#also in regards to the whole

[cornfields-td-nonsense]

ALSO. thoughts on geoff/ezekiel I'm just pulling all my fave Zeke ships now

I’m. Huh. Yeah never thought of that. But yknow what? Yeah I could get on board with that

[poorly-drawn-mdzs]

Ghouls night out

[First] Prev <–-> Next

[yukipri]

For curiosity's sake...

[skrs-cats]

one of thunderclans aspiring best warriors and his apprentice that no one can seem to sneak up on

[turtleblogatlast]

[ cw: death mention / strangulation mention / stabbing mention / blood mention / self-sacrifice / codependency mention in tags / ]

I think a lot about how common it is for Raph to be the one to have direct focus put on him when Leo gets into all his near death experiences.

Like, when Leo is thrown off a building, it’s Raph who’s right there jumping after him, not even thinking about the consequences to himself when he does. When Leo almost gets skewered by the Krang, Raph’s right there to take the blow and send Leo to safety without a second thought. When Leo’s being strangled to near death, it’s a Krangified Raph doing the job, doing exactly what Raph would never, ever want to do. When Leo is telling Casey Jr to close the portal, it’s Raph who tries desperately to convince Leo otherwise.

Likewise, Leo is consistently very single minded when Raph gets forcibly separated from them. Both when in the sewers and by the Krang, Leo is dead set on finding Raph first and foremost.

I also think it’s interesting that during each of Leo’s near death experiences, the lightheartedness of his words during them goes directly hand in hand with both how close Raph is to him physically and how much danger Raph is also in in that moment. From a literal “I told you so” as Leo’s falling away from Raph to a soft joke about how “hero moves” are Raph’s style - both of these are on the more morbidly carefree side and both of these notably take Leo farther away from Raph and, in turn, have Raph not in immediate danger.

On the other side of things is the apology from Leo, heedless of the danger he himself is in as he seriously and genuinely speaks to a Krangified Raph face to face. Then there’s Leo’s freezing and desperation as Raph takes a hit meant for him and sends just Leo to safety, leaving Raph himself behind. Both of these involve much closer proximity and Raph being directly harmed - these together make Leo much more vulnerable in his words and actions, something not even the threat of death can make him.

These two care about each other so much, and they’re way too much alike for their own good.

[the-woman-upstairs]

In the universe of the film, there is ABSOLUTELY a contingent of fans that fervently ship Argylle/Wyatt and have the dominant ship on AO3 and trade elaborate fan theories about their hidden relationship and are convinced they’re meant to be endgame but the publishers won’t allow it. Of course, they go totally BALLISTIC when they learn they’re based on the author and her boyfriend.

[sassypantsjaxon]

I think you're all missing the angst potential of Zoro calling Sanji by his name for the first time, not because of some moment of tenderness, but because Sanji is no longer The Cook

[hauntingsofhouses]

Thinking about the crazy love triangle situation in Blue Eye Samurai and debating heavily with myself on how I'd like to see it conclude. And yeah this discussion can be thought of purely as shipping, headcanons, and fandom fun. But when analysing the show and engaging with it in a more in-depth, almost-literary level, it's impossible to dismiss who Mizu's potential love interests are and how different endgame romances would affect her character arc and the overall story and themes.

So in this post I'd like to look at the love triangle a bit more closely, and speculate on where the story will take this.

DISCLAIMER: It is my personal interpretation of the text that Mizu is non-binary—I use this as an umbrella term denoting any gender that does not adhere to the binary restrictions, norms, and expectations of what it means to be either a man or woman in a particular society; it's not just an androgynous "third gender" that exclusively uses they/them pronouns. Thus, while I personally believe Mizu is not strictly a cis woman, she does still identify with womanhood, despite definitely feeling a level of detachment from it due to living as a man for so long. With that being said, I will be using she/her pronouns for Mizu in this post, but please note that this is purely personal preference. Everyone is free to interpret the text the way they like. That's the fun of fiction. Now, without further ado, let's proceed.

Okay so, thinking about the pairings on a purely surface level, and even before i got into the show, I was pinning my hopes on some lesbianism going on between Mizu and Akemi, and the show does hint at this; in Ep1, during their first encounter in Kyoto, there is the famous slow-mo shot of their eyes meeting, Mizu's lips slightly parted as she is unable to tear her gaze away from Akemi, while sweet string music plays in the background. This is clear romantic framing, and a marker of attraction. If Mizu was a cishet man, there would be no question that this is a potential love interest.

But then, in the same episode, we meet Taigen, who is introduced to us firstly from hearing Akemi's father describe him as "a fierce and undefeated young samurai", the "best swordsman in the best school" and "a fisherman's son from Kohama [...] whose rise reminds [him] of [his] own."

In the next scene, we meet him in person as Akemi's fiance, and he seems sweet enough. He even gives her sweets! In exchange, Akemi gives him gold, and he feels a bit ashamed that he doesn't have anything better to offer her. But Akemi accepts him and his gift wholeheartedly and flirts with him a little, which makes him smile kinda shyly.

When Akemi confirms their engagement, Taigen is in disbelief because he has no status or noble background, but Akemi reassures him.

So from these first few scenes, we're introduced to Taigen as an honourable and strong samurai, but also as a man who is sweet and gentle with the woman he is about to marry, as well as aware of his own inferiority when compared to Akemi's high station.

Our view of him then changes as his true self is revealed: he is an arrogant and smug bastard among his peers, but more importantly, he is the terrible bully from Mizu's childhood.

And it is this side of Taigen--pompous jerk and unrepentant xenophobic bully--that we continue to see as the show goes on, and it's safe to say that this is his real self, sans any pretense of humility and modesty. Around anyone who isn't an outright superior in terms of class and power (ie. Akemi's father, the shogun), Taigen never hesitates to assert his own authority and "greatness."

But as the show goes on, he gets caught by Heiji Shindo's men, and then tortured. And that's when we see, okay, turns out he's not that bad. He's honourable; "honour" is not just meaningless and superficial pedantry for him, but an internalised, guiding principle.

He was a cruel asshat throughout Mizu's childhood, but in a prejudiced and xenophobic society, he was just playing by the rules. As a child, he knew he was at the bottom of society, but when met with someone even lower ranked than him (Mizu), he can project all those prejudices and insecurities onto someone else. This way of thinking--"if you can't beat 'em, join em"--is what allowed him to climb up the ranks despite being some dirt poor kid from an abusive household*.

*Well, that combined with his cismale privilege of course, because this would not be an option for a woman in similar circumstances.

Thus, his upholding of honour also exemplifies how Taigen embodies the ideals and rules of his society. His insistence on duelling Mizu is another more blatant example of this. He doesn't want revenge like Mizu does. He wants to be accepted by society, within the bounds that society has placed, and that means that his only two options following his defeat at the Shindo dojo were to either chase Mizu down and get his damn duel, or kill himself for his humiliating defeat.

Now! Moving on from Taigen, let's go back to the other end of this little love triangle: Akemi.

Mizu and Akemi only properly meet in Ep4. During their first meeting, when Akemi tries to poison Mizu in Madame Kaji's brothel, she compliments Mizu's eyes, calling them "beautiful."

This seems to genuinely take mizu off-guard for a second before she coolly plays along. We know that Mizu recognises Akemi from the get-go, and thus sees through Akemi's ploy from a mile away. It's also safe to assume she'd expected false flattery, because Mizu understands full well that this tactic is how women get what they want: by using their 'feminine wiles' and playing up their naivety and innocence. But even so, it's interesting that Mizu actually seems surprised by Akemi's compliment.

Then, after Mizu subtly taunts Akemi by lying about Taigen's death, she and Akemi have a bit of a scuffle, and then we get to Mizu saying this:

"Women in our world don't have a single good option. Except you, like some magical forest creature. You could have anything you want, but then you beg to eat trash."

(no screenshot because it's quite a long line but you get it)

Here we see Mizu's opinions on the marginalisation of (mostly poor and under-privileged) women stated outright, and underlying her words is also resentment. Because even though she and Akemi have shared experiences of female oppression, Mizu, unlike Akemi, was also poor, from a rural village, and is a racial minority. Mizu is triply oppressed, while Akemi only faces one primary form of oppression, and to someone as embittered by the world as Mizu is, to see Akemi "beg to eat trash" is a slap in the face, practically tone-deaf to the other injustices around her--injustices which Akemi has not shown much, or any, acknowledgement for at this point.

Then, after this scene, Mizu kills Kinuyo, and this unsettles her to a degree we've never seen from her before. She is visibly distraught, and the entire sequence hammers the theme of this episode (and arguably, a large portion of the show) into our heads: women in this world suffer. And even though Mizu is well aware of this fact, to commit this act is so visceral that is shakes her to her core, and it's what ultimately leads to the ambush of the Thousand Fangs.

But before the ambush, Mizu and Akemi talk a little again, and during this time Akemi taunts Mizu some more.

Right now, Mizu is exhausted to the point where (I believe) she even downs some sake, despite not usually drinking. Thus, worn down, she cuts Akemi's ropes and tells her, "Just go." Akemi recovers from her initial fear of Mizu's blade and taunts her some more, accurately seeing through Mizu's facade of coldness, recognising the raw anger there, and says this:

"I thought you had to be something special. Your face isn't even so scary. You're just... angry."

At this, Mizu is amused and compares Akemi to Taigen ("I see why he likes you. You're just like Taigen when we were children. A fucking brat.")

The reveal that Mizu and Taigen knew each other in childhood surprises Akemi, but before either of them can say more, everything goes to shit.

That's when we get to Ep5. This episode focuses primarily on Mizu, the central piece of this love triangle, and does the most out of all the episodes to shed some light on her character and goals, fleshing her out to be more than just the vengeful, highly proficient samurai we've seen thus far (symbolised by The Ronin), but also a person who is capable of love, domesticity and gentleness (symbolised by The Bride). But in the end, Mizu rejects both these ideals, instead becoming an Onryo, who is neither guided by pride/honour, nor love.

By 'reincarnating' into an Onryo, Mizu is able to win the day and save the women in the brothel. However, as she has now fully embraced her status as an Onryo, and is exhausted physically, mentally, and emotionally, she lets the Tokunobu clansmen take Akemi away while Akemi's screams echo in her ear.

Mizu says this choice is for Akemi's own good, that Akemi's better off; because Mizu is jaded and weary, and cannot afford the luxury of idealism, and thus must always be strictly practical and realistic. So of course that's why, in her view, yes, Akemi should not be wasting her time in a brothel where women are exploited and abused, nor should Akemi be so naive to think that her marriage with Taigen is even still possible. However, regardless of Mizu's views, it is not for her to decide, because though Akemi is privileged in some sense, she is still trapped and voiceless, and deserves the right to choose her own destiny.

But as it happens, in the end, though Akemi did not choose who she gets to marry, she DOES get to choose her next move when Edo burns down.

"I want to be great."

This one line is the key to her entire arc, which is only just beginning. We see she quickly has acquired the affection and good graces of the shogun's son after their wedding night and consummation, and with Madame Kaji and the girls now serving her, Akemi will only grow to become a prominent political player.

NOW, only after analysing the characters as they are within this season, only can we speculate how their arcs will continue as the show progresses.

First and foremost, I will reassert the popular opinion that Mizu and Akemi are foils. The climax (pun intended) of Ep7 illustrates this as it parallels the turning points in both Mizu's and Akemi's arcs:

Mizu melts the steel of all her loves and shames, the people she's collected: the broken blade wielded by both Chiaki and Taigen, Akemi's knife, Ringo's bell, Master Eiji's tongs - this symbolises her beginning to accept herself, and in doing so, also accepting the help of others;

Akemi consummates her marriage with Takayoshi Itoh, gains his affection, and cements her position as a woman in the shogun's palace - this symbolises her taking charge of her situation, no longer playing the damsel, but using her position to her advantage, empowering both herself and the underprivileged women around her.

These are thus two directly contrasting, diverging journeys:

Mizu's arc moves inward (yin). It is an internal path of self-love and self-discovery, focused on finding peace and tranquility inside herself, and this involves allowing herself to let others into her life, opening herself up to friendship and empathy once more.

Akemi's arc moves outward (yang), it is an external path of growth, transforming from a naive, caged princess to a powerful woman and a force to be reckoned with.

Akemi is always dressed in red, even her eyes are a bit of a reddish-brown rather than brown-black like most other characters, and in her penultimate scene she stands against a backdrop of flames. She is fire: quick-tempered, passionate, full of energy. Red is powerful, authoritative, and in eastern cultures, it is associated with prosperity.

Mizu is blue: her eyes, her sword, her clothes. She is also named after water; it's where she goes to recover, reflect and meditate. Water is fluid like a brook weaving around a stone in its path, always changing and adapting, it is graceful, it is beautiful and ruthless, tranquil yet swift.

Thus, in the future, I expect we will see plenty of political manoeuvring and intrigue in Akemi's plotline, where she fully embraces control of her life, and begins to take action to help others as well, realising that her own oppression is just one piece in a much larger picture. Her main conflict is with society.

In direct contrast, Mizu's main conflict is with herself. She must realise that her desire for vengeance is a projection of her own deep-rooted self-hatred. Her arc must move towards unpacking her feelings and trauma so she can be at peace with herself and allow space for love in her heart. Because as we saw in Ep5, Mizu had come extremely close to achieving peace and joy, as she had not only loved Mikio, but also had briefly believed that Mikio had loved her (and accepted her for who she is) as well.

Thus, assuming the story is not planned as a tragedy, Mizu will likely end up getting her vengeance, but it will not satisfy her, because it is not what she needs. What she needs is to let go of the Onryo within her and to reconcile both The Ronin and The Bride within herself, as she is both a fighter and a lover, but not a monster.

(Edit: I recommend checking out this post by @stylographic-blue-rhapsody for a much clearer analysis about Mizu'a symbolism as Ronin, Bride and Onryo!)

And now that we've mostly covered each of the characters individually, we can finally get to the main point of this post: the love triangle.

--

Let's talk about Option A: Akemi.

As I covered extensively earlier, Mizu and Akemi are foils, a yin-yang pair. But while they play off each other very well in a thematic sense, I personally believe that a serious romance between them will be more complicated if they become endgame. This is because Akemi's natural resolution is to embrace a position of power and influence, where she has both freedom and control over herself and to make much-needed changes in a prejudiced society. Meanwhile, Mizu's natural resolution is the opposite; her happy ending would to find a peaceful life where she is safe and free from prying eyes, and able to be her true self.

Thus, it would make very little sense for Akemi to forfeit power and run away with Mizu and start a humble life together. Akemi wants to be great, and that is absolutely what she deserves. On the other end of the spectrum, it would also make little sense for Mizu to dedicate her life in service of Akemi, such as acting as a bodyguard or something similar, because a life in a palace full of court intrigue and conspiracies is far from what Mizu needs to be happy.

With that being said, if Mizu/Akemi is endgame, and assuming their overarching character arcs do not shift directions, their love story would likely be either tragic, doomed, or bittersweet. I do absolutely love this type of story because personally I'm a sucker for catharsis, so it would be very interesting if the writers do decide to take this route.

Also, as a note, please do not take this as me dunking on this pairing. This is just my personal opinion and analysis and I completely understand if you disagree!

--

Then, of course, we have Option B: Taigen.

Between Akemi and Mizu, Taigen is a bit of a free-floater here, because Season 1 leaves off at a point where his arc is very ambiguous as to where it's headed. While Akemi climbs for greatness and Mizu goes on a journey across the ocean to (presumably) discover more about her heritage, we have little clues about where Taigen is headed. And if I'm being honest, I'm sure he has no idea either! He still hasn't reclaimed his honour, so he would be unable to rejoin the Shindo Dojo; he's been rejected by Akemi; and while he showed loyalty to the shogun, the shogun is now dead, and all the shogun's men who had witnessed his "humiliating" death were left to die by Lady Itoh, who is now pulling the strings within the palace.

Therefore, Taigen has very few options here.

And when considering his role in the story is as Mizu's begrudging ally, his arc will undoubtedly be focused on unlearning his xenophobia and misogyny, the latter of which we have not seen yet, but is surely present. Now, whether he will do this in Mizu's presence or absence will be unknown until we see Season 2. Following the Season 1 finale, he might return to Kohama and wait for Mizu there as he learns humility and remorse over his past cruelty; or maybe he will follow Mizu to London, and the two of them will continue to butt heads until he finally admits to himself that he cares for Mizu more than he would like to admit. There is no room for doubt that his growing feelings for Mizu are more-than-platonic, because we all saw him get turned on by sparring with her in Ep7 lol. Thus, regardless of the exact choice he makes, I am sure that his overall arc will be focused on redeeming his character.

Now, when it comes go redeeming him, I know there are many who simply don't want him redeemed because he was such a jerk to Mizu, and while yes I agree he was awful, I do believe there is also nuance to his character.

Previously I've discussed in great detail the colour and elemental symbolism with Mizu and Akemi, but have yet to touch on how they relate to Taigen. So, let's talk about that for a second.

While Akemi is red and Mizu is blue, Taigen is green.

Green is a complementary colour to Akemi's red. Complementary colours are directly opposite each other in the colour wheel; when mixed, they neutralise each other, but when put side-by-side, they form a pleasing and impactful contrast that boosts the brightness and prominence of both colours. This mirrors Taigen and Akemi's relationship. They are an "ideal" pair because they complement each other very well, and bring out each other's most prominent traits. Mizu's comment about their similar "brattiness" comes to mind here.

Green is also an analogous colour with Mizu's blue. These colours are sitting right next to each other on the colour wheel; their natural similarity makes it easy for them to form a cohesive overall appearance, but using both in equal amounts will make a design overwhelming and too busy. Thus, the best way to use analogous colours is to make one the dominant colour, while the other will serve as an accent. I feel this also speaks to the dynamic in Taigen and Mizu's relationship. They came from the space place, both from nothing; they're both strong fighters who love the sport, and work well together when fighting side-by-side; however, they butt heads too easily, mirroring how analogous colours can be too overwhelming when used in equal amounts. Thus, to work together in harmony, one has to be the dominant colour, while the other serves as the accent. In this case, the dominant force would be Mizu, as she is the protagonist of the story, while the accent would be Taigen.

By fulfilling this role as an "accent" to Mizu, Taigen's character would easily be slotted in as a the love interest. This is in contrast with a Mizu/Akemi relationship, whereby Akemi is Mizu's foil before she is Mizu's love interest. This is because, by being a love interest, a character usually takes a backseat in the story, serving the plot and the themes by playing a purely supportive role, and this is not possible in Akemi's case because her character exists to parallel and contrast Mizu (red and blue), and not to support her.

It is possible to serve as a supporting love interest in Taigen's case however. And this is because he, unlike the other characters, does not currently have a definitive place within the story. He initially served the plot as an antagonistic force, but now as he is slowly unlearning his prejudices and becoming a better person, he can no longer serve the story by acting purely as a rival.

Instead, he will serve the story by literally supporting Mizu. And this relates to Taigen being earth, which is steady, firm and reliable, unwavering in loyalty and principles, hardworking and rooted in stability, which is seen in Taigen's staunch and inflexible obedience to the traditions and rules of society. These traits are what make him a perfect samurai, but not a good man. However, unlike most people in their world, Taigen is still capable of change and redemption, which is why Mizu says that he has the potential to be great. Not great by way of power or glory, but great in character. Already, he is honourable to a fault, and does not betray Mizu even after she technically robbed him of everything he was striving towards. And when he was shot by an arrow in the chasm, he did not hesitate a second to tell Mizu to use him as a human shield and save herself.

The trigger for his redemption is Mizu. If she had never beat him in that duel, Taigen would live on to become a man like Akemi's father. Cruel, power-hungry, controlling, conservative. But through Mizu, Taigen's sharp edges are ground down, much like water that wears down the stones in a river.

Where Mizu and Akemi's possible love story would be a clash of wills, full of passion and even heartbreak, a possible love story between Mizu and Taigen would be the wearing down of souls. Mizu would make Taigen a better person, and in turn Taigen would dedicate his full respect and support to Mizu as his equal, thus getting her to slowly open up and love herself. Already, Taigen has grown enough to admit (begrudgingly, and in his own Taigen way) that Mizu is better than him; though, clearly, he still has a long way to go, as he still calls Mizu a demon shortly after that.

But basically, Taigen is a very simple man (his main goal now is "to be happy"), and Mizu has great depths that he cannot yet fathom. For this love story to work, it has to begin with Taigen changing for the better. If he succeeds in that, and is able to accept Mizu for all her complexities, I believe that they will make a formidable pair. And though he'd likely still throw a jab or snarky remark at Mizu every now and then, I think he'd come tl wholeheartedly admire Mizu as a brilliant swordsman and a kind soul. Thus, should things work out and this be endgame, Taigen would be able to provide Mizu with what Mikio could not: an idyllic life that is not built on a lie, but mutual trust, respect, admiration, and equality.

Or hey, maybe they could both make their own dojo together! I don't know.

(Edit: This post by @rinandsketches does a great job at delving into Taigen's character and a potential Mizu/Taigen relationship if you'd like to read more about this angle!)

--

Now, as I move on from Taigen, there are a couple more options on how to resolve this love triangle and that includes Option C: Ringo.

In this option, Mizu does not have an endgame romance with either Akemi or Taigen. In this route, she finds peace and love through friendship, solidarity, and a found family between herself, Ringo and Master Eiji—a bunch of outcasts in society who make a strong trifecta of sword-makers.

Also, as an aside while I'm talking about Ringo, I'd like to point out that I believe his element is air and his colour is a neutral grey; he is talkative, easy-going, wise, curious, light on his feet (stealthy) and free-spirited, which are all traits linked to air, and traits that complement Mizu nicely, as he is capable of getting Mizu to open up and trust others again, while Mizu helps him reach his true potential for greatness.

--

And finally, there's Option D: Polyamory.

This is basically an "all of the above" option, in which everyone wins and it's a super duper happy ending. It would also be awesome to get some polyamorous representation, and seeing the dynamic between Akemi/Mizu/Taigen play out would be very entertaining and refreshing. So, you never know, this just might be the true endgame!

--

AAAAND with that, I close my extremely long analysis of what is essentially Mizu's love life. Whatever the final outcome of this love triangle though, I just hope it will be well-written and satisfying to all the characters' respective arcs. (Also I just want Mizu to be HAPPY goddamn it because she deserves the world and her coochie eaten out)

Now, I highly doubt anyone will read any of this (especially not until the end!) but that's fine. I just have so many thoughts and feelings about this show and I just needed to get this out of my system lol! But if by some miracle you did read this far, I wholeheartedly welcome any sharing of thoughts and ideas because man am I obsessed with this show! But of course, if we have an opposing opinions, please be respectful when letting me know; I am very open to friendly discussions.

[chronologically-challenged]

Everything around the Isabeau confession is so well written.

Firstly, the set up. When you're playing the game, killing the King is just a vague goal. A natural one! But other than the vague desire to hit an end point, there isn't really a strong emotional reason compelling the player forward. But Isabeau!!! Telling you he will tell you something once you beat the King!!! That!!! That is a tangible goal to lean onto especially over time as you get more and more endeared to the whole party. Even if you're not aware of it being a love confession, getting to Isabeau to hear what he has to say is still a compelling reason get to the end.

And if you're Aware of how these things go for stories like these, you may also say, "Well shit, we're not gonna get a confession until the end of the game, are we?"

Second, the interruptions. The order of the interruptions are so quietly brilliant. I can't get over it. Bonnie interrupting first is such an excellent choice. You know Bonnie!!! Bonnie has been jumping into conversations all game so far. So interrupting Isabeau doesn't seem all that out of place. Then Mirabelle interrupts next time. And you go, okay. Thats two of three.... but surely Odile won't interrupt, right? By this point, the player has seen Odile tease Isabeau multiple times about him liking Siffrin, so surely she won't interrupt... right? Right??? But she does. And despite it being obvious that she would, the player is still left in tension if she would.

The way things are set up, there's a plausible deniability each time. You don't expect the first interruption, Bonnie naturally would interrupt so Mirabelle could be surprising, and Odile interrupting feels so outside of what she'd usually do that you don't expect it.

And yet!!!! Saying all this!!! This is very tropey!!! Very time loop tropey!!! Stopping people from messing things up so you can have your moment is quintessential time loop tropes and yet!!! It doesn't feel tropey due to good characterization and story structure.

(And if you do realize that all three are going to interrupt from the beginning, you get a wave of DREAD when you realize that you're going to be here. Again and again. That you have to beat the King again and again and again... and as you watch the confession fizzle, seeing the Head Housemaiden there, despite Siffrin's happy demeanor, you can't help but feel it all about to crash down before it even happens. In that moment you have a taste of what the game is about to put you through).

Third, the family quests. I have two points here. Firstly, "yelling at your screen like it's a telenovela" is the best summary of my feelings on the stargazing scene. Even if you KNOW Isabeau isn't going to confess until the end of the game bc that's how these things go, it won't happen until the end because that's how good writing works, You Still Want It To Happen. So Badly. You want Isabeau to confess to Siffrin!!! You want that tension to release!!! But you have to watch and see that perfect confession slip away every time and it hurts to watch, especially if you do the quests multiple times. Second point is the fact you can't continue the Isabeau confessions on a family run kills me. It's so good. Like you're never going to get everything in one go no matter what you do so you have to pick and choose. And!!! That plays into Siffrin feeling like he's manipulating Isabeau!!!

Of course Siffrin isn't actually manipulating Isabeau but when you're so aware of what you're doing and how events could have played out, it's difficult not to see a situation where you changed the outcome as manipulation. Which... of course leads us to Siffrin's feelings at the end of trying to stop the interruptions...

Fourth, Isabeau stopping himself when confessing. It hurts so good. Idk just. Denying the player that payoff. Denying Siffrin that moment of confession. Because really Siffrin didn't learn the lesson needed to actually get this moment of vulnerability between the two of them. It's such a genius choice that brings that awful dread and hopelessness. And in the end, I suppose all five of them stop the confession from happening because from that point onward, Siffrin interrupts the confession every time. Siffrin doing everything they can to get what they want only to accept that they're never going to get it. Never CAN get this because he doesn't deserve it.

Finally, bad touch. People have talked about bad touch enough, so I dont need to go too far with it. I will say I appreciate how much it doubles down on subverting the "romancing someone in a time loop" narrative. These loops while in some ways made Siffrin more perceptive, they're also PAINFUL. They mess with his head, lean towards making worse and worse decisions, and a large part of that is his role in his family's lives. Especially with Isabeau!!! So yeah. Of course the surprise kiss doesn't go well. Especially with the context that Isabeau doesn't think Siffrin wants to be touched let alone kissed? It ends in disaster just like most of the sidequests do.

In general, the ongoing Isabeau plot is very well implemented. The seeds for it are planted immediately, and it takes a lot of commitment to see all the parts of it. As a result, unless you try to do a ton of runs in act 3 immediately just to get the confession, it's a very slow burn part of the story, doing well to parallel Siffrin's mental state and the growing hopelessness in the loops. It grounds the story in a tangible goal from the beginning and in many ways, once you get to the end of it, get to bad touch, you're left bereft. Something... lost after you spent so much time being aware of Isabeau. That tangible feeling that you're slowly running out of things to do, of ways to spend these two days.

(And of course, then you have act 6 confession, and the pure relief, the joy in finally having the confession after it being set up from act 1. Siffrin doesn't need to reciprocate for it to have its impact. Something has CHANGED they have changed. And finally FINALLY after all this time, the moment can happen. And it's beautiful).

[cepheusgalaxy]

look guys i very strongly disagree with the "trans men hold privilege over trans women" point of view and i'm finally able to articulate why:

I think trans men don't hold privilege over trans women, because privilege is kind of a consistent thing.

Like, bear with me: I'm an abled person. I have privilege in relation to disabled people. Because, if me and a disabled person are in a Situation where this distinction is relevant in some way...I'm literally never gonna come out with the worst hand. Never. No matter what the situation is. This is a consistent fact.

Now, when we talk about different transgender identities, I think this gets more shady, because the "who has privilege in relation to who" is a relative statement. One example I saw of people explaining why in their view trans man have privilege over trans women is kind of like this: Imagine there are two passing and stealth trans people, a trans man and a trans woman, in a workplace. Then, it comes a coworker, being blatanly misogynist. Regardless of their views on trans people, in this situation, the trans woman is gonna get the worst of it, in relation to the trans man, because he will be viewed as a man.

It makes sense, and I don't think this hypothetical situation is inaccurate or anything, but I'd also like to point out why it doesn't work as a good point to why transmascs have privilege over transfems. Imagine we change about any variable in this situation. Let's say the trans woman is closeted as a guy, and the trans man is openly transgender. The misogynist coworker then would very much target the trans man in their points, especially if they are particularly transphobic. Now imagine both of them are out and openly trans, with the bonus that now both the man and the woman are gnc. Depending on other specifics, the misoginyst coworker might be bigoted to just one or both of them.

Like, do you see? In different situations, the different trans people have the worst hand. So that doesn't mean that because of the first case, trans men have it generally better. Because there are many kinds of trans men, and simply not all of them have privilege over trans women. In some cases, they might even have it worse precisely because they are trans man. So the privilege the trans man in the first example has is not a consistent thing over trans man! Maybe it's common, I don't know, but when we compare it with someone who has real privilege, like me, an abled person, I ain't ever encounter myself in a situation where I'm having it worse because I am abled in comparison to someone who is disabled.

That's why I think trans woman and trans men simply don't hold privilege over one another, simply because it varies. It depends on who the trans men and women are, it depends in what situation they are in, it depends on the people around them, it depends of so much!!! So saying that trans men have privilege over trans women sounds simply surreal!

I think that, also, the different patterns of the situations in which trans woman have it worse are important to be discussed, and that's why we have the word Transmisoginy, to discuss these issues pertinent to the nuanced oppression trans woman face (and on a similar note, that's why it's also important to have fucking words like Transmisogynoir, because a black trans woman's Situations will be different from a white trans woman's Situations and it's important to to recognize that). THAT's why I also think that we need words like Exorsexism and Transandrophobia, to identify the patterns of situations where trans men have it bad precisely because they are trans men and not something else or because nonbinary people have it bad precisely because they are nonbinary.

SO, in short, my opinion on the "trans man have it generally better than trans woman and that's why they have privilege" debate is that trans man don't generally have it better than trans woman, but some trans man in specific situations have it significantly better than trans woman and that in other situations trans woman have it significantly better than trans man and that is basically a case-to-case scenario and that's also why we need the specific words for different shapes and faces of transphobia to better understand these cases and why x happens with y at z situation. Thank you for coming to my TED Talk.

[samarecharm]

People who really like shuake also seem to write themselves into a corner wrt Akechi and his relationship to Akiras team. Contrary to popular belief, the team, including Haru, does not hate Akechi. At worst, they tolerate him and deal with his attitude. Hes a good teammate and respectable fighter and the team recognizes that at the end of the day, he was a teenager who was manipulated and abused by a man who saw him as disposable. Just about every thief understands this intimately. They have the same mindset wrt adults who take advantage of the people beneath them. Under different circumstances they wouldve been friends. And if u approach it from that angle, it becomes less about Akechi being the sole person who ‘gets’ Akira, and more about the thieves being the only people in the world who ‘get’ Akechi.

When you expand your thoughts to include the thieves as members of his Team and not roadblocks that get in the way of your ideal shipping dynamic, you allow urself to give Akechi and Akira more depth and nuance to their own relationship.

Akira and Akechi are wildcards; both of them struggle with the face they choose to display to the world. Its the first time Akira interacts with someone who is, at a literal, technical level, his ‘equal’. But Akechi is one of many firsts for Akira yeah? Every thief has their bond with Akira thats completely unique and personal. Akechi will never be the person who witnesses Akiras Awakening, hes never the person who watches Akira have his restless nights alone in the attic, and hes never the person who realizes in real time that the teenager hes housing is just Some Kid, not the delinquent hes been warned about. Hes not Ann or Yusuke, or any of the thieves; he doesnt have the time or experience that they have with Akira, and I think its interesting to explore that part of their relationship, shippy or not.

Akechi is someone who is incredibly lonely and self depreciating despite his cockiness and attitude. He has no positive bonds to speak of save for his connection with Sae. To have him see a team that works together and cares for each other, how do you think he would feel? Out of place? Inferior in some way? Angry about how hes been alone for so long in this single minded quest for revenge? Wouldnt that be a point of struggle between the two of them? I think what makes shuake good for me is knowing that Akechi needs alot of time to heal, and the thieves would want to help with that process. They do it bc they care, bc Akira cares, and bc they trust Akiras opinion (and he trusts theirs in return); if Akira feels like Akechi is someone who can be trusted Now after everything thats happened, then the thieves would do their best to help. And how would Akechi feel about that? Angry about the show of pity? That even now, he has no real say in what happens to him? Or begrudgingly grateful that they are cordial with him? Because they do care, he KNOWS they care, they care TOO MUCH actually; but the one thing he values over brawn and wits is honesty- fighting for what you believe in without having to use soft words to justify it.

[entering--hyperspace]

It would make sense Charr would have public baths right? Especially if they were put near gymnasiums both for cleansing and lounging 🤔

[os-eclipses-tamen-son-yuri]

A thing I really enjoy about RGU is how when producing the anime the crew was aware of the budget and limits that often come with TV shows at that time and created their own cinematographic language based on them.

The roses, the frames, the transformation sequences... Not only were they able to use them smartly but also make them reinforce the core themes of the show; that of repetition, circularity, a repeated movement, a revolution.

I personally greatly appreciate when narrative media is -meta- not in a direct way but in its semiotics. Utena creates this language based on repetition and is constantly seen subverting it, adding new "rules".

Episode 33 is cinematographicaly one of the episodes I find most interesting because they literally put the turning point of the story (I personally think of this episode as a turning point because we see Utena finally with her "prince"; except that, instead of the happy "ending" one would expect in traditional stories, it is here where everything comes into place and the grim reality is made perfectly aware. Were Utena a traditional princess story, episode 33 would mark a happy conclusion. Instead it is only the beggining of what lies inside the box and once opened it cannot be closed again) in an episode that is all about repetition. A recap.

Also, for as much as many people gloss over the Black Rose Arc I very much think it crucial to establish all of RGU's symbols. Because Utena doesn't tell us things, it wants us to learn them by noticing the patterns, by seeing the repetitions and where they are being broken, so that we ask ourselves why. The elevator sequence is one of such cases where we learn more of the characterization of these characters by seeing how they act inside of it. It's even a basic screenplay exercise: "how would your characters act trapped inside an elevator".

Mikage itself is a shadow, not just of himself but of Utena as well, an omen forever frozen in time.

Because that's another theme, shadows. And how in a way they are echoes, simplified and distorted repetitions of oneself.

And while shadows are cast in contrast, projections are cast forward. While one is a memory of something, projections are the reproduced illusion of it.

Utena works with parallels and repetitions and understanding their semantics and syntax allows us, the viewers, even subconsciously to feel their weight.

[autistickaitovocaloid]

Birthday boy at the bottom of an ancient ocean

[olasketches]

so because we have only three chapters left, I’ve decided that I’m going to wait for the official release instead of going through the leaks as I’ve been doing for… almost the past 2 years. I don’t want the leaks and the fandom discourse to ruin my last experience with jjk as a still ongoing manga… plus I thought it would be more fun and enjoyable this way... more special ig (I’m being so sappy ik) wish me luck guys!!

[feukt-42]

Elden ring + SotE lore rambles part 2 electric boogaloo

Spoilers ahead

If you want, my first post was here, its not necessary to read it to understand but it might also interest you.

Alright, so ive been playing the dlc and thinking a lot about Miquella, Marika, godhood and everything. And in my first post, I speculated that the reason Miquella turns out to be the "bad guy" (big quotation marks bc theres not really an actual "good" here cmon guys its fromsoft were talking about) was because the path to godhood required him to fundamentally change as a person.

We do see how much change is required here, Miquella abandons huge parts of himself, both physical and emotional. But the part that interests me here is St Trina specifically. St Trina is a large part of who Miquella once was, shorn away and made into an entirely new person, cast away in Miquella's post to godhood.

Now that got me thinking, bc doesnt that sound familiar to you ? A young empyrean, casting away part of themselves to become a god, and that part becoming an entirely new person of the opposite gender ? Now where have i heard that before...

Oh hi Radagon, what are you doing here ?

Do you see where i'm going here ? The whole Radagon is Marika thing has been a topic of debate for a while now, and i dont want to toot my own horn here but i might have cracked the code.

I think Marika split Radagon from herself on her own path to godhood just as Miquella did with St Trina.

It works pretty well with every aspect of the lore so far. It explains the how in the Radagon is Marika thing, St Trina is somewhat antagonistic towards Miquella just as Radagon and Marika were somewhat antagonistic towards each other, I dont think either Radagon or St Trina are empyreans despite their other halves being so, etc etc. And we do see that St Trina is a whole ass different person which implies Radagon probably was as well.

Anyways damn, like mother like son amirite ?