#The inability to understand that a characters current circumstances may effect their personality/actions is a persistent thread through

[anyatomy]

Deso gerry is still really bad btw. I would hope everyone has grown past surface level character analysis but i dont think im that lucky

[logansanderslove]

Logan 3.0  12/?

CO-AUTHOR: @demented-dukey

Summary: Remus is an incorrigible flirt, and Logan can only bear the innuendo for so long until something has to give. Passions erupt, but there are more lasting repercussions than either could have predicted, including a significant transformation to Logan himself! How will these new changes affect the delicate balance of Thomas’s mental state? When a new dark side threatens the lives of several of the other sides, will Logan and Remus’s love be strong enough to save everyone, including Thomas?

Ships: INTRULOGICAL

Sanders Sides: Logan, Remus, Thomas, Roman, Virgil, Patton, Deceit

Fic type: Drama, Romantic, Action, Flirty

Trigger Warnings: no character deaths, but a lot of very close calls. Consensual knife play and blood play, and lots of bloody fighting and monster attacks. If you’re sensitive to unsympathetic characters, some parts flirt pretty close to that, but there’s also a lot of extenuating circumstances to explain the situation, and there’s a happy ending once you get through the angst and misunderstandings. Self-harm and references to such, and suicidal tendencies.

MASTERLIST 

Chapter 12: Logan’s Return

Roman glanced at the clock on the wall - it was late, and most of the sides were asleep. On the TV screen, Moana was silently singing her heart out, closed captioning rolling across the bottom of the screen, but Roman wasn’t really watching it anymore. Virgil had taken Thomas back out of the mindspace and was keeping an eye on him while he slept. Patton was sitting on the floor next to the couch where Deceit was stretched out - they’d decided not to move him too much until after he’d had a chance to heal a little more. Pat had been keeping vigil with Roman until about an hour ago when he’d started nodding off, and Roman turned down the volume of the movie so it wouldn’t disturb him (Roman had started the movie marathon hours ago, turning the volume up to drown out the yelling coming from Logan’s room).

Now, the mindscape was quiet, and the muffled yelling had long since faded. Roman hesitantly considered it a good thing, hoping that the plan had worked. Standing up and stretching, Roman padded over to Logan’s door and quietly cracked it open, slipping inside. He braced himself for the worst - finding his brother cold and dead and bloodless in the chair next to Logan’s bed - and was deeply relieved to see the two figures entangled on the bed, deep in slumber. There was more blood than Roman would have liked to see in congealed puddles and dried splotches all over the tarp and under the chair, but the reward seemed to be worth the price paid. Roman crouched down and waved his hand, using his powers to make the blood and the tarp vanish. He picked up the now-sterile knife and set it gently back on the side-table, and looked around to see if there was anything else he could fix. Remus’s shirt was in a discarded pile of bloody tatters, and Roman removed the stains and repaired the tears, folding the shirt neatly and draping it over the back of the chair.

Nodding his approval, he looked around one last time and saw that Logan’s eyes had cracked open, deep blue irises watching him. “Hey,” Roman whispered, waving shyly. “Sorry to wake you.”

Logan smiled faintly, slowly glanced back at his boyfriend, then he very gently scooted forward and sat up on the edge of the bed, leaning his forearms on his knees. 

"Don't worry about it, Ro. You didn't wake me up. I've been nodding in and out of it for a while." He turned his head. "Re, on the other hand, was out seconds after his head touched the pillow." he sighed. "To think what he did just to get me back is incredible."

Logan then turned back to face Roman, who had sat down on the chair. "I'm sorry."

Roman raised his eyebrow. "For what?"

"For everything that I did. I remember now. In the Subconscious, I basically hunted you and Dee, now Deceit is barely functioning because of me, I could have killed my boyfriend, I probably would have killed you and Deceit if I had found you, and all of this was just a huge mess." Said the neutral side.

Roman was quiet for a moment, then he sighed and shook his head. "No, Logan...no, no, don't blame yourself. That wasn't you. We all knew the day that Fury built himself up enough would be a day of pain. We all knew that. And I am just so sorry that you were the one who had to be weighed down by it."

Logan sighed, nodding, then he took Roman's hand and pulled him into a hug. "Thank you. For all that you've done...for all of us. You care about me, you care about your brother, about Dee, Patton, Virge, Thomas...I swear, there are times when I admire how well you handle taking care of us."

Shaking his head, Roman waved off the praise, “You give me too much credit. I’d probably still be searching for you in the subconscious if Dee hadn’t shown up when he did, and I’m pretty sure he saved my life telling me to manifest the dragons and then hiding us from Fury. He’d be dead if not for Patton’s healing powers - there’s nothing I can do to help them, or to help Virge take care of Thomas.” He sighed, staring at his empty palms, “My skill set… it’s useful, but it’s also severely limited. I’m great at helping Thomas write videos, but when it comes to this… I can’t do much, but I can try to take care of your guys while you do the important stuff.”

"Speaking of," Roman looked up, "Can I get you anything? Food? Water?"

Logan smiled. "You've forgotten your other incredible gift. Kindness." He nodded. "A glass of water would be fantastic, thank you, Roman." 

The Prince nodded and stood up, walking into the Common Area to grab Logan some water. The intellectual turned slightly, looking down at his boyfriend sleeping so peacefully, no doubt dreaming of some beautifully gorey situation where he was the blood-covered victor. Logan brushed his hair gently, sighing.

Staring at his shirtless torso, Logan smiled as he traced his finger over the constellations that marked Remus as his own that weren't under bloody bandages. Putting a hand to his own chest, he almost felt empty without the scar that Remus had branded him. His lips twitched up in a subtle smile. He'd just have to have Remus give him a new one.

The door opened again and Roman walked in with a glass of water, handing it to Logan then sitting back down. It was quiet as Logan took a few sips of the drink, then Roman sighed.

"Logan, are you okay?"

Logan set the glass down on his nightstand, turning his head with a confused expression. "How do you mean?"

"I mean, how are you feeling with Fury and everything? How are you managing it? And...what does it feel like?" asked the Prince.

“I don’t know,” Logan answered honestly. “Most of it is still fuzzy, but a few bits and pieces are starting to come back.” He closed his eyes, trying to focus, trying to remember, but his head just started to pound. Logan rubbed his temples, “I’m… scared. I’m horrified at what Fury has done, at the lengths he pushed Remus to go to get me back, and I’m terrified that it’ll happen again.” He smiled crookedly at Roman. “I believe it’s mostly the lack of knowledge about Fury’s powers and triggers that are the driving force behind my current anxiety. Similar to Dr. Beck’s theory that it’s a patient’s distorted view of reality - for example, the inability to understand the objective causes and effects operating in the concrete situations facing them - that lies at the root of their psychological suffering.”

Roman blinked, offering an easy grin, “You’ve lost me, specs, but it sure is good to hear you sound like yourself again.”

Logan rolled his eyes, but smiled back fondly, “Dr. Aaron T. Beck - he’s the psychiatrist regarded as the father of cognitive therapy, and his pioneering theories are widely used in the treatment of clinical depression and various anxiety disorders.”

“Okay…” Roman nodded slowly, “I’m kinda following… What’s that got to do with Fury?”

“One of the most common types of psychotherapy is cognitive-behavioral therapy. The purpose of the treatment is to help an angry person recognize the self-defeating negative thoughts that lie behind anger flare-ups.” Logan explained, waving his hands animatedly as he talked.

Roman tapped his fingers thoughtfully, “So, you think that if you can predict what will cause Fury to 'flare-up', you can keep him under control?”

Logan shrugged, “It’s a working theory, and will need further testing before a functional plan can be implemented.” 

“Fury said…” Roman trailed off, and Logan waited patiently for him to continue, “He said he was bonded with you, that it was impossible to separate him from you.”

“He may have been telling the truth,” nodded Logan, “The transition I went through when I became a neutral side could have permanently merged us together, and it may be only a matter of time until we fully integrate.”

“I was thinking about that,” Roman said, “Integrating with Fury might be the only way to fully control him and to stop him from putting Thomas and the rest of us at risk again. But I wanted to know how you felt. Do you want to fully integrate with him?” Logan paused, considering, and Roman continued hurriedly, “If you don’t, I’ll find a way to separate you, Logan. I swear it. I don’t care how impossible it is. Deceit managed to get rid of Fury once, and we can do it again. We’ll keep doing it as long as we have to, for the rest of Thomas’s life. You don’t have to do this.”

Logan gave a pained grin. "Again, your kindness never ceases to amaze me. However, what you brought up... I'm not entirely sure what I want. I do want to be able to be my own person again, but then I lose all of this," he gestured to himself and his new appearance. "And I don't want to lose this. It feels good. But I'm also nervous about what could happen if Fury and I fully integrate."

He then rubbed his chin. "You said that Dee was able to do away with him in the past?" Asked the scholar and Roman nodded. "Perhaps I shall see him when he wakes up and ask him to suggest a way. He knows Fury better than anyone, therefore he'd be the one with the most knowledge."

Roman leaned back in the chair, nodding. "Makes sense. I'm just happy to see you functioning again." He then sat up straight. "We should probably go see how Thomas is doing!" He said with a slightly panicked tone. "When Fury took over, he caused Thomas to basically crumble into the worst panic attack I have ever seen. Even Virgil was absolutely terrified. He's watching over him now."

Logan immediately rose to his feet and strode to his dresser, opening a drawer and retrieving a black polo shirt. After slipping it on he spun around with a nod. 

"Let's go."

Pausing by the bed, Logan leaned down to kiss Remus, carefully eluding the hands that clumsily reached out to pull him back into the warmth of the sheets. "Gonna check on Thomas, love."

"Mmmkay." came the sleepy, slurred response, "Wah m'cm w'th?"

"No, go back to sleep," Logan said, stroking his love's hair. "I'll be back soon enough. Dream of me?"

Remus hummed happily, snuggling back down into the pillows. Tucking the blankets around him, Logan gave him one more kiss on the forehead before pulling himself away.

He followed Roman as they sank out of his room and into Thomas's bedroom. Virgil looked up, the eyeshadow deep and dark under his eyes, but he smiled in relief to see Logan, "Welcome back."

Logan offered a small smile. "Apologies for being gone in the first place." His eyes moved to Thomas and his smile disappeared. "How is he?" His voice was more of a whisper now.

Virgil sighed, his hand on Thomas' shoulder. "Better. It'll take some time, Logan. What he went through, what Fury did to both him and Dee, it's going to take time to mend." He looked up to see the guilt in Logan's eyes. Virgil sighed, then took Logan's hand and sat him down next to him. "Logan, you need to get it out of your head right now that you are to blame. This was not your fault. Had any of us been inflicted by Fury, no one would be in control either. That's what Fury does. He basically rips the power away from the host and takes the wheel, steering them any which way he wants. Typically violently."

Roman sat down on the floor, crossing his legs. "So, how did Deceit get rid of him years ago?" He asked, Logan's gaze moving to Virgil to await the response. Virgil sighed.

"Well, believe me, it wasn't easy. He and I had talked about it for days, weeks even. We knew we had to do something, but we soon discovered that only Deceit was strong enough to face him down." Virgil lifted up his sweatshirt and his shirt to show a large, jagged scar that ran across his chest. Both Logan and Roman's eyes dilated in shock as Virgil closed his eyes, letting his sweatshirt fall.

"The thing about the wounds from Fury? They don't heal like normal wounds would. Deceit and Remus' wounds will leave permanent scars, not ones we can just vanish." He pursed his lips. "When he found out that Deceit and I were planning to entrap him, he basically took me 'hostage', you might say. Told Deceit that he'd kill me if he didn't back off. Of course, I told Deceit to ignore him, that we needed to do this, and so Fury just ran his sword right across my chest. Next thing I knew I woke up in Deceit's room in excruciating pain with bloody bandages covering my chest. I don't know what Deceit did, but when he got back, he told me that Fury was gone. I still have no clue how he stopped him."

Virgil looked up at Logan. "You need to understand that now that Fury is latched on to you, your life is never going to be the same. I hate to be that person, but if you don't keep a handle on things, people will die." Said Virgil matter-of-factly. 

Logan didn't realize he had stopped breathing until his head began to pound, and he choked a bit, then he nodded to Virgil's point. "I have every intention of doing my very best and everything I can to keep Fury in check." 

Roman nudged Logan's leg with his boot. "And we're all here to help, Lo. Anything we can do, we'll do. We all want what's best for Thomas. Not only that, but what's best for each other, as well." He then smirked. "Besides. I'm pretty positive that from now on my brother isn't going to let you out of his sight after losing you." 

Virgil shrugged. "I doubt you'll mind, though." He winked, and Logan chuckled with a nod. He glanced to the side at the still sleeping man. 

"We should let him be. He needs sleep to heal and rejuvenate."

Roman yawned. "I think we should all head to bed." He said as Logan stood and offered his hand to Virgil. 

"Agreed.”

Virgil and Roman sank out, headed to their rooms for some much-needed rest. Logan hesitated, taking one last long look at Thomas’s sleeping form, before sinking out. He rose up in the common room, wanting to check on Patton and see Deceit’s wounds with his own eyes before he headed back to bed.

Patton was still slumped next to the couch, snuffling softly in his sleep. Logan’s gaze was caught by the figure stretched out on the couch, the torn and blood-soaked clothing peeking out under bandages, and his own battered face resting on a cushion. He crouched down next to Patton, gently shaking his shoulder. “Hey.”

Snapping awake, Patton blinked several times behind his glasses before he recognized who had woken him. “Logan!”, Patton cried, and suddenly Logan had an armful of the puffball knocking him back on his butt. “I’m so happy to see you!”

“It’s nice to see you too, Pat.” He chuckled softly, returning Patton’s hug, “How are you doing?”

“Better now that you’re back!” Patton smiled, but the expression fell when he looked at Deceit. “And better than Dee’s doing, by a long shot.”

Logan took another look at the bandages, but it was hard to see the extent of the damages without removing them. “He looks like he’s pretty stable at the moment?”

“He is!” Patton assured him, “He’s a lot better than he was! But… he hasn’t woken up yet or shifted back, and I worry.”

“It’s still a good sign. Give it time.” Logan rubbed Patton’s back, trying to comfort him. “The others neglected to mention that Deceit was wearing my form when he was wounded.”

Patton nodded. "Yeah. He wanted to distract Fury, so he took on your old form to prove that Fury wasn't fully you, that Logic wouldn't do what he had done, and I think he also did it just to get on Fury's nerves." He said, and Logan sighed, then tussled Patton's hair.

"Why don't you head to bed, Pat? I'll watch over Dee for a while. I owe him that." Logan said, and Patton nodded as Logan helped him to his feet.

"Okay, Lo. Thanks." He said through a yawn, shuffling off to his room. Logan moved to the couch, sitting on the edge and feeling his shoulders sag as he stared at the man before him.

It was odd to be looking down at himself when he was really looking at one of his friends, and it was even stranger that it was him from years ago.

Logan brushed Deceit's hair back, shaking his own head as the immense guilt flooded over him. He knew it wasn't really his fault. Fury had basically pulled him out of the driver's seat and jumped behind the wheel. 

But Logan still had a part of him that blamed himself.

"I'm sorry, Deceit. I swear, no matter what it takes, I'll make sure that we get you back. I'll take care of you."

[bigfan-fanfic]

What I’ve Learned from Disney Princesses

Sorry - super long post that isn’t a fic and doesn’t have anything to do with much. Just a rant - something I thought about and had to write down.

I firmly believe that in life, we are always learning. And from a young age, I have been learning from Disney - I think that my rather large vocabulary comes from learning Disney songs by heart at a young age - there are some pretty complicated words in there, people!

I was born and currently identify as male, but the Disney Princess movies have taught me valuable lessons over my life. The Princesses espouse admirable qualities, teach life lessons, and introduce us to the harsh truths of life. I’d like to share with you what I found the message these characters send to be, and maybe see if anyone feels the same?

So, under the break, I’m going to discuss all 12 of the official Disney Princesses, as well as Elsa and Anna, because I feel they have a lot to offer as far as life lessons go.

1. Snow White (Snow White and the Seven Dwarfs)

Snow White does teach valuable lessons. She is just a young girl during the movie, but she shows remarkable fortitude in her ordeals. She does put herself in a servant role to the Dwarfs, but think about it -she’s been made a servant by her stepmother, so it’s likely the only thing of use she knows how to do. Not to mention she’s paying for her lodging and food by working. Snow is a princess, but she shows remarkable humility by being willing to work and earn her keep. 

Snow’s story also teaches us the downfalls of seeing the good everywhere. A little bit of cynicism is healthy, and keeps us alive. Snow’s willingness to see the good is what allows her to be so cheerful and loving towards the Dwarfs, but also makes her an easy target for a certain apple salesperson.

Be humble. Be fair. And don’t be so trusting.

2. Cinderella (Cinderella)

Cinderella might seem to be a passive, submissive example of a princess who “needs a man to rescue her.” But I think differently. Cinderella shows courage and strength in doing the only thing she can: surviving. Think about it: Cinderella has basically no other option but to be slave to her stepfamily. Her mother and father are dead. But does she complain? Does she give in to the idea that there might not be a single human left in the world who cares about her?

No.

Cinderella teaches us the quiet strength of endurance, of compassion and love even when we don’t receive any. Cinderella remains positive and hopeful in the face of adversity, and she is rewarded. 

Cinderella teaches us the harsh truth that sometimes, we have no other option but to muddle through and hope. Dreaming and wishing can be our refuge, and we must not let ourselves be broken by our circumstances. We must always show compassion and love where we are shown none, to those that need and deserve it. Cinderella cares for her animal friends, even though they can not conceivably do anything for her, and this “paying it forward” is rewarded.

And yes, Cinderella does have to depend on the kindness of others. But this in itself is a lesson. We, like Cinderella, do not always have agency over our lives. Sometimes we are kept from the ball. Sometimes the spell has to end at midnight. But Cinderella’s endurance and spirit is what sees her through.

Be strong. Be kind. Be like Cinderella.

3. Aurora (Sleeping Beauty)

True, there isn’t much to take from Aurora’s actions, due to her getting little screen time. But, Aurora teaches us the power of intent. She has been sheltered all her life and cut off from contact. And yet, she is unafraid to dream of finding more. And she does, though probably not how she expected to.

Aurora teaches us the harsh truth that we can be punished for something we had no control over. She was cursed to effectively die for an insult her parents gave! (Incidentally, a lesson I learned from Sleeping Beauty was to show respect at all times, to avoid grudges) 

Aurora may not teach us much directly. Her lessons involve having no control, and just having to deal with it.

So, yes, there will be times when your life won’t be fair. And, sorry, but you’ll just have to hope for the best. Hold on to your dreams for when life hits you hard.

4. Ariel (The Little Mermaid)

For a long time, Ariel was my least favorite Disney Princess. She’s the “girl who has everything” but can’t appreciate it.  She’s got material goods, family who cares, friends, a killer singing voice, but she takes it all for granted. Not to mention she skips out on prior commitments for selfish reasons. But Ariel teaches us a lesson about parenting that we would do well to remember:

Share with your child. Ariel’s curiosity about the surface world stems from her father’s insistence that she should never come in contact with it. Triton could’ve avoided a whole lot of trouble by maybe showing Ariel the human world a little at a time, or told her about why Ursula was so bad. 

Ariel also a lesson of her own: that it is okay to depend on others. Yes, she needs Sebastian to help her romance Eric. Yes, she needs Eric to help her defeat Ursula. But these do not make her weak. Ariel’s pure love and curiosity for whatever she happens to come across is her strength, and is what charms everyone around her. She is willing to selflessly defy her father in order to save a surface person from almost certain death. We all need to realize that we are not alone in this world, and it is okay to rely on those we can trust. When, like Ariel, we are voiceless, we should be able to count on our loved ones for support.

So, parents, share and be honest with your children. Kids, know that you aren’t alone, that it’s okay to rely on your parents and friends for stuff. You aren’t weak. We all need each other.

5. Belle (Beauty and the Beast)

Belle is possibly my favorite Disney Princess of all time. She’s got it all: brains, confidence, beauty. But the real virtue she shows us as people does not come from her book learning. It comes from emotional intelligence. Belle’s greatest quality is her understanding. 

Belle lives in a small town full of “little people,” and she is insecure about how different she is from them. The repetitive life they lead is not enough for her, and she wonders if anyone can understand her. There’s “no one [she] can really talk with.” And later, the villagers will state in “The Mob Song” that “we don’t like what we don’t understand; in fact it scares us, and this monster is mysterious at least.”

She is the only one who can see through the facade that Gaston puts on for all the villagers. She is able to see through the Beast’s posturing and get him to become the man inside. Belle sees Cogsworth’s pride and uses it to get him to show her the castle, and recognizes that the Beast won’t hurt her. Her understanding of people, and her ability to look past the outer shell is her greatest power, and ultimately allows her to break the curse by recognizing her love for the Beast, despite how mean and vicious he may appear. Belle shows us the value of attempting to understand those that may look and behave differently from us, and how reaching across that divide may not be as difficult as we think.

Belle’s story also teaches us the harsh truth that talent and wisdom often go unappreciated compared to beauty and looks. No one believes “Crazy Old Maurice” when his word is against Gaston, the village golden boy. None of the villagers see anything other than a scary, mysterious castle with a vicious beast in it. Even the Beast himself was cursed due to his inability to look past the Enchantress’ disguise. 

So seek to understand those you meet, both their flaws and qualities. And don’t judge a book by its cover. 

6. Jasmine (Aladdin)

Jasmine is pretty cool. She has a pet tiger, so... 

Anyway, Jasmine shows us how to be free. She doesn’t want to be wed to someone she doesn’t love, and so she tries to escape her life. She has Rajah attack suitors who try to get too close. She doesn’t take anything from anyone. Jasmine is generous and righteous, and although she might get into trouble due to her sheltered upbringing, Jasmine teaches us that we can’t let people deny us our freedom.

But Jasmine’s story teaches us the harsh truth that there are people out there who will stop at nothing to get what they want. Jafar resorts to manipulation, mind control, and then outright force to get what he wants. Even Aladdin uses the Genie’s incredible power to deceive his way to Jasmine. But even though Prince Ali seems perfect, Jasmine doesn’t really start to like him until he semi-reveals himself as Aladdin by asking her “do you trust me?” And Jasmine defies Jafar, even when he has the Genie’s power, even when he has her father under his power.

So, even when the greedy and selfish seek to use you, remember to hold on and exercise your freedom. It’s your life.

7. Pocahontas (Pocahontas)

Pocahontas is possibly the most controversial on the list, but I think that she is important in the lessons she can teach.

Pocahontas is independent and true to herself, but she also wrestles with tough inner conflict from duty. She wants to hope that something “waits just around the riverbend” but is in conflict with her tribe’s mantra of keeping steady and not rocking the boat. But her greatest virtue is her commitment to peace.

 Pocahontas not only promotes peace between cultures, but peace between man and nature. “We are all connected to each other/in a circle, in a hoop that never ends.” Pocahontas believes in this value of peace so much that she is willing to sacrifice herself for love rather than live in a world where war has broken out among the two sides. Her main adviser is not a human, but a spirit of nature itself. 

And the movie reveals harsh truths about how people treat those they do not understand. The song “Savages” is especially poignant, as Pocahontas deals with her inability to save John Smith while both sides abandon any hope for peace/cooperation and prepare for war. A strain from “Listen With Your Heart” plays before the second part of the song, showing that Pocahontas will either prove that peace is possible or die trying. As the end of the song arises, Pocahontas throws herself onto John Smith, forcing her father to either choose to back down or to kill his own daughter. 

Yes, Pocahontas sanitizes a lot of the struggle of the period. But the idea that one selfless act has the power to affect change is a powerful one. Pocahontas shows us that peace is an ideal worth dying for, even when it seems that no one will listen.

8. Mulan (Mulan)

Mulan starts her film chafing against her society’s constraints, unable to be herself and attempting to force herself into the mold of “perfect porcelain doll” that she is expected to be. Mulan’s love for her father is what motivates her to join the army in his place. Ironically, as her story deals with deception and deceit for the greater good, Mulan teaches us to be true to ourselves.

While she masquerades as Ping, Mulan is largely ineffectual, starting a camp-wide brawl on her first day and earning enmity from her comrades by adopting an overly-macho facade. It’s only when Mulan uses skills from her true personality that she thrives. Her ingenuity is foreshadowed in the way she does her chores by setting up Little Brother to do them, her sense of fairness is shown when she gives a little girl back her doll, and her incredible persistence is shown in the way she steadfastly goes through with the matchmaking ceremony, even when she has to resort to cheating to get through it. 

Mulan’s creativity allows her to climb the pole to retrieve the arrow, and her victory against Shan Yu in the mountains is brought about by her creative use of the cannon to cause an avalanche.

Mulan teaches us the harsh truth that there are things in life that we will just not be good at. Mulan does not excel at the memorization and graceful movements that other girls in her society are expected to use. But she does excel at tactics, thinking creatively, and adapting to situations as they come. And though her society prevents her from using her true talents, she finds a way to break out of that box and use her abilities to their fullest extent.

We all have our strengths and talents, and we must find a way to use them rather than be constrained by the norms of society. “The flower that blooms in adversity is the rarest and most beautiful of all.”

9. Tiana (The Princess and the Frog)

Tiana is different from the other Princesses because her best quality is also her flaw - she is focused and hard-working. Tiana is so diligent towards achieving her goals that she doesn’t allow herself to enjoy life. Tiana mostly teaches others how to focus on what they really want, but she’s got her own lesson to learn. 

“I remember Daddy told me/”Fairy tales can come true,/ But you’ve got to make them happen/it all depends on you.” Tiana has learned this lesson that blood, sweat, and tears are dependable - fairy godmothers are rare. It is hard to determine what Tiana needs to learn because she has so many good qualities - responsibility, self-sufficiency, diligence

“Blue skies and sunshine” are what Mama Odie recommends to her, and Tiana realizes that she doesn’t have to deny herself fun to achieve her goals. She starts out with several jobs to save up for her restaurant, and it all turns out to be for nothing. Tiana already knows that she must rely on herself to make her dreams come true, but she needs to learn to stop and smell the roses. She learns that she doesn’t have to solely dedicate herself to one thing. She can take time for fun, time to dance with her mother before getting back to work.

But Tiana’s story also teaches us the harsh truth that people are often far too open to temptation. “This whole town can slow you down/People taking the easy way...” Dr. Facilier and the Friends from the Other Side take advantage of what people want but don’t want to work for in order to manipulate them. “You got what you wanted/But you lost what you had.” Tiana, however, recognizes the value of hard work and does not give in to the Doctor’s manipulations. Even when Facilier gives her her restaurant, where she is loved and respected and dressed up, she quickly realizes it is nothing but an empty offer. Tiana does what none of the other characters tempted by Facilier have been able to do - say no.

So, work hard, but don’t forget to play sometimes. And know that your dreams won’t come true overnight - hard work is often needed.

10. Rapunzel (Tangled)

Rapunzel’s story teaches us perseverance. Every year, the king and queen send up lanterns for the lost princess - never losing hope that their daughter is out there. And it is these very lanterns that draw their daughter back to them. Rapunzel perseveres in her tower, waiting for her life to begin. And when opportunity finally strikes, Rapunzel seizes it. She doesn’t just grab the bull by the horns, she swipes it upside the head with a frying pan!

Rapunzel teaches us the harsh truth that trust is never to be taken for granted. Even the people who are supposed to love us and care for us might not always have our best interests at heart. Rapunzel spends much of the movie fearful that she is betraying her mother, only to find out she was lied to her whole life. The folks at the Snuggly Duckling encourage her to chase her dreams, but also inadvertently set Gothel on her trail. And Gothel is easily able to manipulate Rapunzel into distrusting Eugene.

So never give up, and be sure that those you place your trust in deserve it.

11. Merida (Brave)

Merida, like Mulan, struggles with societal constraints. Like Ariel, she can be flighty and irresponsible. But ultimately, Merida teaches us about the give and take of relationships, even among parents and children. Merida feels her mother lacks understanding. And her mother feels the same. Their relationship, once so close, is broken by the divide between them, represented by Merida’s damaging of the tapestry her mother made.

As Merida and Eleanor go through their journey, Merida learns about her mother’s strength and power, which comes from calm words and the bearing of a leader

12. Moana (Moana)

Moana is a really great addition to the lineup. She’s strong, funny, and smart, and she is wise. Moana, unlike Mulan, does not struggle with fitting in to society. She is able to competently assume the role of chief under the guidance of her father. And it is important to note that when Moan first tries to go to the sea, she fails. It is only when she does so in order to save her people that she succeeds. 

So, Moana’s virtue is also her tough lesson. There are things in this world more important than ourselves. Maui’s need to be loved is also the source of his great insecurity, and led him to steal the heart of Te Fiti. Te Ka’s anger nearly prevents Moana and Maui from restoring her heart. Moana’s grandmother and mother teach her the power of selflessness. Moana’s grandmother is the one to teach her about their people’s past as voyagers, and Moana’s mother - though she may fear for her daughter’s life - allows her to go and helps her pack for her journey. And Moana teaches Maui about doing things for others, not for gratitude, but because it is right. 

And Moana leads her people into voyaging once more. Not because she desired to go to the sea, but because it is the way of her people that was forgotten. Because it was the only solution to save her people when they began to overfish and helps spread them across the world. Moana’s motivation grows from a selfish one to a selfless one. And in a weird way, this comes from self-acceptance. “I Am Moana” is what she learns, that she can do things, and her talents are to be used to help her people, not just herself. 

Be yourself. Use your talents and follow your dreams. But never forget to use your abilities and gains for the good of others.

13. Elsa (Frozen)

Elsa is forced for much of her life to live in isolation, even from her beloved sister, which practically destroys their relationship. “Let It Go” may be a song for accepting herself, but it also occurs in isolation. Elsa feels the only way she can be herself is through this isolation. “Yes, I’m alone, but I’m alone and free.” She’s not really accepting who she is, but rather accepting the idea that she’s a dangerous monster, but when no one’s there for her to hurt, she can be happy.

Elsa learns through her sister’s love that she isn’t a monster. And she learns that love is how she can control her powers. Her parents worry that her powers will make her a target, but the fear of herself instilled in her makes them more uncontrollable. After all, if Elsa’s had these powers all her life (and shows remarkable control over them at a young age), the loss of control is directly linked to self-suppression. It is only when Anna sacrifices herself that Elsa regains true control -  because Anna repeatedly shows that she loves her sister, no matter what. And this unconditional love makes Elsa truly believe that she isn’t a monster.

So, Elsa teaches us that to truly accept ourselves, we need to accept others. You don’t have to be as cheery and personable as Anna, but isolation isn’t healthy.

14. Anna (Frozen)

Anna, meanwhile, learns a similar lesson. Also forced into isolation, Anna desires to have experiences, to live life. “For the First Time in Forever” really indicates Anna’s longing for connection and experience. Part of why she’s so willing to love Hans and believe he loves her is because of this isolation. In her point of view, Elsa rebuffs her one day with no warning, and practically never even sees her again for years. “Do You Wanna Build a Snowman?” shows Anna’s regret and sadness as the years pass, and is heartbreaking as she slowly stops trying to communicate with her sister.

Anna teaches us about trying to communicate, about showing unconditional love. “Please don’t shut me out again,” she begs Elsa. And even though her sister has (accidentally) hurt her, Anna consistently tries to bridge the gap. 

Anna’s arc shows us the tough truth that relationships, even close ones, can decay. The close sisterly bond has all but faded between them. But Anna also shows us that no matter the difficulty. At the final scene, when the tune of “Do You Wanna Build a Snowman” plays, it signifies that Elsa and Anna have finally repaired their relationship, that they finally can be family again.

So, we learn from Anna to give our love unconditionally. Because forgiveness, trust, love, and most importantly the desire to make a connection all help us repair our broken relationships.

[rigelwrites-blog]

Charon’s Menherafflesia: Discussion and Review

Well, it certainly seems that, even if our protagonist isn’t residing in a construct of purgatory in this particular Charon title, he still cannot avoid enduring punishment of some sort. With respect to Anemone’s route, the rapidity of the overall pace and the somewhat prosaic nature of the writing were not quite conducive to establishing emotional investment in the supposedly profound, loving relationship between the characters or, by consequence, their eventual demise. However, in comparison to the melancholic gravity of Cradle of Ruin’s subject matter and themes, the arguably lighter tone underlying this experience was better suited and consistent with the overly dramatic conclusions these stories predictably employ.

If I were to attempt to derive some deeper meaning from the depicted imagery and inferences in the text, I suppose it’s possible to perceive a potential discussion on the impurity or “distortion” of love, which appears to occur rather commonly in Charon’s stories. Essentially, the love experienced by these particular characters seems to be a shallow veneer, an infatuation born from necessity instead of a more evident connection or compatibility. Both individuals, who are presumably rather young and impetuous, suffer the encumbrance of desperation and loneliness as well as the deprivation of company or, in Anemone’s case, the loving family structure she once enjoyed. Obsessive and oft destructive relationships can be precipitated from these circumstances, which perhaps could be demonstrated through Anemone’s maliciously protective tendencies and the sanguinary events of her good ending. Additionally, the transmogrification of her love for Itarou into a love of murdering also apparently evidences the hollowness and alterable nature of her prior devotion to him. In general, the innate “irrationality”, insidiousness, and corruption of Charon’s worlds renders them seemingly incompatible with experiences of true, reciprocal, and salubrious love.

It certainly appears that Itarou, in the particular incarnation of him shown during Ivy’s route, harbors a bit of an exaggerated Madonna—Whore complex which consequentially influences his perception and treatment of women. Through the lens of his distorted, disturbed mentality, women are classified in dichotomous terms representing either angelic purity or dirty, blemished corruption, with such designations contingent upon the gradation of his sexual attraction towards the particular woman. For instance, a beautiful, fetishized woman like Kurara can demonstrate certain interests or behaviors, such as a fascination with anime and video games, which are beloved and praised in her, while hypocritically, the same traits presented in a comparatively less attractive woman are regarded derisively. Concerning Moeko and the internal tribulations and destructive thoughts that burden her tempestuous mind, it seems her natural tendency is to escape from the mundanity of her existence and hostile self-perception through the fabrication of a perfect, fantastical persona. Questions of her true self and identity plague her beleaguered mind as she contends with the blissful delusions which have begun to permeate and alter her reality. Her understanding of Itarou is essentially a manifestation of her warped, dangerous propensities, as she projects an ideal characterization onto him, despite its evident falsity, while simultaneously justifying or trivializing his reprehensible, abusive behaviors towards her. The conclusions of her route appear, in my particular interpretation, to represent her broken mind suddenly succumbing to an amplification of her delusional tendencies, instigated by the profound emotional stimuli of Itarou’s acceptance or denial of her fantasies. Forgive me if this is incorrect, but it seems she kills Itarou in both endings to solidify their relationship through “poetic” means, and in the good route she potentially lives with his corpse after having lost the ability to discern reality and accept his death. Regardless, Ivy’s story was undoubtedly rather interesting to say the least.

There is also viability in interpreting Ivy as a woman with magical capabilities, as Charon’s endings have occasionally felt a bit disjointed and jarring with respect to the tone and nature of the writing which precedes them. Since Charon seems to often include psychological angles to their work, and because of my personal preferences in the sorts of stories and themes I enjoy, I tried to create a somewhat cohesive theory for the events of Ivy’s route on the assumption of a more grounded narrative devoid of supernatural elements. I could be entirely incorrect, though, and Charon’s worlds may simply be a tad bizarre and illogical by nature, defying concerted attempts to provide a definitive, comprehensive explanation.

Despite how disturbing and painful it was to endure, I consider it rather fitting that Jasmine, whose mind is wracked with the agony of depression and self-hatred, directed her violent tendencies inwardly and blamed herself for invoking Itarou’s disdain, instead of brutally punishing the target of her affections. Concerning the fragility of Jasmine’s mental state, it seems she had been precariously situated on a precipitous ledge overlooking the dark, inescapable abyss of utter despair and death, never able to solidify the resolve to take the final step on her own. Jasmine’s last monologue, in its honest simplicity, was devastatingly accurate, at least from the standpoint of my personal experiences, as a portrayal of an individual struggling to contend with the actualities of depression and concealing her torment by donning a plastered mask of cheerfulness. As someone with a rather dry sense of humor, I’ve always adored eliciting irrepressible fits of laughter in others and, even amongst the bleakest of depressive episodes, I would never waver in this desire or ability. I suppose I understood the significance of creating a few moments of levity as a temporary reprieve from stress or sadness, like a meek flame lurid in unrelenting gloom, and all I sought was to bring others the happiness and support that I desperately craved. It’s quite difficult while mired in that mentality to admit the need for help and seek actual means of remediation, and, though a bit unreasonable, there exists the constant, underlying hope and longing for someone to finally peer through the hollow shell of joviality and notice the true self slowly withering away inside. In accordance with this interpretation of Jasmine’s behaviors, it appears she was stifled by hidden apathy and stagnated in her current state while lacking the internal compulsion to impel her to either pursue betterment or succumb to her latent suicidal considerations. Through her profound trust and love of Itarou, she relinquishes control over her conflicted situation and relies on him to be the sole determinant of her fate. His rejection proves confirmatory to her feelings of worthlessness and loneliness, and consequently acts as the necessary stimulus to finally cement her conviction to commit suicide. Alternatively, the affirmation of his devotion allows her to convey her intentions and implore Itarou to assent to ending her life. Itarou’s initial, alacritous compliance is a tad interesting, considering Jasmine’s perception of love is immensely warped, and the supposed derivation of happiness from being “broken” by the one you love seems terribly antithetical to what a supportive, healthy relationship should entail. Apparently, Itarou’s refusal to offer her the option to get help and his choice to kill her instead were attributable to a momentary bout of madness which, though arguably a bit of a contrivance, is somewhat explicable as all iterations of Itarou seem to have evident personality flaws and misconceptions concerning the salubrious pursuit and expression of love. Overall, this route was certainly rather poignant and comparatively grounded.

Despite the rather pronounced incongruity in tone and characterization across Mihomi’s endings, ranging from the adoption of a deranged persona to a quite touching, poignant final moment between close friends, her underlying personality and motivations were arguably explicable and decently established. Essentially, the puerility and impetuousness of her youth translates into an inability to properly or salubriously contend with the agonizing trauma of her circumstance. Consequently, she desperately clings to Itarou, developing a pernicious dependence and possessiveness towards him, and perceives of him as her sole source of safety, happiness, and escape from the torturous reminder of her home life. In the bad ending, Itarou’s supposedly “insensitive” or callous dismissal of her pain elicited a realization of her abject loneliness and grief, which proved too prodigious a burden and shattered her fracturing façade of cheerfulness and innocence. Itarou’s actions were incendiary to her, and, in a sense, the burning of his home could be interpreted as a symbolic destruction of the one remaining place where she felt secure and loved, which she suddenly felt deprived of as well. With respect to additional imagery, the hydrangea, as a flower “well suited to the rain”, was beautifully represented in the melancholic downpour of rain which, almost poetically, characterized the dismal conditions surrounding the beginning and end of Mihomi and Itarou’s time together.

Though personality-wise I do prefer either Daffodil or Anemone, the added emotional depth and perspicuous rationale to Hydrangea’s story were certainly rather effective and appreciated.

I suppose at the very least there’s some consistency with respect to Ayume’s characterization and her malicious proclivities, which somewhat unifies her two, quite histrionic endings. What is rather fascinating to me about Charon’s work is that, through the dramatic absurdity and oft grotesque, sanguinary atmospheres, some rather genuinely erudite sentiments and reflections often precipitate. Concerning this particular route, it’s certainly possible to perceive discussions pertaining to the concept of mediocrity and the ardent pursuit of distinction and purpose. Ayume and Itarou harbor somewhat parallel mentalities in this respect, as they both fixate on the protracted monotony of an ordinary existence and feel that true self-satisfaction and worth are inexorably elusive without the acquisition of some definitive, external means of gratification. For instance, Itarou is evidently depressed and stagnated by the repetitious regularity of his life, and in his susceptible state of desperation, he foolishly conflates his love for a wise, kind TV character with the actual personality of the actress who portrays her. He assumes that his persistent efforts to secure her attention and interest will somehow alleviate his sorrow and grant him the “specialness” he craves. Ayume’s intentions are a bit more… gory, and she elects to deviate from delineated path of an average life through the realization of her true talent and passionate “hobby”—murder. Mentions of “conceit” during this route are also a tad interesting, as the desire to transcend the common trajectory of life and follow a path towards happiness and fulfillment of your own designation are foundationally laudable aspirations, yet, can become corrupted and dangerous when taken to extremes by a tumultuous, unstable mind such as Ayume’s. Additionally, the topic of one's purpose is innately rather nebulous and complex, as, while having goals is oft beneficial, the conviction that satisfaction can only be derived from the attainment of some single, irrational, quixotic accomplishment or status can potentially render true contentment in life an impossibility. Itarou, in his pining for the person he assumes Ayume to be, is essentially a victim of this mentality.

The “good” ending was a bit oblique when addressing the specific events which predicated Ayume’s… peculiar interactions with Itarou, and it seems a few disparate interpretations are possible. It remains unknown whether she successfully encountered the murderer of her family but persisted in her violent behaviors due to an emergent talent in killing, or if she stalks the same bar with the resolution of eventually obtaining vengeance while preying on random, "sinful" men like Itarou who are enticed by both her beauty and certain misconceptions about her personality. I do wonder if her selection of Itarou in particular and her chastisement of his childish naivety and worthlessness in the “bad” ending are perhaps attributable to survivor’s guilt and the desire to punish her child-self for neglecting to come home on time and, consequently, avoiding the same fate as her family. I can’t be certain, however. Nonetheless, Ayume surely had potential as a character, and it was rather unfortunate, of course, how her route inevitably culminated.

It seems that each woman deserved more time dedicated towards their development, considering the rather archetypical outlines their characterizations adhere to and the vague, tenuously established backstories and mentalities which are arguably a bit insufficient to illuminate the inscrutable motivations for their bizarre, murderous actions. I’ve certainly tried to flesh out the somewhat skeletal constructs of their individual identities and unify the given pieces of information into an overarching understanding of who these women truly are. I can’t say if I’ve succeeded in doing so at all, as it’s possible that I projected too many of my own assumptions and interpretations onto these stories, which perhaps deviate from what Charon actually intended.

The pronounced lack of homogeneity in the tone and realism employed throughout the experience creates an “emotional rollercoaster” which consequently renders these narratives a bit difficult to comprehensively evaluate. The slower moments of character development which served to augment your understanding of the personalities and perspectives that defined and motivated these individuals were often rather simple, yet occasionally striking in the depth and erudition of the sentiments expressed and discussed. Additionally, these instances of profundity were often effective in subverting expectations, as the sudden reveal of greater complexities and facets to these women succeeded in elevating their characterizations beyond the anticipated archetypal roles. Jasmine’s route in particular was demonstrative of this, and, following her endings, the internal rationale and compulsion for her startling behaviors were retrospectively embellished and explicated. Alternatively, certain segments adhered more rigidly to the categorical yandere tropes and the predictable proclivity of Charon to culminate plots with sanguinary events. These gory occurrences are seemingly contrivances for the sake of entertainment that are rather tenuously explained, built-up, and congruent with previously established personality traits and inclinations. Separately, I enjoy stories entrenched in poignant, intricately detailed psychological elements as well as farcical tales with exaggerated stereotypes, however, the amalgamation of these two disparate focuses will necessitate assiduous care on the part of the writer in order to create a cohesive narrative with a consistent, palatable tone. Otherwise, the grounded, emotional scenes contrast jarringly with the shockingly fantastical, illogical, and inexplicably brutal moments, and the experience in its entirety feels quite disjointed and capricious. Obtaining an effective, precise balance of features, characters, and plotlines of variable gravity, realism, and tone is truly a tad difficult to achieve, though certainly far from impossible.

Since I had been noting and expounding upon some of the themes that I considered to be interwoven into the narrative thread of each woman’s route, I suppose I should finish my analysis with a similar discussion of the sort. With respect to the ending, it’s possible to interpret the meaning as expressing the likelihood that cultivation in such an innately “irrational” society results in the absorption or internalization of its corruption or “rotten” attributes, thereby contributing in perpetuity to the establishment of this world as a fecund ground for breeding “sin” and sorrow. I can’t be definitively sure, however, the text appears to imply that transcendence from this cycle and the attainment of internal strength and contentment are impossible, at least for these women. To extrapolate a bit from this theme, it seems as though, due to the dating sim structure of the visual novel, that the concept of inevitable pain and grief is specifically explored through the conduit of romantic relationships. Consequently, most characters, including Itarou himself, demonstrate a rather naïve, flawed conceptualization of love, based on the injurious assumption that romance is the sole determinant of happiness and success, or the only means through which they may obtain salvation from their current torturous situations. As I described earlier on, this exaggerated desperation translates into misguided obsession and amplifies the torment of rejection, culminating in many of the various destructive, violent endings. I suppose the message that could feasibly be distilled from this thread of commonality between routes is that amelioration of one’s dismal circumstances and the pursuit of self-betterment are not immutably linked nor necessarily contingent upon relationship status, and extreme dependence on a single person, especially someone you don’t know very well, might not be such a fantastic idea.

Overall, I’m thoroughly entertained by Charon’s works despite their occasional narrative faults.