#META

[justrustandstardust]

in honour of geto's birthday, i want to talk about the fandom discourse that paints him as a mother. he definitely has a degree in motherology (with a minor in babygirlism), but i also think it’s possible that gege is genuinely using his character to say something interesting about motherhood and maternity.

this post is inspired largely in part by @virgobingo's thoughtful meta on geto and monstrous femininity, which you can find here. i want to extrapolate from the trope of monstrous femininity and extend it to monstrous motherhood. (which @virgobingo also touches on; you should really check out their meta— it's awesome!)

geto's character is immediately established in a protector capacity, which is intensely reminiscent of the tropes that mothers embody in media. his whole thing is that the strong must protect the weak; it's his core belief. his character is premised around this belief, much like the way mothers' constitutions in media are premised on the principle that they'll go to any length for their children.

we're repeatedly shown his caring side during hidden inventory— he cares for riko, he expresses concern for gojo, he even asks about kuroi after he finds out toji supposedly murdered his best friend. it's made very clear that he's an outwardly caring person with a strong sense of duty. in this way, he parallels the textual role of mothers, whose function is to care and provide above all else. the repeated emphasis on his caring nature is what directly likens him to maternity, whose characteristic trait is tender love and care.

he also houses curses in his body. he unleashes them from inside of him, almost like children leaving the womb. these curses obey him and operate according to his will in a very parent/child dynamic. they are powerful, but they can only do what he tells them to do. he uses them to fulfil his duty according to his core belief: to protect the weak.

when he defects, his ideology fundamentally does not change— it just inverts. instead of the strong protecting the weak (the weak necessitating their strength because they can't protect themselves), now the strong must be protected from the weak (because the weak leech the strength from the strong, therefore rendering them weak).

nothing really changes; he still cares —fiercely— it's just in the opposite direction. he takes the tropes associated with motherhood and inverts them— he'll do anything to protect those under his care, including killing, because he wholeheartedly believes in fulfilling his duty as a protector (like a mother). his unwavering conviction and willingness to die for his beliefs (which are directly about those he's protecting) is the most flagrantly maternal thing about him.

toji's worm calls him "mommy" and it's not wrong. he takes in daughters and becomes the central figure of his "family"; his emphasis on family throughout the story (even as a youth) also speaks to his maternity, as mothers are often written as the binding emotional centres of familial structures.

after he dies, his body is taken over by someone who is Iiterally a mother. he embodies monstrous motherhood during life and after death, leading us to the question of what gege is trying to say about all of this. is caring too much a bad thing? does caring in one way open the door to caring in another? what happens when a mother's love, supposedly strong enough to lift fallen trees off their children, goes in the “wrong” direction?

there's also the fact that geto is male. i think gege is also asking us to reckon with how the tropes of maternity have been confined to women, showing us that these intense convictions and the depth of care attributed to mothers can apply to anyone, even (especially) if they are distinctly masculine. in doing this, he's also expanding the conceptual definition of motherhood, suggesting that mothers can exist beyond their provident care and one-dimensional duty to their beloveds.

geto's monstrous motherhood is an explosive reclamation of agency in a trope where women have been historically limited by the categorical imposition of maternity. it seeks to disrupt not only who we consider to be mothers but also what we consider a mother to be. perhaps the monster is not the maternal figure whose love turns vicious or violent, but us, who monstrously imprisoned them in the fixed role of "mother".

[girls--complex]

hi, love your work a lot! it manages to blend coherence with layers of esoterica, in a fun & meaningful way. do you have any big influences with your style?

Writing this as a narrative because my whimsicall mind can't seem to organize information logickally otherwise

So

When I was a child my Dad would show me a lot of comics/cartoons in all different styles/eras and so I was internalizing comic book logic from the very beginning. He really liked American comix both capes and Indie stuff but was also into franco belgian artists and let's be clear my papa has good taste so I was readying good stuff though I couldn't remember it all too reliably... Also Comics Journal, so I was reading comics & meta about comics. So basically I have like a deep archetypal brain stem dark spring of mind that spits out raw comic information like a dream that I can't place until I rediscover them, and a lot of deep unremembered imprintations that R kinda roiling around under the surface #Stupidsoldier

N then I was a deviantart kiddo and a reading manga at barnes and noble kiddo, and then I went and got a formal art education and learned about all these artists that sort of did pseudo comics or cartoons but didnt articulate it that way-- The German xpressionists are a big example of this -- and also about overall principles of like scale and hierarchy and time and presence -- and also just that I really like drawin the human figure in particular :)

I'm really grateful that my parents especially my dad were actually really supportive/invested in me being an artist even though they had very little faith in my character or overall competence. so I was always doing art activities to make me better at drawing because that was like the one redeeming quality I had, a lot of household resources went into me having art tutoring or doing community classes, and I was really strongly encouraged to get ma BFA

So 4 influences well I like things that are very stylish but very specific in how they represent figure N physiognomy... Naoki Urosawa & Jeff Smith were fascinations 2 me along this line... Arakawa is good too... I feel like this is a strength of American and British cartoonists generally but struggling to think of names

My favorite painter is tied between two commies: Siqueiros, who was a Mexican muralist and chaotic socialist, really specific markmaking and texture, pathos drenched figuration, charged epic landscapes, and Petrov-Vodkin, Russian ikonographer who became a propagandist for the USSR, semi-social-realist, semi-ikonographic compositions in which space is wrapping around itself to organize human figures according to a mythological logic, flattish, very cartoons/comics aligned, strange treatment of color but all really effective

History painting overall is everything to me it really doesn't show in Coward but I think it shows elsewhere some of my other dramatic sensibility is a lot from 00s action movie shlock which I would always enjoy to go see when I was younger and was somehow fascinated with the environment of government buildings and prisons and secret operations happeningunder the surface of every day life erupting into wet violence of men punching each other

I love the movie THE RAID redemption !!!!

I learned a lot of the logic of pacing N building pages around Tezuka's work as well as FMA N Death Note I think were big 1s to teach me that logic. Tezuka is a really good artist to look at for how to compose a page that supports the energy of the events that are happening on it, not that that's something I personally am good at. Favorite mangaka for tone and environment and visual identity are Katsuhiro Otomo, Tustomu Nihei, Suehiro Maruo, Nishioka siblings, Hideshi Hino

A lot of my sense of timing is also from news paper strips tbh. It's just a gut thing to me at this point hehe , Character design is also a gut thing for me I draw a little thing and I can either ensoul it with psychosexual fixation or I can't

I was born in the hospital Henry Darger worked at St. Joe's he's an ancestor to me but ofc inimitable by virtue of GOD being his sole audience

As for the esoterickal dimensions I feel like it's all it's own post let's just say I lack the inclination and ability for systematic and rigorous study but I am really interesting in gathering little packets of information and arranging them into dioramas and the longer I do it the more packets I accrue

I want to make a list of artists on here that I like/admire sometime too but that's too much for me rn. I also suspect a lot of people R mad at me for arbitrary reasons just as I also am mad at a lot of people for arbitrary reasons so I dont wanna bother no one ...

Oh well so I'm intentionally reorganizing how I draw right now because I sense a shift in my trajectory again so thanks for making me reflect

[physics-of-one-piece]

Why I think "You are my flag" Should Be A Love Confession by One Piece Characters

(especially for the more emotionally reserved/traumatized characters) in One Piece

P.S. yeah it's corny but let me explain why:

1. The flag is the symbol of the captain's crew, a symbol of power, friendship, and why wouldn't it be a symbol used in a confession of love by the sea-faring folk?

Here are some quotes from the Wiki:

For many, the Jolly Roger is nothing more than a symbol of power, showing off a pirate crew's strength to intimidate enemies and victims.

For Luffy & his crew:

More idealistic pirates—and sympathizers—have used the mark to espouse wider principles of freedom, personal conviction, and even friendship.

For Four Emperors' Crew & Crewmates:

most notoriously the Four Emperors—have been known to mark entire towns and even islands with their Jolly Roger, deeming such locations their "territories" and promising protection and retribution against outside attack.

For Doflamingo:

Donquixote Doflamingo does not like the idea of anyone tarnishing his flag's name and punished Bellamy for losing under it.

For Law:

The Heart Pirates also have a smiley style Jolly Roger, only this one has 6 branches extending outwards in all directions, as a tribute to Donquixote Rosinante.

See how important the flag is? Yeah, so that's how important the person who they say "You are my flag." is.

2. Marines have a flag, so they can use it, too. The flag acts more as a guide for the marines, because the flag in Marineford is their base, so when a marine tells a person "You're my flag." That person is that guy's home. Beacon in the dark. The marine is coming back for that person, not anyone else.

3. Same goes for pirates, though the meaning depends on a pirate, but they all share that the flag is their symbol, so the moment they call you their flag... Yeah, they're definitely telling you they love you. Same goes if they say "I am your flag." though then it says "I am your lover, you are mine." so the meaning is a bit different (this is for the more territorial, possessive pirates, but it still means "I love you."

Their symbol is their flag, their flag leads their crew, if you are under their flag you are family/friends/allies/lovers, their flag is loyalty, their flag is power, and them being your flag means them being your love.

Anyway, if a marine or a pirate says they are your flag, or you are theirs, you are their most loved person.

Of course, "I love you" brings the message home and gets the full impact, but not all of these pirates are Ace, Luffy or Rosinante. Most of them didn't grow up hearing words of love, so I just think this is the other way of saying “I love you” while they get used to using the word love. And if they never say it, that’s fine, too. Their love is their flag, their flag is their love. Okay? Okay.

Little meta done.

Did I get this idea from Pirates of Carribean or sth and just forgot that was in that movie? If so, all props to those movies, I guess.

Taglist: @fanaticsnail

[xoruffitup]

The Complementarity and Divergence of Furiosa & Dementus, A(n Obsessive) Meta

Fresh off Furiosa Round 4, I’m full of thoughts about how the film mirrors and contrasts Furiosa and Dementus’ hero/villain journeys. We see both characters evolve and grow through the 5 chapters of the film, moving through distinct phases of change. We see them each fighting a similar struggle to keep not just their lives, but some shred of humanity amid the ravages of the wasteland.

Their journeys are intimately intertwined, their decisions wreaking profound effects on the other. Their parallel arcs explicitly converge in their final confrontation, not just physically but thematically:

(Forgive the vaguely remembered dialogue lol)

“I was just like you, craving a belly full of vengeance after my beauties were taken from me so cruelly, immutably.” “I’m nothing like you.” “You are. Searching for some sensation to push away the inky black. We are the already dead, Little D.” 

Dementus’ color-changing cloak and the teddy he and Furiosa each, at some point, possess are the physical symbols of their progression along what is ultimately the same character trajectory.

Dementus is coded first in white, then in red, then in black. Though more subtly, Furiosa progresses through the same three stages: innocence -> trial -> temptation/corruption. The question, however, is exactly when, where, and whether Furiosa is able to disentangle herself from the example Dementus has laid before her.

So let me break this down one movie chapter at a time! I’m going to try to hit their key qualities at each stage, and explore how they move in ways both in complement and opposition to each other as the film progresses.

1. The Pole of Inaccessibility  Consider two lesser-used definitions of “pole”: 1) "each of the two opposite points on the surface of a magnet at which magnetic forces are strongest"; 2) "one of two opposed or contradictory principles or ideas." This first chapter is where the two mighty opposing forces of Furiosa and Dementus are introduced. Furiosa: Youthful, innocent, brimming with a vibrancy of compassion. The first shot we see of her, she’s taking a risk to pick a second peach – the peach meant for Valkyrie. Even as Valkyrie whispers “We should go,” Furiosa is resolved to carry through this act of altruism. 

Dementus: Maybe, once upon a time, he wasn’t The Worst. :) Even though in Chapter I he’s already halfway there, there’s a distinct difference between who he is at the start of the film vs its end. No question, he’s already power hungry and reprehensible. What he does to Mary and Furiosa is plenty proof of that. However, we meet him as a man in control. Control over himself, over his people, over his rage and his passions. We’re first introduced to him as a pseudo-scholar, even, as he sits in his white cloak listening to the History Man’s oral treatise. He is the single calm, steadying presence in the tent, as his men whip themselves into frenzy trying to find a bearing to the Green Place. He’s a self-assured, calculating figure, set on achieving his goal – no matter the gruesome means. 

Convergence: Dementus recognizes the strength and fire in Furiosa, in her determination to hide her home. He then inflicts Furiosa’s character-defining loss and trauma. (“You must not look away.”) It bears noting, though, that his torture of Mary is not for its own sick sake – he does it in attempt to get information out of her, or out of Furiosa by forcing her to watch. He has a practical goal in mind. But later, he will become increasingly willing to engage in sadism for lesser justifications.

2. Lessons From The Wasteland  Furiosa grows up exposed to Dementus’ ‘lessons’ of what constitutes strength in the wasteland. Will she adopt his teachings?

Furiosa: We cover a lot of ground here. Her captivity in Dementus’ horde, her being traded to Immortan Joe, and her slipping out from both her captivity and her female-presenting gender as she begins her rise through the power hierarchy of the Citadel. Without doubt, her time in Dementus’ horde refines her hatred towards him (recall that shiver-inducing moment when she’s sitting in her cage and muzzle, glowering at Dementus with absolute abject hate in her eyes), but her defining trait at this point appears to be apathy as a pointed form of resistance.

She never responds when Dementus speaks to her. When he first tries to give her the teddy, she drops it in the sand. She turns away even from the History Man, when he offers to teach her. Her silence, her refusal to acknowledge her situation or surroundings, is a constant and restless rebellion. She does not and never will accept these people as her own, will never allow herself to become part of Dementus’ world. She builds invisible yet impenetrable walls around herself – in self-defense, to some degree, but also to make sure Dementus never forgets. She does not and never will belong here, nor will she belong to him. She sure as hell will never forget. This sense of self-separation from her surroundings as a form of internal resistance continues once she enters the Citadel. She draws resilience from her seed, holding it against her forehead and hardening her resolve to become whoever and whatever it takes for her to escape this place. She cuts her hair, slips away into the ungendered shadows of the Citadel, and then begins her rise from invisibility to dogman. She may be willing to strip away all outer signs of her true self, but all is in service of ultimately returning to that identity in the only place where it will be safe to do so – back home in the Green Place.

Dementus: The first scene of this chapter (the five-bike teddy), establishes two crucial aspects of his character. 1) This man looooves to put on a fucking show. He loves to yap in as theatrical and over-the-top a manner as possible. He thrives on having an audience, and will gas up both his charisma and brutality as much as necessary to hold it. 2) He once had and lost a family. The first time he hands the teddy to Furiosa, he tells her it once belonged to his little ones. 

Then, the scene where he meets the lone war boy and learns of the Citadel. The moment when the true games of power commence. Here, Dementus ascends into a new playing field – a grander, more high-stakes cause. His formerly white cloak is dyed red by the flare of skyblood, as he thrills at the idea of a new class of power, as he tastes a new form of greed. The corruption takes him quickly. To besiege Gastown, he’s willing to sacrifice his own men. The Octoboss’ outrage (“You’re scum, Dementus!”) shows this to be a decisive break from whatever level of collateral damage Dementus accepted up to this point. Then, with Gastown under his thumb, he seizes his place among the rulers of the wasteland fortresses. He wants to be called “the great Dementus” now.

Convergence: Dementus doesn’t just try to claim Furiosa as his daughter, he tries to remake her in his own image. In giving her the teddy he carries as a memento of his own children, he attempts to saddle and shape her with the same mantle of loss. She’s lost her family, just like he has. In a twisted way, he thinks that by tearing her mother from her, he’s helped strengthen her. (“It made this one tough enough to survive whatever comes. I did that for her. I did that for her,” he says to Immortan Joe and partially to Furiosa herself, admitting that he did, as Furiosa clarifies, “slaughter my mother.”) He knows what havoc that loss wrought on him, and expects it to warp Furiosa in the same way. He calls her “Little D” not really because he sees her as his child, but as a burgeoning version of himself. Yet despite all his alleged suffering, he’s resolute and powerful enough to command his horde. He holds himself in high regard, and seems to think that in time Furiosa will come around to see things his way. In time, she will become like him – a bit unwound, a lot formidable. She’ll rise to the mantle of “Little D,” no matter how viciously she rejects and decries the name now, along with any association with him at all. 

But this changes when she at last speaks – as she voices her firm “No” when Joe asks whether Dementus really is her father. With one word, she decries and rejects the path Dementus has tried to lay before her – the path mirroring his own. While it’s clear that Dementus, to some extent, entered the negotiations with Furiosa as a back-pocket bargain chip (why else is she swathed in bridal-veil white, like an offering), I’m not convinced it was all a negotiation tactic when he objects, “No, she’s not for sale. She’s mine.” But after she speaks, after she rejects his claim on her, his resistance evaporates. He trades her without a parting word, and snatches the teddy back from her hands – the mantle of his grief and his struggle; the symbol of lost innocence, replaced with demented, heartless violence.

This is a burden she rejects. She will grow from her loss and her trauma in her own way. She’d rather throw herself into unknown dangers, onto the questionable mercy of Immortan Joe, than remain under Dementus’ influence. In this, she will not be apathetic or distanced.

3. The Stowaway  In a sense greater than just stowing away under the war rig, Furiosa stows away amid the operations of the Citadel itself, waiting until the time is right to steal away from this society completely.

Furiosa: This is her crucial period of independent growth, separate from any warlord’s influence. By escaping from the vault (and from Rictus), she begins to define survival on her own terms. By working her way steadily, stealthfully up the Citadel’s ranks, she strives for the access to resources and freedom of movement that will enable her eventual escape. Everything she does is calculated, everything serves the long-term utility of making her way home. 

She becomes a part of the hierarchy and ecosystem of the Citadel, now, breaking from her earlier self-isolation. Yet her driving force, her values, her purpose never waver. She remains steadfastly fixed on her goal of escape. She cares only for ascension and status if it serves her ultimate purpose of returning home. Her loyalty is first and solely to the Green Place and the sisters she left behind there.

This does not change, per se, when she makes her deal with Jack and becomes Praetorian at his side. What draws her to Jack, what inspires her trust and devotion to him is the way he embodies the very qualities of her home and her people – the very things she’s fighting to return to. In Jack, she rediscovers a bit of that comfort, that compassion and selflessness that has been her dream for so long. He brings a piece of the home she’s fighting for into her life at the Citadel, and with this reminder comes reassurance that her dream is real, her dream is possible. 

He wants to help her while asking nothing for himself in return. He is the first to see her for the true version of herself – the version that belongs not to the Citadel and Immortan Joe, but to some distant, unknown place of promise. He believes in this true version of her even before she confides its evidence in him, when she shows him the peach pit. Her loyalty doesn’t become split between Jack and the Green Place; they reinforce each other. She cherishes him and their bond because he represents all that she’s been fighting towards all this time: the truth that there is moreto her existence, more to the human heart than the raw, selfish lust for survival and sustenance. 

I saw a brilliant post that contrasted Dementus and Jack’s influences on Furiosa. On one hand, there’s the narcissism in which Dementus tried to “train” her as a child into his same brand of hatred and violence – how Furiosa had to become “indispensable” to Dementus if she wanted his protection. By contrast, Jack trained her in road war so that, one day, he would become dispensable to her. (hahaha kill me please. ;__;) 

With Jack at her side and his presence reminding her that what she seeks is something real, something tangible, she is driven by hope more powerful than ever before. Her return to the Green Place – to its physical abundance but also the altruism, compassion, and kinship it represents – feels closer at hand than ever before.

(No Dementus or Convergence section here, this chapter belongs to her and Jack alone <33)

4. Homeward Bound  More than just her and Jack’s plan to make for the Green Place together; forging her bond with Jack already brings her closer to the memory of the Green Place (closer to home) than she has been since she was taken.

And now…. THE PAIN.  Furiosa: I would argue this is the chapter of the film where her character arc is most sharply and deeply altered. As she and Jack approach the Bullet Farm, their joint purpose is clear: leave all of this behind and drive off together to something better, something kinder. 

But then, Jack is trapped inside, she outside, enemies between them. Furiosa is immediately torn. She has her escape vehicle, bikes, food and supplies all ready for the leaving. Her route back home is literally laid out before her feet. But driving away would mean abandoning Jack behind that gate, leaving the person who made it all possible to certain death. 

He fires the green flare in a bid for her to leave him behind. He’s going to stay, he’s going to keep Dementus and his horde occupied while she escapes, he’s going to fight for her and her Green Place in his own way. 

But seeing that green flare is what makes Furiosa realize she couldn’t possibly drive away. Because what would she be driving towards, if she abandoned him? If she leaves behind the one person in whom she’s confided her true self, her greatest secret – wouldn’t that mean that the part of the Green Place she’s carried with her all this time has finally died away? 

We’re reminded of Mary choosing to spare the woman’s life when she rescued Furiosa in Chapter I. This post beautifully pointed out that the narrative never frames such acts of mercy as wrong or foolish, no matter their tragic consequences. As the audience, we want to see Mary’s essence live on in her daughter. We want to see that mercy survive – that belief in the inherent good in people that separates the Vuvalini from the wasteland warlords. That is the mantle we want to see Furiosa carry with her as she grows. 

What Furiosa chooses here isn’t about the pragmatism of survival. This is the wasteland. Stupid, reckless, suicidal decisions are made every single day without a moment’s hesitation. When she makes her choice and backs the car up, she shows a kind of strength most in the wasteland have forgotten. She proves that she remains faithful to all the Green Place represents – she proves that she is incorruptible, indominatable.

Dementus: Meanwhile, Dementus is having a rough week. While he might excel in the kind of kamikraze maneuvers that won him Gastown, turns out he’s not so great at running things. When Furiosa sees him through the window of the rig during the nearly-disastrous supply trade at Gastown, it’s the first time she’s seen him since childhood. He’s grey, grizzled, and worn down. As then becomes clear through his behavior in the Bullet Farm fight and ensuing chase, his hold on reason and control is becoming ever more attenuated. 

He has little to no boundaries anymore – everything is acceptable collateral. He uses one of his men as a human shield against Furiosa’s sniper rifle. He taunts and mocks his own henchman. (“The other arm! Have you lost your touch!?” when his people string up Furiosa by her uninjured arm.) His grandstanding evil-villain speech once Furiosa and Jack are caught no longer feels commanding or delightfully bombastic – now it rings of the desperate ravings of a mad man on the edge. 

He knows he’s losing control – of Gastown, and his ever more tenuous hold on his position in the tripartite trade route. He needs to bargain for more food and water for the people of Gastown if he wants to avoid a full-scale riot, but can’t increase guzzoline output to get it. In taking over the Bullet Farm, he’s made a desperate move from which he knows there’s no going back. Either he consolidates his hold on two fortresses of the wasteland and forces the Immortan to agree to his terms, or he’ll be destroyed by Joe and the Bullet Farmer in alliance. 

Convergence: And then Furiosa and Jack arrive, and blow the Bullet Farm sky high. (“The day I take over the Bullet Farm, these two destroy it!”) Dementus’ risky new conquest is worth nothing, and he’s left with nothing but the consequences – an army surely soon bearing down on him. 

But then, even after being caught, Furiosa and Jack commit what is, to Dementus, an even graver crime. They strip him of the power on which he relies most: his eager, fearful audience, hanging on his every word. They render him invisible, utterly inconsequential as they refuse to listen or even look at him, as they refuse to break down in the misery and hopelessness he so desperately tries to instill in them. They are beyond his reach, absorbed in only each other. Dementus captured them, yet he finds he has no power to disrupt, destroy, or even to intrude into their final moments together. (What’s that on my keyboard? Oh just TEARS)

He makes a big deal out of the bond that clearly exists between them, yet does not show contempt towards their shared devotion. Instead, it is an ugly, raw kind of envy. They remind him not only of what he once had and lost in his family, but how bleak of a destination the path he forged through his loss has led him to. (“Look how they fought for each other, this army of two. Where were they going, so full of hope? There is no hope!”) 

For him, loving another person leads to only one thing: loss, darkness, hopelessness. All that remains to him is his crusade for conquest, growing more empty, more futile by the day. But now, even as Furiosa and Jack face certain death, even as they find themselves at the end of their shared road, they don’t succumb to the inky black. They’re untouched by it, invulnerable to the ravages Dementus is so convinced await anyone foolish enough to love. How dare they continue to believe in their love, continue to draw strength from it, even when its life has been cut short?

“You two break my heart. You make me the dark Dementus,” he says, sounding not only enraged but distinctly mournful. And so he descends even deeper into his own darkness. We were first introduced to him shrouded in white, then witnessed his transformation into the Red Dementus, as his lust for power took a taste to warlord status. Now, his cloak accumulates more and more black, his soul growing more tarnished by the day.

But what of Furiosa? Her moment of resolve at the gates of the Bullet Farm was her strongest commitment yet to the values and compassion she’s secretly harbored in her heart all this time. Those final moments she shared with Jack were also proof that acting in love and tenderness grants a singularly invincible kind of strength - a kind the wasteland cannot touch (even if only for a moment).

But something happens to her here, as she witnesses Jack’s torment, as she watches her dream of escape broken across the sands. 

“Rage, fueled by grief,” says the History Man’s voiceover, as Furiosa cuts her hair (with Jack’s knife, stab me plz) back at the Citadel, reborn as the avenging angel she’s about to become. 

Before this moment, though, we see her choose to return to the Citadel. She’s out in the desert on her own, with a bike, and she conceivably could have gone anywhere, even headed east as she originally planned. (Though the blood loss from her arm and lack of supplies considerably narrowed her choices…) Even after she crawls out from the maggot den, she could have easily blended into the anonymous mob and slipped away forever. Immortan Joe would never know what happened to her and Jack on that ill-fated supply run, after all.

Instead, she makes her way to the platform and demands entry to the Citadel. “I am the Praetorian Furiosa!” she screams. This moment is the first time she lays iron-clad claim to her identity within the Citadel’s ranks. This is the first time she vocally embraces her status within its power structure. As a dogman, she was silent and efficient, earning her keep while doing her best to avoid undue notice. Even being Praetorian was merely a disguise for what she and Jack both knew to be her true motives, her true allegiance. After being ambushed and losing Jack, she could have walked away from the disguise and this whole world for good. She could have decided that there was nothing here worth fighting for, and let herself wither away beneath the weight of all her loss.

She decidedly does not. Dementus’ attempts to break her, to crush her spirit and her hope for good, had the exact opposite effect. He gave her a reason to put her own skin in the game at last, a reason to finally leverage the influence she’s slowly accumulated over all these years towards a new goal – to take her place shoulder-to-shoulder with the men who claim dominance over this land and its resources. But unlike them, her goal is not hegemonic control and enforced subservience. Her goal is vengeance.

At this juncture, she stands on a razor-thin precipice between finding and losing herself. Jack’s death has tipped the scales towards tying herself, in some way, to the power struggles of the wasteland. But remember, her love for Jack is one and the same as her enduring love for the Green Place and all it represents. They are each borne of her compassionate heart. But it is now that same heart that craves glorious and bloody vengeance for the loss of all that was dear to her. 

Now, after this devastating blow to her fragile, ever-threatened faith that people can be different from the cruelty of the wasteland, will that faith endure? Or will it be snuffed out for good – leaving her a dark, revenge-ridden fury who decries feeling as weakness, just like Dementus?

5. Beyond Vengeance  The final stage in Furiosa’s journey – transforming into someone driven by, yet neither defined nor consumed by vengeance. She is strong enough to control its force, and to discover a new life beyond it.

Furiosa: This post brilliantly pointed out the parallels between chapters I and V. Furiosa grows from captive to huntress. Like her mother before her, she pursues a lone group of bikers across the sands, sighting them in the scope of her sniper rifle. Like in chapter I, the chase ends with Furiosa coming face-to-face with Dementus. Only this time, she is the one in control and he rendered powerless. 

She appears as a vengeful, righteous force – the darkest of angels. Her pursuit will not be stopped, her hunger for retribution will not be slaked.

Dementus: “I have nothing. I am nothing,” he tells the approaching Furiosa, holding his hands in the air. And it’s true. He’s lost his fortresses, lost his horde. He’s even, by his own doing, lost the most loyal of his former followers. Without a second thought, he offered them each up as bait in effort to escape the justice he knew was coming for him alone. He has no morals, no scruples, no power, no defenders, and no heart. 

Convergence: Furiosa first appears to Dementus swathed in his own blackened cloak. For all that she refuted his attempts to shape her in his own image as a child, his murder of Jack and destruction of her dream of escape have awakened in her the exact kind of ravenous, pitiless black hole Dementus was convinced lay in her future after her mother’s death. The black hole of vengeance to whose edge he tried to drag her to, right along with him. Now, she removes her face covering and looks down at him with eyes brimming with all the fervor of that black, icy hate he once tried to instill in her. It’s a satisfying kind of poetic justice, perhaps, that he himself becomes its target in the end.

Here, appropriating his blood and shadow-soaked cloak, she becomes the dark Furiosa – complement to his dark Dementus. But will that darkness consume her, the same way it has him? Or will she become its master, tempering its edge and its fury to serve her own ends? 

It bears remembering that it is only after Jack’s death that her path shifts from escape to retribution. Her hatred for Dementus never faded, but she long understood that to pursue vengeance against him would be to tie herself to the hateful, heartless ways of this wasteland world; it would threaten not just her physical but her spiritual escape – it would jeopardize her ability to reawaken a softer, kinder version of herself that knew the love of the Vuvalini. 

But now, Dementus has foreclosed that choice to her. She can’t return to who she used to be, because of all he’s taken from her – not just her loved ones, but the heart that loved them in the first place. “My mother, my childhood, I want them back.” Her heart and soul are world-weary; her faith in the promise of the Green Place struggles to endure. For how can such a place, in all its beauty and abundance, truly exist in a world where both her mother and Jack were tortured to death? How can she keep her faith in a world where the kind-hearted meet such grisly ends?

But then: “I’ll hear it. I’ll hear it for the rest of my days. I’ll feel the kickback in my hand.” Her course is set. There is no question that she’s going to kill Dementus, right here and now. But the larger question begins to come to the fore: what will killing him do to her? Will it heal her or only further hollow her heart? Will this vengeance be what defines her forevermore?

She sheds the cloak. She cuts the teddy from Dementus’ belt and holds it in her hand, regarding it. And this is the moment where she must confront her future. When Dementus at last recognizes her as the girl whose life he destroyed, and she must choose her path: to follow his or to leave it, for good.

“I’ve been waiting for you, for someone worthy of me,” he says, seeing himself in her, at last. Trying to wrest some small victory from this. He is in awe of her, but only as an extension of himself.

“I am nothing like you,” she spits. She says the words with blistering conviction, but the tear that slips down her face belies her certainty. Because she knows that he has chipped away at her soul, that she stands before him, tormenting him in her own way, only because of all he’s done to her. She knows, in truth, that there’s no possible way for her to claim victory from this confrontation. Whatever she does to him, whatever “righteous perversity” she inflicts on him in the name of justice, it will have been his influence that made her capable of it in the first place. She hits him again, again, again, and with each blow she only chips away at herself a bit farther; her soul only becomes a bit more enervated.

“You can never balance the scales of their suffering. … You’re never going to get anything close to what you want,” Dementus taunts her. Inescapably, he’s right. Furiosa’s strength lies in her difference from the violence-hungry men of the wasteland, who dole out only savagery and hoard all else for themselves. No matter how much Dementus deserves torment and execution, killing him will only draw her deeper into the midst of such men. 

She drops the teddy into the sand. She steps off the path he tried to set for her. She glares down at Dementus for the last time, her eyes at once hard with hate for him and soft with tears for herself.

And here: the film’s masterstroke of a conclusion. The film’s core premise is not simply a matter of warmongers vs pacifists; male violence vs female nurture; good vs evil; justice vs chaos. This world is not so black-and-white as all that. In the end, Furiosa’s moral convictions are treated with the same mercurial fluidity and indefinability as her gender presentation. In the film’s final minutes, in the way her final vengeance takes on the elusive shape of myth, she is transformed into a being superior to all such reductive classifications. 

She need not choose between the ways of the Vuvalini and the men of the wasteland – she can be both. Her presence and power are vast enough to harness the dichotomy for her own empowerment, her own self-determination. She can harness her rage, her blistering fury, her spitting hate – and she can channel it towards a cause of protection, even an act of creation. She can inflict a singularly gruesome, twisted form of torture on Dementus, and from it grow fruit to nourish faith in the future. She can seize and co-opt the male-dominated levers of power, and turn them towards her own ends. She can wield savage “male” strength to challenge all that makes it “male” to begin with. 

And yet, for all this bold indeterminacy, one thing remains concretely unquestionable. Her faith and her love endure. More than that – they are her driving force. They are what sets her apart, what makes her singularly formidable even beneath the weight of loss and heartbreak. Such is her final triumph. At heart, she ends the film unchanged from how she began: plucking a piece of fruit, the priceless treasure to be gifted to another.

[silverskye13]

What is the Tournament story so far? We hear about it in the newest chapter but it gets glossed over and I really like that sort of aspect

Do they different paths it'll go on depending on who wins???

Tell me about it I love this!

The tournament story!

No idea if it'll get talked about in depth in the plot so, yeah sure, possible (very probable) spoilers under the cut [and a very, very long rant about Colosseum lore because I have brain worms.]

First of all, format: The tournaments are basically scripted plays which hinge on set-up fights as payoff for story beats. All tournaments follow the same basic format.

Introduction: Here is the lineup of characters fighting in the arena for this tournament! There are too many gladiators to ever showcase them all at once, and there are smaller more informal productions sprinkled in between the big spectacle performances. Helsknight competes in every big spectacle performance, and will make an honorary appearance in the smaller more contained shows. (The smaller shows tend to feature smaller names and less skilled combatants, so he doesn't compete in them very often for obvious "we all know who's going to win here" reasons. The only reason he competes in those is as a favor, in which case he might show up as a final act Deus Ex Machina to save a scripted winner. This doesn't happen very often -- crowds don't like predetermined winners unless there's a really good story to go with it.)

Major plot: Something happens at the end of the intro causing the "main" characters to pick fights with each other that dictate the rest of the matches. This is when anyone allied to a certain side will also pick that side. This will always result in a deadly match, often times several, where everyone on the individual sides faces each other. Sometimes (rarely) this results in a melee, where a full scale battle is enacted on the field as the climax of the plot. There are a lot of scripted/acted monologues, and the Colosseum is often arranged into a staged arena to fit the theme of whatever the main plot is.

Minor plot: A smaller, lower stakes background plot to add levity to the main plot and break up the story beats. This is where beast masters will compete to show how well trained their beasts are, jousts will happen, feats and contests of martial strength or skill will happen. It's the palette cleanser. It will break up the tournament fighting that makes up the major plot beats. (This is also when sneakier characters might enact plans, try to get combatants to switch sides if that's relevant, or meta characters might explain denser plot beats for the audience.)

Intermission: Go get your snacks!

Minor plot climax: the winners of the smaller feats are announced, and if there was a point tie in any of the competitive categories, they will figure out who wins here, often by doing a last demonstration of skill and letting the crowd decide who has the most pinache.

Major plot climax: The big final fight(s) where the plot line is decided. Whatever the decision is for this fight is often the foundation for the next one. Particularly gnarly finishers will result in grudges that can be exploited later for plot. Sometimes the showrunners will break this by releasing a large monster into the arena halfway through the fight, forcing a "oh now we who hate each other must work together" story beat. This is normally foreshadowed and scripted ahead of time (wouldn't do for the combatants to kill each other before the wither spawns in), but every once and awhile, to keep things spicy, it will be a surprise for the fighters too, just to get more genuine shock from their "actors". Helsknight hates this, and showrunners have been known to face his fury if the fight was particularly harrowing (they're in the habit of keeping gift baskets and competition prizes on hand to smooth things over now, though Helsknight still insists it's the principle of the thing.)

Helsknight has been the reigning Champion for ages, so most of his plotlines have to do with challenges to his title. He's been a heel (bad guy) character for awhile, mostly because EB was the Colosseum's darling, representing the idea of rigorous fairness with a lot of plot points that emphasized integrity and goodness. When Helsknight was up and coming, it was natural for him to take an antagonistic role to that, ousting a paragon from his throne. Now he comfortably fills the spot of Tyrant Lord, clutching his crown with godlike strength, and total disdain for those beneath him -- though he hands out rewards and favors to those who do him good, which leads to plot points where he comes in as a Deus Ex Machina for someone else's losing fight. This doubles nicely with his habit to take very real offense when his honor is threatened, and occasionally breaking script because he's pissed off about something. (The showrunners have learned if they want a long, interesting final fight, they can't write lines about Helsknight being a coward.)

Helsknight vs The Red King

As his title implies, The Red King is a leader whose main character traits involve amassing followers through might and loyalty. His Loyal Hand is the crafty underling who goes about during tournament matches "converting" likely followers to the King's cause. There have been a handful of matches where Red, either because he thinks he can rule the Colosseum better, or because it's his divine right as a king, tries to lead a revolt against Helsknight, often leading to a 1v1 between the two of them that has always ended in Red's loss.

The most recent tournament plotline, Red was given dreams of great misfortune befalling hels, the coming of a monster that would destroy the city and everything everyone holds dear! Oh no! He spends the tournament getting the greatest heroes of the Colosseum to join his cause (with help from his clever Right Hand) in stopping this calamity from falling. He approaches Helsknight once, asking for his help, but the dignified Tyrant, holding a grudge against all the attempts of the usurper, tells him to sink or swim on his own. So Red goes to face his calamity, and a wither is let onto the battlefield, with a small army of wither skeleton minions. They fight, and when the fight hits a suitable high point, Helsknight comes striding in, begrudgingly helping because the world won't end on his watch. A tyrant can't rule rubble. When the fight is over, Red and Helsknight end as shaky allies, with Red swearing fealty to the knight so long as he continues protecting hels, the home they both share.

Helsknight vs Bratwurst

That was until MythicalSausage's hels (the guy Helsknight kicked around like a hackey sack in chapter 9) came onto the scene. He's been dominating the small show fight scene, a pretty decent midrange fighter with cool demon powers that act as a convenient third-act power up during his fights and a pretty charismatic disposition as a heel character. He got good enough to start doing trial runs in the spectacle fights as a minor character. In his second appearance, when he was supposed to challenge Helsknight and establish himself more firmly in the story canon as an ambitious antagonist, he broke script and insulted Helsknight's honor. Helsknight, predictably, broke script in retaliation and kicked his ass, instead of doing what he was supposed to do -- let the new kid get some good hits in to make the crowd happy before humbling him to set up a new story beat for the next match. The showrunners, understandably upset by the debacle, kicked Bratwurst back onto the small circuit, and set about tweaking their upcoming brackets in a way that would redeem some of Helsknight's public image.

The Current Tournament Story:

So, Helsknight, who has firmly re-established himself in the public eye as the tyrant heel, is perfectly set up to be the villain in the next arc. With some string-pulling from the Demon, the story they've crafted for the current tournament arc is that Red, upon hearing of the cruel defeat of one of the new gladiators at the hands of their "I'm trying not to be a tyrant anymore" Champion, challenges Helsknight on the grounds that their bargain was for the protection of hels, and Helsknight has gone out of his way to show that he only cares about his pride. He only fights in battles he knows he'll win (Mythical Sausage's hels) and or for his glory (swooping in to save the day at the last minute in the wither fight). To prove his claims true Red is initiating a trial by combat -- if Red wins, not only is Helsknight no longer Champion, but he is proved guilty of the sin of pride, only ever showing his face in the Colosseum to inflate his own ego. Helsknight accepts the challenge, so sure not only of his own skill, but that he's held his end of their pact, that he will not only face Red, but also his beloved Hand in battle. All who wish to fight in the name of the Champion's glory may do so, and all who wish to dispute his honor may join Red. Thus the sides are cast, and the tournament begins. Any gladiator fighting on Helsknight's behalf will be given a red cloak and plume (if wearing a helmet). Any gladiator fighting on Red's behalf will wear the Dogwarts red-and-white, with a white plume if helmeted. In between the matches, depending on who wins or loses, Helsknight and Red get to do banter, while Martyn connives on the sidelines, giving his teams a hand with weapons and armor. No matter who wins or loses, the final fight is between Helsknight, the Red King, and his Loyal Right Hand.

[thatscarletflycatcher]

Not to write meta about my ocs instead of writing the story itself, but I have been dwelling a lot on Percival's relationship with Avensley Hall.

Avensley Hall is a lot like Hamley Hall from Wives and Daughters, 100+ years and two world wars later. Ancestral home of small land owners, time, and lack of resources for maintenance have left it in very poor condition.

A very young Percival, in his high moments of triumph, dreamed of becoming a very famous -and rich- architect, who could, in time, bring his family home to its former beauty and splendor, and so bring more comfort and joy to his parents' old age. The war, his time on the desert campaign and later on in Italy, the death of his parents and subsequent suicidal disregard for his own life ending in the operation that disabled him physically and mentally, would have been the perfect set up for a rousing tale of strength, self reliance and determination to go from rock bottom straight to the top... had Percival been the choleric, proud, driven type. But Percival was not that man. He had, however, many other virtues: he was patient, methodical, generous, dutiful, principled.

And so he went home, after demobilization, a broken old man to a broken old home, and it was very easy for him to fall into this melancholy mood of sympathetic decay with the house itself. He was now, like it or not, "The Squire", no longer "young Percival" but Mr. Avensley; he wrapped himself in his father's clothes -as much an act of sentimentality as a product of war rationing- and set out to fill his role as best he could, without guidance or experience. Life now, he thought then, was for him a mausoleum where he was both corpse and sexton, and so he decided he would be there keeping the rotting place until he was done rotting himself. After all, how was he, tied down as he was by family duty and the mobility complications brought by the loss of his leg, to ever develop professionally? And how would he dare think of marrying, of dragging a poor woman down into his pit, where every night was a Russian roulette of insomnia and vivid nightmares?

He would have noticed the touch of silliness in this way of going about if it wasn't that he was really ill in his mind, and very isolated, as his sister had married a diplomat and gone abroad, and dear old Mrs. Andrews was a terribly serious and reserved woman, little inclined to humor or displays of affection. People in the town pitied him, and he did not like pity that wasn't his own, so he withdrew as much as he could, which only had the effect of intensifying the general pity towards him. The old ladies of Avensley, who had known him since he was a baby, were not above romanticizing him as a sort of lonely prince in a tower, and often wishing between themselves that a sweet girl bride -which they meant in the Victorian sense of young, innocent and beautiful- could be found to cure all his ills and cheer him up. How much Percival understood of this wish -which was mercifully never verbalized in his presence-, and how much it influenced his decision to further isolate, I rather not clarify.

So it is interesting when Nadine goes to live at Avensley, that she does not notice or think at first of what Percival considered a heavy-handed sympathetic metaphor of ruin in the narrative of his life. Perhaps it was because proud young men putting on brave faces was not a novelty to Nadine the way an old country house that has seen better days was, or a little wounded vanity at his apparent complete indifference towards her, or that nothing seemed to be the matter with him other than he was perhaps a bit too thin and a tad too impregnable, but she was clearly more attracted by the house at first than his owner. But then Nadine was a determined woman and she would befriend the man, and once friendship was established she started to see the likeness, but in a very different way. Percival, obsessed with light and air (we must forgive him, he is an architect after all) can only see the limitations, the constriction, the annoyances of stone and mortar and earth; Nadine, as she lets her old romanticism unsour her restless energy, sees strength, safety and warmth that has suffered the storms and survived, not unscathed, but all the same survived them.

Ultimately it is this contrast of perspective on who Percival is and who he can be that is at the crux of his part in the main conflict of the story, and an understanding that his circumstances are as much an opportunity as they are a limitation to flourishing so essential to its resolution. Just because a set of circumstances contrary to what his aspirations and plans once were is more or less forced upon him, it doesn't mean that there is nothing he can do, that all hope is lost.

The first Avensley of Avensley Hall was unwittingly wise when, in trying to draw from the Gospel maxim, wrote the Avensley family motto to be ex vetera nova, from the old, the new.

[theswordwizard]

screenshotting for use instead of forcing them to see hella tags but as someone who has a constant background of narration around special interests going on in their head which eventually will start to run out of "canon compliant" possibilities and start experimenting with crossovers: this is why I struggled for a bit to do a coherent plotty crossover between daredevil and nbc's hannibal. this is another rambling "for me and literally two other people with my interests and way too interested in meta-compliancy" post:

basically: daredevil and nbc's hannibal have conflicting main themes in ways where they don't as easily synthesize into a new coherent theme. nbc hannibal basically amounts to: what does it take for a person to become a 'monster,' or otherwise transform into a version of themselves that would be a terrifying stranger to them previously. and it sort of frames it as... not necessarily a power fantasy, but it frames trauma as something powerfully transformative. you become a version of yourself that can survive/thrive/take control in the hell you've ended up in. you will surprise yourself what you are capable of doing when it's your only option. but at the same time, its a sort of "succumbing" to your situation.

daredevil is almost antithetical to this. matt's whole thing can kinda be summed up as "even after everything, it's still you." you can go through any amount of trauma and still be able to recognize yourself after. you can stick to your principles even when pushed to the limit and come out alive, and being able to do so is important. he IS his principles, and even though he constantly falls short of himself, his struggle is a definitive trait of his. whenever he starts to abandon his principles is always tied to him losing his sense of self.

he cannot win (in the long run) if he abandons who he is, even if it's only an internal struggle. it's especially prevalent in the comics where basically whenever he abandons his principles he has a bit of a flip-out and tries to abandon "matt murdock" entirely, and then struggles to maintain whatever new identity he takes and has a whole identity crisis/mental breakdown. his strength is his stubbornness and refusal to remain fallen from his standard of self.

so obviously, one of these themes need to bend so far it breaks when put together. put matt in range of the BAU/Hannibal's house and its the big book vs thin book meme. in part because matt's biggest struggles in his narratives are against structural violence and systems (not to mention... the smells...). "there's this one evil guy causing 90% of the problems" is again basically antithetical to matt's narratives, or are at the most just his weakest plots.

ALSO, a lot of the murders in hannibal get treated as combinations of three categories (by Hannibal, who I would say has the most Thematic Influence over the show): 1) they basically deserved it and they were better off being dead in whatever form than alive (mason, mischa's killer), 2) what the killer gained from their death was more important than their life (sorta the case of melissa, her death being the photo negative so will could understand the ripper), 3) their death was important to the killed person, they were only able to ascend or transcend something in their death (many of the ripper victims and general murder victims.)

Basically "agreeing" with Hannibal, or adopting his viewpoint, (or basically being 'seduced' by the story) requires viewing deaths in those three ways. It requires a sort of dissociation with the reality of a person dying in any practical matter. any death becomes metaphor and symbolic, and the symbol is more important than the ending of life, it transcends it. this also doesn't rock with matt's themes.

even if you go serial killer AU matt's relationship with violence, and the temptation of committing murder, is based around practicality. it's that killing would technically be the most efficient way of stopping someone from hurting other people ever again. it's how he could cut through the red tape and financial security that protects fisk or fisk's stand-in, the way they've manipulated systems of supposed justice to hurt people (and specifically innocents), and just end it for good. obv in cases where that does happen (by his hand or others) it again leans into the fact that there is no single bogeyman that can be killed to stop evil or whatever. if fisk dies, there is a replacement to that power vacuum, if matt steps into that role to try and control it, he fails miserably.

hannibal approaches the seduction of murder with: and it's actually awesome? while daredevil approaches it with: it won't actually help you, and it won't fix anything. you will only destroy yourself. both of the (shows at least) fixations on catholicism also have parallel approaches with hannibal encouraging you to become your own god and daredevil reminding you that you aren't. will is basically betrayed by his friends and community while matt is consistently supported by his.

ultimately, nbc hannibal is very metaphorical and artsy and pretentious (i say lovingly) while daredevil is like. How Would Superpowers Effect The Local Law Economy.

[russenoire]

Hi! I love all your MP100 metas. Truly amazing! Here is a popular take on mob which I noticed quite common in eastern fandom but not brought up much in western: shigeo actually has very strong ego, in a way that he only allows himself to be affected by words he wants to follow, sticks to his wants without giving in to others' wishes, and sometimes breaking others' worldview (teru) or challenging (ritsu, dimple, reigen) simply by following his own will, which relates to ??? . What do you think?

*blushes* THANK YOU AAAAAHHHHHH

i agree with you! shigeo himself is not even aware of his own strength in that regard for much of the story; watching him become more comfortable with his own iconoclasm is one of the things i enjoy most about mob psycho 100. i think shigeo's strong will and (mostly) unshakeable principles are maybe not mentioned as much in western fandom because shigeo is pretty far from the western--i'm just gonna say american here, because it's the perspective i'm best acquainted with--ideal for a young male protagonist.

we tend to prefer at least some degree of blustery, extroverted self-confidence in our heroes; soft-spoken, sad, traumatized kids who seem unsure of themselves don't fly here unless their character development involves 'outgrowing' this. shigeo is understated, and quiet, and downbeat, and kind of sickly even after gaining stamina. he also doesn't trust himself or his own perceptions for quite a while, and i've read more than a few reviews of MP100 in which these qualities made it easy for the authors to discount him as a whole. if a viewer finds him 'boring' or can't relate to him at all, they won't bother to stick around for his steely tenacity or his surprising resistance to groupthink.

despite his apparent 'weakness', he doesn't give in easily, doesn't bend even if his life is at stake, and even manages to persuade others or change their hearts in his own quiet way, simply by being himself. and his strong ego, as you put it (i would actually say his id, if we're going freudian with this) actually SAVES HIS LIFE. repeatedly. that and ???% are one and the same.

i live in a country where quiet people are routinely overlooked because they're not boldly proclaiming their greatness to everyone they meet; to me, shigeo is a reminder that i don't have to compromise who i am to have a successful life. and that is a powerful message to hear at any age.

[beameized]

Genshin Meta Analysis: Candace and Ma'at, Horus, Ra & Bennu Symbolism

Who is Ma'at?

She is the embodiment of these principles-- truth, balance, order, harmony, law, morality, and justice.

Ma'at and Candace

The use of a scepter with the staff of the scarlet sands which appears to be used by Candace. The winged Ma'at strikes a resemblance to Candace's shield. (It is also related to the Bennu bird. We will go there in awhile.)

The Role of Candace in Aaru Village

Candace is the village's guardian. She maintains the order of things, much like Ma'at is a symbol of order as opposed to chaos. Candace embodies the same principles as Ma'at does (truth, balance, order, harmony, law, morality, and justice.)

The Role of Candance in the Archon Quest

In the quest, the three instrumental characters of the AQ were literally about to duke it out. It was Candace who mediated among them and brought peace and order. Again, similar to Ma'at who has the same purpose- that is order.

In other words, no one would be saving anyone if not for Candace facilitating & balancing order & harmony among the key players of the revolution. She made it so that the truth is said. Again, Ma'at's principles. She might not have left Aaru village but her role is important.

Candace's design (albeit also alluding to Bennu), and more importantly her lore and the AQ point to Ma'at symbolism. I know there are also those who say she is related to Horus but the thing is Horus is connected with Kingship.

In Candace's lore herself, she keeps talking about how it's her own effort and not her blessed by gods (aka King Deshret/Kingship) that ultimately gives her strength. I admit though that the heterochromia eyes may be related to Horus (but there is also text linking it to Ra).

Candace, the Eye of Horus and the Eye of Ra

This leads me to my next point, the Eye of Horus & the Eye of Ra. The moon (blue eye) and the sun (amber eye) can pertain to only Eyes of Horus (sun and moon) but can also pertain to both the Eye of Horus (moon) and the Eye of Ra(sun). Eitherway, both fit Candace well.

Candace uses both spear and shield. This works with her eyes symbolizing the eye of horus (aka protection - the shield) & the eye of ra (aka destruction - the spear). Candance speaks about how her shield & spear are meant to protect. (Wedjat eyes were used as protection amulets.)

Candace and the Bennu Bird

This brings me to my last point. Candace's name card makes it easy to decipher what the bird in her shield and ult she symbolizes is- a Gray Heron (the egyptian bird species of which some believe that Bennu deity is based from).

Bennu symbols alludes to Candace's vision story. But it does not talk about her own rebirth.The shield, her ult, her namecard all represent Bennu (which looks like the gray heron), a symbol of rebirth— that is the rebirth of Aaru village under her protection.

It's about Candace valuing the lives of her people over the stringent and isolating traditions of the past. One which Candace fought for to the point that she was granted a hydro vision, that her efforts were seen as an act of justice so strong that she managed to acquire the gaze of the gods. This ties her up to Ma'at again who is the goddess of justice.

Thank you for reading!

[ancientcraftnoccultism]

Beginner Class - Self Awareness 1

Ancient Craft & Occultism

Introduction to Self Awareness

___

By KB

Introduction

Welcome back to class everyone! Now that we covered the basics of grounding, centering, and meditation, let's get to another very important part in getting in touch with your personal energy. Can you name the principles and goals that direct your day-to-day actions? Your advantages and disadvantages under diverse conditions? or the potential effects your attitudes and actions may have on those around you? If your response was "Not really," you might want to think about improving your level of self-awareness. According to research, doing so may increase your self-assurance, contentment, and even sense of control over your life, which is also a very important part in energy manipulation.

What Is Self-Awareness?

Self-awareness is the capacity to perceive oneself as the focus of attention or consciousness, according to psychology. The how and why of one's own psychological complexity are continuously being questioned by one's metaphysical consciousness, a kind of silent debate that is propelled by a psychological force that has long been referred to as spirit, the human spirit.

The word "meta" means "beyond" or "after," which introduces the idea of the mind as well as consciousness and the associated thoughts, feelings, and speculations. The powers of spirit, which are acting on the initiative of a soul, no less, are served by all of these examples of an intuitive range of consciousness that is considered to be inspirational. The outwardly oriented rational and sensory brain as well as the internally directed intuitive and spiritual brain have thus been recognized as the two components of human consciousness across time. They form the mental alliance known as the mind when combined.

You are engaging in self-awareness when you take a close look at yourself and are able to identify and connect emotions, fundamental beliefs, thoughts, and traits — including shortcomings and strengths — within yourself. But what self-awareness means will vary from person to person.

An aspect of self-awareness can be feeling self-conscious. You become conscious of yourself when you concentrate on and pinpoint aspects of your inner self, such as your beliefs, values, or purpose. On the other hand, developing self-awareness will lead to greater self-knowledge. Early in life, when you first become aware of your uniqueness and separation from your surroundings, your sense of self begins to take shape. With age, that sense of self tends to include an internal understanding of what makes you "you" — your preferences, ideals, interests, and goals. And even while you might think you know who you are completely, this may not always be the case.

Benefits of Self-Awareness

Finding out what we truly want from this priceless life is possible for each of us when we are self-aware and regularly engage in contemplation and introspection. We are all prone to outside pressure and individual prejudice. Self-awareness makes us more vulnerable than when we have it.

More Empathy & Compassion

One of the main advantages of self-awareness is that it makes us more empathetic toward others. You can create better relationships when you have the ability to empathize more. We all have the urge to be understood and the need to have our feelings supported. When we are offended, we frequently need this the most before we can listen to another viewpoint or a more reasonable explanation.

Improve Listening

There is an increasing shortage of people who can actively listen. The good news is that it leaves a nice impression once you begin to practice active listening. This serves as a fantastic example of the value of self-awareness because it enables you to develop genuine relationships. Better listening abilities are both a sign of self-awareness and a perk.

Critical Thinking Skills

You need to think and reflect honestly on yourself and your behaviors if you want to start becoming more self-aware. To form an unbiased opinion, you must perform a lot of analysis and dissociate yourself from your feelings. Your critical thinking abilities will increase as a result of all these exercises, which you can use in a variety of different contexts.

Better Self Control

Being able to name your feelings while avoiding automatic reaction to them is another aspect of increasing self-awareness. It requires you to develop a sense of distance from them. Being able to reason past your immediate feelings results from this. As a result, you can exercise greater restraint when you're angry and respond as opposed to reacting.

Improve Self Esteem

It comes naturally from the confidence that self-awareness fosters. You become aware of your talents and limitations as well as yourself. You don't undersell yourself, but you also don't oversell yourself. It strikes a wonderful balance. You develop a growth attitude and understand that setbacks are but stepping stones on the road to achievement. This enables you to have a tremendous degree of perseverance and self-confidence. As a result, you also feel better about yourself.

Self Awareness Exercises

Self-awareness exercises and activities are tools that can help you not only achieve your goals but also learn more about who you really are and what you want from life. You will learn more about what is underlying as you continue to "peel the onion." Self-improvement and self-awareness go hand in hand. Understanding your needs, wants, and desires as well as your talents and limitations can be aided by growing in self-awareness. Self-awareness is a crucial success skill as well. These inward mental processes control your behavior and actions. You start discovering those negative thought patterns and bad habits as your self-awareness grows.

Writing Exercises

Journaling

Perhaps one of the most frequently suggested self-awareness exercises is journaling. Writing about our lives enables us to become aware of our triggers, emotions, and priorities. Since we learn the most when we reflect, this is true. You can investigate self-discovery questions to increase self-awareness. Writing your feelings down will help you recognize and control them better. Keeping a journal will not only help you develop your emotional intelligence. It has also been demonstrated to lower stress levels, improve mood, and improve memory. Remember that there are proper and improper ways to journal. Make sure you're not just writing in your journal to complain or dwell on issues. Additionally, it's essential that you journal sparingly. Take a break from your notebook every now and again to give your inquisitive mind a rest.

Write Yourself a Letter

Writing without a particular audience in mind might be challenging for some people. Sadly, most of us don't have many folks who can be our "Dear _." Writing a letter to oneself is a straightforward fix. Whichever version of yourself you wish to address it to is your choice. Do you wish to offer your former self advice? You as a youngster? Maybe it's simpler to compose a letter to your future self. Who do you aspire to be? You don't need to practice self-awareness exercises like this one very frequently. However, if you do it, you might be pleasantly surprised by the knowledge you learn.

Write Your Own Eulogy

Although it may seem morbid, it can actually be very illuminating for you. Internal and exterior self-awareness are the two subcategories of self-awareness. The focus of external self-awareness is how you are perceived by others. You might think about how you want other people to see you by creating your own eulogy. What do you hope people will remember you for? What type of persona do you wish to project? What do you hope to leave behind? You can be as silly as you want when writing. The essential objective is to think about the type of person you want to be recognized as.

Self Awareness Tests

Inner Self - VAK Model

The VAK model, a well-known example of neuro-linguistic programming, proposes that seeing, hearing, and feeling are the internal means by which humans process information. Our processing is also redundant. In other words, when we view an internal image, it triggers sentiments about it as well as either sounds that are associated with it or our own inner commentary. Together, hearing, seeing, and feeling are used.

VAK Model Quiz

Personal Paradigm

A worldview is a personal paradigm. It provides explanations for the origin of life and our purpose for existing. The universe was created by a God. A God does not exist. People are generally good and want to support one another. Humans are animals with a desire to survive. ... and so on.

Personal Paradigm Quiz

Personal Beliefs - Negative & Positive

Personal convictions are viewpoints on what is true (to you). You'll concentrate on your internal views about who you are and what you're capable of in the self-awareness test.

Personal Beliefs Quiz

Life Values

Your personal life values show what is significant to you. When a value successfully influences your decisions, you can be confident that it is significant to you (or congruent). Therefore, if your health matters to you, you will make healthy decisions. If achieving success is vital to you, you will act and behave in ways that promote success.

Life Values Quiz

Inner Conflict

The human condition includes internal struggle. It occurs when your beliefs are at odds with one another. For instance, you might think you can excel in life. At the same time, you might be unsure about your skills. This indicates internal turmoil. You could also hold opposing values. Security may be important to you because it makes you feel secure. You might cherish freedom yet at the same time. These two values could cause competing wants and challenging choices.

Conflict Quiz

Stress & Triggers

There are certain things in the outside world known as triggers that instantly send you into a bad mood. An illustration of this is when someone runs their fingernails across a blackboard. You might grimace at this right away. There is usually a trigger when you find yourself in a negative frame of mind. something that made you react in a certain way. For instance, a specific speech tone or object (such as soiled socks on the floor) may set you off.

Stress & Triggers Quiz

Strengths Test

As important as it is to identify the things that need to be healed and worked on, it's also important to be able to identify your strengths and what you're good at. This helps you focus your energy onto the right things which will ultimately lead to a boost of self confidence.

Strengths Quiz

Daily Habits to Gain Self Awareness

Body Connection

There is a far stronger link between the mind and body than most of us realize. Nevertheless, we frequently forget about our bodies when considering self-awareness activities. Our physical bodies are the foundation of our thoughts, emotions, and vice versa. This dates all the way back to when humans had to have the two in harmony in order to survive. Making it a practice to frequently "body check" yourself will help you become more self-aware. (And no, I'm not talking about a physical examination like you get in your doctor's office). You only need to pause for a moment to notice how your body is feeling. You'll be able to recognize what you require to be happy the sooner you learn to listen to your physique.

Daily Reflection

We occasionally associate reflection with large-scale, complicated activity. The modest habit of introspection is quite simple to include into your daily routine. Attaching a new habit to an existing one is the most effective strategy for doing so. Think about your everyday activities and the best places to pause and contemplate. Maybe it happens as you're making your way home from work, enjoying dinner with your significant other, or brushing your teeth before bed. Utilize this constant to monitor your feelings and consider the day. What succeeded? Exactly what went wrong? What part did your behavior play in it? What feelings did you have today? Setting up a schedule for a daily check-in can enable you to identify patterns that you would not have otherwise. Additionally, it will help you develop the habit of daily recognizing and labeling your feelings.

Three Why's

Self-awareness exercises sometimes appear time-consuming and difficult, but they don't have to be. Asking the "three whys" is a practice you can adopt into your daily life. Ask yourself "Why?" three times if you are debating a choice or feeling a certain way. At first, the questions could appear annoyingly repetitive. But if you persevere, you'll be astonished by the truth you uncover. We much too frequently only have a surface-level self-awareness. Let's assume, for illustration, that I choose to go for a run after work. I wish to run for what reason? because I'm anxious. Yes, but why do I feel anxious? I have a lot to do at work. Why do I work so hard at my job? Because of the impending deadlines and my perception that my coworkers aren't supporting me in my efforts. That's it. I can now move on to the deeper realities of the situation and begin making measures to help improve my situation. Don't ignore the advantages the "three whys" can provide for you.

Ask What?

It can seem incongruous to suggest asking "what" inquiries immediately after being instructed to ask the "three whys." But there is a time and place for each, and knowing the difference is crucial. We frequently adopt a blaming attitude, especially when we're feeling down. We become overcome by our emotions and go from a problem-solving to a "woe is me" frame of mind. We ponder issues such as "Why is this happening to me?" While entertaining in late-night philosophical discussions at the bar, these "why" inquiries don't prepare you for self-awareness in your own life. You can come closer to the realities you're seeking about your own life by asking "what" questions. Rather than, "Why am I unhappy?" You can inquire, "What is the root of my unhappiness?" You've suddenly expanded your window of opportunity for finding conclusive solutions. Try to be conscious of the language you use and the perspective you're telling stories from as you go about your day.

[randomfoggytiger]

Twenty questions for fanfic writers

Thank you for the tags, @baronessblixen, @xxsksxxx, and @slippinmickeys~!

1. How many works do you have on AO3?

50 (ooh.)

2. What's your total AO3 word count?

47, 807

3. What fandoms do you write for?

The X-Files; and The Beauty and the Beast (1987), once.

4. What are your top 5 fics by kudos?

"Mr. Mulder, I Know Something About You"

"No More Paranormal than a Change of Wardrobe"

"Gold"

"The Next Chance"

"Celebration"

5. Do you respond to comments?

Yeppity yep!

6. What is the fic you wrote with the angstiest ending?

Discounting the fics that partially resolve their angst in a second part, I've got to go with "I'm Tired", "What Must a Mother Go Through?", "Latkes", or "Did You Really Have to Bring That Thing?"

7. What’s the fic you wrote with the happiest ending?

At least 3/4s of 'em. Today's example will be "Time Passing in Moments” (still has a hold on my fuzzy feelings.)

8. Do you get hate on fics?

Not yet-- I've seen it done to others, however.

9. Do you write smut? If so, what kind?

Smut's not for me~

10. Do you write crossovers? What’s the craziest one you’ve written?

While opposed to crossovers on principle, I've written three-- ironic, I know, namely: my first ever fic Son of Egypt (Prince of Egypt lite), The Hospital Where You Slept (While You Were Sleeping lite), and "I Know You. It’s What I Do." (for @amplifyme, who introduced me to The Beauty and the Beast 1987 and went above and beyond to pass on resources and interest. Incredibly grateful.)

11. Have you ever had a fic stolen?

Nope! Don't expect them to get stolen, either, unless they're multichapter pieces.

12. Have you ever had a fic translated?

Nope! Not opposed, though.

13. Have you ever co-written a fic before?

Nope! I don't see it happening anytime soon, either, because my irl schedule is all over the place.

14. What’s your all time favorite ship?

MSR-- objectively, as well as personally.

15. What’s a WIP you want to finish but doubt you ever will?

I have an idea blooming about reworking S8 in some way or form-- but there are already so many fics that tackle it from nearly every angle; so, I'll just reread those instead. (That, and I have to finish my S8 meta series; so....)

16. What are your writing strengths?

Pfffft... voice, I believe.

17. What are your writing weaknesses?

Characterization-- there's a reason I haven't created my own characters when writing, drawing, etc. ;)))

18. Thoughts on writing dialogue in another language in fic?

Not opposed; but I'd have to learn another language first.

19. First fandom you wrote for?

Star Wars. Must have been in kindergarten or first grade.

20. Favorite fic you’ve written?

Proud of 'em all-- especially the reception to "Son of Egypt"-- but Bill Scully's POV ("Mr. Mulder, I Know Something About You" series) was such an unexpected... everything. That, and the discussion between Mulder and Scully in "My Religious Convictions Are Hardly the Issue Here" were wound around a POVs I wanted to tackle.

Tagging (if you want~): @welsharcher, @agent-troi, @numinousmysteries, @skelavender, @virtie333, @suitablyaggrieved, @nachosncheeze, @living-in-unreality, @aloysiavirgata, @cecilysass, @leiascully, @pennyserenade, @invidiosa, @settle-down-frohike, @piecesofscully, @thescullyphile, @p34chi, @incidental-ao3, @cock-holliday, @ragnarockz, @frogsmulder, @bakedbakermom, @cutelilcurtain, @dreamingofscully, @freckleslikestars, @amplifyme, @scullys-scalpel, @ghostbustermelanieking, @o6666666, @sigritandtheelves, @contrivedcoincidences6, @two-microscopes, @sixhours, @jessahmewren, @enigmaticdrblockhead, @wexleresque, @danascullysjournal, @seek-its-opposite, @frostbitepandaaaaa, @oohnotvery, @atths--twice, @thatfragilecapricorn30, @storybycorey, and anyone else!

[byfurries4furries]

Shelter (Fantasy Visual Novel)

Shelter, made by Rausmutt, is a complicated game. It doesn't neatly fit into any particular genre. It's a dramatic fantasy scifi action porn comedy, if I were to label it, which, as you can tell, isn't an easy task. There's a lot to like about this game and a lot of disparate elements that come together to form a tight cohesive whole, but one that's not too tight for a knot.

Shelter is about a human named Luke who helps run a shelter where canine adventurers can stay and relax at. A holiday called Skies Ablaze is coming up and for various reasons, Luke spends it alone every time, but he finally finds a way to celebrate it with his closest friends. He plans to spend that night with them, but until then, he needs to pick someone to spend the rest of the day with.

Now... I could make an entire essay about what makes Shelter so good. I'd say it's probably the first furry visual novel not mostly or entirely written by Howly, who wrote Adastra, Arches, and most of Echo, that has felt this thematically and tonally rich. But unlike a lot of games in this genre, it does not try to mimic Howly, but still manages to tap into his strengths. There's strong messages about racism, exoticism, the meaning of freedom, the harms of hero worship, the difficulties of fighting hierarchies both in practice and concept, self-care vs altruism, and the fear of mortality. There's also hints at autism allegories and anarchist principles that may be unintentional, but are so well integrated into the setting and story that they feel like natural extensions of the more prominent themes.

But this isn't to say Shelter is entirely serious. It's also an extremely silly and horny game, full of dog puns and meta humor. That fact is obvious if you play the first hour or so, especially if you manage to get a bad ending. And to that end, it's really effective. It's very funny and charming and silly. And that in itself is integrated into the more serious elements. Rune is by far the silliest and horniest of the route characters, but he got that way because he fought and sacrificed A LOT to have the freedom to be that way, and you can see that from the beginning as he's the most physically scarred character in the main cast. His hedonism and goofiness is his way of enjoying the freedom he fought for.

But if there's one thing that stands out about Shelter, it's its gameplay. I know it's weird to praise a visual novel with mostly dialogue choices, quick-time events, and one somewhat confusing minigame for its gameplay, but most furry visual novels often only have dialogue choices as opportunities for interactivity and even some really good ones like Arches and Remember the Flowers don't even have that. I'm not criticizing those games for doing that though, as focusing on story and even abandoning dialogue choices has many of its own advantages, but the fact Shelter branches as much as it does really makes it stand out a lot, especially since it's still so tightly written. Because of that, I rarely use any save slots at all. I certainly save sometimes out of a nagging feeling I should, but even then, I rarely load up a saved state ever. There's so many branching paths of events to do. A lot of side quests and unlockables and hidden scenes. My favorite thing to do is boot up the game from the beginning and do slightly different dialogue choices until I get to the part I left off at in my last session. I have nearly completed everything available in the last update (v33) and I only very recently got through enough branching dialogue to safely keep a save file of the moment right before the route split. It's truly fun to have a visual novel open ended enough that I can have unlockables and completionist challenges to do. It's really a fun game on top of being a great story, especially since diverging branches are written around each other later. There are a handful of continuity mistakes, but given how complicated that is to keep track of for a story of this nature, it's impressive there aren't way more. And that's all without sacrificing the story or the core themes. In fact, I believe those act as the anchor for the game's narrative.

Overall, Shelter is an amazing game. If it weren't for how extremely NSFW this game is, I would give it my highest recommendation. In fact, I will, at least for anyone who's 18+ and isn't squeamish about gay sex and descriptions of gore. It might be my new favorite game, at least depending on how it ends up. It's currently unfinished, but it is possible to get to Burry's and Rune's good endings and Max's route is shaping up to be my favorite one with some surprising themes of mutual aid, capitalist realism (or maybe more broadly hierarchal realism), and the meaning of justice. Both of the multi-route side quests have unfinished best endings, and there are a few more unfinished branching dialogue choices. But you can go 30 hours without running out of stuff to do as it is and it might be more if you're not like me and don't skip action and sex scenes because you just can't get yourself to enjoy them when they're written out in most media, mostly due to issues with visualization skills and not really due to any fault of the authors. And with that rant about oddly specific personal stuff out of the way, keep on yiffing.

Links

Itch.io

Side Tangent: This game is so shockingly gay that the biggest twist that shook me the most is the singular instance of a feminine pronoun. There's no female characters and although even tamer characters still tend to talk about sex a lot, straight sex doesn't get mentioned at all and neither do any females, with the sole exception of this reveal. Or at least there were no other incidents that stood out. But it's safe to say Shelter fails the Bechdel test hard, so much so that it's a mystery if there are even any women in its world at all.

[usagimen]

     Anyway, it’s been awhile since there was a proper meta. In order to understand where Sayuri stands on the scale of strength, one must acknowledge it’s not the lethality of her body that makes her dangerous but her mental fortitude. The Past Arc remains significant to her as it demonstrates the willingness to break her binds from Tsukuyomi, due to it, he is a resting deity that holds little to no influence upon her. Except, that’s not entirely true as his very essence has become united with her && he is the Kobayashi Clan’s primary guardian, always watching, knowing their secrets. She is the principle of the soul lives within the body, Sayuri’s conviction to become an unorthodox even controversial sorcerer with her fighting style solidified her position.

   At the time, she was ranked a special grade due to Tsukuyomi, not herself. The sixteen year incarnation was actually a grade two, only ascending to a higher tier when her body broke the threshold of what is ‘normal’ strength. It’s not a secret she’s tightly woven with the Zen’in clan, due to their own assissination roots, the Kobayashi views them fiercely as sworn enemies. In terms of speed, she is twelve seconds behind Naoya but her collaborations are equal with Nanami. She will not compare herself to the Honored One, acknowledging both sit on a tier different from one another - there is no contender. Weapons were never her forte, if anything she holds the same view as Naoya, they are crude && signify a weakness.

   Though, that being said she is relatively adapted to three piece staffs && blades, imbuing her cursed energy within both only Playful Cloud remains an exception. Why? The Zen’ins want the weapon back, the Kobayashi refuse to give it to them as an act of finder’s keepers, they’re petty that way.  It takes dexterity, endurance, alongside strength to be a dancer. Sayuri embodies all three && among her own kin, some call her the cursed songstress, but it’s meant in a loving way as the beauty of her maiko roots still show when she moves elegantly. She was not the heart nor the intelligence of the first years but an iron fist that very much loved each one, her devotion to a life of freedom was the catalyst for all of Sayuri’s love - even if it is terror embodied. In some ways, it plays into her isolation as she does not stand with others on her equal level, she prefers to be an outlier.

   In her eyes, there is no greater challenger than herself, the constant impulse to be more && when she hits the ground, she will never remain down for long. It is lonesome embodying the darkness of the Eclipse, the burden she wears is a mantle of unending mourning, preserving the dead with a boundless affection. Though, despite her sharpness she could never perverse their memory with vengeance, when she bares her teeth && snarls, it is the knowledge of equilibrium that fuels her even if at times, she is a horrendous woman. All her might is not within her hands but the endurance she has shown to persevere, even when scorned, the utmost pride she holds to embody the old && new.   

[noxianwilled]

✒️ + NOXIAN MIGHT Darius

send me ✒️ + a ship (romantic or not!), and i will write a meta about it.

— @noxfortid

There are very few people Katarina admires and respects greatly. Darius, however, would certainly be one of them — which is hardly surprising, when he embodies the ideal of noxian might so well.

Darius, perhaps better than anyone else, represents that Noxus' true ideal is one of valuing each and every person by what they are and what they do, not how they were born. And despite her own background originally being one of privilege, Katarina stands wholeheartedly by those principles. Nobility doesn't matter to her. Most of them would be seen as worthless in comparison to someone like Darius, who isn't noble but is so much more noxian and represents so much more what Noxus is, at least the Noxus she believes in.

Strength is important in all its forms; Katarina believes in that wholeheartedly. She believes in united strengths making the whole stronger. Darius is seen by many (I dare say this would likely be the case especially outside Noxus) as a representative of that due to his physical might and military prowess, but that's not at all why I think Katarina respects and admires him. Big buff dudes can be found all over. Darius has the inner strength many of them lack; his conviction, leadership, resilience and devotion to Noxus first and foremost are what truly set him apart.

In a way, I think she'd see them as sort of kindred spirits in that sense. They're utterly different in personality (and I reckon she might get on his nerves on occasion, be it because she enjoys pestering people sometimes or simply due to her recklessness and general attitude), and Kat knows that of course; but at their core, I think, she'd believe they're not so different. In her eyes, they believe and stand for the same things. Very few others understand that complete and utter dedication to their ideal of what Noxus is and what it should be. Very few understand that it's not about wanting the bloodshed of conquest, while not turning away from it either.

It doesn't seem to me they'd have known each other for a very long time — unlike Swain, who was a family friend, Darius would be someone she likely knew first by reputation and likely met much later, when working in service of Swain and the Trifarix. Going by what lore we have alone, I wouldn't say they are close, but Katarina would be more than open to changing that.

Ultimately, I think it's likely they only know each other in passing. But Katarina most definitely has a very positive opinion of Darius, and he's definitely someone she'd be willing to listen to (so perhaps her attitude towards him wouldn't be nearly as bad as it can get, unless they eventually became close enough for her to feel free to pester him). His directness and honesty would certainly be found to be refreshing (even if she herself isn't always honest or direct). And, like I said in the beginning, he's one of the select few she respects and admires greatly.

[feathers-in-the-night]

remembering ideas and concepts i wish i’d put into Feathers back in the day. One thing i think could’ve been interesting was Morgan having developed some version of hollow bones, like what birds have that allows them to fly. Since the same basic principles should also apply to her, for flight to be possible. 

The concept opens up some funny scenarios. She’d end up weighing a lot less than a human her size should, and a strong wind should be able to just carry her off, if nobody is holding onto her. She’d be unable to sink in water. 

But then it would also make fighting a lot harder because she wouldn’t really be able to put a lot of power and weight behind her punches, and any kind of hit landed by a bad guy would potentially shatter her fragile bones. Idk that sounds scary. But she’s been shown to be able to use her telekinetic energy to power her punches and give her some version of “super strength”, so maybe that could be the solution? (This could also explain why her Meta gene developed telekinesis, to sorta balance out how the hollow bones would fuck her up)

The idea that her body adapts so completely to flight that it creates a whole new slew of problems for her, that she needs to constantly evade and be on the defensive because she can’t afford to get hit even once. That she’ll become dependent on her telekinesis for survival in any fight, and even low-level crooks could put her in the hospital with not much effort at all. 

(And yeah, maybe the idea of Morgan having to wear weighted clothes the second theres a semi-strong breeze outside is just very funny to me. Like look. there she goes. Dick has to tie a string around her wrist and carry her around like a kite) 

[space-edge-technology]

How to Conduct an SEO Audit: Tools and Techniques for Success

Search Engine Optimization (SEO) is a fundamental practice for enhancing a website’s visibility in search engine results pages (SERPs). By optimizing various aspects of your site, such as content, structure, and technical features, SEO aims to improve your rankings. For the effective result choose an affordable seo service provider company in india.

SEO Audits

An SEO audit, on the other hand, is a thorough examination of your website’s current SEO status. It helps pinpoint areas that need improvement and provides actionable insights to enhance your overall SEO strategy.

Steps to Conduct an SEO Audit

Define Your Goals and Scope

Start by clearly defining the objectives of your audit. Determine whether you aim to improve rankings, increase organic traffic, or resolve specific technical issues. Establishing these goals will guide the audit process and focus your efforts.

Check Your Site’s Indexation

Assess your site’s indexation to ensure all crucial pages are indexed and irrelevant or duplicate content is excluded. Use tools like Google Search Console to verify that search engines are correctly indexing your site’s content.

Analyze Site Performance

Evaluate your site’s performance, focusing on page speed and mobile-friendliness. Tools such as Google PageSpeed Insights and GTmetrix can help analyze and improve page speed, while Google’s Mobile-Friendly Test ensures your site is optimized for mobile devices. Slow-loading pages and poor mobile usability can negatively impact both user experience and SEO rankings.

Review On-Page SEO Elements

Examine on-page SEO elements, including title tags, meta descriptions, and content structure. Ensure that title tags and meta descriptions are unique and optimized with relevant keywords. Content should be well-structured with appropriate headings and optimized for target keywords. Assess your internal linking strategy to enhance user navigation and distribute page authority effectively.

Assess Technical SEO Factors

Look into technical SEO aspects such as site architecture, URL structure, and the use of XML sitemaps and robots.txt files. Verify that your site has a clear, logical structure to facilitate efficient crawling and indexing. Ensure URLs are clean and descriptive, and confirm that your XML sitemap is up-to-date and properly submitted. Review your robots.txt file to ensure it isn’t blocking important pages.

Review Backlink Profile

Analyze your site’s backlink profile using tools like Ahrefs or Moz. High-quality backlinks are crucial for SEO, but it’s also important to identify and disavow any toxic or low-quality links that could negatively affect your site’s authority.

Monitor User Experience

Evaluate user experience factors such as site navigation, readability, and engagement metrics like bounce rate and average session duration. A positive user experience contributes to better rankings and conversions.

Identify Duplicate Content

Detect and address duplicate content issues using tools like Copyscape or Siteliner. Duplicate content can confuse search engines and affect your rankings, so resolving these issues is essential.

Analyze Competitor Performance

Study your competitors’ SEO strategies and performance to gain insights into their strengths and weaknesses. This analysis can reveal opportunities for enhancing your own SEO efforts.

Monitor and Review

After implementing changes, continuously monitor your site’s performance with tools like Google Analytics. Regularly review and update your SEO strategy to adapt to evolving search engine algorithms and market trends.

SpaceEdge Technology: Digital Marketing Service Provider

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