#also like. metaphors for depression. it’s interesting

[vidavalor]

The Devil Takes The Hindmost

The Big Damn Post I've promised for ages on all the stuff suggesting that what we're watching in S2 is Aziraphale's mental health crisis leading to his fall...

...with a focus on a religious concept that intersects with secular ideas about mental health-- The Devil Takes The Hindmost-- that was unintentionally mentioned by Mrs. Sandwich and might be what's going on in The Final 15.

Plus, a look at the possible purpose of The Whickber Street Shopkeepers and Traders Association in the story and a dive into the symbolic role in Aziraphale's story played by Muriel... the most adorable Angel of Death anyone's ever seen.

@ao3cassandraic @komorezuki @kayleefansposts @masnadies -- This is basically what I was starting to talk about the other night, if you're interested. @ochre-sunflower -- the meta I mentioned.

TWs: suicide; depression; PTSD; negative self-thoughts... It's optimistic by the end but it's a look at some darker stuff in the story so please take care.

In GO S2, we have a lot of stressors building and overlapping for Aziraphale, with each episode adding new ones, all boiling hotter and hotter until we reach the The Meeting Ball. There, everything stops for the arrival of Shax at the door.

When she turns up, all the other plots cease to be relevant in the moment because the whole story's stakes upon her arrival now come down to a single, pivotal question:

Are these demons going to get into the bookshop?

On the surface, in our plot, Shax, Eric and the smallest number of completely ineffectual demons that a redemptive Furfur could get away with sending without looking like a traitor 😉 are interrupting Aziraphale having turned his first pass at hosting the monthly meeting of The Whickber Street Shopkeepers & Traders Association into a party.

Why is he doing that? For a dizzying number of reasons. So he can try to protect Gabriel by getting Maggie and Nina together and try to be part of his community by using the party to get Maggie and Nina together which is also so he can protect Gabriel... but, let's be real, it's really all so he can dance with Crowley...

Our heads are spinning as much as Aziraphale's is by this point and it's exhausting just to try to recap everything he's dealing with by The Meeting Ball... which is why it probably isn't surprising that all of that story just stops when the brick goes through the window and Shax is at the door. Because, symbolically...

...this is an anxiety attack.

Shax and the demons are Aziraphale's inner demons and they're trying to force their way past the threshold to take control of the bookshop the way that darkness can consume a person...

...as they're trying to take control of the bookshop that is what, symbolically?

Aziraphale, yes.

Aziraphale and Crowley. (And, as we looked at recently, also Maggie, on account of her family's history with it.)

Why this bookshop attack that is a metaphorical anxiety attack at this point in the story?

Because a lot of what Aziraphale wants out of life was happening before the demons that represent his inner demons showed up at the party.

For the first time ever, Aziraphale was no longer compartmentalizing his worlds and hiding parts of his life from people. He had Maggie and Gabriel under the same roof-- his human and angel families together. He had neighbors over and felt brave enough to call himself one of them by hosting the meeting. He was impacting the society around him in a big way by unifying Whickber Street's black market with its "legitimate" front by inviting Mrs. Sandwich to join the group. He was helping Maggie and Nina fall in love.

Most importantly, there was what the whole thing was really for: having all that happen with Crowley there, too, and everyone knowing they are together. Being able to dance with him and be a couple openly like everyone else. This Jane Austen cotillion coming out ball for ladies Maggie and Nina is really a coming out party of sorts for Crowley and Aziraphale. This is like the Christmas party of Aziraphale's dreams here. The one he's never, ever been able to have.

It's a wonderful thing when people who are in a great deal of emotional pain decide they've just had enough and want to break free of their misery and allow themselves to work towards being happier.

It's just a very delicate period because it can go either way, in a hurry. One minute a person can be thinking they're on top of the world and starting to live the life they've been dreaming of but the next minute find themselves freefalling emotionally. This is especially true of people who feel they have to present as cheerful and optimistic for everyone else and who hide their pain behind a smile.

They are some of the most at risk of their lives becoming like the Salinger short story about trauma and suicide referenced in S2-- "A Perfect Day for Bananafish"-- in which a man suffering from PTSD is believed to be fine by himself and those around him, has a nice day at the sea and chats with a symbolic daughter-like character and then, unceremoniously, goes to his hotel room and shoots himself dead.

As Maggie shows us during The Meeting Ball when she parallels Aziraphale's struggle, people get tired of being afraid and want to live-- want Nina, who is coffee, which is freedom-- but they can overdo it, if they're not careful, and wind up taking steps backwards.

Sometimes, the thrill of feeling like they might be on the edge of something good can cause someone to go too far, too fast, and, without the right support, they can find themselves going faster than a rollercoaster-- and right off a cliff as a result.

These people might look at their inner demons and think they're fine, now, actually, and that the darkness doesn't frighten them at all and they're all over their negative stuff-- all good now. No problems here.

Problem is that, sometimes, in the process, they might realize they're lying to themselves when they suddenly tell those inner demons that they can come in and say all that pathetic shit to their face... before they're really ready for that. Maggie, paralleling Aziraphale here, shows that with Shax during the bookshop attack. Not the best way to deal with inner demons, that.

And one person's inner demons can be an unintentional trigger for others, which is one of the things that started off Aziraphale's mental health crisis boiling up into a breakdown earlier in the season.

Aziraphale was already having a terrible week and then he projected his own issues all over his adopted goddaughter when she was having a moment and wound up accidentally saying something about himself that she took to mean about her and that came out sounding incredibly hurtful in a way that Aziraphale didn't mean for it to be. He then sought to make it up to her by finding a way to make her romantic dreams come true but was, all the while, silently berating himself for not having handled it flawlessly in the first place.

And when that got mixed in with trying to *checks Aziraphale's S2 list*... Jesus...

...recover from PTSD, manage all the anxiety and depression that comes along with it, deal with the fallout of his relationships with his abusive family, save his losing it brother from a religious cult/fascist regime trying to kill him and figure out why he's lost his memory, assuage his guilt over the memory-wiped angel that he feels he failed to save that showed up at the door, figure out wtf to do with the bookshop/embassy he's never wanted to run but that has become the M-25 that he's built and is now stuck in and that just reminds him that he hasn't any family to pass it onto, and, most importantly?

Tell his partner that he would like to live openly with him in the a little cottage by the sea in the South Downs...

I mean, by the time Mr. Vacuum showed up and suggested that Aziraphale add to the list that this week also be the first time he's ever hosted the monthly meeting of the business organization of the street he's basically founded but doesn't let himself really feel like he belongs to?

Sure, Mr. Carpet. Sure. Bring it on. Why not, at this point?

But Mr. Vacuum's idea actually caused Aziraphale to think he had the perfect solution-- continue to do what he was doing all week and combine this shit together! Protect Gabriel by tying him to Maggie and Nina and solve Maggie and Nina through the Whickber Street meeting and, well, if he's going to make it romantic for Maggie and Nina, well...

...maybe this is how Aziraphale can solve his biggest problem-- finding more of a way to just be forever near that one, particular person who makes everything okay.

So, by the time we get to The Meeting Ball? Aziraphale is pretty much losing his damn mind.

The heebie jeebies that Crowley gets in the street? It's not the low-rent demons. He knows what they feel like. He can't identify it but the thing that is really, really wrong is Aziraphale himself, in a dark reverse of Aziraphale feeling Crowley's love in S1.

Thousands of years of feeling a lack of enough control over his life have basically led Aziraphale to snap. Parts of it are very funny. Gabriel dressed up as Liberace circling with temptation trays of vol-au-vents is as hilarious as it is loony. Miracling the room so that everyone speaks like it's the 19th century causes a lot of humorous scenes, especially with Mrs. Sandwich... but is also a horror show. Justine loses her ability to speak English well and others have trouble understanding one another. It's like a zanier, more comedic version of Aziraphale's parallel antichrist, Adam, taking over The Them and deciding how, when, and if at all, they could speak.

It's a person in Aziraphale, who is normally very kind to others but not really to themselves, whose pain and anger have built within them to a breaking point and caused them to take that out on others and become, for a moment, almost the exact kind of person from whom he tries to protect others.

During this part of the season, Mrs. Cheng and Mrs. Sandwich have some dialogue that I think might be the whole rest of the season's plot in a nutshell. It happens here:

Mrs. Sandwich being unaware that "seamstress" is a 19th century-era euphemism for a sex worker means that she doesn't realize that she actually is, on one level, telling Mrs. Cheng what she does for a living. Her frustration is coming from the fact that Mrs. Cheng also doesn't know this euphemism and so thinks Mrs. Sandwich is a literal seamstress-- someone who sews and mends clothes-- and not a figurative/euphemistic one. While that and the rest of this scene is worth a whole deep dive in and of itself, it's not the bit I want to focus on here. That bit is what Mrs. Sandwich says as she gets increasingly upset.

Keep in mind as we look at this that the person who is the literal seamstress in this scene is not Mrs. Sandwich. It's the person whose magic is inhibiting her speech-- so, who is speaking, in a roundabout way, through her-- and who is the one changing everyone's outfits as they come through the door.

The seamstress really of note here is Aziraphale.

In the midst of her frustration, Mrs. Sandwich is trying to curse in 2023 terms but they are coming out in 19th century-era equivalents and this means that she says the following things when cursing:

She insists that she's not a godforsaken (abandoned by God; left to Satan) seamstress, that she's not a benighted (taken by darkness) seamstress, and, finally... while probably trying to say "what the hell"... winds up saying the whole season's plot in response to Mrs. Cheng asking her the also rather meta question of "what, in short" the problem is in that moment.

What, in short, is the plot?, asks Mrs. Cheng, on a meta level.

What the fuck is going on in this story?

To which Mrs. Sandwich replies:

"The Devil take it."

The curse "The Devil take it"-- meaning you give so little about something or someone that Satan can have it-- comes from a religious teaching (that works very well from a secular perspective, too) known as "The Devil Takes the Hindmost". It's this teaching that I think is extremely important to S2 and is arguably around what the story is structured.

This teaching argues that people who are excessively self-sacrificing are putting themselves at risk of being taken by darkness/Satan because of the cumulative effects of the anger, anxiety and depression that comes of denying that they are people with wants and needs of their own for too long.

It's about the people who go beyond kindness. It's about those who don't see themselves as part of the pack of people and think that the world isn't for them. They believe that their needs and wants don't matter as much as the need to prove to themselves that they aren't a horrible person-- which they do, in their minds, by denying themselves a full life of their own.

Sound familiar? It should. It's Aziraphale to a T.

Why are these people in "The Hindmost" for Satan to take when they're not terrible people?

Because they fall to the back of the pack of humanity.

Because they are left open to the darkness because they do not allow themselves to have what they work so hard to help others make for themselves.

The pain of that eventually renders them as bad off emotionally as those they counsel, or worse. The more they deny themselves, the more that pain builds and it can push them down dark paths.

They're in "The Hindmost" not because anyone left them behind, exactly, but because they've shut out the people around them.

They aren't letting people in.

It's about here that we can bring up that Good Omens is built around doors and all of S2 is basically about getting in the bookshop that is Aziraphale. It's here that we can mention Shax-- the darkness-- repeating demands to Aziraphale, to Crowley, to Beez to be let in. It's here we can mention The Final 15 and the world's most depressing kiss-- the literal embodiment of "let me in" as a theme-- and the horribleness that followed.

So, if S2 is The Devil Takes the Hindmost and he's headed Aziraphale's way the whole season with a large oat milk latte with a hefty jigger or dash or whatever of almond syrup and the job (the Job...) offer from Hell to tempt him, then we're watching (for now) the last days of the angel Aziraphale because a fall is a form of death.

It doesn't mean it's the end entirely because, as Gabriel discovered, everything goes down but flies? They go up.

Flies are the product of letting someone in and not shutting out the love and care you need. That can only be done through accepting, at least for a little while, that you are allowed to be a person and deserve to be cared for the way you care for others. If a person does that, they can fall but they'll have what they need to get back up and to help them stave off future falls.

Letting people in and talking to people about how you feel-- figuratively: feeding your fellow ducks your frozen peas and listening to theirs--- is how we all defeat the darkness together and make it so that Satan never shows up at any of our doors.

Yes, it is, Crowley. Would have been helpful if you had mentioned any of your own Hell-and-Book-of-Life frozen peas at all to anyone but the audience all S2 but this meta isn't really directly about you so you get a pass for now 😂 Back to your partner...

So, this The Devil Takes The Hindmost stuff? Almost immediately after Mrs. Sandwich says it, the story begins to have the characters literally act it out.

Shax is The Devil in that she's a devout diabolical minister of Satan so she's representing Satan at the door.

First up? Gabriel.

Gabriel mirrors Aziraphale's excessive self-sacrificing. It doesn't matter to him that he just met most of the people in the bookshop an hour or something ago. If that angry mob outside wants him for who fucking knows what reason as this poor bastard can't remember anything 😂 then Gabriel is happy to throw himself on his sword for them.

In reality, no one in the shop should have let Gabriel go out there alone. The whole point of "The Devil Takes The Hindmost" is that if everyone looks after each other the best that they can?

There won't *be* any hindmost.

There will just a pack of people who are all keeping each other safe from the darkness.

Jim is ultimately fine to tussle with Shax, though, because that is the part of the teaching that he exemplifies.

Gabriel has been protected. He's not completely fine-- who ever is, really?-- and he's still not really over this current bout of depression but he's safe from Satan and the darkness.

He's safe because he has Beez, Aziraphale, Crowley, and his new friends on Whickber Street.

Gabriel has a pack and is allowing himself to be part of it. As such?

The Devil can't touch him. Shax can't recognize him and sends him back inside. Gabriel is not in The Hindmost because he's been hidden, safely, by his group.

Gabriel goes back to the middle of the pack where he spends the rest of the attack, helping Aziraphale fight off his metaphorical inner demons by way of aiding Maggie and Nina to save the bookshop.

It's the next to the door, though, who is not so lucky, and gets to be the first example of The Hindmost.

From the way, way back of the pack that has formed of the humans, Gabriel, Crowley and Aziraphale in the middle of the bookshop pushes forward our beloved Mr. Brown of Brown's World of Carpets.

The President of The Whickber Street Shopkeepers and Traders Association-- the Gabriel of the humans-- feels it's his job to sort out this mess... only he has even less clue as to what's going on than Gabriel did... and he's much, much more vulnerable.

Mr. Brown tells Shax that he doesn't know why she is "interfering" with the people in the shop, unknowingly using the word used in religious circles to talk about The Devil coming after people. Mr. Brown is a guy at real risk here. Going into the circle and getting discorporated if you're not prepared? Facing The Devil at the door without preparation is the same, terrible thing. Mr. Carpet has no idea wtf he's up against here and his motivations for going to the door are the heart of The Devil Takes The Hindmost.

What does our lionhearted Mr. Brown do for a living? What is he, symbolically?

He sells carpets, right? What are carpets?

Well, they're rugs, for one thing. They're found in every business and home in existence. They are necessary for living and also an example of having comfort in your life. (They're also walked on and taken for granted, like our Mr. Brown is quite a bit.) You pick out carpets on your own or with the people with whom you are making a life-- and they tend to symbolize that life.

We see, in 2.06, the shot highlighting the lotus flower carpet that Crowley and Aziraphale have in the bookshop, that they use to cover up the Heavenly circle in the floor-- the one they put Gabriel on to do the protection miracle. It symbolizes the life Crowley and Aziraphale have made together to which they've now let Gabriel in.

What else are carpets? In Good Omens' use of language, they're also cars and pets. Rugs, cars and pets... three of the most common things owned by people living a life on Earth, with the word own itself in Mr. Brown's name.

Brown's *World* of *Carpets*... this dude is, symbolically, everyone.

He's life itself.

That's why it's Mr. Brown who gets taken by the demons and, later, saved by Crowley and left in the care of Mutt, who is human magic-- the character who symbolizes the wonder and mystery and joys of being alive.

Mr. Brown-- an extremely common name for a man whose pain is extremely common. He's lonely. He's overlooked. He's the president of this group of apostrophe and Christmas lights-obsessed, irritating and wonderful, typical, human people because he's unflappable and no one else wants to do it. No one else will do all the boring work and hear all the complaints the way he will and he's made that his role and he hates it. In that way, he's the Beez of Whickber Street-- as desperate for appreciation as Aziraphale. He's Burbage and Shakespeare, wanting an audience that isn't sleeping, drunk, or flirting their way through Hamlet. He's Crowley and Aziraphale:

Mmm, good job... Oh, do you really think so?

Mr. Brown of Brown's World of Carpets is a professional carpet salesman. He spends his days selling everyone what they need to make lives of their own but his own life is far lonelier and smaller than he would like it to be. He doesn't have a partner or true friends, just the people of the group into which he's struggled to really fit, despite running it. He's nerdy and awkward. His over-the-top, affected manner of speaking belies the fact that he feels like he's jiggery pokery, through and through. If I took Mr. Brown's name and profession out of this paragraph, I could be describing Aziraphale just as easily, but for the fact that Aziraphale does have Crowley, if not in the open way he wishes for. Because of that, Mr. Brown being taken by The Devil is also foreshadowing the end of S2 for Aziraphale.

Like most, Mr. Vacuum has got some surprising resolve-- some unexpected moxie-- but, fundamentally, this man has spent S2 showing that he is one more papercut away from a nervous breakdown.

So, when he tries to prove his worth to the group by putting himself at risk, it's excessively self-sacrificing. While there are some titters of alarm and warnings to him not to leave the pack, the one who objects the most is Crowley. Mr. Brown, though, doesn't let Crowley in. He doesn't recognize him because it's partially to look good in front of Aziraphale that Mr. Brown has jumped to the front of the pack. It's his loneliness, his lack of his own life, his need to be part of the group and appreciated. His need to be the hero.

Only, Mr. Vacuum is what happens when you aren't prepared for the darkness and you haven't let anyone in to help you. Shax, realizing that Crowley has been lying to her about the threshold by the way that all the humans have been backed into the living room, tests the theory and Mr. Vacuum gets taken by The Devil.

The Devil Takes The Hindmost.

Mr. Brown went from the literal hindmost of the pack inside of the bookshop up to the front to self-sacrifice excessively, got taken by Satan, and then, in a darkly amusing turn, got tossed back through to the hindmost of the pack of demons outside. He's also near the back of the line for coffee the next morning at Nina's.

If The Devil can come for Mr. Carpet, we see, he can come for anybody. Now this lingering and malignant sense of unease we've been feeling throughout The Meeting Ball tips here into real horror.

Crowley is up next to evacuate the rest of the humans in the shop. He's going to walk them all in a pack past The Devil. They go out in mini-groups within a larger pack. He tells them that they need to all stick together and mind each other, not the demons.

If they do that, they live. If they don't, they won't.

It becomes that simple because it is that simple.

Crowley doesn't just tell The Whickbers how to do this, though-- he leads them out. Because he's one of them, too... but really also because this is all a metaphor for Aziraphale's mental health breakdown getting going and what happens when you are having an anxiety attack or a depression episode?

What goes out the door?

The things that keep you alive, right? The good stuff in life. That is defined differently for everyone but a lot of it overlaps for many of us. Many of those things are what The Whickber Street group characters stand for in the story. Aziraphale owns the land for most of Whickber Street so, in addition to being characters in their own right, all of the members of The Whickber Street group represent Aziraphale.

They're all the things he loves the most-- his reasons for living, and what helps keep the darkness away for him. This is really why, symbolically, neither they nor Crowley (symbolically, love) can be present in the shop when Aziraphale is melting down at his worst.

Crowley leads the pack out with Mrs. Sandwich up front. He is allowing himself to be part of the pack here. He might be supernatural and the group human but it doesn't matter. They're all people and there's more to it than miracles. Crowley can't face the darkness on his own-- and neither can Mrs. Sandwich. Neither of them should have to. So, they don't. They choose to be each other's friends and let each other in and they're both better for it and so is the rest of the pack. This is an example of how to deal with darkness in a positive way.

Crowley trusts Mrs. Sandwich in general but for this task, in particular, because who knows best how to deal with the darkness?

Survivors of prior run-ins with darkness, that's who. His fellow "fallen woman", Mrs. Sandwich, has got her hat pin and his back and Crowley has hers.

So, out the door of the bookshop that is Aziraphale goes love, friendship, sex, romance, healthy communication, human magic, community, food, music, and so much more... because not taking care with our mental health issues rob us of what we love.

Left in the shop? Maggie and Gabriel-- Aziraphale's past and his family... and Nina-- the possibility of freedom (her American-themed coffee shop) and what's left of Aziraphale's hope for the future. Nina's decision to stay symbolizes Aziraphale hanging onto some hope.

After Crowley and The Whickbers leave and Maggie accidentally lets in Shax, the demons have gotten in and are advancing. Without those who are no longer in the shop and with Crowley missing, Aziraphale's anxiety ratchets up and the demons-- his inner demons-- gain ground. The goal becomes keeping them from getting into the residence floor upstairs-- to the place to which Aziraphale has let hardly anyone in. The parts of himself that are not public-facing or for acquaintances but only for those he allowed himself to get close to. Maggie and Nina can be on the landing up there. Gabriel can stay in the guest room. They're family. Only Crowley is allowed free reign in the whole of the bookshop.

For the first time, we have an angel not named Aziraphale teaming up with humans to fight for a place on Earth. The start of the 'all of us versus all of them' that Crowley foreshadowed as still to come at the end of S1? It isn't some big battle for the planet. It is a battle for the life of a single person in Aziraphale because every person matters.

It's The Commander of The Heavenly Host rooting around the upstairs rooms of the bookshop collecting all the fire extinguishers bought to help Crowley deal with his trauma that he can find to supply his troops-- the human Maggie and Nina-- on the front lines.

It's Aziraphale's loved ones coming together to fight to save the bookshop that is, symbolically, Aziraphale himself.

Ultimately, though? Crowley, Gabriel, Maggie and Nina can help hold off the demons that are symbolically Aziraphale's inner demons but it's ultimately going to come down to Aziraphale and Aziraphale alone whether or not these demons are going to overrun the bookshop.

We reach the point where Aziraphale has to choose-- is he going to let the demons take him over or is he going to send them back? He decides, in this moment, to blow up his halo.

We learn that Aziraphale's halo isn't divinity floating atop his head-- it's a tight, hard band around his mind. It's mental health issues, in physical form. He is in visible pain and breathing shallowly as he struggles to take it off. If you took away the halo from the picture, it's visually very much like someone having an anxiety attack. He uses it to discorporate the demons-- to send his inner demons packing.

Well, almost all of them...

Shax, the one that voices his darkest inner thoughts, remains. She's unconscious for awhile, lying dormant on Crowley's couch.

Aziraphale tells Maggie and Nina that he thinks blowing up his halo might have "just started a war" and, symbolically, it did.

Because when you blow up your halo, it can work for awhile but if you still aren't able to address the underlying, fundamental issues at the root of why you have a halo in the first place, those dark thoughts will come back.

Those demons are coming back and, sure enough, Aziraphale's bookshop is full of plenty of voices by early the next morning. While he won The Battle of The Bookshop, he loses The Battle of The Bananafish the next morning.

While Aziraphale stopped the attack on the shop-- his anxiety attack-- with the halo, we learn the next morning that then something else happened the prior night that we didn't see that is affecting the rest of 2.06. We hear about it from Aziraphale after Satan shows up in this bit here:

What's this, now? Aziraphale doesn't want to chinwag with The Metatron because they already chatted the night before and our angel doesn't think there's anything left to be said. Our angel says he's made his position quite clear.

So, The Metatron got on the circle thing zoom after Aziraphale discorporated demons with it and blew up his halo and, by that point, Aziraphale had had enough.

Aziraphale told The Metatron, in so many words, to go fuck himself.

This is really what Aziraphale is trying to say when he tells Crowley that he "did the thing with The Halo." Yes, he literally blew up his halo to discorporate the demons and stop the bookshop attack but the halo is his the weight of all of his cumulative trauma from Heaven... which makes it also, symbolically, The Metatron. Aziraphale blew up his ties to Heaven by telling off The Metatron. He told off the floating head hanging over his head as part of blowing up the halo crushing his mind.

So, Aziraphale then spent the whole night assuming correctly that, if you yell at Head Office, he's going to tell Satan that you're fair game.

Aziraphale doesn't want to fall. He doesn't want to be a demon-- not because he thinks of them as lesser beings because he doesn't think of them that way. Because being a demon is a terrible existence and Aziraphale would rather not have his soul be owned for all eternity by his partner's assailant who is also, literally, The Devil. He's a hard pass on that and had a plan to have Crowley help him avoid it.

Satan and other events made sure that he and Crowley couldn't communicate what they were thinking and feeling to one another openly from the time that Crowley left the bookshop with The Whickbers through the end of S2. If they had been able to and if Crowley had any idea what was truly going on, things would have been very different. The story is Aziraphale's fall, though, so it has to be bad for now to improve in S3.

Because it's Satan at the door with the coffee, he uses Crowley to identify him as The Metatron to everyone else and, so, has convinced Crowley that he *is* The Metatron and that Satan is nowhere in sight. Crowley doesn't see Aziraphale's fall coming, as can be the case with many people-- even those who know of the mental health challenges of those close to them.

Crowley thinks that the biggest threat to Aziraphale in The Final 15 is The Book of Life-- and, I suppose, in a symbolic way, it is.

The Book of Life-- in the way that Crowley thinks it exists-- is not real. It's his and Beez's anxieties from when they were angels manifested as a ghost story to tell more impressionable angels. Yet, as a concept? It kind of is sort of exactly what Aziraphale goes through in S2. He feels erased into non-existence by Heaven already and he's fighting for his life.

Right, so, a hundred years ago lol, I mentioned that Muriel is key to this idea. Let's look at how their presence is highlighting Aziraphale's issues and ushering him closer to death/falling.

While two angels with memory issues show up at Aziraphale's door in S2, Gabriel is a tale of hope while Muriel is a cautionary tale.

If your memories are "all your you"-- your sense of self, formed through your history-- then, while Gabriel was preserved in The Fly, the example of what can happen without one?

The horror show of a total and complete, catastrophic loss of a sense of self? So... death?

That's Muriel.

There is an angel named Muriel in some Western Christian traditions who becomes a figure called The Abaddon, which is The Angel of Death. The Abaddon factors into different takes on Revelations and apocryphal Biblical stuff. There are several different ideas on who The Abaddon is, though my understanding is that their role as The Angel of Death who brings souls to their final judgement is pretty universal throughout.

In some traditions, The Abaddon is seen as the antichrist. In others, it's Satan. In S1, Good Omens played around with some characters seeing the role of The Abaddon in these ways during Armageddon: Round One through how the Satanic nuns referred to the antichrist baby and Satan as "The Angel of The Bottomless Pit", which is the descriptive phrase given to The Abaddon in multiple different religious writings.

In other religious traditions, though, The Abaddon is thought to be an angel of Heaven or a trio of angels of Heaven. It's these ideas that I think Good Omens is playing with in S2 with, I feel, the heavier emphasis on the true Abaddon being the one most frequently referred to that way-- Muriel. Also supporting the idea of Muriel as Death is that there is also that a character in Salinger's "A Perfect Day for Bananafish" with that name. Muriel is the one set to inherit the main character's wealth and property after he kills himself at the end of the story.

So, how is our lovebug Muriel The Angel of Death?!

For that, we have to look at what a fall is.

Consider that The Metatron can tell Satan that an angel is fair game but, in order for that angel to actually fall to Hell, they have to fail to resist Satan's temptation. What the show is subtly saying is that every angel who is a demon is not just an angel who got caught out saying or doing something that threatened The Metatron's power but, also, an angel who was also already falling into despair and, so, couldn't resist Satan when he came to claim their soul.

The literal fall that happens-- the "freestyle dive into a pit of boiling sulphur", as Crowley called it-- is a symbolic thing that happens after an angel has been unable to resist Satan and, so, is now considered by Heaven and Hell to be a demon.

If you consider that the way the literal fall has been described-- going off a cliff; the parallels to Gabriel nearly jumping out a window-- all of these are images of ways that people sometimes kill themselves. Heaven and Hell come at angels and demons from a place of abuse that pushes them towards suicide. Even in S1, it wasn't straight out murder that Crowley and Aziraphale faced-- they were both forced into what, to Heaven and Hell, would have seen as committing forms of suicide. Crowley getting into a bath of holy water; Aziraphale stepping into hellfire.

So, we're saying that the physical fall happens after an angel has already fallen, and that, in order to fall to Hell, an angel has to have already first fallen into despair.

If the show wants Aziraphale to fall in the Heaven/Hell sense of it, he has to have a mental health breakdown and I'm reminded that the opening credits of this show are Crowley and Aziraphale walking the Earth with all of their history layering up behind them and following along with them and then they go up and up and up on a track in S2 and stop just prior to?

Falling off the edge. The literal fall is what we've stopped just short of but, all along so far, we've been watching the fall in progress build.

The reason why we've never been "shown a fall" on Good Omens is actually because the whole story to date is Aziraphale's fall. It doesn't even really start with S2-- it started long, long ago. It also, though, really kicked into gear just prior to the start of S2, as is noted a bit in this moment here:

Nina asks if everything being weird started the prior week when the power went out and Aziraphale replies:

Trauma is like that. It can be things that happened in your metaphorical 2500 BC that are coming back to bite you in your 2023 AD. It's cumulative. It builds and pushes. You can go and go and go and then, one day, your power just goes out. Your energy to fight is just gone and a storm is brewing. A series of events can push someone who is in an already vulnerable mental health state towards a full on fall into despair and that is what I think S2 is fundamentally about.

S2 is a suicide narrative. Our Clarence Aziraphale is going a bit George Bailey. Even as, on the one hand, he's taking big steps forward to claim more of the life he wants, it's the underlying trauma that he hasn't yet been able to fully deal with that is making him also, at the same time, begin to quietly wonder if those around him would be better off if he were not in their lives.

This is why the most dangerous character in S2 is not Satan or The Metatron.

It is, quietly, Muriel.

How so?

Because when people begin to have more frequent suicidal thoughts, their reasons for living that usually keep them going begin to change to being more of a list of obstacles that are preventing them from death. As a person falls into depression to a point that they begin to feel like maybe everyone around them would be better off if they weren't there, they begin in their minds to try to "solve" the problems that are keeping them from dying. They try-- not always super-consciously-- to set things up in such a way so as to convince themselves that their ties to the Earth will be neatly resolved with minimal bother for anyone else and, more importantly, that all their loved ones will be set up to be fine without them.

People in despair can-- and will-- come up with what are, objectively, absolutely bonkers rationales because, ultimately, they want coffee but they are in such despair that they thinking about ordering death.

Muriel's arrival means that Aziraphale then basically has a solution to every obstacle in his mind in such a way that he clears a path straight to taking his life. They help solve two of his "obstacles": Crowley and the problem of the bookshop.

Muriel is dangerous because they show up at the door with the same curious, upbeat, enthusiastic personality and sense of wonder at the magic of the world that Crowley both loves in Aziraphale and needs in his life.

Muriel is also who can take the bookshop. They're an angel who needs an escape and who loves books and Earth. They're perfect for it. Aziraphale is also horrified to realize that Muriel doesn't recognize him and what the implications of that are and he feels guilty about not having saved them somehow. They begin to represent his self-determined failures and giving them the shop would be, in his mind, making some of that right.

To Aziraphale, Muriel is the cheer and hope that Crowley needs in his life and they've taken to each other like ducks to water, which is then also coming after Aziraphale has subtly been pairing up his partner with the also-immortal-and-traumatized archangel with whom Crowley has much in common and whom we are told in S2 that Aziraphale knows that Crowley finds attractive.

Shax pops up throughout to help show some of Aziraphale's dark thoughts about himself.

What are you, Aziraphale? Crowley's emotional support angel? The one who went native? Do you need more big, human meals, Aziraphale?

The comments in Edinburgh that are not really about the car. It's really more like Aziraphale calling himself "an old piece of junk" and thinking Crowley deserves the chance to get an upgrade to someone better. Gabriel's good-looking and has been through much of the same as Crowley. Muriel is upbeat and makes Crowley smile. Crowley having friends who are supernatural is a great thing but, under the surface, it's also leading Aziraphale to create an inner narrative where he's telling himself that he's replaceable in parts by Gabriel and Muriel and that he wouldn't be leaving Crowley alone if he were to take his own life.

Aziraphale is telling himself that maybe the best way to love Crowley is to make it so that Crowley doesn't have to deal with him.

What did Crowley say about his stars once? The first time they met?

Six thousand years-- that's nothing.

Engine won't even have properly warmed up by then.

Crowley's borderline-immortal. He'll live forever. Six thousand years is a blink of the eye to them. He'll get over me, Aziraphale is telling himself, and find someone worth spending eternity with.

Aziraphale didn't see a path towards death until Muriel's arrival because he didn't fully have a solution to the bookshop and Crowley. That's what makes that adorable moppet of an angel the deadliest character in S2.

The reason why Muriel leapfrogs over every other character and makes it down to the last, pivotal minutes of Crowley and Aziraphale's story in The Final 15-- in a part of the story where even Gabriel is gone-- is because Muriel is death.

It's because this is all about whether or not Aziraphale is going to take the freedom of coffee from Mr. Six Shots of Espresso and live or whether he's going to take the false freedom of the lies he's telling himself from Satan and die.

Is he going to try to take his own life or is he going to find a way through this time, as he has before?

"It's just you and me, Aziraphale." What a statement that is.

It's both true and a complete lie.

Crowley and Muriel are both still in the room when Satan says that so, objectively, it's not really just him and Aziraphale... except that he is controlling Muriel and Crowley in different ways. In that way, it really is only Satan and Aziraphale left by this point. It's down, by that point, to just whether or not Aziraphale is going to live and since Satan is here for him, it's not looking great.

Satan is the embodiment of Aziraphale's life or death choice here and that choice, in many ways, is the only two other beings left in the shop at that point.

It's Crowley or Muriel. It's life or death.

Satan also as Aziraphale's darkest thoughts, really... as Aziraphale's internal dialogue playing out.

What about my bookshop? he asks himself.

Really: What about my life?

Muriel, replies Satan... replies the darkness... replies Aziraphale to himself.

You could entrust it to Muriel.

They need an escape. You'd be doing them a great favor. You'd be sacrificing yourself for them and redeeming yourself for failing to save them. It'd make what you're thinking of doing noble, actually. It'd make it okay. It'd make you a good person.

Aziraphale struggles, right? He almost doesn't do this. He almost says he thinks he's making a mistake because he knows he is. It's just that his every conflict has come up all at once and overwhelmed him.

Even still, the darkness has him pretty solidly-- but not completely-- until this moment right here:

Aziraphale is no fool and he's questioned the idea that this is The Metatron; he's actually trying to tell Crowley that he thinks it's Satan for much of That Scene in the bookshop and to get Crowley to see it and help him, in case it is. Aziraphale hopes he's wrong, though, because he wants it to be The Metatron because he thinks that is the way to fix things but it's not and he knows it, deep down. He doubles down because he's embarrassed, because he feels foolish and afraid and like he has nothing to offer Crowley without the power he thinks he lacks.

Satan's temptation, though, ultimately works because of the final of the death by a thousand cuts here in the whole "Second Coming" moment.

After Satan gets Aziraphale to leave the shop with him to head to Heaven, he, as The Metatron, flatters Aziraphale a bit. He says the things that Aziraphale has always wanted someone in Heaven to say to him. He tells Aziraphale he's needed and that they specifically need and appreciate who he is-- an angel who knows how things are done on Earth. It's validating who Aziraphale is and who is he proud of being in the way that Aziraphale has always wished would happen.

Aziraphale is hurting so much that he starts to wonder if maybe he was wrong about all of this. He was pretty sure before but, maybe, just maybe, he was wrong and he wants to be wrong because then it means maybe that he'd know who he is. Maybe it would mean he would no longer have to be an angel who goes along with Heaven as far as he can because Heaven would be finally starting to see the light.

Maybe this isn't Satan. Maybe it really is The Metatron. Maybe all of this is real. Maybe he can go to Heaven and take this job and really have the power to protect Crowley and they won't have to be afraid anymore.

Then, Satan drops the bomb. He fires the killshot.

He lets Aziraphale hear him say "we call it 'The Second Coming'" while pretending he didn't mean for Aziraphale to hear it.

This is the moment that Aziraphale knows it was all a lie.

He knows for sure who that is now. He has gone from being 98% sure to a full 100%. He knows that it's not The Metatron but Satan holding open the elevator.

Satan had to tell him, as it's the only thing Satan has to do in some form at the end-- because it has to be Aziraphale's choice. Satan sure as fuck doesn't have to be fair about it-- and he definitely wasn't-- but it's at this moment that Aziraphale knows with absolute certainty that there isn't a job offer.

How could there be if The Second Coming is on the table? They'll never put Aziraphale in charge of Heaven with Armageddon as the agenda. He's the angel who stopped it the last time. It means that Aziraphale knows for sure that, if he gets into the elevator, he's effectively killing himself, because this is all to entrap and kill him, not to promote him.

Satan sets it up so that the final things Aziraphale is thinking about when he makes the choice are that there is no chance that Heaven will ever improve and that they're going to do Armageddon again and just keep doing it until it happens and it's all hopeless and Aziraphale will never have the power to protect Crowley and they're going to just keep living this nightmare forever and he's been doing this for thousands of years and he can't take it anymore.

People who are suicidal are stuck in cycles of their lives they feel they can't get out of and that's exactly what Aziraphale is reminded of in the moment before he gets into the elevator.

He doesn't want death-- he wants coffee.

He wants Crowley, standing appropriately in front of Give Me Coffee or Give Me Death, with the coffee art and the blues and greens of Earth all around him. The canopy plants in the backseat. This is what Aziraphale wants but he just doesn't know how to get there anymore and the darkness wins out. The villains always win a battle at this part of the story or else there's no plot left going forward and there is a forward because it's Aziraphale. There are ways back from this but that's for S3.

Give Me Coffee or Give Me Death, as we know, is substituting the word coffee for the word liberty in the original quote and that's exactly what happens in Aziraphale's decision to get into the elevator. The truth is revealed-- there is no job, which makes him feel like there is no way to ever be free while living. He's exhausted by fighting the same battles, over and over, with no way to escape in sight, and takes what he thinks is the freedom of not suffering anymore.

He chooses the false freedom of death over the true freedom of living-- Satan's coffee over Mr. Six Shots of Espresso in a Big Cup-- because Aziraphale loves that espresso more than anything but he struggles to love himself. He thinks, in that moment of despair, that the best way to love Crowley is to set him free by leaving life.

It's the Job minisode foreshadowing all of it and going back to the start of his story for the end.

It's nothing important, Aziraphale, don't worry...

Just your kids, your house, your businesses, your money, your neighbors, your street, your car, your books, your friends, your community, your Earth and the love of your life.

Just all the love and magic of the world.

Just all your you. Just your life...

When the first shot of the season was the skies sweeping down towards the front of the shop door... and the final shot of the shop in S2 is The Angel of Death-- Muriel-- entering it alone, claiming it and closing the door? When the light goes off in the bookshop window?

When Aziraphale-- after running around with a paralleling clipboard for half an episode-- leaves a note on the dash for his wife, like International Express Delivery Dude did in S1? When his "I love you, Maud" is the car playing Crowley "A Nightingale Sang in Berkeley Square"? That's when we can see why Death appeared to Aziraphale at the end of S1 and has been headed his way since.

Satan's temptation, yes, but executed with the help of The Angel of Death, who helped push Aziraphale into the lift with The Devil and not towards Crowley and The Bentley, where Aziraphale's love has always been willing to give him a lift, anywhere he wants to go.

In a show where people are symbolically what they profess that it is that they do-- midwifery/cobblering, conjuring, "seamstressing" and so on... all of those things are positive. They're about helping others and loving the world. With that in mind?

Go back and look at Muriel's arrival at the bookshop again...

What is adorable is, also, a fucking horror movie of a declaration:

Muriel is a human police officer.

Friends... that's Death.

Muriel is the only one with a horrible self-declared profession. They're not helping birth ideas and babies and art and mending everyone's pain. They're not a working, professional magician helping to develop the street. They're not a healing seamstress. They don't sell old films and records and books. They don't feed anyone at their restaurant or sell musical instruments to nourish their lives. They aren't the best guy on the block-- Mr. Brown and his World of Carpets, giving people what they need to outfit a life of their own. They're the not a member of The Whickber Street Shopkeepers and Traders Association-- like their paralleling Jim becomes as he begins to regain the will to live.

Crowley is worried about caring for Gabriel being too much for Aziraphale but it's really Muriel that is a walking trigger for him.

Gabriel is a character people think is a villain who is really a lovebug; Muriel is a character people think is a lovebug but who is, symbolically, the worst possible thing to ever show up on your doorstep.

Gabriel is saying books are keen and hot chocolate is amazing and live, live, live, live, Aziraphale...

He's the part of Aziraphale's mind that is trying to save himself while Muriel is the part that is luring him towards death.

Muriel is saying the best part of a cupperty is to look at it, Aziraphale.

It's not for you. You're an angel. You aren't supposed to want to live your own life. You aren't supposed to have wants and needs at all. Even if you go into that back room to be with Crowley alone and try to shut me out, I will break down the door and come after both of you before too long is up.

Muriel is cosplaying Earth's most invasive and violent profession and they're so sweet about it that it tends to bury the eeriness of their arrival. In Muriel, Aziraphale is confronted with his paralyzing perfectionism, his negative self-worth, his rampant imposter syndrome, and his excessive self-sacrificing-- all at once.

All his negative feelings are here at the door in the form of this fun house mirror version of himself-- a cheery and also clinically depressed angel, who is actually cosplaying humanity the way Aziraphale always feels like he is, even if he knows at the core that he's every bit as human as the billions on Earth.

The world is for the professional conjurers, for the humans, for everyone but Aziraphale, in his mind. He is supposed to be above needing any of it. He is supposed to never be angry, anxious, tired, depressed, hungry. He isn't supposed to need the home and books and music and food and sex and magic that he lives for. This angel isn't supposed to be a member of The Whickber Street Shopkeepers and Traders Association but he founded the street, let alone the group, and he'll die trying to host a meeting because nothing makes him feel more himself than when he lets himself be a part of the world.

Muriel's presence worsens his depression spiral, which we've seen is what happens when the negative thoughts get to be too much.

In S2, he goes a sherry-and-stomach-settling-drop diet. He doesn't eat the eccles cakes. He doesn't slow down and enjoy much of anything. Part of the joy of the ox rib scene is that Aziraphale isn't really enjoying himself that much in the present in S2 and it's the only thing like it in S2. Aziraphale, in S2, has put himself and his demon on half-rations and talks about his frozen peas to his fellow duck less. He goes back and forth between trying to self-care (Shostakovich and going to the Gabriel statue and brief moments of flirting with Crowley) and self-neglect (the entire rest of the season lol). Mix in too many additional stressors like what S2 had and it goes from the anxious period of fasting in 1967 to the cause for big time alarm that is S2.

Intellectually, Aziraphale knows that mindful human living is prescriptive. He saves Gabriel by starting to teach him what he knows about it. There's always been a little voice whispering at Aziraphale, though, that it might be right for others but that doesn't mean he's supposed to feel or need those things. He should be above it because that, apparently, would make him the good person that he doesn't often believe he is. His feelings aren't even about being an angel in the Heaven sense so much as in the human anxious perfectionist sense, in that he's excessively self-sacrificing because he doesn't fundamentally believe he's a good person.

There's nothing wrong with being as kind and generous to people as you can. It's when you're doing that while also not acknowledging that you are a person with wants and needs at the same time that you can self-sacrifice yourself right off a cliff as a way of trying to convince yourself that you're not a bad person.

You can deny yourself the life you want out of the excuse that it's your purpose only to care for everyone else but it's not really virtuous. It's a form of self-harm.

What hurts so much about S2 is 1941 because the minisode then gives us Crowley and Aziraphale slaying demons left and right. It gives us what a good day looks like in a whole season that is, otherwise, a series of bad days mixed with things that are also not within their control that then lead to the worst, possible ending.

We see, really, how good they are at caring for one another. The kiss scene is made infinitely more painful by us having seen in the 1941 minisode another conversation in the same spot in bookshop when Aziraphale was struggling with these same issues that went so very differently.

Crowley is very good at gently reminding Aziraphale that, not only is he wonderful, but that he's a person, too, and that everyone feels like they are jiggery-pokery sometimes. Everyone struggles with the voices of others and themselves trying to judge them and how that impacts a sense of self. That fighting through that to be able to live and love is, unfortunately, a pretty common experience of being a person.

This is not new for Aziraphale. It's so very old, stirred up hardcore in S2, now that it's been four years since Heaven contacted him. Aziraphale doesn't know that it's because Gabriel is trying to protect him. He thinks he's so inconsequential that Heaven couldn't even be assed to send someone to formally fire him and take the bookshop embassy that, despite being something of an albatross around Aziraphale's neck, he's also really proud of having built.

Aziraphale wants Heaven to fuck off but he also feels embarrassed by the fact that Heaven could fuck off so easily and that he feels like he doesn't have a friend there to speak of after thousands of years. He is ashamed of it needing to be Crowley who gets them a contact for info in Shax because he sees it as more dangerous for Crowley to need to be in contract with the demons and as a failure to protect him-- the thing that's at the core of Satan's temptation at the end of the season. (Also why Crowley is trying not to tell him about Shax taking his job and his conversation with Beez, which is a huge mistake but it's coming from a good place.)

Surely, Aziraphale thinks, if he hasn't fallen and he's still an angel... if he still is one, he's not really sure, as what is a non-working angel?... then, if he were good, there'd be some angel up there who would still be talking to him. He knows Heaven isn't good, exactly, but not all of the angels are terrible. As anyone who has ever had to go no contact with an abusive family knows, the illogical doubts that creep up can make a person think that maybe they're the wrong ones. At your worst, you can wonder: if the whole family thinks you're wrong, are you really right? Aziraphale knows he is right but it gets complicated.

Add to that the stress of worrying that something will happen to Crowley every time he goes out the door (part of Aziraphale's own trauma for millennia, made worse by 1827), and Crowley's PTSD exacerbated by the fire in S1, and Aziraphale's negative self-thoughts are being triggered even worse than usual. He's blaming himself for them not being safe, when that's not fully within his control... which, in Aziraphale's mind, is the whole problem and an example of how he is failing Crowley.

This is all long before Gabriel shows up at the door and the season gets started with a series of events that then worsen Aziraphale's state of mind. By the time Muriel shows up at the door, these negative kinds of thoughts out in full force in Aziraphale and Muriel represents them.

Muriel might be cute as a button and, as a character in their own right, being used left and right by Heaven, but it doesn't change the fact that Muriel is, symbolically, a mashup of the human and supernatural cops trying to kill them that Crowley and Aziraphale have been outrunning their whole lives.

The Angel of Death is a cop because of course they are, right? What other group of people has been existing to entrap, imprison, torture and kill people for eons?

From the book: If you want to imagine the future, imagine a boy and his dog and his friends. And a summer that never ends.

S1 was summer. It was the nightingales.

S2 is the lingering doom of preparations for Christmas lights. It's the days getting shorter and colder. The nightingales have flown to warmer climates. Because this is Good Omens so the season of Aziraphale's fall is set in the season of... well, the fall.

The good news is that, both literally and metaphorically?

Summer is always just around the corner.

[sunnnfish]

Tbhk chapter 100 rambling you know how it is.

Tbhk chapter 100 and wanting to die and wanting to live and wanting purpose and making plans and wanting connection. Mitsuba who says he has no connections no reason to want to stay around the near shore but Kou is right there and he’s selfish and he’s making mitsuba stay. And mitsuba doesn’t want anyone else to be his end. Do you get it. Fake challenges and fake promises because kou never promised to exorcise mitsuba and he never planned to. Mitsuba says he wants to die but he just. Doesn’t want to exist like this. But there is an acceptance and an understanding that wasn’t there before between them. The same light playfulness and teasing but a knowing of that odd awful truth. Parts of mitsuba he thought he could never bear to anyone, acknowledged with that innocuous “hey. i’m hungry.” Do you understand. And it’s achingly normal. Inviting your friend to the school festival. A festival sousuke probably never got to see. Having nights out and giving each other keychains and having silly competitions. Mitsuba wants to be normal. To be human. And in that pursuit it’s like he already is. Mitsuba wants so much. He wants to be—

And kou knows. He’s known every wish of mitsuba and sousuke and he’s had to reconcile it all every time. He wants to take a picture. He wants a friend. He wants to be human. He wants to be understood. He wants to die. He wants kou to exorcise him. He wants. Kou also wants. And it’s a competition of desire that’s constantly at a stalemate. So they just exist. And make plans. And live. However unfortunate that may feel. The school festival is right around the corner.

[raksh-writes]

Gosh, Ive been in such a writing slump for like almost a year now and Im just. So tired. I just wanna create!! I wanna write something again! But anytime I look at one of my WIPs I just can’t get myself into any of them and I mean its very possible that's also just a side effect of being so rusty and not writing for so long and the fact easy distraction like youtube is just a click away but then again it just feels like the creative juices won’t flow and its killing me ;_; I want to Write, I want to Create and I want to share it again, and maybe its just that I miss posting my work and interacting with fandom and having that fan-obsession so there's a question there to consider what exactly Im missing but... damn I really do just wanna write again and feel how good that feels to be creative ;_;

This just sucks man...

[toastsnaffler]

tried going to bed early bc ive just been sitting staring at the wall or my phone all afternoon but it's been 3 hours now and I can't stop crying. :(

[alchemiclee]

as a fellow introvert; we are social creatures. introverts who purposefully see no one for months on end are usually just in a cycle where its been so long since they’ve hung out that it’s too intimidating for them to do anymore. i 100% feel tired after hanging out with my friends but i DO also feel happy and refreshed! tl;dr - you’re super normal lol. try to reach out to a couple people just to chat this week <3

thanks for reaching out I really appreciate it❤️ but I have to rant a bit. I allow you to ignore it!

I wish to not be a social creature because going too long without having a friend to talk to or not having someone to talk with almost daily feels bad and it's so hard to have a friend when I need one D:

i've been reaching out to people for the last few weeks or so but they don't reach back. try playing games with people but they play with their other friends or dont feel like playing. invite people to hang out but they say maybe and never give an answer or don't respond.

I don't want to bother my closest friends in our group chat too much in our group chat but the chat is mostly me sending messages with no response and even couple times saying I need a friend when I was having bad days but they didn't want to chat and I dont want to force anyone to entertain my lonely depressed ass. (especially when all I really needed was to talk about the new star rail stuff to distract me but I don't think they've finished it yet so I don't want to spoil) they live together so they always have to socialize and probably make each other tired without needing to add me to it.

so i've also been trying to reach out to new people, like joining twitch chats again for the first time in years. but that never goes well and doesn't satisfy my social needs. too many people talking at once and being the new person no one cares about and all....getting to know a new is very exhausting. but it's so hard to just be able to skip all that getting to know each other stuff jump straight into talking about a thing we both like (in this case it's star rail and cosplay and maybe art) I don't have enough already-known people to reach out to and i'm too tired to do the small talk dance until it's appropriate to jump into special interest territory. being autistic is so exhausting. I with to be one of those rare autistics I sometimes hear about that have 0 interest in social interaction at all

so as you can see, i'm trying. so hard. to the point I'm exhausting myself. it's been too much work for no payoff and makes things feel worse when the outcome isn't what I need and its constant reaching with no one grabbing my hand back. so I keep making annoying tumblr posts about it. i'm so sorry to anyone that reads my nonsense 😭😭😭😭😭😭😭😭😭😭 this is a normal thing with me but it's usually kept to my other blog that's reserved for more serious posts like this but I tried posting here as a way to "reach out" and see if it invites any friendly friends or something but I don't think i'm doing it right...

(but I am going to a con tomorrow with someone I haven't talked to in like 2 years. but we don't have anything in common anymore so theres not much to talk about. he's the only person who responded to me after trying to reach out for like a month but I fear it will only exhaust me being around too many people and not help this gross need to have a deeper connecting socialization D:)

[yusiyomogi]

i actually think there's some significance in the fact that mithrun wears oversized shirt with open collar (it most likely belongs to laios) in the final arc of the manga. i mean, not just that kui simply wanted to draw him in oversized clothes, lol.

in all instances we see young (pre-dungeon) mithrun he's wearing clothes that hide his body as much as possible. which seems normal, until you see what other elves prefer to wear: most of them wear light short tunics with no sleeves and they don't usually even wear pants. here's a comparison to his brother's outfit, for example, as they stand next to each other.

it's not like his fashion choices are unique, but it certainly feels deliberate. he doesn't add any variation to his canary's uniform either, but that's not especially notable, i guess, because a lot of canaries don't do that (i mean, it's still their armor).

but in his perfect world he's also one of the few who always wears this type of clothes. never revealing himself. sitting a little further from everyone else.

he even lies in his bed fully clothed, like he can't ever bring himself to let his guard down, never showing his "true" skin to anyone.

btw notice that his bed is a single bed, even though he's been living with his partner for 5 years at that point.

and that's the idea, isn't it? he never lets himself be truly vulnerable with anyone, even in his dungeon, where people are supposed to like him unconditionally. i think it adds something to the horrible scene with the demon: it's especially disturbing that the demon literally doesn't care how much of yourself you wanna hide, it sees (and eats) right through every protective layer. and we all know what the allegory of this scene is.

when mithrun loses all his desires, he no longer cares what clothes he wears. and in some twisted metaphorical sense it's heartbreaking to see him in a simple elven tunic when he's recovering, the one that doesn't hide any of his injuries or scars or terrible physique.

he doesn't care to hide himself anymore, but it isn't on his own volition. it's something that was ripped away from him, as well as his privacy (a lot of people have to go through this when they're in medical care actually).

when he recovers and enlists to canaries again, he starts to wear full uniform again, but i don't think it holds much significance to him anymore. or at least he thinks it doesn't. we can see that cithis forces him to wear frilly dress at some point and it's implied that he goes along with it (cithis is still an asshole for that btw).

at this point he's fully focused on finding the demon, but i think the sad reality is that he's always been capable of developing new desires. i'd argue that there are already some things he cares about without realizing it, in the main story. but what's stopping him from actually realizing it at that point is that he's clinically depressed. his disability makes his life difficult; he lives with the idea that he's completely "broken", he accepted the reality of living like that and always goes along with what others make him do. so, he doesn't believe in his own privacy anymore. it’s actually something kabru talks about in the adventurer’s bible comic, when he tries to help mithrun to figure it out again, to help him see the value of privacy, of choosing what he wanna reveal of himself. mithrun needed a reminder that he still has this choice like anybody else.

i think the scene where kabru asks him about his past for the first time is interesting in that sense. first of all, i like the symbolism of kabru unbuttoning mithrun’s collar and cuffs, revealing the scars underneath (a good amount of them is self-inflicted). he does so unthinkingly, but in his defence he doesn't know anything about mithrun yet. another interesting thing is that the first reaction mithrun has is covering his eyes with his hands. he's trying to hide. he supposedly has no desire to hide, but this reaction is almost instinctual to him. i think kabru notices this as well (of course he does) and i think it's one of the things that prompts him to voice his concerns about mithrun's privacy later. 

so, what about that laios' shirt he wears in the final arc of the comic? he has to change his uniform's shirt for something else because it's covered in spider's guts. it's unclear if someone puts laios' shirt on him or if it's something he chooses to wear himself. regardless, it's still symbolic for his change. it's not particularly revealing or anything, but it's different from the type of clothes he usually wears, and it's tallman clothes. and in this final arc we can see a lot of his true feelings as well. he's visibly mad at kabru, he shows concern and tries to help marcille, he helps kabru to break out of his spiral. and obviously, in chapter 94 he reveals a lot of what he actually feels and think and shows genuine emotions other than anger. and I think it’s the first time he decided to be open and vulnerable on his own volition, probably in his entire life.

we can see him wearing variety of clothes post-canon and it’s ambiguous how much of it he picked for himself. pattadol probably helps him a lot with choosing outfits and she also prefers high collars. but mithrun knows he can choose now; even if he doesn’t want anything in particular, he always can express his opinion or feeling, like he did with kabru’s food. he always can choose how much he wants to be seen. i’m just glad to see him wearing similar shirt with open collar and rolled-up sleeves on the cover of daydream hour book.

[coldwind-shiningstars]

Dungeon Meshi is obviously primarily about food, eating, and crucially survival through eating, but it's also focused on other aspects of survival. Sleep, rest, social ties and social exclusion. There's even extensive commentary on things like personal grooming (Marcille’s hair, Toshiro becoming depressed and no longer shaving), clean bathrooms, and other things. When it comes to disability these things are referred to as instrumental activities of daily life (IADLs), which are more complex things like shopping, housework, and cooking, which people need to do to survive, and activities of daily life (ADLs) which are the basic bare bones needs: eating, toileting, etc. Dungeon Meshi is concerned with the logistics of living and finding joy in those logistics.

This is super related to disability! Yes, Laios is autistic, this has been apparent from the beginning. But what does being autistic mean for him and the story? Mostly, it means his desires, goals, and the ways he goes about achieving them are strange, foreign, or baffling. He has different priorities than other people and the way he expresses those priorities are strange. They affect how he socializes, how he eats…

So, it absolutely makes sense that there would be a minor sideplot about activities of daily living and what it's like to be out of sync with everyone else when it comes to prioritizing things. It's Mithrun Time (he's gonna mith all over the place) and I'm so SO interested in the interplay of disability, caregiving and the logistics thereof, and intersectionality & privilege. Who needs care? How do other people feel about them needing care? How do they receive that care? And who do we think is worthy of receiving care and how does that interact with all these other factors?

Bunch of manga and extras spoilers past the cut:

“So, what's wrong with you?”

I see a lot of people talking about Mithrun's non-eye disability as a depression allegory, which I think is true, but I think it's also metaphorically/symbolically both a traumatic brain injury and a trauma response to sexual assault. The sexual assault aspect is pretty clear if you look at any of the symbolism of the actual disabling event: just look at it.

Mithrun is lying in bed and the goat comes to him, lifts him up and puts its mouth on his abdomen and lower pelvis. The eating is sexually charged, as is the particular way he struggles and protests. It's intensely violating, and things that were once desirable are lost. And the dungeon lord group therapy session involves a lot of people talking about the demons like an abusive lover; Mithrun, even though he wanted to kill the demon so badly, still says that they're gentle.

As for the brain injury, chronic TBIs can cause a wide variety of symptoms. Some immediately relevant ones are anhedonia (lack of enjoyment), executive function issues, poor interoception (trouble understanding what's going on in your body), cognitive impairment affecting ability to reason/multitask/plan/solve problems, changes in behavior and personality, depression, agitation, and restlessness. We see… basically all of these, in Mithrun, as downstream effects of the loss of desires. He can't tell when he's hungry, tired, or out of mana; he can't perform ADLs consistently even if he knows he'll die without doing them and dying without doing them will interfere with his long-term goal, he had drastic personality changes, he oscillates between impatient and totally withdrawn.

Brain injuries can also affect more complex tasks and ability to sustain lengthy periods of complex cognitive work. A common example is losing the ability to read and process longer passages; maybe you can read the words but you can't read a paragraph, or maybe you can read paragraphs but now you get a migraine after 15 minutes. Mithrun's skill loss is not related to reading but the effect is similar – he is and was extremely skilled in a particular area of magic, but also disabled in ways that specifically hinder his skill in this area – to teleport things properly you need depth perception and a sense of direction, and he lacks both of these! And while he's still an incredibly effective fighter it seems like he pretty frequently makes those sorts of mistakes.

This is treated often as a gag and it is genuinely funny but it’s also very real, to no longer be as good at the thing you were good at before you became disabled. Kui takes several throwaway gags seriously later on, not just this one. Another ~gag that's not really elaborated on is the bathroom thing, but I appreciate its inclusion anyway, since even if it's presented humorously it doesn't feel meanspirited in a way a lot of “diaper jokes” do. I think people need to talk a lot more about bathroom issues in a wide variety of disabilities, and I think it's nice that a guy I can already picture the “poor little meow meow” posts about also has this issue, you know?

Preferences vs Desire

Even referencing PTSD and TBIs it's hard to really grasp what having no desires means, and the characters don't generally ask, while Mithrun explains it in vague terms. “Desires” is a very broad term and indeed he has lost access to a wide but related variety of things. Unfortunately this lead to him often being treated as nonagentic.

Mithrun does still have preferences, even if he doesn't express them and has no desire which would drive him to seek out pleasant things and avoid unpleasant ones. He'll comment on the taste and texture of foods, for example – sure seems like he has an opinion!

People treat it like his preferences don't matter since he doesn't usually bring them up unprompted, and he's often in situations where there aren't other options.

Kabru seems best at not doing this (and, noncoincidentally, also seems to be the best at actually caring for him; the Canaries have a lot more Resources theoretically than Kabru And Mithrun Eating Monsters And Kabru's A Bad Cook, but although they are loudly distressed by the two of them disappearing it seems to have positively affected Mithrun's general health)

But, uh, acknowledgement that someone has preferences at all is a really low bar to clear and Kabru also doesn't seem to fully understand how Mithrun's brain works. Mithrun’s caregivers want him to eat when they want him to eat. They want him to rest and drink when they want him to.

He lacks the desire for a number of mundane things but also seems to lack the ability to tell when he needs them. He can't explain why he faints; is “I am out of mana” considered a desire for more mana, one that can be eaten? He can't sleep on his own; it's not only that he lacks “the desire to go to bed” but he can't do anything with his own exhaustion, even if he notices it. He comments on the unpleasant taste and texture of several meals; he may be unable to want to not eat it, but he definitely can tell when he dislikes something. But he also seems to be unable to tell when he's hungry.

Kabru will acknowledge these preferences but there's not really other food options, and Everyone Must Eat. Kabru doesn't know the details of Mithrun's condition yet but you can see the immediate frustration here and the way he offers food to him like Mithrun's a child.

Sure, he won't directly communicate preferences, so that makes it extra hard, but you can always just ask, and if he tells you he tells you.

The pathway between opinion and taking actions about it may be lost in Mithrun but the dungeon forces other people into a similar position – it forces them to eat food they don't want to eat so that they can survive or accomplish other goals. We've seen this with Marcille from the beginning. It's difficult with Mithrun because it seems like there is always going to have to be some sort of someone else overriding his autonomy – yeah, he's not hungry but he still needs to eat or he'll faint. Yeah, he's lying about whether or not he's clean but he still needs to wash or he'll die. Yeah, he needs to take a rest instead of keeping moving or he'll faint. But he's not unique in being in a situation where he has to do nonpreferred things. The difference is more that he lacks the ability to independently do anything when it comes to ADLs, preferred or not, which makes it into someone else’s choice and responsibility.

There's also a theme in Dungeon Meshi that comes up a bit of people being pushy about ADLs but from a slightly different perspective, and they're usually right. You see this in Senshi most commonly; he pushes the residents of the Golden City to actually eat even if they don't need to and can't taste it, and while he's correct in that Yaad does get enjoyment from the food even without taste he's still not quite listening to Yaad. Similarly, Kabru is correct in that he can get Mithrun to sleep without a sleeping spell, but he also ignores the way Mithrun says several times that he doesn't expect massage to work. There's a few aspects to this – wild but expected that the elves would choose the “just knock him out with a spell” route, the “easy way” Senshi always talks about when it comes to magic, instead of actually paying attention to other solutions. But also, generally, people know their bodies best, and sometimes even if you're really sure you have the trick to help them you have to listen to what they tell you.

tvtropes dot org frontslash DisabilityTropes

This is going to be a harder section just because it's so subjective; it's nearly impossible to think about the ways in which disabled people are viewed by the people around them/wider society with any degree of objectivity just because there are so many factors that go into it. But I do think Mithrun is consistently treated as relatively nonagentic and there are several ways this can manifest: being treated as a doll/pet/child, being treated as a weapon, and being a surface for people to project onto.

He's framed or treated as childlike intermittently through the manga; scattered about, just a little vibe in the way he's drawn, like the "say aah" above and Pattadol and Cithis through the teleportation scroll :

That's a middle aged man! And he's framed like a toddler getting picked up or misbehaving.

Which doesn't mean they care about him any less; his squad is really fond of him for someone who's technically like their parole officer. How dare you do this to our captain! They love him dearly; this is obvious and he comments on it! They respect him, too, as the leader and as a strong fighter. But loving someone and thinking they're a skilled fighter doesn't mean you respect their autonomy fully.

There's also an element of everyone projecting their own issues onto him; Kabru with their shared Dungeon Trauma. The canaries all suggesting wacky, midlife-crisis desires. He doesn't ever express that he minds any of this, except when they try to stop him from making particular decisions. They also don't often understand why he'd be motivated to do a particular thing, and in fact some of these projections may actually be correct! But while noodles and pottery may be good later-on goals for him, I think it's striking that a) Kabru was the closest to correctly guessing what desire Mithrun might acquire now and he was still guessing the exact opposite (suggesting a desire to not eat Falin but to help Laios, vs Mithrun's actual desire, which was to eat Falin with no thought given to the promise he made at all) and b) it's a desire that actually makes perfect sense with what we know about him, not something totally new.

And, finally, he's a weapon: people are willing to caretake him because he's good at killing things dead. If his only desire is to kill demons dead, it's easy to start seeing that as who he is. I don't think he'd argue that “trying to kill demons” takes up the majority of his life (it's his only goal and he's obsessed with it) but even if there's only one thing that matters to him he has autonomy (in the sense that he can make his own choices about what to prioritize and formulate his own plans) and personhood.

Politics and privilege – who gets to access care?

One of the things we're first presented with when it comes to Mithrun is that he is intensely capable at handling dungeons. Yeah, there's the immediately visible prosthetic eye and the navigation issues, but the Canaries are built up as being incredibly dangerous and skilled, and he's their captain; they all immediately defer to him. He's intense, he curbstomps an entire room of guards, he's efficient, he's brutal, he's strong physically and magically.

In short: yeah, he's very disabled. He's also still very useful.

At the risk of oversimplification, even within his particular disability, he's much more disabled than Marcille is (she lost something relatively simple and easy to miss, she has no catatonia-moment) but less disabled than Thistle, who seems to still have at least one desire related to the king but is still primarily catatonic. It seems like Thistle is not unusual among ex-dungeon lords, even if there's enough noncatatonic dungeon lords to form a support group later. When Milsiril finds Mithrun, she immediately intends to mercy-kill him – this seems to be a condition the elves are familiar with but consider terminal, at least to the degree Mithrun is affected, and people seem unfamiliar what it means to keep living in this state because Mithrun is unusual in that he survives at all. And he's “allowed” to survive initially because he's not as disabled as he could have been (still has a desire) and that desire is useful. They aim him at the dungeons and off he goes. It takes twenty years for him to recover enough to do it, sure, but they're elves. They can wait. He can still be useful.

Relatedly, when he loses the ability to pursue his desire he's immediately much worse off than he was previously.

The no-desire catatonia is something that can recur and the elves continue to not know how to handle it. If Kabru wasn't there to problemsolve I think he'd have just… stayed there with his increasingly distressed squad.

Speaking of his squad, there's also a fascinating power dynamic going on with just the inherent structure of the Canaries; criminals are assigned as his caregivers. There's the inherent unfairness to the criminal Canaries about them being given extra duties, this strange rich noble guy who's now their Responsibility. There's so much possibility for resentment in normal caregiving relationships, much less being forced by your jailor into caregiving someone. But there's also an element of the power the prisoner Canaries now have over him and his most basic ADLs and needs. Assigning Cithis to his care is such a can of worms! The dynamics of the situation are frankly awful for both of them; of course she resents him initially. It would be strange for her not to. When Pattadol catches her making Mithrun do embarrassing things, she instantly reminds Cithis of her lower-status – she's forced to care for this nobleman and then forcibly reminded that she's beneath him.

She's responding to having menial, low-status tasks forced on her by trying to humiliate him, and although he doesn't have the ability to care enough to stop her it's still a deliberate removal of dignity. He's the instrument with which she is punished and she punishes him in return (until it's not fun anymore and she understands him a bit more.)

Mithrun is a long-lived race, who has structural power over the shorter lived races simply because of how long they live. The dwarves and elves try to actively keep certain knowledge from other races, restricting their access to technology, and other expressions of distance. Senshi spends nearly the whole first season not listening to Chilchuck trying to explain that he's an adult and treating him like a child, and Kabru repeatedly says that the elves do the same thing (and tbh we see them doing it). There's even the fact that it took him twenty years to recover enough to join the Canaries again; a shorter-lived race might have died from old age in this time, or become too old to work in this capacity, and then wasted away without the drive to return to the dungeons. But they're elves; the other elves can afford to wait, and he's not going to age out of dungeoneering any time soon. Being an elf probably contributes to his wealth in the same way skin color contributes to wealth inequality in the real world.

Dungeon Meshi doesn't really go into race in the sense of skin color much, and Kui is writing from a different cultural standpoint than I am. While tallmen are quite accurate when it comes to skin/hair color (yes, even Kabru and his blue eyes; it's rare but possible) and cultural references, the elves, uh, absolutely are not, both in the sense of “dark skin & pale hair and eyes trope” and sense of the royals having jet black skin.

Still, I feel like race is so connected to care and caregiving in the real-world west that I would be profoundly remiss not to mention it. Skin color might not matter to elves in the racism sense, but it matters to humans and humans are the ones writing and analyzing this story. (And I fully expect as the fandom grows with anime-onlies people will like Mithrun more because he's white (has white features) than they would if he had darker skin, because fandom is also baseline racist.)

I don't think we can just not mention that Mithrun is pale-skinned and both Cithis and Kabru, his primary caregivers over the story, both have dark skin.

Racism means white people are more likely to get good medical care, the type you need to get diagnosed and prescribed caregiving. Racism means wealth distribution is uneven, favoring white people. Race affects immigrants taking on undesirable jobs like caregiving for low pay. Racism is a profound stressor which means it contributes to who becomes disabled in the first place in that it can worsen health outcomes.

Similarly to race, gender may not be very obvious when it comes to this subplot within the story but the gendered dynamics of caregiving in the real world are something I do want to touch on. There's an oft-cited statistic about how men are much more likely than women to divorce their partners when their partners are diagnosed with a serious condition; I don't like relying too much on those sorts of statistics because they can be so misleading but it does gesture at something very real, culturally. Even if men aren't supposed to be caretaken, women are supposed to be the caretakers. Certainly, it's not Mithrun's fault that he can't cook and can't do laundry and probably can't do most housework, but I do also think about all the posts passed around about “my boyfriend who won't do housework.”

Again, none of these privileges make him less disabled and less in need of and deserving of care, they're just worth talking about when we talk about caregiving in general.

It's Rotten Work, Even If It's You

People expect disabled people receiving care to be grateful, to accept anything, and to try and make it easier for the caregiver if they're able. Requiring care is an incredibly disadvantaged position, even as actually receiving it can be so tangled up in privilege. Caregiving is tremendously difficult work, it's true, but there's a particular vibe people want from disabled people – all those movies about not wanting to be seen as a burden. Never complaining. Being grateful.

And, uh, well…

Mithrun basically accepts anything his caregivers do, but he's not grateful at all! I appreciate that in a disability portrayal. He'll also lie to and ignore his caregivers, which is Annoying but is definitely an expression of autonomy even if he's probably not doing it specifically to express his autonomy. He's not going to thank you. He's not going to make it easy. He'll accept a lot of things considered “undignified,” and he's not mean or unpleasant in the sense that he's taking advantage or anything, but he's certainly not a model patient.

He's running off back into the dungeons just when you think you've finally gotten him somewhere safe.

There's always a strange tension in caregiving, I've found. It is incredibly intimate but a lot of it is done by total strangers. A number of caregiving tasks are viewed by the wider world as entitled but placing those tasks in the hands of strangers is a remarkably tough place to be in. As a disabled person, I've had to accept my bowel movements being discussed with my parents’ friends, all sorts of being physically moved places not against my will but without my permission, even my pubic hair being shaved off by a stranger (nurse) while I was unable to speak or move. When people are feeding you, making sure you use the toilet, rubbing your feet to make you sleep, helping you with hygiene – people are working so hard to help you. Are you supposed to just accept them doing whatever they want to you?

There's also a dynamic where people will say they don't mind caring for you, they're happy to do it, and then as the years go by and you continue to need care the resentment just builds up. Caregiving is hard work. It's often thankless. The goodness of people’s hearts can run dry, when it's been twenty years and you still can't bathe yourself.

Aaand I need to continue in reblogs, because I'm out of space for images. Please hold. edit: you can find part 2 here

[crowhoonter]

rating Parahumans guys on how well I think they'd be as parents

Brian: I think Brian would believe he is a great father, but there is too much repressed emotions and depression in there to properly care for and raise a child. 3/10, Not particularly good.

Alec: Alec has lacked a real positive parental unit in his life, and while I don't think he would purposefully be shitty to a kid, I think he might fall back on what he knows from his own youth. Might be a fun older brother though. 3/10, needs to focus on himself first

Danny Hebert: Too sad about his wife dying to properly parent. no further notes. 2/10, Danny please get it together Taylor is relying on you

Armsmaster: Would rub off his worst personality traits onto a kid, resulting in them being the average r/malelivingspace user. Might also encourage child to grow poor facial hair. 1/10, I feel bad for whatever unfortunate soul is consigned to this fate.

Coil: Coil would be an absent father for 90% of your childhood, unless you were useful for his plans. In that case, he would feed you drugs or some other unethical thing and make you work for him (child labor (bad)). 2/10, conditions are poor but you might get to meet some of the other children he has, fixing the playdate situation.

Kaiser: See in story results. -5/10 Nazis don't make good parents.

Uber and Leet: They come as a package deal obviously, and they are actually pretty okay parents, they aren't great obviously but they aren't tremendous failures either. That is until you show up on one of their livestreams and then you are the laughingstock of the school. 4/10 Don't upload your kids online.

Scion: Too sad about his wife dying to properly parent. Also not emotionally available. 1/10, get it together man people are relying on you.

Mark Dallon: Not necessarily a bad parent, but he has a laundry list of problems that he needs to work through before he can begin to think to focus on his kids. 3/10, he's trying by god. He's not doing good but he's trying.

Number Man: He would probably respond to any question his kid asks with some weird philosophical math metaphor. Is a killer cook though. Also math classes would be a breeze. Unfortunately, most of his time is dedicated to cauldron. 5/10, grades will be great.

Accord: The worst type of helicopter parent. He would make itineraries to follow any time his kid went out and would require them home in pristine condition super early. Has a rigorous study schedule and puts a lot of pressure on you to succeed, and you know he wants whats best for you but like its stifling and you aren't really living for you but for him. Sure grades are good but you just can't do it anymore. 4/10, the depression and GPA are soaring.

Jack Slash: As seen in Worm, he is an absolutely killer parent. Has a fun family vibe? check. Engages with his children's interest and allows them to pursue it? check. Keeps his child intellectually and creatively stimulated? check. Takes his family all over the country to see new exciting places and people? check. Dude is simply top tier on the parenting skill. Sure the family dynamic is a bit unorthodox, but when the results look this good can you really argue? 10/10 Jack Slash has got it going on.

[aroaceleovaldez]

one of the things i'm most disappointed in HoO with is how the series sets up a really beautiful continuity to the first series but now extending from a primary focus on disability to a wider focus on intersectionality (which in itself is a REALLY fascinating place to discuss particularly Percy's character and the overlap between his experiences as a disabled student and how many readers interpret his experiences as him experiencing racial bigotry in part due to his racial ambiguity and how those experiences have overlap and what does that look like for specifically a disabled student of color, etc etc) - like, there is so much set-up for so many things: we have the introduction of a bunch of new major characters, the majority of whom are explicitly not white. We have set-up for queer intersectionality topics (Nico, Jason's bi-coding, Piper being mspec as well eventually). We have set-up for gender intersectionality (all of the girls and the intersection of their disabilities and gender and for everyone other than Annabeth also the intersectionality of gender and race). We even have other forms of disability than just the primary focus of ADHD/dyslexia coming to the table with stuff like Frank having dyspraxia coding, Frank and Hazel both having childhood terminal illness survivor coding, Hazel having seizure coding, Leo having autism coding and Nico's autism coding making a comeback, Percy's book 1 PTSD even gets some references in Son of Neptune, Leo and Nico's depression get big spotlights, also Nico's general grappling with becoming weaker and new physical disability. Heck you could even dive into Jason grappling with gifted kid syndrome and how that plays into his experience with ADHD/dyslexia versus someone like Percy whose same learning disabilities present differently. There's so much set up right at the beginning of the series to dive into...!

...and then Rick does literally nothing with any of that. and it sucks. and then in TOA he does even less with it and just drops nearly all of the disability stuff in general which sucks even MORE. Also it's all made even worse by dropping or magicing-away the existing disability coding because Rick changed his mind about it (Frank's dyspraxia and Hazel's fainting episodes going away, etc etc)

Like, TKC emphasized the themes about how the Kane Siblings grapple with colorism a lot! MCGA talks about queer topics and disability and how those intersect with homelessness! The entire first series has SUCH in-depth metaphors about disability! But HoO and TOA just totally drop the ball about it and don't even try! The most TOA ever gives is the world's blandest directly-spoken-to-the-audience one sentence blurb and pretends that qualifies as representation and that they've fulfilled their quota. TSATS is even worse about the disability erasure and speaking directly to the screen and calling that representation, not to mention how little the TV show erased the majority of references to disability from TLT alongside Percy's PTSD and made Sally an autism speaks mom while they were at it. And while I haven't read it yet I hear CoTG is equally not great about how it handles Percy's disabilities (or Annabeth's).

HoO could have given us so much but it didn't and i will never forgive it for that 😔 also the fandom could stand to talk more about intersectionality cause it's a really interesting topic and there's so much opportunity to explore it in the Riordanverse that does not get nearly enough discussion.

[capyclara]

addiction vs. sobriety as metaphor for tennis mindset in CHALLENGERS (2024)

while all of art's attitude surrounding tennis is extremely disciplined and sort of detached outside of his relationship with tashi, patrick literally can't quit tennis like tashi suggests. he'll get insane withdrawl symptoms without it, just like he's had withdrawl pains for 13 years regarding arttashi. it would KILL him to stop pursuing, and tashi to some level understands that as another "addict" - unlike patrick, she has a second backup body in art to cope with her loss.

framing patrick's spiral into mediocrity and self sabotage as well as his relentless pursuit of his loves as being akin to substance abuse is SO SO interesting -- i wish justin kuritzkes had left the bruise on patrick's inner arm ambiguous (tl;dr: people were speculating that they were track marks, but justin disregarded the theory)

patrick is so clearly an addiction-prone character (smoking, his career, arttashi), and part of me thinks it was a missed opportunity to not expand on this, even subtextually! it would also provide some insight into why patrick is broke, living in his car, and is no-contact with his parents outside of "haha he's cosplaying being poor bc he's just too proud" which feels a tad shallow

"if" is a drug for losers, and patrick's "ifs" of achieving his dreams of winning tennis and winning arttashi are blended together theyre indistinguishable. he can't stop indulging in hope even though it makes him miserable and depressed and a loser. that's so fucking neat!!!!

[queenword]

Aventurine and Jiaoqiu are not that similar. And that's great.

TW: Suicide, Depression MAJOR HSR 2.5 UPDATE SPOILERS Lately, I have been seeing a couple of people comparing Jiaoqiu with Aventurine, which I kinda get. Both of them are this kinda sassy depressed guy, who have seen a lot of war, they both form a trio with their most popular shipp, a more “traditional masculine” and serious guy (Moze for Jiaoqiu and Ratio for Aventurine), and their work colleague (Feixiao and Topaz).

But in general, I strongly disagree that they have that much in common (for me, Feixiao and Aventurine have more parallels, but I can talk more about this in other text). One important thing that no one I've seen so far seems to have noticed is that Aventurine is active suicidal, Jiaoqiu is more passive. And for me that changes everything

Maybe you haven't notice, but 2.1 Penacony story is a big metaphor about how suicide is not the answer. Aventurine talks to Ratio about the many times he tried to kill himself in the Dream. Yes it was for “testing”, but it haves a subtexts about suicide. In some point of the story, someone, that I don't remember who exactly, says something about how Aventurine is dangerous because he doesn't have anything to lose, so he gamble his own life. For me that's wrong, at least in the story that we saw. Aventurine in Penacony does not gamble his life in a way that if he succeeds he will survive, his gamble is that with his death IPC will take control of Penacony. And even if he survived (which happened only thanks to Argenti's help), he would still have to go through the stonehearts trial, which again he barely succeeded. Aventurine only survived because of his luck, because all his choices led him to death.

Jiaoqiu, on the other hand, seems to see himself with a purpose, a purpose more important than himself. “Heal everybody” in Jing Yuans (?) words, but primarily heal Feixiao. At first he needs to be alive to fulfill this purpose, but if he also needs to die to fulfill it, then that's it. Which is of course a heroic and altruistic thing to think, but it's not necessarily the way mentally healthy people think. Most people don't want to become a martyr. He reminds me of a scene from Grey's Anatomy, when Dr. Meredith puts her hand in a bomb to save a patient  when all the other people threw themselves on the ground to save their lives. A noble act but that reveals a great detachment from her own life. 

If I had to sum it up in one sentence, Aventurine makes decisions that will get him killed, while Jiaoqiu doesn't seem to care if his decisions will get him killed. And that 's great, (obviously not the characters being kinda suicidal) because thats what make them being interesting. It would be very boring and tedious if Hoyoverse just repeated the same type of character or story, especially when they seem to like stories that are metaphors for suicide (Scaramouche, Xiao...). Aventurine and Jiaoqiu are unique at their own way, and that's how it should be. 

[kerubimcrepin]

Dofus: The Production - what is left of the old movie

Originally, the movie was supposed to tie in with the game and the Welsh & Shedar series, and be a trilogy.

As we had already explored on this blog, this did not happen for a variety of reasons.

Welsh and Shedar got cannibalized by other projects due to its cancellation, and the script of the movie "Dofus Book 1: Joris Jurgen" had to be completely rewritten from its old plot;

In that movie, Joris was likely supposed to be a street urchin, who survived together with Lilotte, who was a rogue, and the trailer we have for the older version of the movie reflects that:

As we can also see from the trailer, and the poster featured earlier, proto-Kerubim is also a part of the movie, and Khan was not yet meant to be a boufbowler.

(And considering the posters, the cat that inspired Kerubim's design was also a part of the movie. I wonder if it's related to Welsh's cat from Welsh and Shedar? But maybe I'm just crazy.)

Subsequently, the movie came out at a much later date than planned originally.

(two images included because, bizarrely, there are two versions - one with Joris's tail censored, and the other with his tail uncensored. This proves that already at this point they had a draconic backstory in mind for him, though we do know that at the time of Wakfu season 1 (and, likely, the cancelled DS game, as was noted in my post about it) it was not the case.)

Also, interestingly, it is the only art of this time to include the tail. A possible error on Xa's part, or something that was considered very briefly?

In the end, Kerubim (as well as Simone) swallowed up not just the design of Welsh's cat, clothes, and Ecaflip friend;

He also got the role Julith was supposed to have, both metaphorically, and also literally.

Or not entirely — considering the fact that Joris was supposed to spend time with him anyway, since we have art of Joris on his mount from that old draft.

It's quite interesting, to think of all that could have been different in the 2009-2012 version of the movie!

But even during the making of the second draft of the movie, a lot of things have changed. From the first idea of Joris winning Kerubim back at a pachinko machine, to the concept art of Joris's non-possessed appearance.

The movie was being actively rewritten at the time of the making of Aux Tresors, so some of the early drafts were already tied in with its canon — taking place in Astrub, to be specific — but not with its ending, because the show was still ongoing.

At one point there was supposed to be a whole cast of Huppermage characters, and judging from the fact one of them is mentioned in the following text, they did play some sort of role in the plot:

It is likely that from this early draft it was decided that Joris would be a boufbowl fan, which was then worked in as a plot point in Aux Tresors.

(Stélina may be a proto-version of Bakara.)

It also seems that at this stage, it would be likely that Lilotte was reworked to be the Princess of Bonta, before eventually becoming the Ouginak we know and love.

After this Ankama once again returned to the concept of Lilotte as an orphan, though — even when the movie was still set in Astrub!

And it seems that the draft involved travel between Astrub and Bonta, judging from the usage of a Zaap to attack Luis.

And even at this point they have come up with the tragically cut "Joris and Khan go to adult industry workers and Joris (10yo boy) engages in depressed underaged drinking" scene.

(I'll never forgive Ankama for cutting this. I still argue that it's in character for Khan, our detested/beloved turbovirgin, to do this — as long as he doesn't get together with any of the women due to thinking himself "too good" for them.)

Also, at some point the gods were supposed to play a role. And personally, I am glad it was cut — it feels a bit too grand for the first movie in what was supposed to be a series.

I don't have any grand statement, or conclusion, but it is interesting to see all the ways the movie has changed.

[yazthebookish]

I loved all of what Sarah highlighted in her interview today and I'll elaborate a bit especially on the romance part:

In Maas’ fantasy worlds, love interests often exist as fated “mates,” with invisible strings between them that are powerful and often poetic. Readers can see the literary metaphors, like complementary powers between two characters. But other times, there are no metaphors, with their connection initially seeming random.

She's too attached to the mate trope and I like that she gives us different cases and scenarios for it, otherwise it'll be boring.

“Sometimes, I will write a scene with two characters that I’ve planned for them to get together, and then they have no …” She shakes her head slightly at me. “It’s like holding two dolls and being like, now kiss! And they won’t. … And then sometimes a different character will walk in and they will just” — she snaps.

I yelled at this part because it's as if she plucked the scene from Azriel's bonus chapter and used it as an example. Those parallels between Elain and Gwyn are intentional. It doesn't mean Elain is bad it's just their dynamic doesn't work as a couple and it was obvious to the author. I know she didn't specify who this was about but like, come on, who tried to kiss and which character showed up in a bonus chapter after that depressing scene and gave a glimmer of hope?

“It feels like magic in a way where, as much as I tried to plot out things years in advance, I let my characters guide a story. And they usually wind up with the people that they need to be with and who offer them the most growth and joy.”

I love this so much and allow me to speak about my favorite ship and its because the snippets we saw of Az and Gwyn together especially in the bonus chapter brought out a lighter version of Az. His scenes with Gwyn were light-hearted and the bonus chapter ends on a hopeful note for them. It's hard to deny that connection between them whether you theorize she's luring him or they're mates, those theories wouldn't exist if she had no ties to him (she's in his own chapter like come on).

I go the philosophical route with my next question: We’re talking about fate here, but at what point is a character the agent of their own fate? What happens if someone rejects their mate? (Listen, if I were Fae and I didn’t like my mate, whatever God chose for me is not my business.)

People are jumping the gun and assume this example is set to be Elucien but... we have Helion and Lady of Autumn likely being an example of a tragic rejected mates story (if you read ACOWAR and their history it's obvious they're mates). Maybe it's Mor and Eris and that's the secret that ties them to each other. We have other characters from other series too.

For a convincing mate rejection story in my opinion, it needs more than one book or it's a case that we see with side characters where we can see their history and the long-term implications of a rejected bond.

It's too easy of a story to have one person's central conflict be the words "no I reject you" and they're done. Again, this is not exclusive to ACOTAR but also her other series.

“That’s something I find to be very interesting,” she replies. “What if the forces that be put you with the wrong person? Or what if you just decide, eh, I’m not interested. … There’s a lot to explore within the concept of mates and your agency about it.

The concept of agency is something many readers in the fandom discussed especially when it comes to mating bonds and there were arguments on (would Rhys fell for Feyre if she wasn't his mate or would have Cassian fell for Nesta if she wasn't his mate). We know that some mates don't work out but stay together because their dynamic is unhealthy (Rhys's and Tamlin's parents). We got examples of a loveless mating bond already.

We also saw that Nesta didn't immediately accept the term "mate" because it would mean cutting off her last tether with humanity. It's not a matter of "you're my mate" "yes I'll be with you", the dynamic between the mated couple is important to explore.

“I’m not going to say if I am exploring it in future books or not,” she continues, “but it definitely offers a wealth of things to explore with this concept of freewill and what is true love. Is it something that’s destined? Or is it something that you make? Is it both?”

This part aligns with what I think about Elucien. We never had a mated pairing who knew they were mates but are not in love with each other. Every mated couple found out they're mates when they were already in love.

Can a destined love turn into true love? Or do you settle for a destined love without love being in the equation. Love wasn't in the equation for Rhys's parents, but love was the equation for Feysand and Nessian. Elucien was left unexplored for a reason and both Elain and Lucien view each other by label "mate", they didn't have a chance to get to know each other. So it's going to be very interesting to see them navigate their feelings for each other despite the mating bond.

I didn't expect her to elaborate a lot on this but I love that she did and I hope in future interviews she gives us more good bits about her writing and examples of the decisions she took for some characters and couples.

Didn't expect this post to be long but happy reading! I'm still reeling from HOFAS 🥲

[livestock-and-bibles]

Things I've Noticed During My Several Rewatches of The Doomstar Requiem

(Lock in, this is gonna be long)

Murderface is the only one out of the group to have a completely obscured face, possession foreshadowing perhaps? Also he lacks the golden streaks on the halo-esque circles behind them. Inch resting... (Not gonna talk too much abt when the scene goes red and the beam behind Murderface is dripping blood because I believe it's already been talked about before by others, and I don't want to include anything in this post that's already been discussed) Also I love how all of their weapons match their instruments

The way Toki doesn't even flinch when he gets alcohol poured on his wound is heartbreaking, likely either because the torture his parents put him through as a kid has given him a wicked pain tolerance or because he's so dissociated, similarly to how he behaves in Dethfam when his parents are around or Dethzazz when he's mentally in the punishment hole (I do believe this sort of catatonic state he's in is what's causing him to seem so much worse off than Abigail—though his untreated diabetes + Magnus targeting him more because of his relation to Dethklok probably also adds to it—he's likely not really eating or taking care of himself)

At first I thought that Magnus was feeding them dog food, but on closer inspection I actually believe it to be human remains. Yeesh. You can see it really looks like muscle fibers, and there's bones, as well as skin that still has hair on it. Magnus Hammersmith they could never make me like you

On the table is the Klokateer from Tracking/Ishnifus and The Challenge!!

I think it's interesting how much Nathan's fantasies look like Toki's! I just think it's neat! They're more similar than they seem :)

This is the most expressive we've ever seen Charles and it makes my heart hurt AUUGHH

The way Nathan licks his lips/teeth after the "How can I be a hero when my dick's as big as a shoe" line. DISGUSTING /affectionate

Does this fan look familiar? He should, because it's Dethklok's son, Fatty Ding Dong!! Good to see he's doing well lol, and his real name is Rick, we can also assume that at LEAST four years have passed since season 1, since in season 1 episode 10, he's said to be 14. Since he has a roommate now, he is likely to be around 18 years old

(Apologies for the low quality screencap I had to nab this from Youtube) I kind of wish that the animators didn't change this original animation for the end of The Fans Are Chatting. I just feel like Nathan pushing away the Klokateers is more symbolically relevant. Nathan is quite literally pushing away the safety and security his avoidance has given him, the hologram disappearing and the fans leaving is a metaphor for the fact that he can no longer keep himself deluded into thinking that everything is fine, he can't hide from the truth anymore

Almost all of the Rock A Roonie Fantasy Camp counsellors came to the Dethklok audition, there's even the depressed blues guy in the background. There's also Sammy Candynose from Snakes 'n Barrels, so I like to think that Pickles told him about the auditions

There's also the guitarist from Get Thee Hence

Toki's shadow!!! The wings!!!

The animals they take the form of match two of the guitars Brendon Small created with Gibson, The Thunderhorse and the Snow Falcon :D

It's super tiny but their smiles :'))!!! Also the way their parts play on different sides when you listen with headphones but then combine at this part makes me so crazy. Not only does Toki challenge Skwisgaar and inspire him to get better, but they're also having fun! Which I can imagine never really happened when he played with Magnus

Probably just an animation error but Skwisgaar is animated as his present day self here. Idk, just thought that was interesting

I think the order of the rest of the band joining in on the background vocals is really interesting, it goes: Skwisgaar, Pickles, Nathan, Murderface. Personally I choose to interpret it as a representation of how long it took each member to warm up to Toki as their rhythm guitarist, Skwisgaar was super fast since he was the one to choose him, Pickles was the one wanting a new guitarist in the first place, Nathan and Magnus seemed to be close, so it would definitely take more time for him to accept Toki as the whole Magnus situation would still feel a little raw, and Murderface is a professional hater so of course it took him the longest

I really love just how soft and content Murderface looks in Toki's fantasy. We all know he has a softer side and I think that either Toki perceives it, or possibly Murderface shows it towards him (Which I can believe because they're often together and they get along pretty well, Toki is probably the person Murderface gets along with the best actually)

I also want to mention that at this part of I Believe, Toki is no longer singing along with the other's background vocals, and is harmonizing with himself, which gets really sad when you realize that it's because this was just Toki remembering this to keep himself sane and he's actually kidnapped, hurt, and alone. Ouch :(

The drunk driver who crashed into the Jomfru brothers is the same guy who crashed into Nathan's second grade class in Dethgov. I guess there's only one drunk driver that exists in the Metalocalypse universe lol

I think we as a fandom need to appreciate Eric Jomfru more. He's such a real one. The way they make you care about him after he's already gone is so evil lol /affectionate

The way the Klokateers join in on this song makes me wonder if perhaps they view each other as brothers, or if there's just like a strong sense of brotherhood between them

The groupie on the left can actually be seen in Fatherklok at the beginning of the episode, as one of the women Skwisgaar has been with, so y'know what? She has valid reasons to be mad honestly

Murderface's pose up top always sends me, sir please calm down, keep it together king

Murderface holding his wrist :(

If you look closely, you can actually see that the Revengeancers are eating Ishnifus. Which is just,, utterly horrifying

In between the shots of the band and the assassin, there's so many inconsistencies in the placement of the characters. For the last two images, I just like to rationalize it as Pickles immediately attempting to run away, then noticing that the rest of the band is still there and being like "Oh shit we're squaring up? Ok I guess". I know it's just so Nathan can be in the center when they use the Dethlights but I just think it's funny

Also in the second to last picture, the way Murderface, typically the most cowardly of the band, isn't looking at the assassin, but instead, is looking worriedly at Toki, makes my heart hurt. I adore their relationship

Murderface is actually sleeping in Nathan's bed here. If you compare different shots of their bedrooms and beds, it's clear that this is Nathan's, you can tell from the striped pillowcase. I'm not gonna talk too much about this, mostly because I want to make a separate post talking about how Murderface is seen more than once sleeping in Nathan's bed when he's hurt/unwell. It's very sweet lol

ANYWAY! Thanks for reading these rambles, I love The Doomstar Requiem so much! I might make a post like this for Army of the Doomstar as well, and also just some analysis posts if I get the confidence lol. Big thanks to @ratskal for watching this a dozen times with me and pointing out things too. (I actually reached the max limit of pictures allowed in a post which is a little funny, I am so normal about this show /lying)

[transfemyoungblood]

Tell me a bit about revolutionary girl utena, like give me a pitch. /nf Because I keep seeing you talk about it and it sounds like it would make me go insane but I have no idea what it even is

a young girl named Utena Tenjou is deeply depressed because her parents have died. she feels like she no longer has anything to live for. then, a prince atop a white horse comes to save her. he gives her a ring and promises that one day, they'll meet again. inspired by this act of kindness and courage, Utena vows to become a prince, like him. at least that's how she remembers it.

years later, she is a student at Othori Academy (which is also a time prison, fyi). she is confident, carefree, and rather tomboyish, wearing a boys uniform and excelling in sports. she doesn't have much interest in boys, but tries to get involved with them in hopes of finding her prince and also being a "normal girl." she accidentally gets involved in the duels that the student council members partake in, and here, she meets Anthy Himemiya.

Anthy is a shy and mysterious girl with a hidden temper, and the student council members fight each other to win her hand in a duel. she is othered due to her role in the duels, and treated as inferior. she faces abuse and manipulation from the student council members, and her older brother, chairman Akio Othori, abuses, manipulates, and assaults her as well, controlling every aspect of her life. Akio Othori was once the prince who saved Utena's life, but now he is a manipulative creep, though he still clings onto his princely image.

Utena desperately wants to protect Anthy, which at first is motivated by her desire to be a prince, but as she spends more time with her, they grow closer, and start to genuinely fall in love. Utena begins to want to free her from the abuse she faces in Othori, and mistakenly believes that becoming a prince and fighting the student council duels are what will help her do so. but in reality, the "prince" of Anthy's life is the source of her pain, and the duels are what keep Anthy trapped in her toxic environment.

Revolutionary Girl Utena is highly surrealist and avant garde, making heavy use of metaphor, visual symbolism, and allusions to philisophical concepts. it is a feminist anime that criticizes gender roles, misogyny, patriarchy and the institution of heterosexual marriage, and it's also impactful in its theme of breaking the cycle of abuse and having hope for a better future. it is also regarded as one of the most iconic yuri anime, due to the romance between Utena and Anthy as well as its criticism of cisheteronormativity.

in conclusion, you should watch revolutionary girl utena. 💥💥 YURI BLAST 💥💥

[tothepointofinsanity]

Observation Log Series: Sayaka [III]

Today on: Visual metaphors for depression and the actual “magic of friendship”.

Images are taken from this Magia Record game video on YouTube.

I am pretty sure someone else in the ages past had already covered this bit, so I suppose I will add this to the archives for my own documentation purpose. Or for just anyone who feels like reading it, really.

Sayaka’s magical girl transformation in this sequence is very interesting. There are a lot of jokes about how she’s yeeted everywhere by the Holy Quintet in her own transformation, so here are the notes:

The beginning of her transformation is shot in the sequence of a downward spiral. Sayaka falls through the hoops and into the ocean as her opening, a reference to her descent into madness (keep in mind: the sea as a metaphor for an inescapable expanse of darkness; the abyss) in the main show, as well as her deteriorating mental health. The spiral drawn to resemble piano keys (🎹) is also no coincidence, but they break apart when Sayaka plummets past them, much like music becoming discordant and incoherent.

Right after that, she gets thrown around respectively by her friends, each of whom gets her to the destination of being fully transformed. What is important to notice is that for the majority of this part, you cannot see Sayaka’s face, and she appears completely indifferent and motionless as others pass her around without hassle. You would think someone like Sayaka, who typically exhibits stubborn tendencies, would be resistant to being literally thrown around, but I feel that there are reasons for this:

• Sayaka being shown not as weightless, but rather as something heavy that makes an impact wherever she goes. She’s literally dead weight in the water despite her Witch being a mermaid. There is no attempt whatsoever we see from her where she tries to swim gracefully or float naturally in the sea. She just seems to be…there, being moved rather than performing her transformation by herself like all the other magical girls.

• The Holy Quintet are the essence of friendship that help Sayaka not necessarily out of her depression, but rather giving her a massive boost by flinging her to the next appropriate person. Given she is portrayed as dead weight, she doesn’t transform manually and do fancy dances, instead heavily reliant on the support of the crew to help her get changed. The sequence where she’s thrown onto the bed and lies there before being flung out again is very reminiscent of the tragedy that individuals struggling with mental health problems can barely get out of bed on their own at times, even to the point where it seems they might never leave said bed. Homura has to pick up Sayaka in a bag before tossing her to Kyoko, where it unfurls and it becomes her cape.

It is also interesting to note that the bed is surrounded by mirrors of all sizes and shapes that don’t reflect Sayaka at all, but rather the oceanic creatures and environment. Her self image is nonexistent and replaced by the sea. When she’s thrown to Kyoko, it is only then she is “stopped”, and we finally get to see her face. Her hair is long, unlike the appearance of her short hair that we are used to. Kyoko helps her with the last part of her transformation by putting on the gold hair pin.

Kyoko being the one to not throw Sayaka but rather casually stop said impact is likely symbolic of their relationship. The ocean is stopped by the unmovable rock.

• In the very last part, Sayaka appears standing on a platform that arises from the sea, and only then she seems fully refreshed and ready to go. Once again, instead of swirling out of the water or something, she needs something solid to stand on and raise her to the surface as she is incapable of doing so herself. Her entire transformation seems to highlight that others need to be on standby to support her, or else she will likely just dwindle and sink motionlessly to the bottom of the ocean. By the way she’s posed, it also seems to imply that she has complete trust in her friends, who were there at every turn to assist her transformation.

Something else I thought about as well is the irony that despite being mermaid coded in terms of her own Witch and backstory, Sayaka is almost always portrayed as a sinking vessel the moment she hits the water. A finless mermaid, yet frustratingly a mermaid that cannot even swim or float. I find that this interpretation would fit into the existing narrative that Sayaka and the Incubators view her as useless or inadequate. What good a mermaid who sinks in the sea? What good a magical girl who needs others to help her transform proper? Noting that Sayaka’s transformation always involves her emerging out of water seems to tell us that she has always pulled her weight out of the abyss by herself.

TLDR: It wouldn’t hurt to show that Sayaka requires support from everyone in order to do her best.