with having been the one to curse Eda but that's also used to show she's a good person now so the kidnapping is the bigger deal here. Then... She's just a good guy afterwards.

This all makes for the most shallow, bullshit uses of this trope I think you can do while being allowed to claim you did it. After all, a key point to all of these redemptions aren't "Then they sided with the good guys," it's just "Then they're a good person." They don't bring who they were as a villain with them. The strengths that led to their villainy are just gone and they're hard to say what they were in the first place, what they add to the narrative in their redemption and joining of the main party because who were they before they joined. What are they actually fighting against as a person instead of just deciding not to be evil anymore or wanting the cookies that the light side offers?

It'd be like if after Sasha was redeemed, she was as bad as Anne at being able to lead and use people. If the show went "To better erase all the crimes she's done, not only will we say Sasha only is a bad person because her father is Ultra Satan but also she now is entirely incompetent in what she was good at before." Amity loses her intelligence. Her plans are always the most straightforward after she starts getting a crush on Luz and she canonically started having her grades slip. Hunter is the most pathetic character in the main cast with I think zero wins in his belt besides his first appearance despite being the only one with combat training. Lilith is just... Sad in how much they reduce all she was for over forty years of her life to go "Now she's a silly nerd girl. Fuck ambition."

And, of course, their bad sides being blamed on mother, uncle, mother kind of for Lilith actually, just that the exposition for that comes after her redemption, and the Archivists and Belos for the Collector. They aren't bad people, they just were forced to spend time with the wrong people. Now that they're nerds and led by nerd Jesus, everything is okay.

There is a VEEERY real problem in TOH of Us vs. Them mentality that comes from these arcs that's really gross. Swap Luz to a white, male jock and suddenly the show becomes WAY MORE UNCOMFORTABLE!

Sasha dodges all of this because no one tries to excuse Sasha. Sasha never tries to pretend she's anyone other than who she is except for when she's explicitly putting on an act. This means everything compelling and good about her as a villain can cleanly transition to when she is a hero, even if it's hard to believe that which the show even calls out.

There is no Sasha's Angels in TOH. That might be a weird one to reference to you because it doesn't include much Sasha but it nails on the head what makes this trope so exciting. To Anne, Sasha letting others do the work while she gets to theoretically kick back looks like the same old Sasha that she now is suspicious of. Someone who is self serving and so Anne lashes out. However, it's not the case. Sasha's ability to manipulate always came from being able to read a person's weaknesses and strengths. She's a MUCH better manipulator than Belos in this way because she doesn't leverage on you or for you to already be siding with her. She can read you like a book and tear apart your pages until she plays with your spine. And as a hero, that's going to mean she's a great delegator. She's the sort who would go "Nah, we don't need to save them from what you see as certain doom. I know he can deal with it." And she's right. Not because of blind faith but because of the same skills that made her villainous.

Something that wouldn't hit nearly as hard, or feel reasonable on Anne's part, if we didn't get so many examples of this being who Sasha is. Of the fact that Sasha uses other people for her own means. And even now, you can claim the same... Except it's not for her means. It's for their needs.

It actually is part of what makes her becoming a therapist so pitch perfect. A good therapist can call you out when you're trying to hide behind something to not get to the core of your problems. They can catch what is at the root of your issues even as you don't see it yourself. They also can see your value and use your strengths to help combat those problems after helping you identify them. It's actually pretty close to how she tried to get out of Toad Tower in her first appearance. Bring in someone, earn their trust, use their passions against their weaknesses and make them better. The only difference is that now she cares about making them better.

Amity, Hunter and Lilith could never have such a satisfying future because again: What are their strengths? Hell, post redemption, that statement stands true. You can call Amity good at magic I guess but Hunter and Lilith are pathetic people who kind of luck out in being useful at times and that's really it. These aren't people who have anything going for them. They're as good as goons with one of them being an elite in a one off episode as far as villain forces go and that's not very compelling for a redemption of this sort. Not unless you're really going to get into that and A: Lilith was one of the strongest mages on the Isles and studied her ass off so you'd think she'd mocked less for sucking at her job and being a fucking moron and B: they didn't even try for half a second with Hunter who I don't really know if they intended to make look as pathetic as he did skill wise.

So their futures are just random factoids introduced during the story. Does Amity being an inventor say anything about her redemption? No. In fact, it really sucks because Odalia would have LOVED her daughter to follow in her father's footsteps because that's the most profitable option for their company. Good job show. Hunter just takes up the job that connects him with the only thing we know is explicitly Caleb related, no conjecture needed, which sucks for a character who was supposed to be his own person. Then Lilith is... A historian. Because she likes that I guess. Does that have anything to do with her time as the coven head? No. Her ambitions? GOD NO. It's just a random choice that puts her in line with the inoffensively nerdy cast.

And before ANYONE says anything about the shortening, I want to say I've done a blog comparing the fact that Amity, in S2A (so before the shortening) has as many appearances as Sasha does in Sasha's entire redemption arc. You didn't need more time to do this better, the show needed to actually commit to its concepts. Actually needed to be willing to do its tropes rather than slapping it on for marketability and to make lazy analysts happy.

Because enemies to allies is not one of those tropes you can half ass. Not unless you want none of its power and boy, these are some weak character arcs. At least we've got Sasha.

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