#I still want to write a longer in-depth analysis on the finale

[theluckiestlb]

[ghosts-and-glory]

Some Narinder character analysis for y’all.

This is a slightly re-edited excerpt from a much longer post of mine where I was specifically trying to provide a rebuttal to someone else. I’m kinda proud of some of my takes here and the write up took me hours so I’m gonna repost it here on its own.

I’m going into specifically into Narinder’s

Speech patterns and way of expressing emotions.

Implications of his post defeat dialogue

Relationship with Aym and Baal

Feelings on Ratau’s death

And a little extra on why do we “babygirl” Narinder

Full analysis under the cut.

The way Narinder expresses his positive feelings

First I gotta establish Narinder’s voice. Narinder seems almost incapable of giving a genuine compliment especially without turning it into something about himself.

Here’s three examples of him giving a complement to The Lamb. Taken from after defeating Amdusias and Shamura. He also complements The Lamb when you sacrifice Ratau but I’ll come back around to that.

I wanted to grab the entire quotes so it didn’t look like I was nitpicking.

"Very good, my vessel. It seems I chose well when I kept you from Death.”

First example, “very good,” is the complement, but immediately after he takes credit for this by calling you “my vessel” thereby claiming ownership over you. His vessel did well. And again “I chose well” doubled down and complemented himself.

“I admit, you have worn it (the red crown) almost as well as I could have myself.”

Again we see the complement layered in ego. “Almost as well as I” in other words you did well, but don’t forget I’m better. Also important to draw attention to is “I admit” this is a very explicit statement of his refusal to acknowledge the success of others.

"Your appetite for death is something I can admire, Vessel. But the Crown is mine, and none - NONE - are worthy. None other than I.”

Here he almost lays down a complement. “Your appetite for death is something I can admire” straight up, states his admiration. He seems to almost realize what he’s done and quickly pulls back into his ego, “But the crown is mine” “-none are worthy- None other than I.”

These are the three of the four ONLY times that Narinder ever says anything explicitly positive about someone else when he is a god. Thus establishing that the head ass cannot give out a compliment to save his life. The one time he gives you full credit for your actions he immediately pulls right back into his ego.

I cannot stress this enough. Someone who is characterized as cold and emotionally closed off as Narinder is WILL NOT suddenly undo this characteristic when they try and express a positive feeling.

Okay with that established we can look at his follower dialogue. Specifically these two examples from when you resurrect a follower and allow him to go on a mission.

“I cannot begrudge supplantation by one such as yourself.”

Literally saying I don’t resent you for taking my place. It’s not an explicit statement that he respects you but this is he weird fucked up little way of saying it. Of course he still lays it out in a way that’s self centred but we know from the way he has spoken that this is about as much verbal praise he is capable of giving.

The other one is a less explicit statement but I think it’s a interesting reflection of the final place of his character.

“…my thanks, Lamb.”

Being his last bit of unique dialogue, it’s an incredible ending to a character. He thanks you. That’s all he needed to say.

Narinder’s reaction to his defeat that he would rather die.

Let’s go over his dialogue in some depth.

"You weak, snivelling, foul thing. You - wait! Waaaiiiiiit!"

I’m starting with this line as it compels me the most. I find that there are two separate readings of this and I can’t really point to one above the other. On my play through I had assumed his wailing was more in reference to being denied death. It could also be read as him not wanting to be reduced to a follower and realizing what your mercy really means for his future.

“-are you to be a vengeful false idol, or a merciful coward? No longer can you blame your vile acts on me."

Okay, looking at the way he presents your two options he seems to push more for the murder action. “-vengeful false idol,” is how he refers to murder. It’s not exactly a glowing review but his use of the word vengeful is important. We know that one of Narinder’s main goals in the game is revenge, we he already acts with revenge I can’t say that he’s using this word as an insult. The false idol part of this statement seems like he’s attempted to separate himself from you, again for is ego.

Then he presents the spare option by calling you a “merciful coward.” The flow of this full sentence puts more pressure on this option. He presents it as the “or” the second option. This is the bad option, the option of a coward.

“So. vou are no different to me after all. You have become as I am."

I know this is a deranged order to go over these quotes but last we got murder. Compared to his spare dialogue this is incredibly sombre. We know from already establishing how big his ego is that saying you are the same as him is almost a compliment. I do find this dialogue incredibly interesting tho, I can’t exactly explain why but I can’t help but read this as damning as well. It’s like he means it in both ways, the ultimate fuck you. You are just as I am, for better and worse.

But from what we know about Narinder his edgy ass cannot express emotion. He wraps his statements in layers of irony and selfishness. Unless it supports the persona he puts on or inflates his ego he WILL NOT right out state his feelings or needs, especially when he was a chained god.

Relationship with Aym and Baal

Aym and Baal are incredibly hard to characterize. They don’t have much dialogue to work off of and only three characters every speak on them, Shamura, Narinder and Forneus. The context of the game does present them as more Narinder’s first (and second) hand, less followers more apprentices, almost, but where’s the fun in assuming.

"Intended as keepers, perhaps, but they were young and in need of guidance. Must I be blamed for my influence?"

I wanna draw attention to the specific wording of keepers. Again, based on the way Narinder speaks its safe to assume he means the formal meaning of a keeper, meaning a caretaker. It is unclear if Narinder was told they where his keepers or if he assumed so, but either way he still speaks on them as such.

For the sake of argument (and I don’t wanna rewrite this bit entirely) I’m gonna put the idea that Narinder brainwashed Aym and Baal against my presented idea of them being his keepers or apprentices.

The proposed idea of the brainwashing angle can be developed based on Narinder saying that “they where young and in need of guidance, must I be blamed for my influence.” This implies that, as much as Aym and Baal may have been sent as keepers, they where still young and Narinder could not help but be an influence on them. I am gonna come back around to this thread so hold onto this for a moment. Moving on.

“Two kits I did have, true love found! And yet one lackadaisy summer day, my beautiful children were taken away... a gift, they said, for the one they loved most, the one that waits...”

“Ooh, kits... I remember, I remember... two kits in my claws... a gift.."

It is unclear and morally dubious how Aym and Baal came to Narinder. First we’re not 100% where Narinder is chained. The wiki lists it as the afterlife and in dialogue Narinder refers to it as “at the gates between this life and the next, trapped at the nexus of what was and what wasn't.” (When he asks you to send him on a mission.) We can travel there both by dying and being summoned there by him.

Either way the assumption is that Aym and Baal had to die. (As an aside I have my own speculation on the conditions required for a person to be presented to Narinder or to be resurrected but that’s off topic.) The horrific implications being that either Shamura themself killed the kits or that they where already dying. However you cannot blame the reaper for ushering the dead away from life.

I’m going to work off of the cult specific definition and characteristics of brainwashing. It’s hard to characterize where Aym and Baal sit here as, again they have little dialogue and due to the nature of brainwashing it’s hard to spot. First I wanna grab my brainwashing resources.

I’m using Encyclopedia Britannica’s page on brainwashing, cults, indoctrination, manipulation as my primary resourse.

Again I kinda wanna apply a layer of irony to how literally I apply real life tragedy to this game that obviously uses cults in a comedic manner. I wanna focus in on the characteristics displayed by victims of brainwashing and the techniques used in brainwashing by an abuser.

Looking at the elements used in brainwashing the only one I can say off the bat that is present is isolation, obviously. But with that let’s grab all of Aym and Baal’s dialogue.

What is clear from their dialogue is their obedience to Narinder. They call him master while his keepers and still when you meet them later when adventuring. And physically we do see them by Narinder’s side the entire main game and they fight the Lamb first. But if we add some nuance and look at their role as keepers or my own theory of being apprentices both actions of obedience make sense still for those roles. On the same note they also don’t display traits you would expect for someone fully under Narinder’s control. They speak to the Lamb out of turn and attack without prompting from Narinder.

Other characteristics are hard to imply. With torture I do want to pass it off an unlikely as based on the way Narinder tries to manipulate the Lamb it’s only verbal and he cannot attack while chained and I don’t see that changing with the keepers. Traits like sleep, water and food deprivation can’t be applied for various reasons (mostly the being dead one) and we don’t know anything about Narinder and the keeper’s interactions in the past so I’ll have to disregard other traits like suggestion.

Baal: "It's you. Usurper of the Red Crown. The one who freed us."

Aym: "Ha! You are nothing compared to our Master. We have not been in this world long, but already I can tell you are weak. You lack discipline. Our Master wielded Death with precision and control. You allow chaos to reign."

Baal: "What my brother means to say is thank you."

Moving onto groupthink I can pretty comfortably say that this is not a present characteristic of Aym and Baal. In their limited dialogue we can easily characterize Aym as more outwardly defensive of Narinder but Baal is more reserved and even contradicts Aym and is able to speak freely of Narinder.

Looping back around to the way Narinder speaks on his influence on Aym and Baal. Again we know how Narinder speaks, he cannot give honest compliments and dodges affection like it’s a professional sport. With the way he will outright tell the Lamb to manipulate followers and then uses the words “guidance” and “influence” about Aym and Baal, he has to be avoiding admitting affection to the keepers. He does follow that up with “Do what you wish, scornful God. I care not for them.” But again does Forneus not also allow her kits to do as they wish?

My own reading of Narinder’s relation to Aym and Baal is that of mentorship but it could also be read as parental. But saying brainwashed is a big stretch.

His feelings on the death of Ratau

This is like another example of like, yeah, wow, an evil character does evil? Who could’ve possibly foreseen this? Sarcasm aside I do see his comments on this being a lesser evil.

First I do have to ask why, if Narinder held strong sense of unrest against his former vessel, did he not have him struck down? The main reason I can see is that Ratau is still devoted to the red crown, most clearly seen by the statue at the lonely shack which generates devotion.

Second, Ratau’s death isn’t on his hands, it’s on yours. I find his pride here is from The Lamb’s actions not the death of Ratau. You killed your mentor, he describes your actions as “treacherous opportunism” and says “A great Vessel takes their master's will as their own.” Based on his later dialogue this is likely more foreshadowing the Lamb becoming as Narinder is. Narinder tried to kill his siblings, and you did kill your mentor. “You have become as I am."

I’m gonna tangent quickly cause there’s a line here that is incredibly interesting.

"He renounced his position after striking a bargain that resulted in the sacrifice of a Follower. He was weak."

Incredibly interesting the way he condemns Ratau’s sacrifice of a follower. Narinder directly contradicts himself. It is implied that the follower was lost to another being that did not benefit Narinder, but the Lamb also sacrifices followers to the Fox and Midas. Just something to chew on.

Why do we “babygirl” Narinder and other evil characters?

This is kinda the last bit I’m gonna get into before I cap this off. It is incredibly funny for me to say “I babygirl Narinder” only to get a reply that’s like “I don’t think you babygirl him on purpose.” But I wanna talk about why this happens and why it happened to specifically Narinder.

When people complain about the fandom interpretation of Narinder I think they forget the tone of cult of the lamb. The closest thing I could think to call it would be a dark comedy kinda energy.

The game has very dark themes going on. Mentions of real horrible things like genocide, cults and religious abuse. But also just like look at the game, it’s visual style is so cute and non threatening, the bird characters have two mouths to commit to the bit. If you look at the way it depicts cults it’s very surface level, it’s more focused on being a satire on the common satanic media kinda look of a cult. Visually it bathes in its aesthetics, taking names from books like The Lessee Key of Solomon, uses villainous depictions of symbols like the pentagram or old Hebrew script, disregarding its nuanced origins.

And then they go onto do the funniest thing ever. The other bishop’s? Gross little freaks, based on commonly disliked animals, worm, frog, squid and spider. And then- and then they make the god of death, who they characterize and manipulative and evil, they make him a catboy. You cannot tell me they did not know what they where doing.

Why have I shot Narinder with the babygirl beam? CAUSE THE GAME DID IT FIRST!

I’m gonna call the god of death my little meow meow and point out his status as a Tumblr sexy man cause he’s a little guy and I wanna give him head scritches. But I’m also gonna call him a layered, fucked up and an incredibly interesting character in the same breath.

[starrstruck-xx]

An In-depth Look on the Day of the Meteor Shower (The Necklace and The Sword)

a soriku endgame deep dive: part 2

This is part of my soriku endgame deep dive series, a series where i'll try to dissect everything and anything related to soriku.

Part 2 is going to be more of an analysis rather than a prediction. Specifically about the necklace theory, about Sora's and Riku's meteor shower memory. More specifically, my variation of the memory, and why I think it was Sora who made the promise first (with toy sword), then Riku made his vow back (necklace).

I'm not saying that other interpretations are invalid, this is just one other way to look at it. I will also be writing my opinions and thoughts on the matter, and how this version impacts sora and riku's relationship.

Start of Analysis

What actually happened

To start off, I want to say that I'm not a certified KH fan (a lot of things under my assumptions could be wrong), since I'm still considered to be somewhat a new fan (i got introduced to KH in 2019) and i haven’t actually played any game except 1/3 COM GBA. So take this with the grain of salt.

I assume that most fans believe the necklace theory memory goes as follows: Sora got scared of the meteor, Riku made his vow with his toy sword, Riku gave the necklace to Sora.

And I thought so too for a while because of Riku's heavy association with the word 'protect' and 'vow', but after reading multiple posts and thinking about it for a while, i think it goes more like this: Riku is upset (for reasons that is not the meteor shower), Sora cheers him with his toy sword (sora did not chew onto the actual matter, opting instead to make a promise, to be together with riku), Riku gave the necklace to Sora (riku then made his vow to protect sora).

For the longer version:

Riku got jealous when Sora's started to hang out with his new friends (Wakka, Tidus, and Selphie) and stormed off. Sora noticed that something is off and the FF gang sent him off to go catch after THAT GUY (aitsu). Sora and Riku argues, coincidentally a meteor shower started happening.

It’s probably a pretty scary experience for a 5 YO and a 6 YO who were standing alone on the islands at night at that time, and this situation might be more frightening than your usual meteor shower (given that it is chunks of a world being destroyed near the islands).

But even if he's scare to the point of tears, Sora still forces himself to put on a brave front for riku. He shakily assures Riku not to worry with the toy sword that he's holding. Sora promises to always be together (issho ni 一緒に) with him, to fight alongside him and to protect him.

In that moment Riku was probably really stunned at this kid, who’s such a crybaby at his core and stupid but brave at the same time and somehow managed to spark weird feelings inside of him. So Riku muttered a thanks, and gave his necklace to Sora, vowing to protect him and never let him go.

Why this version?

another disclaimer that my version could be wrong, but even with variations of details my key points are still: sora's promise is symbolized by his sword, riku by his necklace.

now let's actually get into the analysis!! (tbh this is just my reasoning on why i chose this, why i chose that etc)

AITSU: Destiny Islands

i based my interpretation on the aitsu scene of card destiny islands that happened in COM

Yes this infamous scene.

Every world on COM is a manifestation of Sora’s heart, so i believe the actual memory played out in a similar fashion with how this scene goes 

🔽 selphie wakka tidus urging sora to go meet THAT GUY (aitsu)

🔽 riku banter of "oh sora ur so pathetic without me"

🔽 sora finding namine here (in literal chaos -> meteor shower), “i finally found you!!”, namine (riku) clenches fist. And here sora brings his keyblade (sword) 

*and this is probably the closest thing we've ever got to a real life action scene of the necklace theory

riku’s psychology (pre-ddd)

a.k.a. why i think riku's promise is symbolized as sora's necklace, not sora's necklace + sword

Riku’s main flaw that I’m focusing here is his drive to be ‘the best’ which manifests in the form of his tendency to be possessive and being dishonest about his feelings

Via BBS, from a young age riku has already stated that he wants to ‘protect the things that matters’ (daiji na mono), hinting at his obsession for things (necklace and sora) that he holds dear to him. 

Sora recalls that namine had her paopu charm since she was a baby, which made sense that the necklace holds great importance to riku as a family heirloom, one of the ‘important stuff’ (daiji na mono) that he wants to protect.

This later aligns with how ‘things that matters’ evolved with riku’s character because at the night of the meteor shower:

riku’s ‘important stuff’ (daiji na mono), turns into -> ‘precious stuff’ (taisetsu na mono) referencing to sora / riku's heirloom that sora is holding onto, because now that object has multiplied the value of worth

and later to -> ‘precious person’ (taisetsu na hito), because riku finally realized 'the things that matters' or precious person is Sora, and by realizing that his love became more unconditional, because he is discarding himself (the necklace) in the process

(Beautiful no? I think so too)

And to add, this possessiveness is what caused him to go ballistic in the first place when he saw that 

Sora has the Kingdom Key (Riku is the original owner of said key; via nomura interview, riku is the light) 

Sora has discarded him AGAIN for his NEW friends: donald and goofy 

Riku thinks sora discarded him for real this time because other than new companions, for once Sora is better and stronger than Riku so he won’t need Riku anymore to protect him

Second, in KH1, Riku is described more as a cool, older guy, who teases sora a lot, and is better at everything than sora.

It is important to note that soriku dynamic KH1 is a bit different in comparison to it's KH3 counterpart. Although they both might look the same at front value, if you squint, KH3 riku became more of a reliable figure, giving guidance, protection, admiration, and a safe-space for sora

Unlike KH1 where it’s sora who’s more of a safe-space for riku because atp because riku masks his dislike and true feelings behind playful teasing and bantering, the most damning example: riku’s paopu scene, riku putting up a ‘cool guy’ front 24/7 non stop no break, and sanctuary is written for soriku renunion (yes this is true, you can search it up) which had reverse lyrics how cool is that.

*lyrics of sanctuary (KH2 Opening)

In KH3 you can see that both Riku’s actions and words are more genuine, he is actually honest about what he felt, and give honest encouragement to Sora, example his sacrifice scene at KB Graveyard (in english there's a slight mistranslation)

“Sora, I believe in you, you won’t give up”

Opposed to this which was previously used by Riku to motivate Sora in KH1 (example scene is sora's fight againts ansem in KH1 & roxas riku Days fight):

“Giving up already? Come on Sora, I thought you were stronger than that!”

*this is riku talking on screen

So following all of this, i’d say it’s more fitting if riku's vow is symbolized by necklace not sword because by this action:

The necklace is a way of saying that Riku entrust his heart / identity to Sora without explicitly saying it

A reminder for Riku for the precious vow that he made 

An implicit bind that Riku unconsciously forced on Sora that says together means TOGETHER FOREVER and that you can never escape from me EVER

Which: if riku is the one who first raised his sword to made his promise, it would be more of a ddd/kh3 riku thing and riku would not gave his necklace to sora because he would not want to bind sora to be forever with him as that is a selfish thing to do

Yes, Riku may also raise his sword to offer protection in that scene, but it was done after the necklace / vow is made on sora.

Sora’s association with the sword

Okay but does that actually changes anything?

Yes, because the promise is now mutual because its no longer just riku being unhealthily obsessed with Sora, it also goes the other way, via FF kids convo:

It also fits Sora’s character to dashingly comforts Riku with his words and assurance because if he doesn’t exactly understand what’s going on, Sora always managed to find his way around people’s heart

And, it also fits with Sora’s character issue, the tendency to mask and ignore things that really needed to be discussed with a happier, cheerful front in order to distract them from the actual problem.

Now for Sora = Toy Sword relation

Reminder that I don't play Kingdom Hearts so this is based on what I know, in Kingdom Hearts dive to the heart, there are 3 weapon types or path that you can choose to manipulate your stat, the dream shield, path of the guardian (goofy or riku), dream rod, path of the mystic (donald or kairi), or dream sword, path of the warrior (sora or mickey)

And then there’s also this panel during COM Riku Boss Fight II, when Sora reminisced about sparring with Riku. The sequence is Sora fades to his memories, an image of child sora with the toy sword is conjured, then sora spare with riku.

There is also the previously mentioned keyblade (sword) that Sora is holding when coming into contact with namine on card destiny island, when everything is surrounded by chaos (view AITSU: Destiny Island panel 1)

And now I'm going to take parts from Kingdom Key & Kingdom Hearts analysis which help me conjured this whole post in the first place. In KH1, Riku's light touches Sora, bestowing him with his keyblade (crown)

And how Sora had also entrusted his sword (heart) to riku

What I'm saying is, at the night of the meteor shower, sora and riku had exchanged symbols (the heart and the crown) to eachother at the night of the meteor shower when sora gave protection with his sword (heart) and riku with his necklace (crown)

THIS IS GOING BASED ON THE FACT THAT THEIR SYMBOL IS SORA = CROWN, RIKU = HEART

*these are the chess pieces of sora (crown), riku (heart), kairi (star) in kh3 (there are still more, but mainly these symbols is always used in sora and riku's visuals)

Moreso if crown = sora, heart = riku from the beginning it would not make sense with their character origin because crown can be meant as chosen one, special one, royalty, which sora has been stated multiple times to be just an ordinary boy despite the bajillion crown symbolism on him while the heart means to connect with people which is more associated with sora rather than riku who's whole theme is isolation and hidden truths

alternatively, sora has given his heart to riku, while riku has given his throne to sora on the night of the meteor shower which also aligns with the boys character issues: need of validation (sora) and need of affection (riku)

Scene Analysis

now with the assumption that sora -> sword, riku -> necklace, a few scenes started to hit a little deeper

KH1 Hollow Bastion

here riku is basically saying "i don't want your heart anymore, you can have it back" but he can't directly took the necklace so the kingdom key will have to do

COM Riku Boss Fight II

the line "you always try to warm your way into my heart!" and "it never mattered to you" from repliku makes so much sense because the real riku probably feels manipulated by sora's false promises and empty words, that it tricked him to gave up his precious family heirloom and essentially his heart that he trusted to sora

**in addition, repliku started tweaking after sora implies that they should work together (issho ni) instead of fighting

and many more.... (we've hit the image limit)

there's probably a lot more scene that can be seen in a different perspective with this mindset in mind especially in kingdom hearts I and chain of memories, but those are the MAIN examples that i've listed (i might do more in the future, i'll put a link when i do!!)

THE ENDD!!!!!!

that being said, this analysis had come to an end!!!! tysm for reading!!

other parts

part 1 (the paopu fruit)

[raavenb2619]

Can you talk more about aromanticism in Do Androids Dream of Electric Sheep :o But yeah as someone who read the book before watching the movie, I thought it was weird they didn't include how animals were super important in the world as a sign of empathy and showing empathy was a status symbol.

Yes, I would love to talk more about this! I have a bunch of incomplete thoughts rattling around in my brain about Blade Runner and Do Androids Dream of Electric Sheep, including about the interesting parts of the book that were cut, like Mercerism, the importance of animals, the empathy boxes, the emotion dialing machines, the spider scene, the other police department, the use and non-use of the empathy test, the fact that multiple androids can share the same face, and the narrative/story treatment of Rachel. I'd like to organize and share my thoughts with other people, but first: I need to watch Blade Runner 2049 because I've heard it's got things for me to analyze, compare, and contrast with the original film and the novel; then I need to decide how many versions of the original film I need to watch and analyze (so far I've only seen The Final Cut, which seems to be the version most people like and recommend, but I think that having Deckard narrate sections could change the worldbuilding and potentially add roboticism that I felt was lacking in The Final Cut); then I probably need to spend some time piecing my ideas together into something coherent that other people can read and understand, but then I'd love to publish my thoughts (probably as an essay on Wordpress, though maybe something a bit more informal) and let people read it and have a conversation about it.

How long will that take? I don't really know. My Frozen essay took four months; DADoES + BR + BR 2049 might take longer because there's more material to analyze. But by asking for my thoughts, you've somehow given me the motivation and inspiration to actually write something about this. (So, thank you for that :).) I'd also like to try to share some of my progress, thoughts, realizations, and questions as they happen on Tumblr, because I'm interested in doing media analysis with other people (and because that might reduce the risk of me losing motivation while working on this), so I may end up rebranding my blog a bit at some point.

Here are some other media analysis/writing things that I'd like to do some day. It turns out that other people asking what my thoughts are on a thing is a really good motivator for me to write down what my thoughts are on a thing, so if anyone wants to encourage me to write an essay or blog post about any parts of any of the following topics, feel free to send me an ask:

Wicked (the musical). One angle I'd like to explore is looking at the musical through an aromantic lens, and reading Elphaba as alloaro/alloaro-aligned. I might broaden the scope to look at other Wizard-of-Oz media, and maybe also aro-aligned villains and aro-aligned anti-heros in media, but maybe that would be better served as a series of essays/blog posts and not an essay so long it should be a book. There's also so much musical/motivic analysis I need to do of Wicked, it has so much depth and I still find more things when I relisten to the music.

The portrayal of robots in fiction. One angle I'd like to explore is, "why are robots and aromanticism linked?" And I'm not happy with the shallow answer of "robots don't have emotions and people think aromantic means you don't have emotions"; I want to actually know "why are robots and aromanticism linked? How did the portrayal of robots evolve for there to be a link? Was that inevitable, or could robots have turned out differently so that they weren't liked to aromanticism? What does the linking of robots and aromanticism say about society and fictional depictions of humanity and lack thereof?" I also need to rewatch and actually finish Battlestar Galactica, though I think that might be more interesting through an ace lens than an aro lens.

Isaac Asimov's fiction and related works. I've been reading a lot of his fiction in publishing order in part because of my interest in the origin of robots and aromanticism, but there's definitely interesting things to be said about his novels and short stories, and also the Foundation TV series, such as how they treat love. (I also want an excuse to rewatch all the episodes just to answer nerdy music theory questions about Demerzel and does she have two musical motifs and why is one very legato and lilting and the other is staccato and halting and is that representing an inner struggle between her humanity and her roboticism?)

An analysis of @kernsing's aromantic sonnet #1 (this is still on my todo list, I got busy but didn't forget, but I have Things to say and I want to Find even More Things to say about this poem)

"Why Beauty and the Beast (1991) is fundamentally arophobic and can't be fixed." Okay, I haven't thought about this in a while so it's possible my perspective has changed and I'll find a way that the story could be changed to not be arophobic, but I know that the conclusion I came to a while ago was that the story structure itself was fundamentally problematic and that changing it enough to make it no longer be arophobic would require changing the story structure so much that it would be a fundamentally different story. This would not exactly be a fun essay to read or write, because I can't imagine many people enjoy someone digging into why a movie so many people love is arophobic to its core, but I'd still like to do it, some day.

Is "The Grinch Who Stole Christmas" a distant relative of "Beauty and the Beast"? (I mean the story structure, not genetics/family trees.)

An analysis of Walt Disney Animation Studios films over the years. After my Frozen essay I spent like a month watching almost every Walt Disney Animation Studios film and tracking how the films treated a bunch of different aspects (e.g. sex, romance, marriage, third wheel, kissing, jealousy, love, true love, meet-cutes, queerness, gender, sexism, transmisogyny, homophobia, multiple concrete aspects of amatonormativity, queercoding). But I never really tabulated or aggregated my notes.

The discarded best friend trope (this is an arophobic trope I noticed and came up with a name for), and some examples and subversions of it.

Why does High School Musical (and HSM 2 and HSM 3) lack romantic love songs despite being a loose retelling of Romeo and Juliet that allegedly preserves the central romance? What are the queer things that can be found in the movies? What would I do if I could remake it as a multi-season TV show that was overflowing with explicit queerness that touched on things that weren't shown in the movies? Can I be normal about Kelsi? (I absolutely can't)

Why does Heartstopper (the TV show) make me read Tao as aro all the time?

Fairy tales! What is a fairy tale? Fairy tales through an aro lens! Do fairy tales have a distinct musical sound/style/identity? Has the musical sound of fairy tales changed over time?

Why do stories typically have room for a heroic love interest, but not a villainous love interest? (I'm not happy with the shallow answer of "because of amatonormativity/arophobia". I want to know, why are stories like this? Does it have to do with the structure and pacing of stories? How do pure narrative reasons interact with societal forces and expectations?)

"Katniss Everdeen from The Hunger Games has always felt aspec to me, and here's why." The last time I read through the trilogy, I felt she came across as demi I think? It might be interesting to compare the books to the movies and look at what and how the adaptation changes, especially with regards to romance, relationships, and aspec coding.

Something about how you can have in depth discussions about aspec politics without using aspec terminology, and maybe using too much aspec terminology makes conversations in the aspec community less accessible to new aspecs as well as well-meaning and open-minded allos who would be better allies to us if they could more easily understand what we talk about. When it comes to things like amatonormativity and allonormativity and the societal norms and issues we face, the more people who understand us and agree with us, the easier it'll be to shift society to be better for aspecs. So, sometimes it makes sense to try to talk about complicated, in-depth aspec issues using as little specialized terminology as possible.

Something something aro Celeste. A while ago a friend joked that I should do an aro analysis of Celeste, and then I started actually thinking about it and saying words and they realized they'd made a mistake, but I never wrote down any of the thoughts I had. Just brainstorming here, but there's probably something I could say about Crystal Hearts as collectibles that gate access to more difficult content and have three different art styles depending on where they appear and how they push you away unless you dash into them and break them and how you can die after collecting a Crystal Heart, Madeline's ex, Madeline and Theo's friendship and Grannie and Theo's grandfather's friendship, Madeline and Badeline's story arc through a "Show Yourself"-like aro lens, and Theo's instagram photos of Madeline doing archery. (This essay would be more on the silly side of things, basically proving that given enough disparate pieces in media I can cobble them together with thumbtacks and red string to make shapes that don't exist. And yes, I came up with the brainstorming list in about 5 minutes off the cuff while writing this bullet point)

An aro reading of Homestuck. I would need to finish Homestuck first, and I'm going to start from the beginning at...some point. I remember really liking and getting excited by the "troll QPRs", and I'm probably going to get nerd-sniped by trying to build my own understanding of how leprechaun romance can make sense. (Yes, I know this might be another thumbtacks and red string essay. No spoilers please)

Something about Gravity Falls, The Owl House, She-Ra, Steven Universe, or other similar TV shows?

Tron and Tron: Legacy? Idk I rewatched them semi recently, and expected to dislike the sequel because I had been listening to the album totally wrong. But then I disliked the original and liked the sequel a lot. There's potentially a music theory lens here, but I'm not sure if there's a queer lens here. But that's okay, maybe someone will suggest one, or maybe I'll just write up my thoughts even though there isn't any queerness to speak of, because my media analysis doesn't always have to be through a queer lens.

Something else that I haven't listed here because I don't have an actual list of things anywhere and I've probably forgotten multiple things?

Something I haven't thought of? If you want to know my thoughts on something or want me to analyze something, feel free to send an ask or a reblog or something. No promises I'll answer in a timely fashion (or ever), but I might

[velvet-vox]

Notes of my final Murder Drones rewatch before ep 8

(These thoughts are uncollected and unrevised, proceed with lowered expectations)

Originally, I was about to make a three-part long post before episode eight comes out.

In the first part I would have analysed Cyn's character and showcased her possible depth and ties to N's character arc.

Then in the second part I compared the Doll, Cyn and J trio to Uzi, N and V, showing the parallels between each member of their respective squad, which would then lead to the final part.

Part 3 is my defacto theory on how certain elements of episode 8 would have played out, with J as a main focus in it, due to her being the V parallel, but then, as the day passed, I realised something:

I'm an analyst, not a theorist, and while it could be fun to make a theory on episode 8 to see how right and wrong I was in retrospect, it's not an activity that I'm particularly fond of, plus, while my opinions on Cyn have changed with time (I'm going to get there), the reason why I kind of like her now completely hinges upon head canons that hopefully are going to be confirmed, because otherwise, my opinion on the character could get even worse than what it once was.

One of the main reasons as to why I wanted to realise this project was to see if I could get invested into Cyn in the same way I got more invested into Rebecca with the analysis I've made on her, but why bother doing that when I'm sure episode 8 is (hopefully) going to fill me in on her character?

I'm not finding the time nor willpower that I wished that I had to complete any projects lately, and due to my constant need for perfectionism (need that it's being deliberately ignored in the writing of this post), I just keep shooting myself in the feet.

Anyway, let's just skip the intro and directly segway to the important stuff:

Uzi:

Uzi is a complicated character for me. She was my favourite character in the Pilot and dropped down massively after that, and I never understood why: I came up with a bunch of explanations for myself, such as "her development isn't engaging" and "she doesn't get challenged in interesting ways that isn't just plain torture" and "she's the most enigmatic character in the show, her actions don't make any sense to me", and I was particularly sure of that last one, not in the sense that Uzi was evil all along, but in the sense that Uzi was being written as a twist villain in the same way Goultard from Wakfu had been coded as such before the third season of that series revealed us why;

But this last rewatch finally made me understand what my problem with her was.

Aside from the rushed development, which is something the entire series struggles with, I've realised that there's an extremely subtle layer of complexity to pilot Uzi that her show's self lacks: see, despite Uzi acting like a gremlin at various points in the pilot, one thing that really surprised me about how Uzi was initially characterised is that, aside from her moments of emotional impulsivity, Uzi... is actually relatively chill?

The best way I could describe it is that serie's Uzi to me is a child to take care of; I would act nice, kind, patient to ep 1 through 7 Uzi just to get on her good side so that she wouldn't bother me as much as she bothers her peers, hopefully helping her grow up as an individual and stop acting so horribly, and help her find someone else who appreciates her for who she is, so that I wouldn't have to deal with her any longer, while pilot Uzi is someone I would genuinely like to spend time with as she's secretly a pretty chill gal, even if I would still be afraid of her, just like the rest of her classmates.

The pilot makes it extremely clear that Uzi's angsty teen persona is just that: a facade. It's not the real her. This added a layer of intrigue to Uzi in the pilot, where it felt like there was so much more to her than what we were shown at first;

But nope. The rest of the show comes out and Uzi is just that: a wild, emotionally unstable teenage gremlin-girl, who isn't even at the centre of the story despite all of the screen time that she has.

I always thought that Liam didn't want me to sympathise with Uzi, as I thought his modus operandi was "Make the character interesting, don't make them sympathetic" but as the show went along and it fell down even further into a classical good versus evil plotline (something that requires is own post), it kind of became harder to shrug off how genuinely unlikable she is to me. I like N a lot, and I kinda like V whenever her fans are nowhere to be seen, but I don't really sympathise with either of them, I just find them to be engaging.

I like the Murder Drones cast because they are interesting characters, not because they are good people. Yet, from the way Uzi is written, it feels like I'm supposed to consider her the hero, when in reality, she feels more like an unwilling plumber forced to take out the clog (Absolute Solver) unwillingly.

(Also Doll is a much better foil to Pilot Uzi than she is to canon show Uzi, but that's a discussion for another time)

But that's enough of that. Let's talk about the episodes:

Episode 1 through 3:

I plan to do an in-depth ranking of all 8 episodes of Murder Drones once the ending comes out, so consider these my rapid fire opinions on each and every single one of them.

The pilot is the best aged episode of Murder Drones to me even if a lot of its elements have been decanonised, and it could as well end up becoming my favourite episode of the show when it's all said and done.

Episode 2 is as weak as ever, but one thing that always bothered me about this episode is the ending where Uzi just decides to go back into the colony with Khan.

Now, it's no secret that Murder Drone's everything is extremely rushed, but for most of its runtime, this episode gave me the impression that Murder Drones was going to be a slow burn, long running mystery series, only for the ending to come along and leave me dumbfounded by what the pacing of the show was going to turn into.

Heartbeat is also the only episode where my opinion hasn't changed since first watching it. I thought it was mid at first, and I still consider it to be so.

My thoughts on it are a little bit more complicated than that, but I'm reserving them for the future.

You can slice it however you want, but episode 3 has aged HORRIBLY, it's not even in my top 5 best episodes anymore, and yes, it's exactly because of the focus character of this episode turning out the way she did in episode 7.

Say whatever you want, but to me, the third episode is not an Uzi episode, it's not an N episode, it's barely a V and Lizzy episode and partially a Nuzi episode, and it's certainly not a Khan episode.

For the most part, The Promening is a Doll episode; she's the character the episode is wasting most of its runtime on, introducing her, her parents, making her a mysterious threat; in comparison, the Nuzi and V stuff is mostly secondary, and could have definitely been developed further if the episode didn't have someone else as it's main focus.

Doll:

I never wanted Doll to survive the season; I never wanted her to live, I never wanted her to die, I never wanted her to be redeemed, nor did I want her to stay evil till the end; all I ever wanted, was for Doll to be well-written, and as it stands, I don't think Doll does enough or is explored sufficiently as a character to justify her relevance or existence, especially since a lot of other characters could benefit from some extra screen time, and while a lot of people might think that just bringing her back to life would fix some of her problems, I don't think they really understand all of the underlying issues that come with such a choice:

If Doll were ever to come back, she for sure would get a redemption arc, because what else is there to do? She lost all of her screen presence, she's no longer even remotely threatening, her story is so divorced from our current one to be straight up disposable, a lot of people see her as just a joke after the seventh episode, and in general, she's no longer a credible villain to see on screen.

And yet, I don't think a redemption arc would work for Doll at this point. Her character wasn't built up enough aside from being mysterious for the sake of it, I don't think a redemption arc would work, because it would require too much time for it to work, and time is the one thing Murder Drones always lacked, what makes you think a second season, let alone one episode would even fix?

I'm pretty pessimistic about episode 8, unless it's all one giant ruse and there is, in fact, a second season. The math just doesn't add up, episode 8 can't possibly be a satisfying conclusion or an unsatisfying conclusion done right, I fear it will be one giant clusterf##k.

Cabin Fever, Intermission, and Home:

Episode 4 is about as good as I remember it to be, and aside from noticing a couple of new details useful for my analyses, I don't have much to say about it.

I got the chance to watch @ghoulinfuschia 's Murder Drones Intermission together with the other episodes this time around, so now I finally have the chance to praise it a little bit.

Murder Drones Intermission is a fan made episode of Murder Drones set between episode four and five, made entirely by a crew of fans.

It's an amazing product for what it's worth and by how it was made, and while it's not perfect and I consider it far from possibly being canon, it does fill in nicely into the show's timeline, and improves a lot on some of the weakest story beats of the series. It was definitely a nice break from me while rewatching all of the episodes, and I recommend it wholeheartedly to anyone who wants to check it out.

It's pretty ironic how episode 7 retroactively managed to worsen episode 3 and improve episode 5, but that's genuinely how I feel about Home now:

I'm about to be real with you, Tessa being dead all along was the only tid bit of major character's death that wasn't wasted, as now that I know why Tessa's wasn't the episode's protagonist, I'm much more accepting of the way in which episode 5 played out; it's clear that Liam never wanted us to get attached to Tessa beyond any simple "she's a nice, abused, teenage girl that treats N nicely" type of feeling, also the tradeoff for her death and humanity apparent extinction was well worth it in my opinion, which is something I can't say for V or... her.

But now it's finally time to talk about the actual main character of this episode:

Cyn:

I'm about to say something that I've never thought I would end up saying for real:

Did you know, that Cyn, is an actually interesting character in her own right?

I never did.

Quite frankly, I kind of heavily hated Cyn up until some time ago.

To me, at the start, Cyn was just a cool visual threat that would have hopefully been fleshed out in the future, but then, not only is she still remaining just a one note villain at this point of the show's runtime (aka the "finale"), but she also ended up killing a far more nuanced and slightly more fleshed out antagonist, while also not really doing anything to fulfill the compelling character void left by the aforementioned character.

Hot take: the fandom's portrayal of Cyn as this unbelievably silly creature of pure autism ruined her character, as well as the general discourse surrounding her.

To me, mass murderers should only be blorbified once their first major focus arc in a story has been concluded. It's why I'm fine with the blorbification of characters such as Qilby and William Afton, and I'm not with Cyn.

The thing about blorbifying is that, you are actively distorting canon for your weird fantasies, which is something that I'm fine with, but only once said characters have received their narrative catharsis.

I don't really view Cyn as a serious or heinous threat at this point in time, and that's all due to how much the fanbase ended up babyfying her to no end, giving her the Jax treatment with the main difference being that Jax has had is funny blorbo illusion already shattered, while Cyn still has it at this point in the show's runtime where she should be at her most evil and intimidating yet.

But that's enough of that; as I've already stated, now that we know that adult Tessa was Cyn all along... Cyn has just become such an interesting character to me, not for the mystery and creepiness surrounding her, but for the ways in which she could end up paralleling N.

... If that's actually what's going to happen.

It all hinges upon Cyn actually being worth the hype and the rushed developments, because otherwise, she could go from being my third favourite character to my absolute least favourite.

Episode 6 and 7:

I appreciate the Jurassic Park section of this episode for being a break from everything going on and for setting up the plot twist in the following episode.

Although her section bores me a little bit, I'm just gonna come out and say it: Alice is in my opinion the best humanoid antagonist in the entirety of Murder Drones, and unless that changes in episode 8 (which I doubt, sorry Cyn but I don't have a lot of faith in you), I'll make an entire post dedicated to her detailing why that's the case.

As for who or what I think is the overall best antagonist of the show...

It's the Sentinels, and it's not even close.

I'm still as emotionless as ever when it comes to V's demise. I believe it was stupid, but there are more passionate V fans to talk about it.

And last but not least, I can finally agree with what everyone else has said: Mass Destruction is the best episode of Murder Drones, and for me, it's all due to how genuinely funny it is.

I've become pretty apathetic to Murder Drone's horror elements due to how excessively prevalent and misused they are throughout the course of the series, so now the comedy actually hits harder, and this episode is extremely funny and comedic, even Doll's death is now hilarious to me, even if for other reasons, and the pacing finally feels appropriate now that the show has completely given up being a mystery adventure and fully embraced the end of the world battle shenanigans.

The episode did feel too fast paced when I first saw it at release, but it was mostly because of how slow the previous episodes were, now after a while the pacing finally feels normal, even if the episode is just bombarding me with lore left and right.

Ah.

.

.....

We're doomed.

[veliseraptor]

I was tagged by @fatalism-and-villainy to list some books I want to read; thanks for the tag! I also have several hundred books on my to-read list (126 of which I own; another 300 which I do not).

so a selection of both, I guess; tried to do a mix of fiction and nonfiction.

The Reformatory by Tananarive Due. This one is actually presently on my shelf out from the library, which is great because I've been seeing it almost every time I browse a horror shelf recently and it kept catching my eye. Especially since just recently Tananarive Due's name came up in another context talking about horror writers to watch. (I don't remember the exact context, just that it caught my attention and I haven't read any of her books before.)

The Spear Cuts Through Water by Simon Jimenez. Another one currently on my shelf, borrowing from a friend - I read Jimenez's other book The Vanished Birds and was really struck by it, remembered a long ago complimentary mention from one friend, and got another recommendation from the same friend who gave me The Vanished Birds. It looks interesting and I've heard it's stylistically different, and that's often fun for me in a book.

Inventing the Renaissance: The Myth of a Golden Age by Ada Palmer. Partly added this one to my reading list because of Terra Ignota (still reading! two out of four books in), but also because I am always drawn to books that talk about history specifically in terms of historiography and the way the past is constructed and reconstructed based on the needs of a given time, which it seems like is a big part of this book's project.

Speculative Whiteness: Science Fiction and the Alt-Right by Jordan S. Carroll. I know very little about this outside of the title and the fact that it was cited in an article about Tolkien and racism, but it certainly sounds like it'll be interesting, if probably also upsetting. Of course, it's also an academic book which means finding it for less than $60 will be a challenge.

None of This is Normal: The Fiction of Jeff Vandermeer by Benjamin Robertson. I've been reading Jeff Vandermeer for a long, long time (and actually tend to prefer his earlier work to what he's writing recently), but I was excited to trip over the fact that there's now analysis of his work and I would like to see what it says. I haven't read everything Vandermeer has published but I have read most of it, and I'd be curious about an academic perspective on his writing.

Invisible Women: Data Bias in a World Designed for Men by Caroline Criado Pérez. I have had this book on my list for a while and just recently bought it kind of on impulse, but it is very relevant to my interests. Curious to see how much of it is going to be rehashing of what I already know, but I suspect that if nothing else it will provide me with more specific information in more depth.

Stories About Stories: Fantasy and the Remaking of Myth by Brian Attebery. I've read a few articles by Brian Attebery on the fantasy genre as a whole, and remember getting his name first from the book Rhetorics of Fantasy which was the first real, serious, literary analysis of fantasy as a genre. I added this one to my list back in college I think, but again, have struggled to actually track it down. Might try ILL again, just in case it works this time.

Niccolo Rising by Dorothy Dunnett. Read Lymond, read King Hereafter, I've been meaning to start tackling this series...since basically the first time I read the Lymond Chronicles, honestly, so again: been a while. I don't know what the block on starting is but I'm determined to at least start the series this year.

Empress by Karen Miller. I added this book to my to-read list kind of on a whim probably back in the late 2000s when it was still in print; by the time I got around to finally being like "oh yeah I should read that" it was no longer in print. After literal years of searching for this book in every used bookstore I've been to with a decent SFF section for a print copy (my preferred format), I caved and bought it in ebook form. Which probably means it'll still take me a while to get to due to the fact that print books get preferential treatment unless I"m traveling, but.

The Hidden Palace by Helene Wecker. The only reason I haven't gotten to this one yet is because I need to reread The Golem and the Jinni and despite what you might think (the Wheel of Time reread) I've been trying to read mostly new-to-me books recently.

[capriddle]

Ranking of my Favorite Villains

I would like to point out that this ranking is a mix of love for the people but also of analysis of their construction and history, for this reason the ranking will be hybrid and the characters' positions will be given considering not only my love for them but also the brilliance and complexity of their writing.

Let's start with a bonus: Gellert Grindelwald (Fantastic Beasts)

I love Grindelwald very much and I find him a potentially very interesting villain because of his tormented history with Dumbledore and the final attempt to protect his tomb from Voldemort, but we know too little about him, the films in which he was the main villain did not satisfy me at all and therefore I consider him a castrated villain. The honorable mention was in any case due.

10 Coriolanus Snow (Hunger Games)

He's mean, he's calculating, he uses an iron fist and he has a charm all his own. I loved him in every interaction with Katniss, I loved his story and his death with that crazy laugh. The only man I would want to receive white roses from.

9. Aleksander Morozova/The Darking (Shadow and Bone)

Breathtakingly charming, he makes a mess of things by creating the rift, but before he became the Black Heretic, he was just a child afraid of the dark who traveled with his mother in search of peace. Could he have been used better? Yes. Do I still love him? Of course.

8. Hector Barbossa (Pirates of the Caribbean)

Literally everyone loves him, including his old enemies. An undisputed enemy in the first film of the saga, his constant bickering with Jack Sparrow is as iconic as the monkey he carries on his shoulder. Cunning, opportunistic, turncoat and courageous, the ending with his daughter consecrates him as an undisputed icon.

7. Cersei Lannister (Game of Thrones)

Ruthless, opportunistic, cynical, she would kill her children rather than hand them over to her enemies (literally). She wanted something else from life but had to fall back and made sure she could always get the most, using every subterfuge, without shame and without second thoughts. This is how you write a great villain.

6. Bellatrix Black (Harry Potter)

Unfortunately, the lack of more information about her prevents me from putting her closer to the podium, not to mention that she is a secondary villain, but for this reason she deserves this ranking at all costs. Loyal, brave, intelligent, cunning and without scruples, she would kill her family (literally) if they dared to go against her. The definition of strength made woman.

5. Aemond Targaryen (House of the Dragon)

A child bullied by everyone but brave and intelligent, a prince mistreated despite being more competent than the rest of the family. Aemond may be at the bottom of the list of succession to the Iron Throne but he doesn't know it and together with his cunning and his beloved Vagar he becomes prince regent anyway. Always go Aemond!

4. Homelander (The Boys)

Take a test tube, create a god, fill it with trauma. Here is Homelander! An extraordinary villain, a devastated psyche, a cruel and merciless world. You can't help but be terrified by a character like Homelander, he can literally do anything when he's on stage, and yet it's not all his fault, because they created the monster and now they don't know how to stop it. A character so terrifying and well written that he is loved despite everything he does.

3. Loki Laufeyson (Thor/The Avengers)

My love at first sight (not ironically). An abandoned child, a wounded brother, a son cast aside. Loki has exquisite depth, he is a deceiver but has real feelings of suffering, he feels inadequate and unloved, he is in constant struggle with himself. Ironic, intelligent, cunning, he is no longer in anything else just because this is a ranking of villains and for me he has never been a one hundred percent villain, he was certainly the first to have my heart among all these characters and he always will be♡

2. Hwang In-ho/The Front Man (Squid Game)

The fallen hero, a just and generous man who finds himself alone and abandoned by society and so, just as she turned her back on him making him lose everything, in the same way he stops having hope. Does he suffer in doing so? A lot. Does he continue on his path? Despite everything he does, he goes forward without ever betraying his new beliefs, remembering with a resentful pain what he was through Gi-hun. What can I say, a tragic character whose fate is yet to be discovered.

1. Tom Marvolo Riddle/ Lord Voldemort (Harry Potter)

Obviously, who could be at the top of a list of villains if not the personification of evil? Lord Voldemort is not only that, he is a wicked deceiver, a cunning bastard who made his way up on his own from a squalid Muggle orphanage to the top of the Ministry of Magic. Not only that, he charmed his noble companions so much that they swore loyalty to him until death. A man with a complicated past, a disastrous family and only his skills as support. A character rotten to the core but so human with his fears, anger and grudges that he deserves more consideration because he is much more than a simple villain in a children's book.

Here I am finished, I hope you liked the ranking. Let me know if you want your own ranking because I am very curious. See you soon!

[melishade]

amazing chapter!!! Firstly enjoy the bit with Primus giving there weapon and them freaking out, I’m glad that Primus help them made peace, wish there was a bit with Lara. Love how Primus is still keep the level of disdain with Eren, also thank you!! With the trio’s discussion, like damn Eren is his worst enemy. Glad that Mikasa and armin came to terms and stopped defending him, also f*ck, he loved her but want freedom more (imagine what happened if they know what he did to his mother😬)

I’d figure that founder yimr and Mikasa will be in the touched. And armin discussion with Primus jeez the brass on this kid. Interesting that Primus showed armin the other and original timeline. ( I figured he would have a mental breakdown on predetermined fate)

liked pieck’s moment, the emotional goodbye. Returning to the living world the burning of the scarf was good. Finally the segment with Optimus and Megatron short but gut wrenching. Ratchet and bulk only saw prime scream in frustration but this… nah. Over all this chapter gave what wanted and what I did think I want 😁

Firstly, thank you so much for the praise. Secondly, let's go in depth.

I do wish that I could have talked more about Lara, re-introduce other characters and have more emotional reunions, but it just would have derailed the whole chapter and it would have taken so much longer. I can't bring everyone back. I did figure Hanji asking Primus to

I'll probably have Primus talking to other people in prompts asks or a mini anthology. I'm not sure yet. We'll see what happens.

And yes, Primus still hates Eren's guts because Primus gave Eren and option and Eren chose genocide. He's not going to forgive that. Despite the fact that he refers to Unicron as brother and feels lament over their degraded relationship, Primus acknowledged he was committing genocide and took action. There's no exception with Eren. And yes, Eren is a slave to freedom and it ends up destroying him and the relationships that he had!

But in regards to Eren taking out his own mom in the manga and anime, it just felt like both a plot hole and one final twist that Isayama was trying to make and we only had one hint towards Eren's interference, but that could easily be chalked up to Dina's titan being an abnormal. Carla's death is strictly happenstance in AOP.

Mikasa and Ymir's connection in AOT was...weird. Because many of us were led to believe that Ymir was waiting for Eren to release her from the power of the titans, but it turned out she was waiting for Mikasa to release her because she saw how Mikasa was able to let go of Eren, allowing Ymir to let go of Fritz because she was in love with him and served him because she loved him. The analysis and criticism has already been done, but it definitely felt rushed and out of nowhere for me. I do have Ymir look at Mikasa letting Eren go, implying Ymir's feelings towards Fritz, but just didn't outright say it.

And Armin and Primus' conversation, oh boy! That's a can of worms there! The conversation was going to go very differently, but as I was writing this chapter, I got creative and I thought that Armin, dealing with both Optimus and Megatron, and the loss of Eren, while also learning that Primus had a hand in the Rumbling happening, deserved to know what Primus saw. There were also a lot of people in the comments calling out Primus and calling him hypocritical for letting genocide happen. So I have to explain that things are not that simple. Primus doesn't want to impose control and take away freewill to obtain peace. Even if he did do that, he would only be able to affect the Eldian people, not everyone else. He can't change the minds of the Marleyans. Additionally, altering the fabric of time puts the whole universe at risk and he can't do that. If Primus had the opportunity to make the Peaceful Timeline a reality, he would do it in a heartbeat. Also additionally, Primus showed Armin glimpses of these alternate timelines, not the whole thing.

But the reason why Armin didn't break when shown alternate timelines was simply how he reacted in the anime. When Eren told Armin the truth, Armin was understandably angry at Eren, and as he wept, he still clung onto the idea of hope. That hope does exist and it could be used to change the heart and minds of the people into creating a peaceful world. And the fact that Primus with his all seeing power still can't find another solution to the madness he claims he wants to stop? What does that make him? Also, Armin has been dealing with Megatron's bullshit for four years along with immense amounts of trauma. He's not about to buckle to god when he's been through hell.

Also, Pieck deserved an explanation for everything Primus unintentionally put her through. And Primus of course has to make a grand gesture when ending the power of the titans. And in regards to the end, if you haven't seen this ask telling you to listen to the song while reading the ending, I recommend that you do.

[shadowgast-recs-weekly]

Survey Results! Finally!

I’m finally getting to posting the survey results! It’s taken about a month longer than I expected – work got busy and my laptop screen is busted. Also, writing this out took was longer than I expected – ten pages in total.  And that’d be a horrible tumblr post.  So instead, here’s the main findings and the longform answers, and you can take a look at the google doc here for a more in depth analysis from each question.

Main Findings:

Respondents are about evenly divided as to whether or not they reblog.

People generally kudos and comment!

Nobody knows we have a fic randomizer.  (We have a fic randomizer. It’s on the spreadsheet)

Sixty percent of respondents either do or would self rec

The biggest write in answer for why people don’t rec is shyness

The biggest reason for why people don’t read is they don’t remember to go back

Opening up the reclist is contentious, people are generally okay with a script and could use a reminder

What we're doing/did in response:

There’s now a @reclister role on AiFL, request it to get pinged when the rec list goes up or to get reminders as to when to rec

I’m posting what fics have been recced with the 24 hour reminder and the tag list.

I’ve added ‘Less Common Authors’ as a possible theme

I’m going to open up the reccing sheet to everyone – I just have to lock down some stuff first

I’ll update the value filters for the reccing sheet

I’m going to work on a script that updates the basic fields (title, author, word count, rating, ect) for the form.  This one might take a bit.

And now , the long form responses, under the cut:

Thanks to everyone who was thankful that I was doing this! We’re just going to be a thanks ouroboros, happily!

The reason I don’t rec every week is that I find writing summaries hard, everything else is easy for me/The summaries aren’t very useful to me:

So, a short guide to writing summaries for recs:

If the author has something that works – you can always copy it. Part of the reason why this isn’t ‘just a copy and paste what they have’ option is that AO3 summaries can take up space, and we don’t want folks to get sad about having to scroll lots. But if the author has a sentence at the bottom of the summary that explains everything, there’s no reason to do more work.

If the author didn’t provide a one sentence summary, then include the basics of the plot. (Essek gets dicked down by Caleb, Essek and Caleb skip through the wildflowers together, aeorian magic turns Caleb into a capybara and Essek into a hot tub filled with oranges, ect).  Then add an adjective or two that has something to do with tone.  (A hilarious story about Essek being dicked down by Caleb, a tense account of Essek and Caleb skipping through the wildflowers together; Aerian magic turns Caleb into a capybara and Essek into a hot tub full of oranges. It’s surprisingly romantic.) Think about how it made you feel, what genre you would put it in, what tags you’d add on storygraph.

Don’t worry if it’s kind of dry! A) It’s probably less dry than you think, and b) you can do more gushing within the ‘what you liked about it’ section.

One last thing to remember – there’s no one right way to make a summary, people are looking for different things.

If the rec form was opened up to people who aren’t on AIFL don’t you think the name would need to be changed to reflect that it’s not an AIFL thing anymore?

Maybe! I wasn’t planning on not posting it on AiFL, and I’d suspect that the majority of reccers would still be AiFL members (just because getting notifications of something on tumblr is a lot harder).  But to be honest, this would be a relatively small issue.

I'm not a huge shadowgast fan, but I think reclists are cool, and sometimes the fics are relevant to my interests

Thanks!  Have you heard about the other reclists?  There’s @critter-genfic-events for a genfic one that was started by @Professor-Rye and is now being run by @operafloozy, there’s @widomaukficrecs, and I also have the reccing blog tools (group version or single user) in case you want to start your own!

Less a suggestion and more a general thought. I believe the anonymity of the reccers is an important part of this process and I am in no way saying that should be removed, but at the same time, it does feel impersonal, like a lack of commitment to one's tastes. Word of mouth doesn't tend to sway me to read new fic when I don't know the mouths the words are coming from. That said, take this with a grain of salt because, for the time being, I'm not the target audience of the rec lists.

Hey thanks for the comment! I agree with you! There’s a definite trade off in not knowing whether a reccer’s tastes line up with your own. It means that there’s not a great way to add moderation into the rec list, and with anonymity being an ever- dwindling resource on the internet, people’s attitudes towards it have shifted further into suspicion of intent. Even when it’s something like a rec list, I think there can be an anxiety about people finding a way to use it to bully authors – moreso than even having a consistent pseudonym. When really, I think there’s a good reason why reccers might want anonymity. Admitting you like something can be a vulnerable act! Social anxiety was the number one write-in reason as to why people didn’t rec, as is. I want people to feel comfortable reccing fics that are weird or kinky or require a lot of different warnings, and I wanted people to feel comfortable reccing their own fics. And it’s one thing to leave a kudos on someone’s work while signed in – something nobody else is going to see unless they bother to look – and another to put your name saying you enjoy any sort of beastiality or noncon or whatever else where any purity culture lover can object to on tumblr for all to see. The last thing I want is for people to be hurt or harassed because they participated in something that’s supposed to be a net good.

Anyway, this is all saying that I don’t think your concern is unfounded – and while I’m not likely to change anything about this rec list’s anonymity, if anyone else wants to try their hand at running one, it’s something to think about.

Also, I know I tend to read fic the same way, but it does seem to be a ton of repeat authors week-to-week, so maybe if once in a while the list can be to branch out to a never recc’d person?

I really like this idea, but the logistics of it are a little complex. I crunched the numbers, and out of 558 recs, there’s been 175 authors recced. Which is admittedly is a lot of overlap, but also that’s a lot to expect reccers to keep track of.  But a top ten list should be doable!�� I crunched the numbers a couple of different ways – top numbers of times an author was recced, top number of different fics recced by an author, and top number of themes recced, which got me a list of fourteen authors – that seems doable. It’s now a possible theme.

More Information I got from number crunching includes:

86 authors have only been recced once

418 fics have been recced, 324 have only been recced once.

Most recced fics are Hard Mouth at seven times.

Royalgreen has had the most recs at 24, the most fics recced at 18, and the most themes recced at 17, but they also have 51 Critical Role Fics, so.

Further info can be found in this details sheet. I've also added a randomizer for general use, just because.

knowing upcoming themes further in advance

This can be done – it’s how the genfic rec list is currently set up. (as a note, while I’m currently running the genfic rec list, @professor-rye was the one to create it).

The AiFL rec list is currently set up so you can rec fics after the tumblr post, with the idea that people would probably look at the list of recs at the google sheet – which I realize isn’t the way it’s currently used. So you can still rec later, it just doesn’t have the same visibility.  (The two exceptions for this are the ‘older recs’ and the ‘hidden gems’ recurring themes, because we know they’re going to recur and they’re not likely to be ineligible when the theme rolls around again, the way works in progress might be).

Logistically, the selecting the upcoming themes in advance doesn’t work as well from the admin side. Instead of remembering that next week is the last Tuesday of the month, I’ve got to remember to count the Tuesdays and order the progress.  Right now the way it goes is that we pick the theme from the randomizer right before we post the reclist, so the same theme gets pasted into the ‘next week’s theme’ section, the google form, and the tumblr post at the same time. If I’m choosing a theme a month out, I select next month’s theme, add it to the google form, then go back and check what I’d selected a month ago and post that into the tumblr post and next week’s theme. 

There’s also the fact that if we give too much lead time, it means folk procrastinate and forget. Most of the recs currently come in soon after I post the tag list or the 24 reminders as is, and while some people on the gen fic reclist post for multiple weeks at a time, I find that most of the recs are for the week of, anyway.

Anyway, I’m not completely against this, but currently the drawbacks outweigh the perks. Figuring out a different way to sort the upcoming themes for the genfic list is on my to-do list, maybe afterwards I’ll come back and revisit.

[mybg3notebook]

I know you have not uploaded in several years and might not even see this, but I wanted to say thank you SO much for your amazing explorations of Gale. He is a very complex and often misunderstood character and I think your meta posts on him hit the mark perfectly. If the spark arises I hope you will return after the full release :) Thank you again for all your wonderful posts! Have a nice day!

Hello!

Thank you very much. I am still around, it's simply work and other games have got my attention, and after playing EA so many times, I am already burnt out to the bones. I am also deeply disappointed with Larian's latest changes.

Hopefully, after release, I will continue with more analysis if the game is worthy of that. Unfortunately, I'm not sure how well these analysis of Gale will hold with the apparent rewrite of his character. If the new description of him ends up being true and it's not a terrible lie to the player, since nothing of that was shown or hinted in EA, these analysis will fall apart. In fact, if he ends up being another boring, overused, cliche wizard who wants power because he wants to be the biggest wizard of Toril :rolling eyes:.... I may lose any interest in him. All what made him interesting and a bit "original" within the context of Forgotten Realms has been erased completely with that new description.

I'm also disappointed with Larian in general, because it's obvious their two fave chars are forced through the player's throat like Liara was in Bioware's case. You don't care about them? It doesn't matter, they will always take priority in conversation and scenes, they will be key in showing another side of the main plot (as it was Fane in DOS2) and the rest of the companions become secondary or forgettable.

And Karlach's final face is a horror. It's a variation of Shadowheart's face, a barby-Karlach, because clearly Larian feeds bro gamers who want yet another doll-faced woman. I find annoying that nobody complained for this change: her first potential face (not the placeholder), with half face burnt and scarred, hard eyes, and a longer and pronounced nose, was the face of a warrior who went to hell and back... now you have the baby-doll face, Red!Shadowheart, almost, lol. It's a bit unsettling. It reminds me when Larian made their big-boobs lizard women in DOS1.

At least they did what I thought it was a must: to truly write Wyll, because that char was inconsistent, lacked of depth in comparison with the rest of the other companions, and was, basically, a future Beast (dos2) in BG3. That's why I didn't even bother to write a general overall analysis of his character. I suspected he had to be written at some point because it's was a cardboard character in there, just there to be your black char token. You know, the black char we add to a game so we look "progressive" but still has bad development as a char or it's simply shallow when compared with the depth of the other chars. Pretty much like Larian does with their lgbt representation too.

Larian's lgbt representation also bothers me. It is mostly hidden in books and lines of text in this world (yes, yes, Astarion is the only char shown and written lgbt openly, but the rest of the world has no lgbt integrated chars, or the few two couples we saw in EA are unhealthy and horrible-the gnome lesbian-or absolutely hidden in one single line that, if you miss it, you can confuse them as brothers -the husband gnomes-). We can have a long discussion about how Larian does playersexual characters that are not any representation of lgbt, because they are not written like bi but hetero, and their "bisexuality" only appears when you romance them (and this was done in DOS2 too, with barely a line or two hidden in Lohse's origin to show some potential, little bi inclination). It's so strong how they write their characters as hetero, that even in several parts of the romances of DOS2 you have descriptions where it shows that the default was clearly "man tall and woman smaller", even when in DOS2 world that may not apply to some hetero couples (elves and lizards). But all this discussion about playersexuality is a long one I'm not even sure the fandom can have at this point. I wish to be wrong and see more lgbt characters naturally integrated to the world, and not reduced to short stories in books or to whom you romance with your Tav. But I doubt it. Larian follows the masses. And Masses care nothing about this. Thank you for the ask, and have a nice day too!

[balillee]

tommy's character gets far too much shit.

hi tumblr. i'm gonna need a few bitches to spread this post everywhere, essentially because i want someone, or just tommy really, to see it. so if you really want, you can screenshot it and post it on twitter, reddit, link it everywhere - go absolutely buck wild. i know he reads the VODS comments a lot, but they're chock full of people just insulting him, his character, his writing and everything about his story in the dream smp simply because they don't understand it and because they refuse to acknowledge his character's perspective (mainly because they only care about the pig). reading that many critical comments on something you've created can only make you feel worse about it eventually, and in light of all the awful techno apologist takes on his character, i wanted to basically just word vomit about how wonderfully crafted c!tommy is, as well as compile some other tumblr posts about his character.

there is a massive fuckin community of people who enjoy the character of tommy, because the character is incredible. i myself have made post after post after post commenting on and analysing tommy's character because i find that there's so much to pick apart. but that enthusiasm for his character only seems to be found on tumblr. reddit and twitter seem to hate his character, the VODS seem to be filled with comments from people who only care about techno's perspective (and treat techno as a reliable narrator, which, is the furthest thing from the truth - that guy lies through his teeth all the time), and the smp wiki is a hellscape of godawful takes and mistruths, not even on just tommy's character.

c!tommy is brilliantly acted and brilliantly written, and almost everything he does is either justifiable or has been rectified or admitted as a mistake. you can clearly make connections as to where he got his conclusions from. you feel what his character experiences, as a member of the audience, vividly.

if you look in the more objective sense, c!tommy, and this is especially in the context of him being the youngest character, is a scapegoat. people claim he's awful and destructive when in reality he's a lot less destructive than most characters on the server. a moment that comes to mind is where he diverts schlatt and quackity's attention from pogtopia by breaking part of the flag in manberg, and then replacing it so as to buy tubbo some time - he literally monologues after it about how he doesn't want to destroy but instead rebuild, and how he feels as if nobody else seems to understand that.

his arc in season two was incredible. it was very character driven, and it gave a spotlight to his motivations. at the start we see him in new l'manberg, and he's enjoying his time there, he's skeptical of his friend's presidency, but his main goal is to get back the discs so that he can stop dream and eliminate that threat. he made one screw up that didn't even matter to george, and he paid for it tenfold, even after dream had spent a while with puffy griefing the server and framing it on tommy - what tommy and ranboo did was convinient. then, in exile, we see c!tommy straight up get abused. he's gaslit and conditioned into being c!dream's friend, and in his brain he teaches himself that those acts of abuse are moments of bonding, and it eventually brings him to the point of wanting to end his own life - he's been torn away from his friends and his support system, and nobody will visit him consistently anymore because they only showed him pity, and all he had left was dream, who had hurt him.

but he doesn't die there, because while he didn't understand the full gravity of it back then like he does now, he recognises that dying isn't an escape, and he can beat dream, even if he doesn't know how. so this is where he goes to techno's place, and here's where the fandom starts to misinterpret the situation wildly.

it's the problem similar to when your parents tell you that they're owed something back because you put a roof over their head, despite that being Not How It Works. techno took tommy in and severely mistreated him emotionally. sure, and i understand this, c!techno is a bad communicator who isn't really that empathetic to anyone who isn't phil or wilbur, but that doesn't excuse the blatant lying to c!tommy's face, the guilt tripping, the friendship buying and the degrading. the day before the festival, tommy finally does something violent in his interrogation of fundy, and only then does techno tell him,,,,

that tommy's not equal to him, that techno doesn't respect him all that much, and that they're not friends.

from techno's perspective, and at the time, this was viewed as a positive development in their relationship. oh, he's starting to warm up to tommy! this friendship could really blossom!

no. from a more objective standpoint, what techno has just said to tommy is : 'i respect you only a little bit more now, because while you're starting to act more like me, you're still annoying and a burden.'

and i haven't even touched on the whole 'erasing the words 'Destroy L'manberg' from techno's to-do list' thing, because that instantly refutes the point of 'techno was upfront with his intentions the whole time' - because he wasn't! he may have said it the first time, but you also know what else he did? he repeatedly told tommy that they'd 'air the details out later' whenever the discs were brought up, and from a tommy viewer's perspective at the time, it was framed as if techno was no longer going to do that.

and i also haven't dared touch the 'i would have fought them all for you', because that's major guilt tripping if ever i've seen it.

so, the day of the festival comes, and here's where c!techno and his apologists completely misread c!tommy's thought process, and why he makes the decision he does.

tommy instantly regrets valuing the discs over tubbo, and it's framed as the culmination of tommy having become all the people he said he would never want to be like. and what does he immediately do? he tells tubbo to give up the disc, and he sides with tubbo. he puts his value in his friends, and, by proxy, l'manberg. and when he betrays techno, he tells him 'i'm sorry'.

from a more objective standpoint, tommy's time with techno is him valuing the discs over almost anything else. so, in leaving techno to be with tubbo again, he is valuing people above the discs. so when, on doomsday, techno says his 'discs aren't people' line, what he doesn't realise is that he himself fueled tommy's valuing of discs above people when attempting to fuel tommy's vengeance against tubbo and l'manberg. techno doesn't realise that he was an unhealthy presence for tommy, and an even worse influence.

what techno also doesn't seem to understand is that tommy never hated tubbo or l'manberg - tommy recognises, now at least, that his exile wasn't a product of tubbo, but a product of dream's manipulation, likely in part because at the time, especially with dream lying about tommy blowing up the community house, tommy was the only one who could see it because he had experienced it firsthand. so when techno sides with dream, it's like kicking tommy in the teeth.

and i want to mention that betraying someone doesn't necessarily make the person who was betrayed good, or in the right, or even justified, because tommy was entirely justified to leave techno. you know who else was betrayed? schlatt. but i don't see many schlatt apologists around angry at quackity for joining the rebellion.

tommy stole the axe of peace? good. it was a moment of tommy defining his self-worth, instead of having it defined by others. gone is the age of c!techno belittling him and deciding how much c!tommy should be respected. NEXT!

here's a moment i wanted to talk about that will forever be funny to me.

'i am a person.'

techno's very famous line from doomsday. techno says to tommy that discs aren't people, and that tommy should value people, despite not understanding that by leaving techno, he did just that. and what does tommy say in return, which has been omitted from every c!tommy-critical analysis, and every animatic?

'yes you are, but so are we.'

an acknowledgement of techno's hurt, to which tommy has already apologised for. a statement that says 'your hurt does not excuse, nor justify, the hurt you have inflicted onto us.' an acknowledgement that tommy has already learnt the lesson techno seems to be trying to 'teach' him. but you can't teach him anything by destroying.

c!tommy has had almost everything he has ever owned or built either taken from him or destroyed. ranboo even points out that the only two things of tommy's left standing are his house and his hotel, and if i'm honest, his house is dissheveled. it's a labyrinth of terror due only to how many times it's been torn apart. l'manberg being blown up didn't teach anyone anything about anarchy, or about valuing people over possessions. logstedshire being blown up didn't teach tommy to be obedient.

i could honestly ramble for ages about how nuanced tommy's character is and how much depth and complexity there is to his character's process and his relationship with others, but more than that, c!tommy is forgiving. he invites almost everyone who hates him to the grand opening of his hotel - if that isn't an indicator that he just wants friends, and not to be treated like the embodiment of evil, then i don't know what is. he holds grudges, but he doesn't really actively hate anyone, other than c!dream. but, we'll let him. c!dream deserves nothing but to be pummeled into the floor.

tommy doesn't spoonfeed his character nuance, and he doesn't really spell it out for his audience. he'll mention things like trauma and triggers in passing, but a lot of analysis on his motivations has to be picked up from what is said in passing or from what can be seen in between the lines.

i'd be here for hours if i were to talk about everything i love about c!tommy, because honestly he's one of my favourite characters, and there are so many angles you can look at his character from in terms of his age, his relationships with others, his motivations, his personality, his character arcs etc etc. so instead of doing that, i'm going to compile some much more specific analysis posts below to skim through because they highlight so many good aspects of his character.

^^ A thread about the 'yes you are, but so are we' line.

^^ About how shit the VODS comments are.

^^ A comment on how c!Tommy is actually pretty peaceful, and is actually less destructive than most characters on the server.

^^ Possibly the best c!Tommy analysis thread I've ever seen in relation to his trauma, which gives multiple perspectives.

^^ About how c!Tommy is treated as a scapegoat, and how, from an objective standpoint, he is no more violent than any other character, it's just that the little violence that is committed is blown far out of proportion.

^^ Tumblr user flypaw being a bad bitch, as per usual.

^^ c!Tommy being incredibly intelligent, and talking about wanting to rebuild and not destroy. A very underrated monologue of his.

^^ Something short about c!Tommy and c!Wilbur's relationship in Pogtopia.

^^ Less about c!Tommy, more a meta on L'Manberg. Really interesting to think about.

^^ A take on Doomsday.

I'll add some more posts in a reblog in the notes, but if anyone's post(s) is on this and they want me to take it off, let me know and I'll do that for you! Feel free to add your own banger c!Tommy takes or ones that you've found.

[incurablyromanticsblog]

Don't know how people are gonna feel about this but Loki should've been dealt with the way they dealt with Lucifer (from the Netflix show) I mean while the show straight up dismissed loki's feelings, lucifer netflix really showed us the natural and organic character growth with ups and downs while still maintaining the comic hilarity (WHICH WASNT AT THE EXPENSE OF THE MC). It's love interest and side characters are all original characters dealt as independent characters rather as brownie or plot points.

And the scenes that prompted me to think this?

1. Lucifer asking his Mazikeen to cut off his wings because he's moved past being a pawn in his father's 'Great Plan'. We could've had loki come to this conclusion and tell Mobius (who would've been an actual all out ally who was forced into doin lg what he did) that he no longer wanted any place in a land that hated him. (Once again like Lucifer calling the silver city hell)

2. Lucifer actually being the way he's supposed to be (angel of light, light bringer etc.) We could've had Loki act like the way he Actually Is. Not like how @iamnmbr3 so eloquently put it 'like larry the dumb lookalike'. We could've had Loki being stern yet having that air of sarcasm and wit that he had in his the films. His eloquence, his physical prowess (none of the falling flat on his face stuff, a lot of people talk about how he was trying not to hurt the people in ep 2 but srsly Loki would just immediately disarm them), and most of all his agency and refusal to cower or the pathetic attempts at lying.

3. Costumes. The lucifer netflix team had an extensive costume department that ironically pales in comparison to what disney is capable of but still we see Lucifer have a wide array of clothes and styles. Have Loki take the first chance to change his clothes. If he wants the 50s aesthetic have at it! he can wear the tuxedos and the nice leather. Or maybe change into some nice Viking-inspired leathers and battle armor. Have him as a pirate, or a knight or a cowboy. You're traveling through time good man! you can at least hit some of the cool spots.

4. In depth analysis of lucifer's mental health. the only episode of the Loki tv show I liked (loose term) is the first one cause it's the only one that gave a fraction of what we were promised: an insight into loki. That's it.

5. Lucifer's organic growth. This is self-explanatory. Loki watched one video and was good. Very good five stars. I understand that they only had six episodes but come-on. You could've had the subtle changes through out all the eps and lead to the big finish finally. With each episode focusing on certain aspects of Loki.

5. Lucifer's exploration of self-loathing. This deserves to be a separate point because Istg it was done so well. Basically lucifer messes up and he's faced with the hatred that's been conditioned into him (not unlike Loki) and then he learns what it is and actually tries to love himself. And not by kissing a female variant of himself (ew and also respect the gender fluid persons). He actually saw the good in him by reflecting and his actual good friends helping him.

6. Lucifer actually wanting to be good. Look Idc what shut mike waldron wrote, loki is not selfish when his whole arc has been doing things for asgard, thor, odin, frigga etc. We all know that New York was mind control, I do not know why it's being swept under the rug. But here's the thing, that self loathing I mentioned earlier is a huge part of Loki thinking he's some monster and intent on proving it.

7. Lucifer facing his 'devil-face'. Loki should've come to terms with his Jotun heritage. The TVA could've had a case in Jotunheim concerning the Royal Family and Loki could've seen the entirety of Jotunheim and it's people not just that most-likely war propaganda the Asgardians force-fed him. Maybe have him meet his siblings or better yet his mother. There's a very nice fic on A03 called Asgardian Galdr that deals with this beautifully.

8. Luicfer having a Breakdown and Crying: First off this happens gradually, his problems pile up etc etc. and he faces off his father and gets angry until he finally breaks down. And basically God says, "I'm sorry but i can't fix you," And Lucifer in all his grief and desperation asks, "But you're God,'. I know we talk a lot about Loki being made weak in the Show but that's specifically about him being made weak and helpless to make Sylvie seem like a stronger character (Don't get me started on the Sif and Narcissm scene istfg), But maybe seeing Loki try awkwardly to be good and near the finish of the show we see it blow up in some angsty way? only for some conversation like this to happen and have Loki understand that being good is something that is innate and something he already had the potential for all along. Maybe learn that he's not lawful good but as always the morally grey character we know him as. (Protector of misfits, god of outcasts i.e all the shit Marvel shat on) and rise as the God of Chaos and Stories against the rigid bonds of The TVA and essentially Kang.

9. Lucifer having a nice healthy romantic interest and relationship. Lucifer and Chloe's relationship is more often than not the main point of the show but no matter how much it is focused on it remains health, organic and not a weird allegory for something disgusting. Even if Sylvie weren't a Loki (once again ew) the whole dynamic was toxic. She constantly put him down, and invalidated his feelings (Sounds like Odin huh?) and guess what Loki fell in love with her after one day, one conversation of what love was and Mobius calling her his girlfriend (he also said that it was freakish and i agree). We could've had Sigyn sweet lord. (I'll make another post about this)

10. Lucifer's Sexuality. There is a whole episode in which Loki's paramours are getting murdered and they all vary from men to women to all that comes in between. And there's no shame, no offensive jokes. Have Loki flirt with dudes, i understand ms.karen that this is for children, don't worry the casual sex ;) was offscreen. Have Loki turn into a woman and flirt with woman cowards, maybe make some questionable remarks about horses (That make Sigyn laugh)

11. Lucifer's Powers: lemme sum up, Lucifer can, let's call it, use compulsion on people. He is known for his strength and prowess and abilites to grant favors. Have Loki shapeshift into animals, absolutely mauling people. Have him use his silver-tongue to coax people into making or changing history (Yes Brutus, Caesar is getting to be a bit much, say have you heard how sharp knives are?)

I'm pretty sure there's more that i can't remember rn. And here is one thing i would like to make very clear.

You are not bad for liking the show or hating it whatever. The problem is that the show framed a lot of bad things as good (Anything the TVA did, Mobius' torture session with Loki, the way Sylvie treated Loki only for them to become romantic partners, the Sylkie fiasco as it was offensive to genderfluid people and the bare fucking minimum of LGBTQ and POC rep). The show was also marketed specifically to make us think hey! Loki might actually be the main character only for it to blow up in our faces. We were also promised an actual plot rather than a constantly plot twisting concept that could've been worth something.

Also i'm still working on a Loki fic rn after which i will write a Loki(TV) Rewrite but unitil then ig.

[thefirstknife]

Born of Wrath - Ruins of Wrath

I want to elaborate on this post because I think it's important how the whole boss area is set up.

First of all, the whole Shattered Realm this week feels different. It's just a vibe and some aspects of the whole area. But the boss room is definitely the most interesting.

It's in a Hive warship and the centerpiece of the room is something like an elevated podium from which you have a good view towards the big Taken ball in a strange device hovering in the air. This was shown during the reveal trailer as well.

The rest (with pictures even!) under the read more:

This is the same device located in the Shrine of Oryx:

It almost appears like the one in the Shattered Realm is positioned to look into the Shrine of Oryx from above. This structure, btw, is a communication device that the Hive on the Moon used to talk to Oryx. Now, obviously, no longer used to talk to Oryx and instead, they most likely use it to talk to Xivu Arath. This would also make sense as the Shattered Realm is Xivu's domain. That room is a place from which the Hive in the ascendant plane can communicate with the Hive in the Hellmouth, vice-versa and beyond. Presumably.

And of course, there's the elephant in the room.

A strange dark crystal bound with chains overlooking the Shrine communication device structure. I'm not the only one to be unnerved by this, nor am I the only one to have the thought that this is Osiris' prison. A place where real Osiris is suspended in some sort of hellish Hive version of cryo. The chains are what really sell it to me. If this were bigger, I'd probably say it some sort of a Hive creature being held here for some future boss fight, but the size just doesn't fit.

Furthermore, I've said a few times now, but I am beginning to suspect that Xivu Arath and Savathun are not really the enemies they're trying to tell us they are. It's important to know that the Hive have a very strange and utterly alien social structure. To them, murder and torture are expressions of love. They believe that this is what gives them strength so if you kill someone a lot, it means you love them a lot because you're helping them grow stronger.

Of course, Savathun is legitimately an exile to the Hive. She has practiced heresies. Goes without saying. The problem is that we kinda took her word for a fact that she is being hunted by her sister while not really thinking about how we have no confirmation of this from the other side. We don't know what Xivu thinks. Is she tolerating her sister's heresies for a grander plan? It wouldn't be the first time that Savathun is scheming in order to strengthen the Hive. Xivu knows her sister. I am finding it harder and harder to accept that Xivu would simply hunt her down on behalf of the Black Fleet without thinking it through.

After all, their last known interaction was Savathun preparing Torobatl for Xivu's invasion. They were on good terms. Savathun helped Xivu to obliterate the Cabal. And what was the whole plan with Osiris if not Savathun preparing OUR system for Xivu's invasion? These two are mirrors of each other, but with slightly different execution due to the fact that humanity has something the Cabal do not: Light. So obviously, infiltrating the Guardians required a more careful and insidious plan.

I believe this plan started a long time ago, but was finally fully put in motion, you guessed it, in Immolant. In Immolant, Osiris is exposed to the whispers of Xivu Arath, is drawn out to fight her and is eventually stripped off his Light BUT he is left alive.

There are two points I have to mention that do not align with what we know from Immolant (and Immolant is the most reliable source out of them all):

1. Savathun's speech from week 1 - specifically, the cutscene. Quote: “I found a form more pleasing to your eyes. Osiris was lost. Lightless. I saved him from Xivu Arath and assumed his shape.” This is a lie. Savathun did not save him from Xivu: Sagira did. Sagira's sacrifice is what pushed Xivu's influence away: "Blinding Light erupts from Sagira's core as she splits apart. A wave of Light surges and tears across the chasm. Her sacrifice cleanses every trace of Xivu Arath's presence. The sigil: erased. The cryptolith that supported her projection: destroyed." 2. Page 3 of the new lore book Ripples (still not on Ishtar as of writing this so I'm linking to my post with the relevant bit) - For easier reading:

"Savathun was weak to allow their deaths. To cede ground to the Celebrant; to Guardians." - This is not what happened. Xivu Arath lured Osiris to the Moon, Xivu Arath spoke to Osiris, goaded him into killing everyone and LAUGHED while he did so, because Osiris' rampage gave her tithe. Not only that, but Immolant describes the Celebrant carving a ritual to drain Osiris' Light away and let him die. The Celebrant then leaves. So it wasn't Savathun who ceded any ground.

"The Celebrant steps forward. A massive cleaver dangles from its hand, weightless. The beast carves a rune into the stone on either side of Osiris, its eyes locked with his. It nods to him, and then turns to the sigil.

"All tithes to Xivu Arath. War Dominant. Endless." Its tone is soft rasp and soot."

And:

"The Celebrant drives its sword into the cliffside stone above Osiris's head. The cryptolith erupts in neon flare.

"Die well, Osiris." The Celebrant bows and withdraws from sight into Luna's depths.

Wisps of Light hemorrhage through his skin, trimmed in blood and drawn around the blade embedded above him as if it were a nostepinne spike."

This is very odd. There's a lot of inconsistency and lying going on. Hell, Xivu didn't even take Osiris' Light at all. The attempt was made but Sagira made sure the ritual isn't finished by sacrificing herself. Kelgorath was lied to, both by Savathun AND Xivu Arath to whom he pledged himself (and died for in the first mission during Season of the Lost: Kelgorath was the Wrathborn we fight just before we enter the portal to the Mara & Osiris cutscene).

This, to me, implies that they're in on this together. It's important to note that when it came to the Cabal, everyone thought that Umun'Arath was being influenced by Xivu, but it was actually Savathun doing it on Xivu's behalf. It is possible that all the voices Osiris was hearing were actually also coming from Savathun on Xivu's behalf. But if that was the case, then Kelgorath wouldn't have felt the need to renounce Savathun because she was the one who helped Xivu, instead of "ceding ground" as he claims. This inconsistency makes me believe that Savathun's and Xivu's courts don't really know the full scope and details of their mutual plan. The Hive sisters are literally lying to their own people for the benefit of the plan.

We only have Savathun speaking to us, but never Xivu Arath. What are her thoughts on all of this? What are her thoughts on Savathun? Is she really hunting Savathun at all? Obviously, Xivu would know that Savathun will most likely betray her, but if Savathun lays down the ground work for Xivu's invasion (like on Torobatl), why would she care? She knows her scheming sister well enough. As long as there's war, Xivu will be fed her tithe, making herself stronger and stronger. Savathun's schemes are benefitting her.

Which leads me back to the chained crystal in Shattered Realm.

Savathun's bargaining chip, Osiris. Where is he? Who is looking after this most valuable prisoner while she's trapped in her own crystal? Who would she trust to make sure he stays bound until the time is right? Who has the power to keep him bound while she's playing the game on the other side?

Well, it's Xivu Arath of course. So it would not surprise me for this crystal to really be him, bound and chained in Xivu's domain, under her watchful eye and kept in place by her power.

And, of course, where did we find "Osiris" on the Moon when we went to rescue him? In the Shrine of Oryx. The same place that the chained crystal is located in, on the other side, looking down to the Shrine from the ascendant plane.

I didn't mention it until now, but the post's title is a reference to both Immolant and Shattered Realm. "Born of Wrath" is the name of the first chapter of Immolant pt. 2, where Osiris first encounters the cryptolith, visions and voices of Xivu and gives her tithe. It would be fitting if Osiris' wrath that was "born" in that moment led to his "ruin" and eventual imprisonment in the "Ruins of Wrath."

I am looking WAY too hard into this, but it really isn't a Destiny lore analysis unless I'm a little unhinged. :)

[atmostories]

Your Yandere!Terry Silver ficlet was positively amazing and just so very detailed, nuanced and in-character that I absolutely must request more if you're willing to write more. Really, whatever comes to your mind, doesn't even matter, so long as you grace us with more material (greedy grubby hands) - Reading about this dark, evil man just being so sweet for someone melts my heart. 🖤

A gift to my dearest anon, @kingkarate and @villains-are-sexy​ ♡ ♡ ♡ The first time he noticed you was after Margaret had laid out your employee file in front of him. You'd been working in the logistics department for two years, your record was clean, all of your performance evaluations were very good, if not exemplary. Margaret had personally recommended you so really that was all the evidence he needed that you had at least some value. Her team needed an extra member due to an increased workload and a reorganisation of staff. Margaret was going to retire in a few years and needed to find a replacement before she left.

Terry tried not to think about her being replaced, it irked him greatly to be losing such an asset, and a good friend. There was still plenty of time, for now. You were moved into Margaret's team on a trial basis in order to assess your suitability. Whenever Terry would look across the office, you were always working. You seemed to speak to other coworkers only when necessary. At first he assumed you were being studious and trying to make a good impression for Margaret, but he soon realised that that was simply how you were, quiet, withdrawn. You also treated people the same, no matter who they were or what sort of social rank they held, you would give the same polite smile to him as you would to one of the office cleaners. It was odd. He expected you, like most other rational people, to show him greater respect, he did own the entire company after all. A few words from him and he could render you jobless and homeless, begging for scraps out on the streets. And yet you seemed so unphased by the power he yielded. He got into the habit of calling you into his office for updates on the various projects you were working on. Margaret would always keep him informed of the latest developments, but he liked to hear how you would describe them. He also liked hearing you call him Sir. He'd corrected you when he first met you in person. "Thank you, Mr. Silver," you had said. "No. . .thank you, Sir," he murmured softly, hoping to provoke some reaction. "Of course. Thank you, Sir" you replied plainly. No one else called him Sir. He wondered how long it would take for you to notice that. During your lunch breaks, rather than head off with other coworkers or go to the staff room, you would leave by yourself to take a walk when the weather was decent or you'd eat at your desk. Before you were offered a position at DynaTox Industries, a background check had been carried on you to ensure that you would be. . .malleable if certain circumstances arose. If you found out something you shouldn't, you would be in a weak position, easily blackmailed. Terry requested a more in depth background check and was rather pleased when one of his private investigators handed him a sizeable file containing all of the facets of your life, along with a fortnight's worth of photos while you were under surveillance. It outlined where you went aside from work and as anticipated, it was all very dull. Your financial situation was practically destitution in Terry's eyes. What was most intriguing about your file was your ex who was currently in prison for assault and battery. You were the unlucky victim. As he read the police report and saw the pictures of your injuries, he ignored the swell of anger in his gut. The transcripts of your interviews detailed the abuse you had endured. Was this why you were so withdrawn? So focused on your work rather the people around you? While you were at the office, he broke into your apartment for further investigation. It was comically small. Your possessions were, he supposed, modest for someone so economically challenged as you. Your taste in music was not as sophisticated as his own, hardly surprising. There wasn't much food in the refrigerator or in the kitchen cupboards. He pulled out his wallet and grabbed a hundred dollar bill. Perhaps you didn't see these very often. After scrunching up the bill, he threw it haphazardly onto the floor, wondering whether there would be a smile on your face when you found it. What was he thinking, of course you'd be happy. He made a note to bump your salary enough so that you could move somewhere else, somewhere safer, somewhere which didn't automatically make him want to shower and scrub himself clean. Rather than have Margaret give you the good news, you were called into his office. Terry explained that you'd be permanently assigned to Margaret's team due to your performance. He mentioned a report you did the week prior, highlighting that it was good work. Rather than thank him, you responded by saying that the conclusion needed to be improved and you weren't sure about certain aspects of the analysis. “I said it was good work,” he told you with blunt finality, giving you a harsh stare. Your lips parted open slowly, your eyes were wide, your expression almost one of disbelief. Was it so difficult for you to accept a compliment? To accept praise when it was given to you? “Did I not?” He asked, prompting you to speak. “Uhh, yes. I'm sorry, Sir,” you mumbled back, shoulders hunching even further. Something seemed to twinge in his chest and he wasn't exactly sure what it was. Was it pity? No, it wasn't that, it was almost disappointment, like seeing wasted potential. He invited you along to an executive meeting, his excuse to include you was to take minutes, but really he wanted your opinion on the people who were present, their behaviour, their opinions. Terry wanted to assess how observant you were of other people, and he also wanted to test how candid you would be with him. The meeting went on as usual, dull, insipid. At least your presence offered a little distraction. After it was finally over, he invited you to join him for lunch at one of his favourite restaurants. He could see you eyeing the place curiously, taking in its lush décor and finely dressed staff. The purpose was to put you on edge, to make you feel abysmally underdressed and out of sorts. He had the whole corner of the restaurant cleared for just the two of you, he wanted to examine your every reaction without any disturbance. With drinks and appetisers ordered, he began his questioning. “Do you think Mr. Elroth would be suitable for the New York merger?” He asked, sipping some champagne. “I don't think he likes you,” you responded without hesitation. He pulled the glass away from his mouth, rather taken back by your honesty. “Why do you say that?” “He didn't like listening to you. He kept looking away, he even rolled his eyes a few times.” “And why do you think that is?” “Well. . .maybe it's because you're too young and you're too willing to take risks. He seems very traditional and set in his ways.” “Hmm.” Terry drank the rest of the glass, motioning to a waiter for a refill. He continued to ask questions throughout the main course and dessert. Your answers were always honest, you didn't try to soften any of your responses for him. He liked that. You reminded him of Margaret. Unblemished opinions were hard to come by for someone like Terry. They were always marred by people wanting to impress him, people trying to make the best impression possible, people looking for favours. He was beyond the grasp of normal society and yet you sat in front him, eating several courses which cost most, if not all, of your monthly salary, totally unphased and giving your opinions freely. He'd never once thought it possible for Margaret to be replaced by someone of her calibre, but perhaps he'd been too quick to make that assumption. When you moved into a new apartment, he had a forged deposit and contents insurance rebate drawn up and sent to you. The next day you had actually gone out and bought lunch rather than bring your own. He'd followed you to the little cafe and he noticed a small, satisfied smile on your face as you tucked into the food. How curious that something so insignificant would give you such joy? Was it really so difficult for you to get by? He bumped your salary again, you were supposed to be happy, but instead Margaret had told him that you went straight to the finance team to query it as a mistake. He scoffed out a laugh, incredulous at your behaviour. Was it so hard to accept when something good happened to you? He had you brought into his office, explaining to you clearly that any future queries regarding your salary would be directed to him personally. “But it's almost triple my original salary, I'm not sure that. . .” you trailed off when he stared down at you. He watched your throat as you swallowed nervously at his proximity. Raising an eyebrow at you, he waited for the proper response. “Thank you, Sir.” He didn't bother to stop himself from smiling. A few seconds later, a shy smile pulled up your lips. Financial security might have offered you some peace of mind, but Terry knew there was more work to be done. He looked over the police reports again, thinking about disposing that piece of trash who had hurt you. Surely that would make you happy? No longer living in the same world with the person who had almost beaten you to death? He had Dennis make some enquiries, found a trustworthy guy who was in the same prison as your ex. After that it was simply a matter of payment for services rendered. He had requested a slow, painful death and the photos from the autopsy showed just that. The unfortunate incident happened over the weekend, ensuring that you would have found out by Monday morning. Instead of happiness on your face, you seemed sad, lost even. He called you into his office, trying to hold back the rage growing in his gut. He had gotten rid of someone who had inflicted so much suffering on you, why weren't you happy? Why weren't you pleased? Surely you couldn't still care for that bastard? Did you really love so carelessly, so irrevocably? “You're distracted,” he stated. Your eyes were focused on the floor, you were making an effort to stop your leg from shaking. “I'm sorry, Sir. I received some. . .news yesterday.” “Bad news?” “I'm not really sure.” “Tell me what happened.” You looked up at him, your eyes were filled with hurt. This wasn't meant to happen, why the fuck were you upset? “Someone I knew. . . passed away. But he wasn't. . .he wasn't a good person.” “And you're grieving him?” “No,” you replied softly. “I should but. . .is it wrong to feel glad when someone's died?” “Not when they're bad.” You nodded a few moments later, a small grin finally lightening your expression. Terry had to repress a laugh. The only thing you were upset about was that you didn't feel upset, you didn't feel bad at all. The thought made him preen in delight, he'd done right by you after all. It took a while, but you were finally starting to lose that heavy burden you'd been carrying all this time. The change in you was not particularly obvious, you didn't start to suddenly make friends with everyone in the office. Your smile was a little wider, you walked with more confidence. In one of his meetings, as you sat right next to him, he whispered an amusing observation about one of the investors into your ear, and you snorted out a laugh, barely able to contain yourself. A week after that, something unexpected happened, something he still didn't quite know how to feel about. Mr. Elroth stood in front of Terry, blabbering on about nothing of interest. He'd gestured for you to come over to give him a point of interest. You stood dutifully by his side, but when Mr. Elroth reached out his grubby hand, about to touch Terry's forearm, you quickly stepped in front of him, blocking Mr. Elroth from touching him. You interjected yourself into the conversation, successfully distracting Mr. Elroth and causing him to lower his arm. Terry dismissed him a couple minutes later and pulled you to one side. “What was that?” “I thought you might have wanted a distraction, I didn't mean to be rude, Sir.” “Why did you move in front of me?” “Mr. Elroth was going to touch your arm,” you explained like it was obvious. “And?” “You. . .you don't like to be touched.” “Excuse me?” “You always initiate, you don't like it when other people touch you. I'm sorry if I've made the wrong assumption. It wasn't my intention to cause any offence, Sir.” He continued to stare at you, letting the words sink in. Margaret most conveniently called you away like she could read his mind and Terry nodded at her in thanks, thinking that he'd have to review her retirement plan, add in a couple more vacation options, maybe an extra masseuse for the weekends. He didn't know how he felt. He was agitated by what you had said, almost uncomfortable. That wasn't something you were meant to notice. Terry took great lengths to not show any kind of weakness, and shying from physical contact was certainly one. For you to not only see it, but then to try and protect him? Even though you’d been abused in the past? Even though you shied away from physical contact yourself? He clenched his fists, his heart aching in a way it never had before. That night, he broke into your apartment. It was thankfully a significant improvement to the last one. After looking over the kitchen and the living room, he went to your bedroom, watching you sleep soundly and peacefully. Part of him wanted to sink his hands around your neck, make you experience every bit of discomfort that you had made him feel. He slowly sat down on the mattress, his gloved hand gently caressing your cheek. You cared about him, but how much of that was the same sort of empathy and respect you'd show to everyone else? How much of it was just for him? He needed all of it, your heart, your mind, your soul. He'd been so used to taking everything he ever wanted, there'd never been anything worth his patience. . .but you? Watching you emerge from the shadow you used to be gave him a deep satisfaction that nothing else came close to. Destroying you would be too easy, you were already so broken, even now. Making you whole again? Now that was a challenge he'd accept, a challenge that he was going to excel at. No one else was going to hurt you again. He recognised the value of your devotion, craved it like nothing else. His fingers traced over your lips as he imagined the moment you were going to kiss him of your own accord. What a sweet, precious moment that was going to be, he would wait for it. He was going to wait for you. And when you were his, he was never going to let you go.

[prince-of-elsinore]

Sam and Dean: psychological analysis and headcanons

In response to this anon ask from the 66 SPN Questions:

6. Do you have any psychological headcanons (or canon interpretations) of the characters?

Anon, this is probably not what you asked for. But I started writing, and kept finding more I wanted to say, until I thought--why not just say it all? And by all, I  don't actually mean all--this is by no means exhaustive. But it was a wonderful, self-indulgent opportunity to organize my thoughts on Sam and Dean's psychologies, and even find some new ideas as I was writing, and to put them out there so others can read and discuss. (Always happy to discuss any of this! Inbox is open.)

As a disclaimer, I know most of these thoughts are probably not original and may be retreads of many things fandom has been discussing for years. I'm not claiming to be breaking new ground here. Also, I sorta float backwards and forwards chronologically in my discussion--some parts pertain more to them when they're young, some to when they're older, and I don't always clarify which. Also, these are generalizations! I point out patterns I notice; that doesn't make them all hard and fast rules, because Sam and Dean are each human and complex!

Here's what you'll find below:

1. Core motivations 2. Happiness 3. Approval and secrets 4. Approval from authority figures 5. Need and attachment re: others 6. Sympathy and empathy 7. Walls—hiding vs. performing 8. Need and attachment re: each other 9. Ambitions and goals 10. Normality and monstrosity 11. Guilt and self-loathing 12. Autonomy and sacrifice 13. Personal identity 14. Concluding observation

1. Core motivations: Dean’s purpose is to protect Sam, obviously. Sam’s purpose, though a little less clear, is to save Dean. Sometimes it’s explicit, as in s3 and s9-10. But I think Sam also wants to save Dean, in general, from himself and from the life. It’s why he pushes against Dean’s obedience to their father. It’s why he tells him to get out and go to Lisa after he jumps in the Cage. At a certain point, I think Sam accepts he can’t “save” Dean without changing who he is, so he chooses to stick by him—because at least then he can make Dean happy.

2. Happiness: Dean’s happiness—or perhaps contentment is a better word—is knowing that Sam is safe and alive. Sam’s happiness is Dean being happy. In Sam’s world, things are good when Dean’s good. I think that, conversely, Dean wants Sam to be happy, and Sam wants Dean to be safe, but they both know and to an extent accept that those things are not within their control, so they focus on what they feel they can control.

3. Approval and secrets: They are each other’s north stars, guiding principles, in different ways. For Dean it’s “look out for Sammy,” for Sam it’s “what would my big brother think/do.” Dean doesn’t need Sam’s approval. Sure, he loves it when Sam admires him, but if he feels he needs to do something against Sam’s approval, he doubles down because approval from Sam is not the top priority. He’ll do what he thinks is right, especially to keep Sam safe, no matter what Sam thinks about it. Sam, on the other hand, does crave Dean’s approval and cares very much about his opinion. It doesn’t mean he won’t go against Dean (all the conflict of s1-5!), but it affects him differently. This leads to different kinds of secret-keeping: Sam goes behind Dean’s back to avoid his disapproval; Dean goes behind Sam’s back so that Sam doesn’t interfere with what he thinks needs to be done.

4. Approval from authority figures: Dean does crave approval from others—specifically, respected authority figures. The big one is obviously John. I think in a way it’s Mary, too, when she comes back. But it only applies as long as the person has his respect. Sam doesn’t crave approval from other authorities in the same way, perhaps because his primary authority figure growing up was Dean.

5. Need and attachment re: others: Sam is the only person Dean cannot live without, but he also makes outside connections of a friendly nature fairly easily. He’s the more socially outgoing brother who latches onto people like Gordon, gets friendly with Ash, and forges connections with Jo and Charlie, just to name a few (and Castiel at times—though their relationship is so inconsistent and often convenience-based I hesitate to include it in this category). Though Sam is Dean’s core need, I do think Dean thrives with other friendships. I’m not talking about found family, though I’m well aware of Dean’s tendency to call people “family” quite readily. Honestly, I think this is a manifestation of his craving for connection with others. Dean has an affectionate and playful nature, and let’s face it, Sam isn’t always super receptive to that—so naturally, Dean seeks out people who are. (I think this is also, in some cases, related to Dean’s craving for approval from others). Of course, none of those other relationships come close to the depth of his relationship with Sam, and when his relationship with Sam is at its best, I don’t think Dean really needs anything else to sustain him. But in reality, it can’t always be at its best.

Sam, on the other hand, doesn’t forge outside connections easily—but when he does, they tend to be deeper than Dean’s easy casual associations (even when Dean has real affection for someone, he tends to keep the tone of the relationship light). It’s pretty clear Sam was a loner kid, and I imagine it took him a while to find friends at Stanford, and even though he loved Jessica he still clearly kept many secrets. That’s the thing with Sam—he’s got walls. Dean’s got his own walls, but they’re different. Sam can seem emotionally open, but he protects his innermost self very carefully and rarely puts his emotions out there in a truly open way—even less than Dean does. I think this is a consistent personality trait for Sam, not one born of trauma (though perhaps exacerbated by it at times). In fact, it’s in later seasons that I see Sam finally, in rare moments, let down those walls, with Rowena and Jack. When he’s young, I think this was partially a coping mechanism he developed for hiding his desires/feelings, even from himself, because he was so unhappy with his life. It means that even though he’s an introspective guy, he’s not as self-aware as he thinks he is until he’s older and more mature. He’s very good at self-deception when he’s young, because as a thinker, he can convince himself of just about anything.

To circle back to attachment, what this means to me is that Sam, while he certainly appreciates close friendships and has a lot to offer those he cares about, doesn’t crave friends in the way that Dean does. I think he desires to be understood (this is a natural human need) but he’s much more comfortable with himself than Dean is, and is somewhat of a loner by nature. This means he’s also not (usually) going to be too affected by the status of his relationships with others. Dean is much more volatile and easily hurt by others (this is where Castiel is a great example).

6. Sympathy and empathy: On the surface, Sam appears to be the caring, sensitive brother, while Dean is brash and insensitive. This is a very incomplete picture, however. It mostly comes down to the difference between sympathy and empathy. Empathy is an involuntary response, whereas sympathy is something that a person chooses to express, though that doesn’t make it necessarily superficial—it also comes from an emotional place. Dean tends to be more empathetic, and Sam more sympathetic. Dean, despite his performative walls, is more easily affected on a visceral level by others’ emotions. He is more sensitive, more easily hurt or swayed to anger, and also more easily experiences empathy. This has nothing to do with what Dean thinks is right—it’s another involuntary emotion. He is sometimes moved to express this feeling, but he’s not generally concerned about appearing sympathetic. Sam, with his careful emotional walls, isn’t generally so viscerally affected by others, but he is kind. This is expressed as sympathy, because he cares about others’ feelings, and he wants to be good/morally right. On the one hand, it comes from an intellectual place—“it’s socially acceptable/morally right to express care for this person” (which Dean is less likely to care about)—and on the other, it is an emotional response—“I know what that feels like”—but a more regulated one than empathy, where one almost directly experiences another’s emotions.

7. Walls—hiding vs. performing: It’s interesting that both brothers have their own walls, which they construct as a form of self-preservation, but they have different levels of effectiveness in protecting themselves from outside influence. One difference might lie in what the walls were built in reaction to. Sam built his walls at a young age to separate himself from the outside world because, ironically, it was precisely what he desired, but was not allowed to have. He therefore consciously distanced himself from it, to dull the pain of not having it. The goal of those walls was to have something to hide behind, where he could remain generally unnoticed, so he could conceal his pain from outsiders and even from his family.

Dean took a little longer to build his walls—or at least to consciously do so. He already no doubt fashioned himself after his dad as a kid, and often put on a brave face—for Sam, for his father—when he was not feeling brave. He therefore became accustomed to performing at a young age, and performed many roles for both Sam’s and John’s benefit. He was unconsciously building walls with these performances, concealing his true feelings and desires. Later, I think this started to become more intentional, especially in relations with women/sex partners and especially after the Stanford split, as Dean realized how vulnerable to hurt his sensitive nature made him. It was much safer to perform all the time, and never let his real feelings show. For Dean, even more than Sam, I think he often lost sight of what those real feelings were behind the walls as he tried his best to be the performance he was putting on.

For a visual metaphor, I think of it this way: Sam is a boy at the center of a self-constructed labyrinth. He is almost always able to maintain control over how close people get (except when a few slip past his defenses, at which point he may be susceptible to manipulation). Despite all those elaborate passageways, though, there’s still Sam at the center. It’s lonely there, but he knows himself pretty well at least. Dean is a man in a mask who wants the mask to be his real face. He does everything he can to fuse himself and the mask together. They probably are fused at this point, so it would hurt to take the mask off. His memory of the face under the mask is hazy. He’s afraid, if he looks under the mask, he’ll hate what he sees. He’s lonely because no matter how close others get—and he lets them in close, can surround himself with people—none of them will ever see his true face. But he’s convinced himself it’s better this way, because if anyone saw his face, they’d hate it.

8. Need and attachment re: each other: Clearly, both brothers need each other. Sam’s need for Dean is different than Dean’s need for Sam, though. The way I see it, Dean’s need is one that requires reassurance. Perhaps it traces back to the concern about Sam instilled into him at a young age. I think it was strongly exacerbated by the Stanford split, when Dean realized his and Sam’s desires didn’t align. In Dean’s mind, Sam left once and can do it again—he’s always waiting for the other shoe to drop. Sam, on the other hand, has always been able to rely on Dean as a rock, a constant in his life—to the point that, in a way, he takes it for granted when he’s younger. Not in a spoilt, ungrateful way, but in that way that we, as children, might take our parents for granted—they’re always going to be there, right? That’s why, on the few occasions where suddenly, Sam isn’t sure of Dean’s devotion, the rug is ripped out from under him and he’s completely adrift and distraught—seasons 4 and 8 come to mind. Sam needs to be the center of Dean’s universe. When he fears that that’s shifted, that Dean hates him or has chosen someone else over him, it turns Sam’s whole world upside down. For Dean, the fear is that Sam will leave, but it’s a constant, background worry. For Sam, the fear is that Dean will hate him, but since he can usually count on Dean to be obsessed with him, it only comes up now and again. Only Dean can truly hurt Sam, while Dean is vulnerable to hurt from others—though, as always, the deepest hurt can only come from Sam.

9. Ambitions and goals: Sam is the one with greater needs and ambitions outside the scope of their relationship. For Dean, if he’s got Sam and he’s got hunting, he’s content. His greatest accomplishments are taking care of Sam and saving people, and that’s all he needs. I see Sam as craving other sources of fulfillment, though—academic/lore study for its own sake (the pursuit of knowledge), and a leadership/mentorship role. I thought it was very fitting that Sam finds these in late seasons, with leading hunters against the BMOL, then leading the apocalypse AU hunters, then mentoring/nurturing Jack. Dean has always had (and needed) a mentor/leadership/nurturing role with Sam, but Sam also thrives when he’s able to step into that role for others.

10. Normality and monstrosity: I’m just going to link to this post rather than repeat myself.

11. Guilt and self-loathing: This is something they both struggle with and at times, are defined by, but it manifests differently. I think their Hell traumas exemplify their different brands of guilt: for Dean, it’s perpetrator’s guilt. He knows he did something terrible and feels he can never atone for his past actions. For Sam, it’s victim’s/survivor’s guilt. He may not have done anything wrong, but there’s a certain amount of self-blame, especially for perceived weakness. This is another theme for Sam; one of the main faults he sees in himself is weakness—too weak to save Dean from Hell for instance—and as a result tries to shoulder things alone (killing Lilith, Hallucifer, etc). Sam has a need to fix things, to prove to others and himself that he is capable. Dean, I think, sees his main fault as neediness, but really, it’s a deeply buried sense of innate worthlessness. He was taught from a young age that his brother’s life—not his own—was of the utmost value. He internalized that his life was only worthwhile if he could save others, and has trouble with the idea that he, himself, has value beyond what he can do for others.

12. Autonomy and sacrifice: The above leads Dean to have a very constrained sense of his own autonomy. In general, he values duty/loyalty to others over autonomy (although when it comes to cosmic beings, he’s all about free will—see this post if you want more thoughts on that, and Sam’s autonomy). Often, his desire to control others comes from a place of frustration when Dean feels they are neglecting duty/being selfish. I think partially duty towards others is really a deeply ingrained value for him, but there may also be some buried jealousy at play, in that Dean wishes he could act with more freedom, put himself first every once in a while, but doesn’t know how to. Sam tends to value autonomy over duty (this doesn’t mean he doesn’t believe in any sort of responsibility—he’s willing to sacrifice for the greater good, after all).  This means he also tends to respect others’ autonomy, though we all know he can get plenty unhinged where his brother’s safety is concerned. The theme of Sam and autonomy has been talked to death so I’ll stop there, but you can click the link above if you want more.

13. Personal identity: One of Dean’s biggest struggles is with how much of his personal identity is received rather than self-determined. He is tasked with taking care of Sam and he is trained to be a hunter; these become the foundations of his identity. He says it himself: taking care of Sam is not just what he does but who he is. Then in season 3, his own subconscious mocks him for his lack of originality, styling himself and all he loves after his father, showing that this is a source of deep insecurity. This discomfort with himself contributes to his fear of being abandoned and left alone with himself. He doesn’t know who he is without Sam—or rather, is convinced he is nothing without Sam, which is why he fights so hard to keep him by his side. It also contributes to his general desire for friends, or better, family: people who won’t abandon him.

Later in the series, I think Dean has come to embrace his genuine self more. He’s nerdy and excitable and playful—and I don’t see this is as regression, but rather a healthy embracing of what makes him happy—not tastes inherited from his father. If it seems juvenile, it’s because it’s the first time in his life he’s allowed himself to express and explore these things. I think his relationship with hunting is also healthier; it’s no longer something he does because it’s the only thing that can give him worth. He does it because he believes it’s right and genuinely wants to help people. He has a more complete sense of self, and while it’s still totally tied up in Sam, he has gained some self-worth.

[I should note that basically everything I’ve written about Dean supports the headcanon that Dean has BPD—a headcanon I accepted after I realized this. For some more great writing on Dean and BPD, see this post by @venhedish.]

Sam has always known what he wanted for himself and rejected what was given to/allowed him. Wanting what he couldn’t have, from a young age, helped him develop an individual sense of self, not defined by others. I think it’s this difference in their sense of individual identity that leads some viewers to think that Dean loves Sam more than Sam loves Dean. He doesn’t, and losing Dean is just as huge a loss and a grief for Sam as losing Sam was for Dean. Dean is central to Sam’s life, and he can’t feel complete without him; however, his identity and every desire has never revolved as entirely around Dean as Dean’s has around him, so Sam has a foundational sense of self that even losing Dean can’t completely destroy. It’s what allows him to rebuild in grief and carry on (whereas I have no doubt Jensen’s right and Dean would waste away in the back of a pool hall without Sam). Dean’s central role in Sam’s life never disappears, though, and it is, in fact, what allows Sam to carry on; an effort to honor his brother’s memory, living in a way that would make him proud. There’s continuity in that for Sam; the craving for his brother’s approval and happiness never disappears. Seeking those things is what makes Sam happy, both in their domestic years together before Dean’s death and in the years after. They are both, after all, co-dependent!

14: Concluding observation: Sam and Dean have many similar issues, desires, and insecurities: the desire for a normal life, the fear of their own monstrosity, the desire for love and friendship, their need and love for each other, their desire for approval/to be admired, resentment at their childhood, the feeling of being impure and unworthy, the desire for freedom, issues with bodily autonomy. Sometimes these are seen as the purview of one brother or the other exclusively, but that’s almost never true when you consider canon as a whole. The difference is in how these things are internalized, sublimated, reflected, and expressed for each of them. It makes sense they would struggle with so many of the same things, because their lives are deeply intertwined and they are in the same boat most of the time.

[lore-of-the-silvereyes-rwby]

Ironwood Summary

Here we are at last the final conclusion of this long character analysis series, for now. This is mostly going to be my own opinion of the character based on the research I did for the analysis. As well as some ideas of what may happen to the character in future volumes and overall standing of what the character was always meant to be and represent in the rwby narrative. Also keep in mind that this is only an analysis of Ironwood’s character pre Volume 8 so there won’t be any spoilers used in this analysis or summary

(Before we begin i want to thank @spacecapart for his art to be used in this summary as i feel this piece summarizes how i feel about Ironwood)

When I started researching and writing on July 31st 2020  for Ironwood and the months that followed I feel like I have gained a better understanding of what exactly Ironwood’s character was meant to be while making sure my overall opinion of him wasn’t biased but honest and neutral. 

For the most part Ironwood’s life was just sad because, well it was never really his to begin with, since he pretty much had no say in it. Based on what I saw and learned about him with the help of additional lore as well as the current story Ironwood was just a tool and a plot device in the narrative.

He started as a tool for Mantle(pre Atlas) which planted the seeds that made him this cold inhuman person that we see at present due to its old toxic ideologies of imperialism and militarism combined with a Nietzsche's philosophy that survives and thrives through Ironwood once he become a de facto king when Atlas became an official kingdom.

Then he became a tool for Oz to protect and safeguard the current status quo without benefiting from it. Though it was with good intentions Ironwood couldn’t help but feel insulted that he was being restricted and kept in check by someone who does not share his belief or ideals of what he considers right even though they weren't his beliefs or the best to begin with.

Finally after all was said and done he became a tool for the very enemy that he swore to fight and defend against. Due to his toxic upbringing in Atlas and his bitter resentment for Oz he tried to take matters in his own hands only for it to backfire immensely into the events that we see in the show. As I Stated in “The Hero that was never meant to be” Ironwood was more or less the most prominent catalyst for all of the events and conflicts in the show that Salem took advantage of and prospered from simply due to Ironwood’s elitist and violent mindset.

All of this just contributes to Ironwood being a plot device since that he’s essentially just a philosophical mouthpiece for Atlas as the show has somewhat made it clear that he is basically the physical embodiment of Atlas if it were a person with both a voice and need to survive. Which wouldn’t be so bad if Atlas wasn’t the Remnant equivalent of a fasciest imperialist dystopia. Most of Ironwood’s character flaws mostly stem from the fact that his is simply the product of his origins and refusing to change or find a compromise for the better.

Another thing that I believe should be taken into consideration is his overall effect in the plot. Added by how the narrative has been structured with its main conflict I think it's safe to assume that no matter what, Ironwood was always a character that was set to fail ever since his introduction. This is mostly due to the fact that most if not all of his power comes from control and authority over others. As well as his lack of actual experience when it comes to war and conflict. 

As I stated in I am power with my own estimate of Ironwood’s age(47-50) based on his rank’s promotion requirements he has at least 30 years of experience from both his huntsmen and military career: 34 if we were to count his academy days of training. Now you're probably asking; “If he has that many years of experience in his career, then why are you saying he has none?” Well it is quite simple based on 2 factors; his professions and the time that he was born in.

At present he is both Headmaster of Atlas academy and the Atlas equivalent of the joint chiefs of staff of the Military. I think it's logical to assume that Ironwood gained the status of Headmaster first and General later due the needs of Oz. Given the importance of the relics hidden in the academies it would be a pragmatic choice for Oz to ensure that there was always a guardian and supervisor over the vaults as well as training the worlds next gen huntsmen(the agreed upon nuclear deterrent). 

Since his profession shifted from field combat to school administration upon becoming headmaster most if not all of Ironwood’s career from this point on saw very little combat opportunities and would soon be filled with politics once he became General further diminishing his combat skills. Also since Generals are the face of the military they mostly handle diplomatic and public affairs as well as deal with civilian contractors to ensure the military has the resources and gear needed to sustain itself.

This means that Ironwood went from fare soldier, to desk jockey, to financial benefactor throughout the entirety of his 30 year long career. But the two thirds of his later career  basically had no relevant or beneficial experience that would be suited for the war that he had been preparing a long time for. Ironwood’s lack of practical experience is also more damaging when you realize that the very little he did have also wouldn’t be of much help in the first place as well.

This is mostly due to the fact that Ironwood was born at the beginning of the high golden age of peace and prosperity for Mantle/Atlas and all of the concerning conflicts happening at least 5 years before the show’s start very late in his career at an estimated age of 45, with the white fang terrorists groups targeting SDC assets that he wanted for war. 

Also his career at that point most likely focused on policing and enforcing Atlasian laws rather than doing actual combat and even then he was trained to fight grimm instead of human combatants and even if he had to fight people they most likely are that of combat inexperienced and petty criminals that wouldn’t actually put up that much of a challenge and even then most of the fighting was done by disposable robots that he can command  with the press of a button.

Overall Ironwood was really unprepared to even fight anyone in general, let alone wage a war against Salem. Even if he had powered up that army to the maximum it really wouldn’t solve anything. Ever since the first episode of the series the message was clear; You're not going to win with just strength and power alone, but with acts of mercy and honesty. As well as just enjoying the simple things in life and just simply living life rather than just surviving. After all this time Ironwood forgot to live life and be satisfied with what he had. Because of this he’s just going to keep on pushing the limit until he loses everything that he has and drag everyone else with him. Simply because he wouldn’t admit to himself that he has no idea about what to do or accept that he wasn’t the most important piece on the board.

Which sadly brings me to the very likely truth that it is guaranteed that Ironwood’s part and time in the story is coming to an end and his death is drawing near. This has been foreshadowed in the beginning of volume 6 where the true plot and crisis of the story had basically made Atlas and by extension Ironwood irrelevant to the story when it's been made clear they can’t just simply kill Salem and win with brute force as he had hoped. Because of that Ironwood was no longer important to the story as they show and fandom have hyped him up to be. Even if he still had an actual role in the plot I’m afraid to say that Ironwood’s story (even if it wasn’t that much) has already been told and judging by the direction he is going by it’s only going to get worse for his character (moraly wise) to the point that his death may be a blessing in disguise for remnant.

To start we need to look at the essential core concepts that make up Ironwood’s character. If we remove all of his actions and focus on his archetypes we get a character that is A) Half robot, B) the de facto leader of an inefficient military(let's be honest it's just a glorified security force for rich douchebags.) C) A school principal and D) someone who essentially hails from what can be considered the most evil and inhuman kingdom of his world that values power and is placed into a story and conflict where none of those things even matter given what we know about the true stakes and consequences of the plot and this is essentially all that we even know about him in relation to the story.

Which brings me to this point that in my opinion he wasn’t much of a character to begin with. This is mostly due to the fact that we really don’t know anything about him besides the summarized 4 points from the last section. We don’t know anything about him like how he became involved in the plot, how old he is, when and what caused him to be a cyber, does he have anyone outside of work or any family that he cares about and more importantly why does he fight in the first place and what motivates him to do so and what does he hope to gain? These details to me are important as to give depth to a character as to better understand why they are the way they are. Otherwise they are either a philosophical mouthpiece or a living ideological caricature. As I stated before in Ironwood’s case he is just that for Atlas, just a simple tool that it can use for whatever it needs.

Which also brings up another subject towards his contributions to the plot; What exactly can he do and was he really even that important to begin with? As I stated before Ironwood really doesn’t have much to offer besides the Military which has been proven to be useless and unneeded. But if it was to be needed that doesn’t automatically mean Ironwood should be the one leading it. For example should he be removed from power and replaced and the heroes really need the military wouldn’t it be simple just to involve the new commander and chief or appoint someone they can trust to ally with them. So yeah the military part as well as the academy are what give an individual like Ironwood any relevance but that doesn't automatically mean they’re that important or crucial to begin with.

Simply put Ironwood has always been a character in the wrong genre. Had he been placed in any other circumstance he may have had a point and could have succeeded but in the case of his story he doesn’t have one. Ever since his debut he has always been this source of contradictions and antagonism and contrast when it comes to how the world and characters have been set. Due to this Ironwood has always been this source of escalation and conflict as he only follows his own beliefs and tries to force others to comply with them. As well as the truth that he really has no idea of what to do since he was never really prepared to handle anything like this and added by the fact that he won’t admit or consider the possibility that he is not that needed or important. If he continues on with this type of thinking it's only going to warrant his end as simply put by Oscar he really is just as dangerous as Salem.

Before I explain his overall purpose and status in the Narrative I want to go over several ideas for what may be next for Ironwood throughout the rest of the series which will be explained further by the reasoning I will use in the narrative part. 

Fate and status for Volume 8 and the rest of the series

Death

I think it's safe to say that Death flags have been hovering over Ironwood for a while or at least since Volume 7. But is it certain? Most likey. I say it’s near mostly due to my belief that his story has essentially been told and he really doesn’t have anything left to contribute to the plot at this point. The impact of his death whether it will leave a positive or negative impact remains uncertain. But the way of his death to me is certain; he’s going to die by the hands of another character(specifically a hero). I know most people would have hoped for a heroic sacrifice or a redemption by death but I don’t exactly see Ironwood doing such things. (Which I’ll explain in the next 2 bullet points)

If it hasn’t been made clear Ironwood has made more enemies than allies simply due to his inability to compromise or let go of his Atlasian ideals and ego. As well as his refusal to accept the fact that he really isn’t that important or necessary in this conflict or at least in the way he wanted to be. If he further descends into his own little world Ironwood is going to cause more problems and do more damage that can never be undone and the only way to stop it would be if he was out of the picture. Because of this Ironwood is likely to die in V8 or by the end of the Atlas arc but it is also possible that he may die at another point later in the series.

Redemption Arc

The chances for Ironwood’s redemption are slim but they’re there, but probably not in the usual way that everyone expects to happen. To help clarify the possibility of redemption we will be using the trifecta structure of redemption arcs. This includes; How the character sees himself, how they see the world, and the stakes and how they change over time. As well as the Scale and Values of his motivation. To help better understand let us take a look at Ironwood’s motivations and goals from V2 and how they contrast and differ from V7 Ironwood.

Volume 2 Ironwood’s motivations upon first glance are simple; stop the threat and ensure stability and security. However if you watch closely there is an ulterior motive. From this we can determine the true Values of his goals and the Scale of what he is willing to do to achieve them and they go as such;

His values as of V2 are security via large Military foundations and amassing complete control and influence over forign nations while promoting the agendas of Atlas imperialism.(similar to the Galactic empire in its early years from Star Wars) With the scale showing that he is willing to go to such lengths as propaganda and political manipulation and betraying allies to get what he wants(the greatest example of this being subverting control from Ozpin)

From this we know that Ironwood sees himself as this perfect savior that can do no wrong and should be the one in charge. While his views of the world being that everything is below him unless they match those of Atlas. With the stakes at the time being the possibility of losing imperial expansion and the threat of domination from a superior force that could shatter the foundations of his ideology and culture. 

While Volume 7 Ironwood’s motivations being; whatever it takes to preserve his perfect and ideal society even if it means sacrificing everything else before his valued culture is destroyed.

The values of this Ironwood definitely differ from previous versions of the character. As V7 Ironwood’s motivations have shifted from saving lives and defending them from Salem to preserving the very little bastion of control and authority that he has over Atlas. With the scale showing that he is willing to turn on allies and go as far as to abandon a whole heavily populated city and potentially the rest of the world in order to preserve the one thing that he has complete and unconditional control over.

Because of this a lot of Ironwood’s views have changed by the end of V7. 

Due to his streak of recent failures his views of himself changed from being the perfect leader that he thought he was, to accepting reality that he isn’t said leader and is prone to failure. However because of that thinking he no longer feels that he should hold himself to that set standard anymore and do what he thinks is needed to get his desired results. Which leads to the fact that he still views himself as the one that should be in charge but this time he does not feel compelled to be fair or considerate of either allies or people.

His views of the world really haven’t changed as much. He is just more honest, open and direct about his views by V7’s end where it's pretty clear that he values his military industrial complex that is Atlas over people's lives regardless of their affiliation.(It should be noted that Mantle is still apart of the Kingdom of Atlas as a whole so consider the fact that he is abandoning the part of it he deems is an acceptable loss without even trying to save it)

But the greatest and significant of changes for Ironwood in the plot are the stakes. Prior to being told the truth about Salem’s immortality he honestly thought that he could win and kill her and be free to pursue whatever task he could set his mind to now that she was gone. After being told and with the clear indication that his power(Atlas) was at risk he essentially is doing what raven did; cut his losses and settle with what he has and run. As such the stakes for Ironwood at this point are to preserve the very little power and control that he has currently at his disposal and sacrifice and do whatever he can’t to maintain it even if it means letting the rest of the world die or be under Salem's control.

This is just speculation but Ironwood’s chances for redemption are pretty slim but not impossible. But the key start and major factors to make that redemption possible is for him to yield power and let go of Atlas. As I stated before, Ironwood relies heavily on his control over Atlas as he believes it to be the only means to maintain and sustain a war as well as the only way of  enforcing his authority. To reiterate Ironwood true power and relevance to the story is his complete and unchallenged command over the Kingdom of Atlas and at the risk of sounding cliche; “All who obtain power are afraid to lose it even a hero” If there is to be any hope of defeating Salem and or maintaining peace in Remnant it can not happen with Ironwood being in power. Which may be more difficult than it seems which leads us to the possibility that he may not be redeemed and should he live past the Salem conflict with this type of thinking.

A New Enemy

For a character to be redeemed the character needs to want change for better but given his personality and recent events Ironwood at this point doesn’t feel or believe that he should change as he now has an ends justify the means mentality with the belief that he is this grand savior believing his way is the only way. Because of this it is very likely that he may stay an antagonist throughout the remainder of the series and possibly long after the main conflict.

The Third Faction; Okay I think it's a safe bet to say that no matter what Atlas was always going to be an antagonistic force that was being set up as early as V1. And unfortunately for Ironwood he ended up being the face and voice of said force that was there before he was ever given a name or a design.

Because of this setup it is possible that Atlas under Ironwood will become its own faction that may try to counter salem but at the same time will possibly sabotage the allies aka the main heroes and the rest of remnant since Ironwood’s paranoia has increased to the point that he doesn’t trust anyone anymore and most likely will reject any offer of aid or promise of an alliance  since Ironwood believes his in own hype that much that he will eventually become a problem that has to be stopped which will possibly lead to the end of Atlas. Which brings us to what might happen to the character post Salem and Atlas.

Post Salem Insurgency; This is speculation but it's possible that after Salem is defeated and Atlas is destroyed he would continue to be a threat for the rest of Remnant as he will be forced to answer for war crimes and step down from power with the possibility that he may never obtain it again. 

Given what we know of his personality Ironwood isn’t the type of guy to yield power or think he did anything wrong due to his ends justify the means montra. As such in the years following Salem's defeat and the possibility that Atlas may no longer exist or at the very least no longer subservient to Ironwood’s authority its most likely that he might end up in charge of a paramilitary consisting of the very few soldiers that are still loyal to him and start raiding and terrorizing settlements, cities and kingdoms all over remnant just to rebuild his military complex and infrastructure as a means to reclaim the status and power that he was stripped up.

How and why any of this would happen if it ever does is debatable but should it come to be Ironwood is going to need to compensate in order to survive if he becomes a legitimate threat which brings us to a very likely scenario based on his original inspiration 

Full Cyber

Given what happened near the end of V7 and recent V8 concept renders combined with the Tin-man inspiration I do believe that there is a very likely scenario that Ironwood will be more machine than man at some point in the series assuming he doesn’t die yet. This is pretty much a given scenario due to his favoritism for machines than people and his new found ideology that humanity is weakness now it is very likely when given the chance that Ironwood will willingly become full cybernetic(Possibly to the point of just simply being a brain in a new metal body)

 While this isn’t exactly an ideal outcome for the character but at the same time this would actually make Ironwood a credible threat as he would now be able to enforce his authority on his own now without relying on others to do it for him. Based on the research from the I am power post Ironwood is relatively a very weak character in comparison to a majority of other characters that we have seen so far and this is especially true when compared to the villains and main heroes. One key aspect to remember is that Remnant didn’t need the military only Ironwood did because on his own he’s screwed no matter what the situation.

Ironwood relies to heavily on his Army as it is the only thing that gives him some ambiance of a fighting chance but ultimately he is very ill suited to lead and manage said army that when you think of it are possibly full of people that are probably more capable than him as well as able to back up and defend their position of power on their own. Whereas Ironwood can not if he were to be overthrown by the military. In other words a fully cyberized Ironwood would actually be beneficial for him as it would make him a formidable threat beyond just simply being the guy who has the world's only military. Depending on what kind of enhancements he can get he would at least be on par with characters like Ruby Qrow and Yang and at the very best on the level of pre maiden Penny. Because as he is right now Ironwood would surely die if he were to face any character that is not within his capabilities. But this is my theory and observations but until we see more Ironwood’s best bet is going full cyber.

Role in the narrative & what we can learn from Ironwood

To start I think it's pretty clear that Ironwood in narrative is just a foil for most of the characters in the show. Especially with greater comparisons and emphasis on these 3 characters; Ozpin Ruby & Salem. While at the same time he is also the character representation that embodies Atlas the most and as such much about what we know and learned about Atlas is mostly due to Ironwood’s actions as he is the culmination and development of Atlasian culture. Unfortunately though this as far as his character was ever going to go. Which makes it all the more tragic and sad when you think about the role that he was supposed to serve.

We will first be breaking down each Foil comparison between Ironwood and the 3 prominent characters to plot as to better under his place in the narrative.

Ozpin

Of all the characters that exist in the RWBY story I do believe that Ironwood tried to emulate and be his own version of Ozpin(or any past incarnation). However unlike Ozpin Ironwood is biased, lacks actual experience and above all takes shortcuts to get faster results at the expense of others. I know that this mostly stems from good intentions but what exactly qualifies Ironwood to even think that he should be the one in charge to handle this Salem conflict. This is one of the greatest problems that is addressed in the show about Ironwood. He really believes that it's his destiny to lead by replacing Ozpin and win.

 But I ask again; What exactly can Ironwood do that would qualify him to even be worthy to take up Ozpin’s task?

That's just it really, there is nothing about him to warrant such a thing. When it comes to the foils between the 2 it's about being this Big Good character that should lead and the themes of Grey morality that R.T. has tried to implement into the show. But when it comes down to it Ozpin is the true Big Good while Ironwood was simply a pretender. Ironwood has always been a narrowed focused character that cares about the conflict itself instead of the people that are caught in the crossfire. And unlike Ozpin who has based all of his decisions and plans from experience and human nature, Ironwood had based his for a need to simply be right and in control.

In short Ironwood had wanted to be the next Oz as he believed he was more suited to do what Ozpin couldn’t even though he lacked the skills, experience, and power to do so which brings us to the next foil. 

Ruby Rose

This might be stretching a bit but when it comes to the plot there is no greater foil between characters than who is the real hero of the story. In this case is the hero of the series Ironwood or Ruby? To help answer this inquiry we need to know what exactly a hero is. Webster's dictionary defines a hero as a mythological or legendary figure often of divine descent, endowed with great strength or ability.

While other sources would say what qualifies  A hero can be as simple as a person that saves lives and stuff, but a hero can be anyone that does something they have fear of but are brave enough to still do something. Bravery is usually the biggest trait of any hero. This person has usually overcomes huge obstacles to survive or to rescue others.

A hero is selfless, a genuinely good person, and someone gets the undivided attention of all of us and causes change.

A hero takes action to help others at considerable risk to themselves, however, if that action also helps themselves, then they are not a hero because they are acting out of self-interest. Courage is admirable, but unless it involves risk or sacrifice in order to help others, then it isn't heroism.

So in short the true hero of the series is actually Ruby not Ironwood or any other character in the series. Not because she is one of the main characters or because this is a story from her perspective but because she has the ideal and pragmatic skills and abilities needed to handle the current situation of the plot as well as doing what Ironwood has failed to do himself confront fear and be brave. As I stated in paranoia over reason most if not all of his choices have been based on fear rather than actual logic, reason, or bravery. Which is further highlighted by facts discussed in I am power that Ironwood is really nothing without the military and doesn’t stand a chance on his own.  

This is indefinitely a stark contrast to ruby as she has proven since her introduction to be capable of handling the threat of Salem as she has the talents skills abilities power and above all the spark that inspires others that compels them to do great things for the right reasons which Ironwood failed to do as all of his action have had a certain goal that would only benefit a certain few with him being the one who would benefit the most. This is mostly due to how the 2 have responded and chose to handle the situation. 

When it comes down to it the main plot is defeating monsters that dominate the world who happen to have a leader controlling them. Remember the whole reason why Salem is even a credible threat is because she can control said monsters and the first premise before she came on screen for the first time was learning how to fight grimm. This is something that Ruby was training and preparing for since she was a kid with the added bonus of having the powers needed to handle the situation with ease while Ironwood has only been preparing for a war with other people rather than monsters and crush rebellions rather than being a guardian peacekeeper that Oz meant for him to be.

 Because of this Ironwood has contributed more to the problem more so than Ruby did as his actions were done in favor of Atlas and his own self interests were as Ruby makes honest mistakes out of ignorance and optimism. Which brings me to the next foil that Ironwood shares more qualities with than anyone else

Salem

I know I'm going to get a lot of heat for this but if you think about it Ironwood is basically a syfy dictator version of Salem’s fantasy dark lord. Face value it doesn’t seem likely but given what we know about their current lore, history, personally, and world building these two can be twins to some extent. The examples are as followed;

They’re both headstrong and blunt individuals who go too far in their endeavors when simple and easier solutions were present

They’re both isolated however Salem is isolated by circumstance and force while Ironwood is isolated by choice and paranoia which is ironically the results of their cold upbringing and history

They both lead organizations with questionable intentions that border on dark and immoral with goals that are based on self entitlement rather than rightfully justified or earned

And to top it off they essentially command armies of soulless killing machines

From these examples we have plenty of foils between the two with them being pride, isolation, tragedy, authority and probably the most important foil in regards to the plot War & Conflict. However when it comes down to it Ironwood is on the short end of these foils when compared to Salem. 

In terms of tragedy these two have let their past misfortunes dictate and influence their decisions resulting in a sense of entitlement that they have been wronged now the world has to compensate them for things to be right. For Salem she had a cruel upbringing for unknown reasons and life being unfairly cruel while Ironwood was lifely forced into servitude and was never really himself as he wanted to be. Salem’s tragedies are the result of grief and dealing with forces that she couldn’t comprehend. While Ironwood’s is the result of unchecked ambition and ignorance.

Similar to Oz, Salem has more experience being a leader that can exert their authority and will over others while Ironwood lacks the experience and therefore can’t do the same. The Grimm under Salem’s command are more of an oppressed hivemind that she leads with little to no resistance unlike her human subordinates. Thus Salem has more direct control and authority over those she commands and has the abilities necessary to keep them in line with her goals. While the people under Ironwood’s authority have a voice and mind of their own that don’t align with his ideas. Due to this he isn’t much of a respected leader as he thought he was. Because of this Ironwood is mostly kept in power by rules and regulations with everyone blindly following suit. 

 As for war Ironwood was without a doubt unprepared for it. This is mostly due to 4 reasons;

He had no idea of what he was doing

His opponents are of better a quality than anything he can make or round up

He was preparing for the wrong war that should never have come to pass.

He was to prideful and sure of himself that nothing can go wrong

When it comes to the 1st reason Ironwood was more or less a pseudo soldier in a time where militaries are pretty much obsolete. This is because militaries are used as power projection of a nation and convey the message to another nation to not cross them. Due to the timing there was no real reason or excuse to justify having a military during a point in time where people are more interested in developing a culture and living life rather than fighting in needless conflicts. As such there was no practical reason, competition, or threat to justify Ironwood’s demands for a large military when he came to power or ensure that it was of a better quality than whatever hypothetical enemy that he would face.

Salem on the other hand has had experience commanding armies before and probably has instigated several wars and conflicts prior to the founding of the current 4 kingdoms thus Salem would have at least accumulated centuries to millenniums of war experience that surpass Ironwood’s brief 30 years of service in the Atlas military. Given that Salem was already a crafty and manipulative person during a time when gods were still around, she most likely would have seen the mistakes and flaws that Ironwood has made and exploited them.

Leading into the 2nd reason Ironwood was pretty much in command of a terrible military. As stated in the 1st reason there was no real threat or competition that encouraged those in power besides Ironwood to remilterze. As well as the current military most likely being filled with people who don’t want to fight a war and most likely enlisted for economic reasons. Because of this and his paranoia Ironwood had to find a surrogate army to prepare for his war that in his mind could happen at any time. However this resulted in cheaply made Androids that can be assembled fast for quick deployment. Due to this Ironwood traded quality for quantity as not only was no one going to fight in his war but believed war was on its way soon. Out of misplaced desperation Ironwood hastily assembled a low quality army that never stood a chance.

In comparison to Salem’s main military force there aren’t that many differences. However the Grimm are slightly a better quality than what the Atlas military has to offer. This is mostly due to the fact that the Grimm are a semi sapient species that are capable of learning and adapting as well as possessing some level of self preservation with individual grimm being around longer than most of their kind becoming even more deadlier than them. While the androids that Atlas uses aren’t as they were made to be cheap and disposable and are mostly effective in large numbers. 

The 3rd reason for why Salem is doing well during this conflict with Ironwood is mostly due to the General preparing for the wrong type of war than the war that he is actually fighting in. After all is said and done Ironwood has solely been preparing for a war with other people rather than for monsters. This is because the Atlas military before Ironwood took charge wasn’t meant to fight a war. Not all militaries are formed or created to defend the people. Atlas is the type of military that serves only in favor of the best interest of the state of government rather than the people. 

Because of this Ironwood had spread misery and divided the people turning them into enemies. Salem would later take advantage of this division that Ironwood created as he was more focused preparing for war than managing the welfare of his citizens. This is speculation but most if not all of the weapons like penny and the Atlesian knights were solely made to fight human opponents as opposed to the grimm that Salem commanded. This is because Ironwood feared and distrusted people more than the monsters he fought.

The 4th and final reason why Ironwood never stood a chance is due to the fact that he believed in his own hype more than he should have. From key dialogues to certain character interactions and in universe lore Ironwood has always presented himself as this towering figure with unlimited power; A god among men so to speak. This shows us that ultimately Ironwood’s ego and pride have been inflated to the point that his overall common sense is non-existent. This is further explored and shown in the control tactics that he uses specifically these ones; Strength and Intimidation in Numbers; 

Some aggressors like to dominate a situation by having a number of associates or friends present to support their position. The superior numbers alone may constitute an intimidating presence. They can also back each other up and challenge an individual in turn during a proceeding. In addition, they may also put pressure on a person to make a decision before they're ready. At worst, the strength in numbers tactic may be used for direct or indirect bullying or harassment.

Ironwood's overall strategy is simply sowing fear and doubt into an enemy that he doesn’t understand with large and unnecessary shows of power wasting resources to cover a wide variety of unknown enemies that pose a threat to him regardless if they are with Salem or not. This is best seen with the thousands to millions of cheaply made androids that are only effective in large numbers and the one ship of the line that was too big to be suited for warfare as they function as more of a forward operating base with their great size giving them the intimidation factor without other supporting fleet vessels like frigates or corvettes.(FYI by my count from V6 ep13 there were at least 41 of those ships hovering above Atlas doing nothing)

This is even confirmed by Ironwood in V3 ep3 where he claims this to be the case with this line of dialogue; 

“The people of Vale needed someone to protect them, someone who would act. When they look to the sky and see my fleet, they feel safe, and our enemies will feel our strength.”

This sort of tactic would probably have been useful if it was applied in a conventional warfare plot with people being his opponent as this is a real life tactic used in militaries and the navy especially in the modern era. The problem however is that the plot isn’t about conventional warfare nor is it a battle between people but with monsters where these tactics are meaningless  to them. These tactics are ineffective when compared to Salem’s psychological hit & run terror tactic being used in a setting like RWBY’s are quite effective and more useful than anything Ironwood can come up with. Even though they rely on opportunity and time to become a practical threat the end result is a huge payoff to the one who applied them with that being Salem. 

To sum it up when it comes to the foils of war between these 2 characters all you really need is the right tactic, strategy or plan and everything falls into place regardless of whether you have an army or a handful of misfits all it takes is careful thought and patience something of which Ironwood has shown to be lacking.

In conclusion what we learn from these foils are Leadership, Heroism, and War and how no matter what Ironwood was always on the short end of these traits and was never going to reach his ideal scenario for each of these ideas as he had set high expectations that were well above his capabilities and now he’s paying the price.

The Atlas Meta Narrative’s influence on Ironwood

Based on my research and what I have stated before; the greatest source of Ironwood’s flaws and antagonism is largely due to the influences of his home kingdom; Atlas. 

Just like Ironwood Atlas is also a foil setting and culture to the other kingdoms and the rest of Remnant. The reasoning for this is best explored in the established lore and other expanded material. To help better understand, here is a brief summarized history and development of the Kingdom of Atlas;

Before Atlas came to be it first started as Mantle who began as a group of desperate people trying to survive. Taking advantage of the cold climate of Solitas they were safe from the Grimm and had an unknown amount of time to develop both their technology and culture without restraint or interference. Eventually this progress was stalled due to a Grimm incident in Mantle that forced the current leaders of the kingdom to make radical and unnecessary regulations that suppress basic human emotions and rights instead of putting the effort to protect the people. 

When the Great war started Mantle joined only to ensure that its like minded imperialist ally Mistral would supply them the resources needed to survive. Because of this and the extreme measures they enforced on their citizens to control them prior to the war Mantle was most likely considered the most evilest faction during the war. When the war came to an end with Mantle suffering an embarrassing defeat it led to an age of cultural segregation and discrimination upon Mantle in the post war era.

Following the war Mantle entered an age of isolation and economic depression due to distrust and suspicion from the other kingdoms as they would only view them as this inherently evil and tyrannical force that can’t be trusted. Because of this the lingering scar of the toxic ideology of pre-war Mantle survived and is echoed in its spiritual successor; Atlas where it continued what Mantle couldn’t survive and thrive under the same core ideology that they had 80 years ago when they were still Mantle with only minor changes made to prevent the other kingdoms to intervene and possibly destroy their so called perfect culture. 

After they lost a scar had remained and an echo was created that still lingers to the present. Due to cause and effect Atlas at its core was developed to be this amoral conservative xenophobic dystopia that was being led by corrupt individuals that were in pursuit of their own self-interests rather than serving their citizens and were kept in power by blind followers that couldn’t see their real intentions. As a result Atlas became a culture of exploitation, expansion, repression, and subjugation for the well being of the political entity that is the state at the expense of its people and others. 

In relation to Ironwood as I stated before is a byproduct of this system and is simply one of a long line of blind followers that eventually supplanted the leadership and chose to continue the machine that is Atlas and replaced cogs needed to keep it running as he was once forced to do throughout his life because he doesn’t know of anything else. 

Because of this upbringing and the history of his origins Ironwood was more or less viewed as indifferent in the eyes of his own people and evil in the eyes of others. Leading to a clash of beliefs within Ironwood that resulted in conflicts with others and the main meta narrative theme that we were meant to learn from him; The essence of Being.

The Essence of Being

Essence is defined as the core nature or most important qualities of a person or thing. Essentially the narrative lesson that we can learn from Ironwood is the age old lesson that has been echoed from R.T. longest running series but with a more individual focus. That's right, Ironwood's journey and arc in the story is an inverse and modification of the classic RVB question; “Do you ever wonder why we're Here.”

But in the case of Ironwood it's more focused on an individual person asking and the age old question of Why am I here and what is my purpose and how do they justify and understand it.

As I stated before Ironwood was simply the wrong character in a different genre from a writing and story perspective. But in universe from the perspective of Ironwood it's simply a matter of him asking; “Why am I alive and here, and why am I this instead of that in a world like this?” At some point everyone questions the reality and circumstances of their situation and it's probably common questioning on a world, setting, and reality like Remnant. For Ironwood it’s possible that he’s asked these questions more than anyone. As for the reasons why he would question his existence go as follow;

Why was I born in Atlas?

How do I prove I'm good when others think I’m evil by proxy? 

Why I’m I so weak when compared to more skilled & powerful people?

Why was I made to be reliant on others that can’t rely on themselves?

I’m I respected only for the rank or the man?

Does anyone really care about me or I’m I being used by sycophants?

Will anyone care when I’m gone?

Why won’t anyone give me a chance?

How do I justify and understand the reasons why I'm here?

Does any of this matter in the end?

The core of Ironwood’s journey, actions, motives, and story wasn’t about saving the world, the balance of grey morality of people, or even the preservation of a certain culture, but instead is about cementing a legacy to escape the harsh reality that everything we do will eventually be undone. It's such a freighting thing to fall but is even more freighting is to admit it

In a way Ironwood's story is somewhat relevant to this line from Monty Oum in regards to immortality; “The goal isn't to live on forever; it's to make something that does.” CRWBY has even stated that Ironwood is a forward thinking individual/ A dreamer if you would. Because of this Ironwood was more focused on where he was heading rather than focus on where he was and what he was doing Causing a lot of problems to happen and escalating events to the point that we see them in the shows present. This oversight and negligence is because he continued to believe that, like everything else in his life, it would be righted by the sheer force of his will.

But sadly he is just only one man put on the world for a brief moment of time that is rather minuscule and insignificant on a cosmic and meta level. Everything changes and legacies are either forgotten or are repeated. In the end time and death are the ultimate victors as they undo everything and the cycle repeats itself for better or worse and individuals like Ironwood are just caught in the middle repeating and doing the same thing that has probably already happened and will probably happen again. All it takes is just a matter of time.

My Thoughts and conclusion

For the most part I was pretty much cautious when it came to the character and felt that he was more or less a side character trying to be a main one. The problem with that however in my thoughts is that well he doesn’t really have much to go on to warrant such a status. As well as how the plot has been structured Ironwood was never going to get what he wants. He may have had good intentions but at the end of the day he is only human with his own wants and needs.  

Overall I do feel that his part in the story is over. Mostly because he tried to take the lead of it. Meta understanding aside Ironwood’s time is coming to an end and I hate to say it but it probably would be for the best. Not just everyone else in the show but for himself as well. As I stated Ironwood’s life is Sad because well it never was really his to begin with. It's illogical because he was ill equipped to be a part of the setting that he was in. His death is more than guaranteed because he has nothing left to contribute to the story that can’t be done by anyone else. At this point with the overall message of death in the show it would be mercy and relief for Ironwood as Death is not the worst thing that can happen to you.

I still hold hope though as I’ve come to understand and see why people are fascinated by his character. But for that hope to be possible Ironwood has to let go of Atlas as it has been the main source of conflict between him and everyone else.

Well that's it I’m done for now as this is an analysis of Pre V8 Ironwood and maybe after V8 I may add more research of V8 Ironwood and see how much i got right in the initial analysis. After doing this I hope to do an analysis on Qrow Branwen and other RWBY characters hopefully in a much shorter amount of time as opposed to the months it took me to do Ironwood.(then again this was my first character analysis) Until then be on the lookout for additional bonus content for Ironwood such as;

Character comparisons from fiction

Character comparisons IRL

How you can fight & Kill Ironwood

A more indepth look of his new cybernetics

What Ironwood should have done

His relationship with other characters

The possibility of an Ironwood spin-off

That's all for now. Let me know what you think and thank you all who helped made this analysis possible.