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raayllum · 3 days
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Key to His Heart Theory: Shot Through the Heart, and You're (S5) to Blame
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Intro
So a little over a year ago (since usually I think about things meta wise for at least a good month before writing them down), I wrote a meta about why I thought the Key of Aaravos might hold a quasar diamond, specifically Aaravos' missing chest piece. His heart, if you will.
At the time, I thought it was a very strong contender for what the cube might be, even if it didn't necessarily give us a clear depiction on what it might be used for, and was again operating under the assumption the cube itself is something Aaravos even wants back or needs (which is assumption still, at this point).
It made sense loosely with some of the new information we'd gleaned about the cube from S4 (mostly the Callum pawn intro with its bright flashing light, the emphasis on hearts in the narrative with Ezran's speech, the 4x04 flashbacks) and was likewise built upon a previous meta regarding the series' use of Egyptian mythology (Thoth and Ibis being present somewhat in Callum's arc, the main trio's parallels to another Egyptian myth trio, Aaravos' mirror and mirrors as objects of divination, and potential matching symbolism with the ankh).
The Key to His Heart theory was also built on previous seasons — largely the Magma Titan plot line, and Avizandum being stabbed in the heart — in addition to Aaravos' chest piece, seemingly, being notably absent, which seemed indicative of certain lines from the short stories, particularly Rayla (S4's Dear Callum), but we'll talk more about these later:
Please don’t let this hurt too much. But, if it does—if you feel that soft aching—know that that piece of your heart isn’t missing. It’s not missing at all, Callum: I’m carrying it with me! Always.
If you're interested in this theory and want to know about it, I recommend reading the two metas I've linked above, as the rest of this won't really be delving too much into what I've already written about, and talking about how season five has given more potential evidence.
With that out of the way, let's get into it in rough order of "most to least" likely:
Season Five
TDP Reflections
Whereas hearts weren't mentioned too much in the short stories leading up to S4, they became a reoccurring motif every TDP reflection story going into S5.
Fools. They might as well have held their own hearts, beating and bloody, in the palms of their hands. Kim’dael knew that if she showed them her heart—or something convincingly like it—the Sunfire elves would do exactly what she wanted them to do.
“Rayla,” she said, meeting Redfeather’s gaze. “My name is Rayla. And I’m going home.” Redfeather sighed. “Oh, you bleeding heart.”
“They balk at shadows, then.” Aditi pulled a slip of white-hot metal from the forge and turned to place it upon a gilded anvil. “I see your heart—and I am not afraid.”
It stared up at him. Ezran felt a coldness twist its way around his heart. It took his lungs, too, and for a long moment he could not breathe, could not feel anything but an unfamiliar anger so potent it seized the whole of him, inside and out.
Viren staggers backwards, his last breath shuddering through the blade. His white robes turn red at his heart. Something in Soren’s own chest shatters along old cracks, but he cannot look away. 
“You are stronger than this. All storms end!” Rex rumbled a snort through flared nostrils. “What lies at its heart?” 
 He wept for his city, his people, and the darkness struck deep into their hearts.
While one may say it ends with a sunrise, another will insist it ends at nightfall. Yet at the heart of the story is a single, simple truth…A star fell from the sky.
From where Kim’dael stood, she could only see the brilliant aura of its magic. For a moment, it was as though the queen’s heart overflowed with light.
Now, some of this is undeniably because a heart is a short hand for emotion and one of our most useful metaphors for communicating a variety of emotion. However, I did think it was particularly interesting / eye catching that these lines tended to overlap with the series' growing light and darkness motif and emphasis on wounds/scars (to the point we have a 5x02 episode titled "Old Wounds" that refers to both Viren's past and Callum and Rayla's healing relationship).
But by far the one that struck me the most, and seemed the most reminiscent of how Aaravos's (literal?) wound manifests is this paragraph from Claudia's short story:
Lissa had left her years ago, but the space she had owned in Claudia’s heart remained. It was a dark place now, hard and hateful, its edges raw as a wound that had forgotten to heal.
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Mountains had crumbled and left in their wake a vast new sea. It was as though the land had been dealt a great wound and bled a hundred years. Terror washed across the remnants of humanity like a wave: What power could fell mountains? Turn all the world dark, and bleed a sea from stones?
—Ripples (pre-S5)
As well as Aaravos' clear desire to have revenge over the Startouch elves for something that seems to go beyond the resentment over just being banished:
I have not seen the stars in centuries. But when I see them again—when the stars are forced to look upon me, their dark brother—they will know how I have waited. And when everything they have built lies shattered, I will savor their fall from the sky. For I have been patient.
—Patience (pre-S4)
We don't know yet if we are going to get more TDP reflections going into S6 or S7, but given the way the previous stories emphasize the heart as both a symbolic idea (a darkened, hollowed out heart) and a literal entity you can hold in your hands... It's clear there's something going on symbolism else, otherwise why be so consistent? But enough of the reflections, for now.
Time to talk about S5 itself.
Laurelion
Previously, I thought the cube in the intro (a literal glow toy, as Rayla identified back in 1x05) already had similar properties to the star-glow effect in the title intro back at S4.
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At the time, this was more of a guess. Most of the Star magic we'd seen at that point we weren't able to fully identify as such, it seemed a bit more magenta in colour, and while there was a parallel in the bright flash of light upon releasing Sir Sparklepuff, there's also a bright flash when the prison is actually made. It's just a good short hand for a crescendo of magical power, you know? We didn't know if quasar diamonds were even going to be white, besides the one presumably in Aaravos' chest concept art wise.
And yet — it still felt like something to me. Then S5 with Laurelion came along.
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The Death of the Immortal
K: "And though undying, took last breath, immortal Laurelion was no more." C: That's good, right? I mean when someone "was no more," that's — that's dead, yeah? K: It's a bit confusing, but that is the clearest implication. Though it is somewhat odd they call them undying and immortal. C: Well, that doesn't sound so immortal? Laurelion "was no more". K: Right. C: But how? How did they...? K: Right here. "White as the star's heart it pierced, ivory draconic brought death's bite known ever forth as Novablade." C: It's a sword.
There's a few noteworthy things about this whole exchange:
The poem has to be relevant eventually, otherwise why include it at all when you easily could've just had Kazi and Callum stumble across the sword period?
It confirms that the heart of a star is something that can be pierced, presumably removed, and white, which I think is the biggest "hell yeah" to the 4x04 intro
There is no reason to point out the contradictions in the poem itself unless A) the sword doesn't work the way we think it does and/or B) we are going to find out why the "undying and immortal" thing matters — and they make sure to emphasize the contradictions quite a bit as well, so they definitely want us to notice
If Laurelion died, and Aaravos took his place, that would explain how Laurelion — identity wise — could die while the same person under a new name could also remain alive / immortal
We learn in Rayla's pre-S5 short story that Ghosts don't often keep their real names, and take a new one as the final severance of their bond with their old community. For all extents and purposes, Aaravos was Ghosted (banished) from his community as well. Taking a new name would make sense
"That must've been when [Harrow] fell." "Fell? Fell! He didn't fall, Rayla, he didn't trip and fall on the ground — he got killed!" (2x08)
There's more speculation here regarding the actual sword and draconic ivory, but that is another post for another day that other smart people have made if you are interested. For now let's just focus on the heart.
We know Laurelion had a heart; we know it got stabbed with the Novablade, leaving Laurelion both no more (i.e. dead) and yet immortal / undying. We know that Arc 2 in particular has had an emphasis on losing your sense of self and identity ("I was his puppet" / "We can't save everyone, Soren" / "But I'm not evil. It's me" / all of Viren's dream visions). We know that a Star's heart is white. We know that Aaravos seemingly used to have one, and now it's either missing or impermanent, only visible sometimes.
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(Putting a pin in the second image cause we'll roll back around to it in the counter evidence section.)
We know his chest centrepiece glowed when he was imprisoned, and we know it was seemingly gone when he got banished. We know something about the Key of Aaravos was able to reveal his treachery.
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I'm not saying any of this is for sure connected, but it does make you think, at least a little?
That, and it'd play into another bit of potential interesting foreshadowing / symbolism we got in s5 with
Viren Heart Theory
This is another theory I've discussed in more detail elsewhere, so I'm going to link to it here, but it wouldn't feel right to not talk about it at least a little here. Basically the theory is that Viren used his own blood / a piece of his heart, or possibly the whole thing, and the relic staff in order to save Soren when he was a young child.
This is largely due to Viren's spotlight turning red after he begs to be able to save Soren, and cinched by Kpp'Ar pointing specifically at Viren's heart only for Viren to deflect and start talking about Soren's case specifically. Whatever he did seemed to make him more 'powerful,' but at a great personal cost ("In the name of love you may perform acts that are so unforgivable, you will never forgive yourself") and something he finds the need to justify ("I had to do something! I had to save him! I had no choice!").
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If Viren did this, it also adds another layer to Viren's sentiment of "Harrow's death breaks my heart" being well, half-hearted, in addition to Soren literally stabbing illusion Viren in the heart in 3x09. Viren mutilated his heart for his son's life, stopped being able to properly express love to said son, and then Soren stabbed his father right in the place that presumably saved him as a child. Ouch.
It seems likely that one of the reasons Aaravos was able to prey so aptly on Viren's desire for importance and attention — to Matter — was because Aaravos might've tried and failed earlier on to get the Startouch elves to listen to him pre-banishment. Being ignored, exiled, and disempowered is something he can relate to, and something he doesn't mind taking advantage of when it suits him.
However, if this combination could save someone Viren loved, it makes me wonder if Aaravos did something similar to likewise try (and fail?) to save someone he loved, too. It's either that or the Startouch elves just completely ripped it out, so... I guess we'll have to see?
But yeah — if Viren did it, then I'm expecting it's more likely that Aaravos did it, too. That is all.
The Pawn Intros
But Dragons, you say, didn't we already talk about the Callum pawn intro?
And to that I say yes, but — thanks to a promo S6 picture of Aaravos crying, we know something else very important about said intros that we didn't know before: they take place at the Sea of the Cast Out.
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The sky, the mountains... the fact we know, thanks to the statues in 5x09, that this is likely where Aaravos' grief — his wound, if you will — began to bleed and take root, leading to his thousands of years of seeking vengeance and using just about anything or anyone he could. This is, presumably, where his chess game started... and where it is, symbolically at least, going to end.
Okay, so it's the Sea of the Cast Out — why does that matter?
Well, we know the Sea of the Cast Out is a site of literal trauma for Aaravos. We know, thanks to the statues of Aaravos and the Merciful One, that it plays into the same reaching motif we see Viren participate in quite a few times, both in his intro and in other places/relationships (most notably Sarai, Harrow, and Terry).
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The Sea of the Cast Out is also, perhaps more importantly for this theory's purposes, near Elarion. What little we do know about the city beyond it being an important place for humans and dark magic ties it repeatedly to nature through The Midnight Star poem:
Elarion, trembling seed, lay down to earth in icy night, and in the cold her roots took hold defying winter’s deathly bite. Elarion, fading bloom, afraid to wilt and dim and die, [...] Elarion, dying husk, did wilt and whimper in the dark [...] Elarion, black-eyed child, her twisted roots spread deep and far,
as well as a tale about the Flowers of Elarion, precious blooms that could soothe the senses and turned to dust come morning—flowers that were left as "a fair exchange of beloved for beloved" (Tales of Xadia). Put a pin that Exchange idea because I swear we're gonna come back to it but not in the usual way you might be expecting, or at least not entirely.
And we have good reason to believe this nature motif is tied to Aaravos' current imprisonment as well, given how present flower imagery is for his mirror.
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So the Sea of the Cast Out and Elarion seem to be the two places we know of thus far that are not only the most important to Aaravos, but the most instrumental to his banishment. It would not surprise me if either Aaravos got involved in what would become Elarion either because he was banished, or it was what he was banished over, or if discovering the truth of what happened there is likewise why the Archdragons were partially like "Yeah, we gotta lock this guy up" (now that they knew he posed a serious threat). The fact that Elarion is referred to as a child (everything with "blood of a child,"), black-eyed (which denotes dark magic), and winter's "deathly bite" ("White as the star's heart it pierced, / ivory draconic brought death's bite") just all ties together nicely in being related even if we're not totally sure how.
But Aaravos having his chest piece removed by force / as punishment in addition to being cast out by the Startouch elves, or him taking it out himself and giving it to someone who was lost... There's a lot of roads to get here as to why this stuff all seems connected if the Key is indeed his chest piece, which offers up both a power up, a sad tragic backstory, some baller symbolism, and some nice double meanings as to what it is key wise.
As the Key works in the moment, it doesn't seem like it's something that would be very useful to a primal mage, as other than pretty easily identifiable gemstones they wouldn't be using much the key identifies. However, the function of the Key being able to categorize and sort magical creatures and plants from each other is something that is very useful if you're a dark mage and need to shore up your ingredients list.
If the Key has Aaravos' chest piece in it, there are two main prongs this offers:
It may have been instrumental in helping humans discover dark magic, hence the "Elarion, searing white" and could also be the Gift the poem speaks of. Aaravos removed it himself (love makes you weak?), gave it to his chosen human, chosen human died, and he was locked out of Startouch realm as a combined result. This offers the clearest connection between why Aaravos' mirror has the nature motif and why Aaravos is crying in the beginning of 6x01.
It was removed by the Startouch elves and lost/hidden, forcing Aaravos to be away from his old home until he could find it again. This is the clearest explanation as to why the Key might be relevant on a plot level. It could give him the power up he needs to get out of his prison and barring that, it's what he needs to wreck havoc and gain access to the Startouch elves to get revenge on them
It also allows what we learn of the cube in 2x06 to have multiple meanings:
The Key is revealed in an episode called The Heart of a Titan. We're led to assume that this is just the Magma Titan, and you could perhaps make an argument the dual meaning (just like how Breaking the Seal refers to the letter and the titan's chest) refers to Harrow or Callum's capacity to love. But, given that one of Aaravos' most prominent mythic comparisons is to Prometheus, a literal Titan, well...
"It unlocks something of great power in Xadia" would work equally well if it's a Key literally made from Aaravos, not just to Aaravos. And the past 2 seasons in particular have emphasized over and over again just how powerful and dangerous he is
The salvation and destruction motif that is inherent in the key, ("I just have a feeling this key thing can help me" / "It's the key of Aaravos, no good will come of it") as keys are linked to chains and freedom with the ability to lock and unlock, is rampant in 2x06, as Viren states that Xadia and the Magma Titan "held both the promise of our salvation and threat of our destruction." This goes double for Sarai sacrificing her life to save Viren
And to round back to Viren and his intro, I don't think it's a coincidence that
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is one of the first things Aaravos ever says to Viren, particularly when trying to earn Viren's trust. (Nor that Aaravos considers that Zubeia and co. "betrayed" him when "he would lower his guard," just before the imprisonment.) And while Aaravos gains Viren's trust as a political ally here first, it's also clear that he's actually primarily preying upon Viren's deepest emotional desires here as well: to be listened to. To matter.
Viren wasn't listened to by the monarchs around him (Harrow). He wanted to be important (to them). He wanted to matter.
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"It is everything to me, to know that I matter. It's all I ever wanted."
Aaravos: Search your heart. There is something you want very badly. (2x09) Zubeia: He was able to give them something they wanted very badly. (4x04)
And that's what Aaravos offered him, with power and knowledge just being the bait. (If you're interested in more detailed thoughts on this aspect of Viren / their dynamic, check out this meta here.)
More to the point, I do lean towards the Key's plot purposes being 1) a power-up that may be needed for him to get out of his mirror and 2) something that likewise allows him to see the other Startouch elves again. After all, the Silvergrove gave each elf a similar kind of key:
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But y'know what, let's talk about Rayla now, because
The Missing Piece of Your Heart
As stated earlier, Rayla's letter has a consistent metaphor when it comes to family and loss:
I remember how I felt when my parents left me to join the Dragonguard, like PART OF MY HEART WAS MISSING and I would never feel right again. I thought I hated them when they did that to me. In the beginning, it felt so big and terrible—like raging despair—but, overtime, it became a soft, sweet ache—a reminder of that missing part of my heart. [...] Please don’t let this hurt too much. But, if it does—if you feel that soft aching—know that that piece of your heart isn’t missing. It’s not missing at all, Callum: I’m carrying it with me! Always.
This struck me as interesting when the letter first came out, as it was a departure from most of Rayla's previous heart motif ("My heart for Xadia") and even the one attributed to her one half of her parents ("My heart goes out with this one"). Why have the motif suddenly switch up when it would've worked just as well, or been doubly romantic + a Ruthari parallel, to just have it be the whole heart?
Then season four came out, and I understood, because, well...
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Upon her return, Rayla brings back that "missing piece" of "Callum's heart". It's a painful restoration and doesn't run entirely smooth, but in season five in particular we see him be much more like his older, happier self once he's let himself love her again, and how steadfast he is in said love ("To love is simply know this...").
But, in a moment that could've been exclusively about Rayla, nor did it need for Stella's connection to the Star arcanum to be this prominent in the same moment, they choose to likewise highlight Rayla 'bringing home' the missing piece of Aaravos' heart, too.
This symbolism is also consistent with how the key is introduced in the first place, i.e. first thought of because Rayla's drawing in Callum's sketchbook (another gift from Harrow) reminds Callum of it, and her ultimately being the one to retrieve it even once things at the Banther Lodge take a turn towards the south.
Furthermore, we do have reason to believe that Rayla is indeed the 'Key to Callum' in a sense, particularly after 5x08. Just like how a key can both lock and unlock — give freedom or entrapment — Rayla symbolizes a great deal of duality in Callum's life, including but not limited to:
Leading him to primal magic (1x03, 5x08) and dark magic (2x07, 5x08)
Light ("No one can control you or make your choices for you" / Ray of light) and dark ("But the second you see that elf girl in pain, you completely lost yourself" / "Stay safe, and stay in the light. Don't look for me")
Being routinely emphasized in Callum's arc with Aaravos, especially in S4
"Now you're back. That's kind of good, and it's kind of bad" / "You have to hold pain and love in your heart at the same time" / "And when she came back, I was so happy, and so mad at the same time"
Salvation ("Rayla saves people [...] that's what makes her a hero") and destruction (being willing to die / do dark magic for her)
The Ocean arcanum realization being both positive and negative, just as the poem itself takes on a different shape across the season in regards to how Callum views her and how he views himself while being motivated by his love for her / Ezran
“Wow. So [the berries] look identical, but they might kill you or they might save you,” Callum said. “Exactly. Just like me…” Rayla smiled.
—Book One: Sky novelization
If you're interested in a more specific meta on this dichotomy, I recommend this meta written pre-s4 and this more recent one about 5x08 specifically.
I've written before about Rayla have a weird consistency with the cube as well, particularly in her being the primary carrier of its foreshadowing for most of arc 1, with Callum only really doing so in 1x04 and having Rayla pick up the slack the rest of the time:
"It's a toy, a piece from a children's game" (1x04) as well as "It's a glow toy" (1x05) are now literally true as the cube is 1) involved in Aaravos' game and 2) literally glows a bright flashing light circa the 4x04 intro.
"Are you practicing magic or are you losing to Bait at a game of rolly-cubes?" (2x07 right after Callum calls it a key) came to pass, somewhat if not outright, it seems, in 5x08. Callum practices two different magics, Rayla is literal bait in exchange for the glow-toad, and the episode ends with Callum being worried he's potentially losing Aaravos' 'game' so to speak — that he's made himself more vulnerable to the Startouch elf's control.
Two lines of hers regarding the cube that have not yet come to pass are "This doesn't end well for you" (1x05) and "I hope it was worth it to you, putting everyone's lives in danger" (1x04) but I expect that we'll get them soon enough.
Rayla's 'tether' to a the cube does, of course, loop back into the Flowers of Elarion tale, in which there was a fair exchange of beloved for beloved. If the Key does indeed hold Aaravos' heart (and that is still a very big If), whether it would include an actual exchange is still debatable, but it seems inevitable that she would at least play a part. (If you're interested in more thoughts on Rayla + the cube, check out this meta pre-s4.)
Where the game motif gets the most interesting, I think, is where it intersects with the idea Aaravos mentions in 2x09 regarding, "Those who fail tests of love are simple animals," and one of the TDP short stories in particular having one very interesting tidbit:
“My behavior is—?” “—unusual,” Corvus repeated, nodding. “Very unusual. Ever since you started challenging me to all these little games.” Soren squirmed. His pauldrons clanked as his shoulders slumped. “They aren’t games. They’re tests. Ugh…I’m really messing this up.”
Since Rayla is going to have her "My heart for Xadia" undeniably tested, it would make sense if Callum and Aaravos' hearts came into play too, don't you think?
Other Misc Symbolism / Oddities
Last but not least, we have our odds and ends that didn't fit in the other sections, but I thought may be worthwhile to mention anyway.
For starters, we have screencaps (most notably in 3x06) where you can see a visible dip in Aaravos' tiddies chest that indicates something was removed, and it's not just an artificial darkness.
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We have Aaravos touching a fist to his heart twice before he bows and indicates that Callum is going to "play" into his hands (remember that game motif?).
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We have this shot, which is the exact kind of thing that "crew makes sure the Ocean and Moon runes are most prominently on display in Callum's dark magic dreams to foreshadow him doing dark magic in S5 Ocean for his Moonshadow gf 3 seasons later" would absolutely do and think they're So Funny about. "No gem for star magic" except the one you're unknowingly holding in your hand, am I right?
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Finally, we have precedent that dark magic can 'darken' your heart both in show when Amaya passes the light trial ("A human that is pure of heart") and in the graphic novels with Claudia ("Your heart is not yet darkened") which allows her to see the map to a unicorn (The Puzzle House).
@self-spaghettification also noted that the bright white flash of the star in the 'o' of Aaravos' name in the Arc 2 intro momentarily looks like and makes the shape of the Nova Blade, which is also very cool.
Honourable mention to Rayla going "it's a piece from a children's game" and Ezran going "you said each of the archdragons had a piece of the puzzle" and the Orphan Queen and Jailer presumably working together to trap Aaravos. I think about that shit every day.
Evidence to the Contrary / Alternatives
But like I said at the start, there are plenty of alternatives or feasible pitfalls to consider. This theory resides on a few assumptions after all, that may not be true, such as Aaravos not actually needing the key for anything other than as a lure for Callum, it could purely have something to do with the Nova Blade and nothing to do with the prison, or even have something to do with the nature of magic itself, capable of great good as well as great evil.
His chest piece could've always been more immaterial and dark magic has just darkened it rather than it being removed. Aaravos may have stabbed Laurelion in order to use that heart diamond to partially make the Relic Staff he passed onto Ziard, or Aaravos' chest piece could be in the staff itself, and the cube is something else entirely.
Conclusion
In the end, as we go forward into S6 all the above is more less my personal bet as to where I think we really could go in terms of answering a lot of these questions we've had for a few seasons now. I hope you enjoyed reading the theory and considering (and possibly subscribing to) it, as well as getting your own thoughts stimulated. If any of the above happens I will cry for days and no matter what, I am deeply intrigued to see where S6 takes Aaravos' backstory and, of course, his cube. Luckily:
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as a lifelong ATLA fan who narrowly had ATLA dethroned as my top show by The Dragon Prince steadily over the past 5 years, the similarities between the two have very little to do with the surface level parallels that get regularly drawn between them.
Like ATLA, TDP has Books for seasons and chapters for episodes, but unlike ATLA, which only touched on storytelling sparingly as a theme, TDP is obsessed with interrogating storytelling and history and the presence of unreliable, biased narrators throughout many of its episodes (most notably 2x05, 2x06, 3x06, 4x04, and 4x07 among them). Half of what you learn in the 1x01 intro ends up being a lie once you reach S3, with more being steadily deciphered.
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Yes, TDP has different magics with people living under those umbrella terms... for the elves. Humans are coming culturally at things from a completely different angle, and the elves' connection to their primal sources are discussed philosophically in detail, informing their practices and their culture first hand, including the way they chafe against humans, who are arcanum-less. Many animals in the world are also connected to magic, which influences both their design and which ones get hunted for humans' more 'clever' solution in dark magic, including each other.
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The core issue of the Puppetmaster, down to being a coercive magic formed by someone deeply resentful of their imprisonment? Said puppetmaster is the main endgame antagonist of the entire show with all of S4 onwards being exploring the ethics of controlling people against their will in various methods, and the entire show itself being a thematic battleground of fate (imprisonment) vs free will for virtually every single character.
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Where ATLA mostly concerns itself timeline wise with ending the war, very little thought is shown by any of the characters as to what they'll do after the war. This isn't a problem (as it reflects the sheer domineering scope of the conflict) but even Zuko being firelord is only ever really addressed with 2.5 episodes left till the finale. TDP, meanwhile, ends its 'war' in s3 and s4 opens up with dealing with the old wounds festering between people with centuries of history, the struggles that come when people aren't able to let go and believe they're safe or mourn in a healthy manner, and the religious/cultural clashes that may occur when trying to integrate different groups of people.
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TDP also has an evil father with a devoted daughter and a brother who eventually defects, but it explores the reality of an abusive parent who loves/will sacrifice for you and your right to leave regardless, even if that means leaving the sibling you truly deeply love and who loves you in turn. Which means that when you and your sibling are on opposite sides of a deep ideological conflict, it actually really fucking hurts bc we've seen first hand just how much they love each other and also how and why everything fell apart not in spite of that love necessarily, but also because of it.
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Is this to say that TDP is a 1:1 with ATLA or that it's better? No, not at all, and the latter is subjective. I prefer TDP, but I think they're about on equal ground when you look at each show currently as a whole (although TDP has two seasons left to go).
But TDP takes a lot of what ATLA was doing thematically with some of its most interesting beats and then builds or expands upon them further. It talks further and more consistently about the cycles of violence; in many ways, Jack De Sena's character, Callum, begins the series largely where Sokka had ended (and he's not the most like Sokka anyway; very much his own thing); we get Faustian bargains and centuries' long grief and fucked up people who are trying both succeeding and failing at not doing fucked up things. There are antagonists, but it is very hard to actually label anyone at this point a straight up villain. Moral greyness is where the show starts, and it just continues from there.
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That's not to say the show is nothing but dark and depressing - like ATLA, there's a steady thread of hope and humour even as the show gets steadily closer and closer to its 11th hour point - but the show is usually emotionally heavier. There's more blood and potentially disturbing imagery with body horror and on screen death. There's so much foreshadowing you basically can't go more than 5 minutes into any episode without having something that's going to come back around or be referenced again like 3-5 seasons later.
Just to be clear - TDP is like ATLA, but it's like ATLA in interesting ways beyond the more shallow surface level that usually gets attributed to it, while still very much being its own show and its own thing. And that is why I tend to recommend it to people who like ATLA.
Thank you and goodnight
(Also, the fandom doesn't have any ship wars, and the show is queer as fuck)
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counting-stars-gayly · 2 months
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It’s time we accept that Percy Jackson is an unreliable narrator. He’s not dumb. He’s just insecure. He’s not clueless about his and Annabeth’s feelings. He’s just in denial. He’s not clueless about Rachel’s feelings. He just doesn’t want to do anything about them. His mother isn’t perfect. He just loves and respects her more than anyone in the world. That boy contradicts his own inner monologue all the time. Do not trust him!!
EDIT: Please don’t interact just to disagree. You can make your own post.
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nerdyenby · 5 months
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Sorry, your boyfriend got reincarnated. Yeah, he doesn’t remember that time you murdered him with your bare hands. He doesn’t know how much you love him. He doesn’t know that you’ve killed for him. He doesn’t know that you’ve killed him. He doesn’t know it’ll happen again. As he takes your hand and your heart, and you laugh from atop an animal the two of you ride together, he doesn’t know you’ve been here before. He doesn’t know it’ll happen again.
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thatrandomblogsays · 4 months
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Me: *reading a post that makes the joke “Peeta dropped the baby bomb, Gale drops bombs on babies”* haha good one
Also me: you’re missing the point! You’re missing the point! YOURE MISSING THE POINT! He grew up starving. His best friend almost died of hunger. Most of his people live in poverty. He watched children die in a bloodbath every year for the capital’s entertainment. The girl he loved went into the games. Was tortured by the capitol. His district was bombed out of existence. Nearly everyone he knew was killed. Their only crime was being fed up of being hungry and oppressed and sharing the same district as Katniss. All those innocent people. Murdered. He had to take refuge in a district that was bombed out of existence and forced to live underground. Of course he joined the war effort. Of course he designed unethical bombs and battle tactics. He wanted revenge. He wanted the capitol to have a taste of their own medicine. He wanted the rebellion to succeed. And tell me you could live through what he did, and that no part of you would be screaming for Justice and vengeance. Gale is you. You are Gale. He represents a part of feelings and actions that reside within us, even if you don’t act on it.
“But he killed prim!” Exactly! Gale loved prim. She was a second family to her. He looked after Katniss’ family. He saved them from the district 12 bombings. He loved her. He never would’ve put her in danger. He never would’ve put in order for a bombing if it would kill Prim. But coin would. And did. She took what was meant to be a tool of Gale’s righteous revenge for all the suffering he and his people suffered through, only for someone in power to take it and use it to kill someone he loved.
There’s some many lessons to take. We can’t control the things we create. War spares no one. Even justifiable rage and actions can end up rebounding and hurting those you love instead of your targets.
“He drops bombs on babies” is too simplistic of a takeaway and does a disservice to the story and Gale.
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thefiresofpompeii · 2 months
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the composition of this shot... finger pointed at the doctor in accusation, bill is speaking the words but both masters are talking through her, surrounding her as witnesses as she channels their bitterness, their rage, their abandonment. the master waited for him. jack waited for him. older amy in that hospital waited for him. bill waited for him. ashildr-me waited for him. but he always came back too late. the man whose ship's engine noise is a sound that heralds hope wherever it lands left the ones he cared about behind. when hope itself leaves you behind, what redemption could you ever dream of?
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aroaceleovaldez · 6 months
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reminder that the only reason the "ADHD is actually demigod BATTLE STRATEGIES" and "dyslexia is DEMIGOD BRAINS HARDWIRED FOR ANCIENT GREEK" things exist in the PJO universe is because it's a very direct reference to early 2000s teaching/parenting techniques for neurodiverse and disabled children, which aimed to frame childrens' disabilities and hardships as a "superpower" or strength so that the children would feel more positively about their disabilities or situations. This technique has fallen out of favor since then for the most part since more often than not it just results in kids feeling as though their struggles are not being seen or taken seriously.
Yes, demigods are adhd/dyslexic (and sometimes autistic-coded) in the series. This is extremely important and trying to remove it or not acknowledge it makes the entire series fall apart because it is such a core concept. Yes, canon claims that their adhd/dyslexia is tied to some innate abilities, which is based on an outdated methodology. It's important to acknowledge that and understand where it comes from! But please stop trying to apply it to other pantheons in the series like "oh, the romans have dyscalculia because of roman numerals!" or "the norse demigods have dysgraphia for reasons!" - it's distasteful at best.
A better option is to acknowledge the meta inspiration for why that exists in the series, such as explaining potentially that Chiron was utilizing that same teaching methodology to try and help demigods feel more comfortable with their disabilities and they aren't literal powers. In fact, especially given Frank, there's implication that being adhd/dyslexic isn't a guaranteed demigod trait, which means it's more likely to be normally inherited from their godly parent/divine ancestor as a general trait, not a power, and further supports the whole "ADHD is battle strategy" thing being non-literal. It also implies the entire greco-roman pantheon in their universe is canonically adhd/dyslexic - and that actually fits very well with the themes of the first series. The entire central conflict of the first series fits perfectly as an allegory about neurodiverse/disabled children and their relationships with their undiagnosed neurodiverse/disabled parents and trying to find solutions together with their shared disability/disabilities that the kid inherited instead of becoming distant from each other (and this makes claiming equivalent to getting a diagnosis which is a fascinating allegory! not to mention the symbolism of demigods inheriting legacies and legends and powers from their parents and everything that comes with that being equivalent to inheriting traits, neurodiversity, and disabilities from your parents).
anyways neurodiversity and disability and the contexts in which the series utilizes representation of those experiences particularly during the 2000s symbolically within the narrative is incredibly important to the first series and the understanding of what themes it means to represent. also if i see one more "the romans have dyscalculia instead of dyslexia" post in 2023 i'm gonna walk into the ocean.
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thedarkmongoose · 5 months
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they shot these scenes in the funniest ways imaginable lol. also the music playing in the bg is tragically (and hilariously) on point.
Faust, Act II: Le veau d'or: "The erudite Faust is highly successful yet dissatisfied with his life, which leads him to make a pact with the Devil at a crossroads, exchanging his soul for unlimited knowledge and worldly pleasures. Faust and the adjective Faustian imply sacrificing spiritual values for power, knowledge, or material gain. Along the seductive path to riches and power, Faust realizes his salvation is tragically bound to others, including those he loves most."
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na-nanu · 11 months
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Ofc Spock is alienated, and it’s a beautiful and heart wrenching conflict, but I think Kirk’s alienation in TOS is just as fascinating.
Kirk can’t have long term romantic relationships because he is Captain. He refuses to get with people on his crew who he has direct control over (in the context of Spirk I believe that this would also cause him to hesitate in forming a relationship with Spock) and of course all other relationships would be long-long-long distance.
Jim’s romances are also often ruses; it’s not often that he seems to truly fall in love with a woman as opposed to simply seducing her in order to gain an advantage.
Jim has to be forced by Spock and McCoy to relax; he also seems to have told no one about either his traumatic experience on Tarsus IV, or his traumatic experience with the spooky evil fog. This seems to me to show a reluctance to show weakness.
Jim loves his position as captain and would do (almost) anything to maintain it.
I also see Kirk as fairly calculating; he is able to put emotion aside to make difficult choices (as in The City on the Edge of Forever). Kirk, while personable, is a fairly Vulcan human.
All of these things, I believe, show that Kirk probably feels lonely and alienated. I think this is why he understands Spock so well — they are able to find in each other the solace they lack everywhere else. Kirk can trust that Spock won’t be manipulated by him because of Spock’s Vulcan strength and logic; Kirk doesn’t have to worry about Spock attempting to gain power because Spock does not want command.
Jim struggles with loneliness and alienation. Boom.
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moon1ee · 1 year
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can we talk about how crazily devoted to his team joel "is eternally lonely in every life series" smallishbeans is to the bad boys?
screeching YOU CAN'T TAKE OUR GRIAN!!! and panicking the second anything happens to him? shoving people off bridges and threatening them after they try and attack jimmy? that incredibly smooth disarming of a tnt minecart and his absolute rabid kill on martyn after he stole grian? plus the way he was visibly restraining himself from killing people after getting turned back green was so funny.
he's absolutely batshit insane and devoted to a goal and it's so interesting to see that single-minded focus turned on protecting a group of people.
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inbarfink · 7 months
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So let’s go through this one-by-one, shall we?
Red Guy
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Flat affect in voice, not very expressive 
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Or from the perspective of other Red Guy, he is far too expressive and tend to smile at inappropriate situations
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Express emotions either ‘too little’ or ‘too much’ in terms of volume, very little in-between
Speaks very bluntly 
Feels physically uncomfortable with bright colors
"Well, this isn't that fun, is it? can't make out where I am in the room like this. What if I'm standing in an embarrassing area?" "I actually don't mind it. Kind of a nice break from all of those... garish colors"
Duck
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Loves cataloging and organizing things as a recreational activity
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Anthropomorphise inanimate objects (like ACTUALLY inanimate, not teachers)
"You have to jab it hard or it won't respect your choices!"
Has a hard time fitting in in ‘normative’ social groups
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Odd sensory sensitivities
"You're supposed to say that the floor is too loud or the window is disrespecting you"
Yellow Guy
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Relies on a heavy amount of social mimicry in unfamiliar social situations
"I'm making bits and parts, although sometimes I feel a bit like the bits and parts are, eh, making me."
Tends to understand metaphors and turns of phrases very literally
Which is actually a trait that he displays even in his hyper-intelligent ‘Charged’ mode
"Oh there he is, it's about time." "Yeah, what have you been doing?" "Um, okay, let me see... We were learning about electricity... I completed a crossword puzzle..."
Who is also very sensitive to sounds when two or more people are speaking at once
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He also seems to have ‘clumsy’ motor functions in both ‘forms’
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In conclusion:
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raayllum · 17 hours
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Honestly I think the biggest indication that Callum was always going to do dark magic again is that Villads tells him, "Your conscience is a messy place boyo," even after he's rejected the dark magic version of the cube and subsequently being a dark mage. Your conscience is specifically linked to being the little voice inside your head that helps guide your choices, and we see this specifically being centred around Callum's choice to break the primal stone.
Was he right to give up power, the ability to be useful and helpful, in such a way? It hatched Zym. It gave the world another chance for peace. But it left him helpless. The lack of power is what drove him to do dark magic ("I did one spell. One. I had to") because the only alternative was letting his friends potentially, or almost surely, die.
He's rejected dark magic. He's already said no. But he can't quite let go. He's here on the precipice already, of wondering if without dark magic — if without some kind of power — if he'll be helpless in the future again. If he'll drown.
And then he learns to breathe, and is given the Sky arcanum, and he thinks he has his answer. He thinks it's a no.
Until he's a bind that Sky magic couldn't solve it for him, and he's forced to reckon with what his subconscious was telling him all along: his conscience is a messy place, because he knows — not "to make a real difference in the world," not for "unlimited power," not for his own self gain or importance — with dark magic, for his loved ones, it'll always be a yes. ("Well some things have changed, but not everything: I would do anything for you.") It always has been.
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I think the biggest difference for me between projects (like to be clear I think NATLA is not good as an adaptation or a show, and I think the PJO tv show works as an adaptation and a show) is something that feels so basic, but shocked me when it clicked, which is that
NATLA has no actual visual storytelling going on
Which sounds ridiculous, but let me explain what I mean. "Visual storytelling" is how you communicate aspects of character or relationship through visual framing, parallels, that kind of thing, usually to indicate progression or a character's viewpoint. Many people have noticed that NATLA's cinematography leaves much to be desired, there are some shots that are good particularly in episode 6 (the Zuko transition shots between past and present, and one of the ending shots between him and Aang) but that's by and large the exception.
What I mean when I say "visual storytelling" is that NATLA doesn't have visual motifs. It doesn't really have parallels happening that much in the text or in the visuals. And this is something that ATLA did really, really well, all the time, particularly with Zuko's scar. Just take this framing of Zuko and Aang, in particular, from The Storm and The Blue Spirit.
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They even have consistent colour tones of Aang having a warmer, lighter yellow (Air Nomad) and Zuko having a darker, deeper red (Fire Nation).
And this is something I think Percy Jackson does pretty well. They have consistent motifs / descriptions if it were, particularly when it comes to Percy and Annabeth's relationship and her character.
Percy: [Choosing Annabeth] And if the mission required someone to push me down a flight of stairs for it to succeed, you want someone who won't hesitate when they do it.
Percy: [literally pushes her down the stairs but to save her life]
Ares: You're new to the family, young one, so let me fill you in on how we work. [...] Olympians fight. We betray. We backstab. We will push anyone down a flight of stairs to get ahead. Annabeth: This isn't the Arch, Seaweed Brain. You're not pushing me into the stairwell aagain. Percy: Yes I am! [...] It's why you're here. When I was choosing my team, I told Chiron I needed someone who wouldn't hesitate to sacrifice me if the quest required it. He agreed. That was you. [...] You're better at this than me. You just are.
Annabeth: [Refusing to get back in Athena's good graces] It isn't how it should be! It isn't. Eat or be eaten [referencing the Kronos story Ares said earlier]. Power and glory and nothing else matters. Ares is that way. Zeus is that way. My mother is that way. He isn't that way. He's better than that. Maybe I was that way once. But I don't wanna be that way anymore. I won't be like all of you. I just won't.
But we also see this visually.
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And to be clear I think it's well done, I'm not saying this kind of thing is a Masterpiece™ but what I am saying is that if you do these things, it's a great way to convey information to your audience visually and a sense of progress both in individual characterization and relationship development. And it just makes sense to lean on things visually if you're a visual medium, because prose can't do framing like this to the same degree.
And NATLA just... never does it. There's almost no real parallels, there's very little framing happening, and the even more intense overload of exposition does not help matters in this way either. The original series had a lot of parallels steadily built up (i.e. Aang's presence in the SWT and Sokka's plotline in Jet -- hell, even some of the lines he gets at Roku's Fire Sage temple -- were to show how Sokka was moving away from a more xenophobic worldview even if it was still a work in progress). There were also more overt ones, such as Sokka dressing himself for battle versus Zuko having guards/servants do it for him, but both ultimately tether the two together into having to put on a performance of confidence, manhood, and war more so than being the children they actually are.
And NATLA just has... no real visual parallels. The closest we get is the parallels between Sokka-Yue, Tui and La, and Kataang in the finale, but that's about it.
There's not a lot of scenes where a character is presented the chance to make a similar choice only to then make a different one. Even Aang wanting to go to the NWT to make a difference is muted because he never actually ran away in the first place; when you rip away character flaws or mistakes, you also gut their room for growth. When you strip away visual storytelling, it means that what you see on screen is a 1:1 of exactly what you're getting, and that is just a lot more Boring to watch as well as gutting your chances to show more character exposition. And it's just - it's just not good
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counting-stars-gayly · 2 months
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There’s something about Percy spending the whole episode remembering how upset he was with his mother for separating them, but with this newfound understanding of why she did it, and then deciding to leave her (temporarily) at Hades’ palace because it’s the right thing to do, regardless of how much it hurts.
“Hold fast, Mom,” because they’re braving the storm that was made to break them.
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jj3628 · 10 months
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Art and AU and comic is all by @somerandomdudelmao (who is INCREDIBLE)
There is a flash/fast moving images warning! Images move fast at about :27!
Song is Agnes by Glass Animals
I've never edited a comic before so uh please cut me some slack💀
Normally I post these kinds of video edits on Tiktok but I know Cass is mainly on Tumblr so now it's here too! Anyway PLEASE go read Cass' apocalyptic series if you haven't!! It's so amazing and the latest update made me sit in the dark and stare at the ceiling in the best way possible and I just had to do something to express my love for the comic and my appreciation for all that Cass does!
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nerdyenby · 5 months
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People who sang back to Grian (SL4 spoilers)
🟩 Scar- yes, no hesitation, no questions asked
🟩 Cleo- yes, instinctively matched his tone and then asked how long he had to sing for
🟥 Mumbo- no, he was just along for the ride
🟩 Bdubs- yes, after running into Grian and Mumbo and having caught onto what’s happening
🟥 Etho- no, he’s just clueless, good for him
🟥 Joel- no, he’s a tryhard and a loser /aff
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