#and a character analysis

[seulgist]

saw spy x family: code white yesterday and i have a lot of (very positive) thoughts about loid forger and the forger family in general.

!!! spoilers beneath the cut !!!

OUHHH the trailer/clips posted before the movie was released worldwide did loid so dirty. that scene of him caressing that women���s leg and “”kissing”” fiona. like woah where was his PR team. he was getting dragged left and right.

just had to get that out of my system bc i will be loid forger’s lawyer in the rest of this post.

i think the most notable moment of the movie was when sylvia told loid that someone else would be taking over operation strix. instead of him being relieved, he was upset.

mind you, operation strix is a long-term mission and is extremely stressful for him. being tasked to appear as a perfect family man when he grew up without one? almost impossible. on top of that, he has a ton of side missions he has to take on during operation strix. so, you would think being told that operation strix has ended would relieve a lot of his stress, but it added more.

i think the best part (different from the most notable) of the movie is that the reason why twilight didn’t want operation strix to end is never directly answered.

sure, it could be that he was finally in a (somewhat) stable place with a semi-permanent home he could come back to everyday which made his job a lot more convenient, but the movie never shows that. in fact, it shows the opposite; that he wanted to continue operation strix to keep his pretend family for selfish reasons.

for once in probably decades, twilight did not worry about anyone but himself (and his family). he was more focused on prolonging operation strix because he hadn’t lived a happy & stable life in so long. twilight doing something for his own happiness is unheard of ,, so i love seeing the subtle growth he’s experienced since creating the forger family.

OH and don’t even get me STARTED on the ferris wheel scene with him and yor. you can tell when he goes into ‘agent twilight mode’ to smooth things over with yor, but that moment in the ferris wheel was genuine.

he was already afraid that sylvia would take him away from his “”pretend”” family, so hearing yor doubt her skills as a wife/mother then finding out that she thought he was seeing someone else was what broke him. i believe that entire scene was not twilight talking, but was loid forger. maybe he believed that if he could smooth things over with yor and go back to presenting as a normal & loving family, that operation strix could countinue. at the least, maybe him, yor, anya, and bond could stay together.

AND when anya ended up not even getting a stella and he had to rework his WHOLEEEE plan in order to appeal to the vice principal’s taste instead of the principal’s, he didn’t even feel upset.

he had spent so much time and energy to make sure they had all the ingredients for the perfect meremere and went through so much trouble to make sure she had even the slightest chance of receiving that stella. yet, when anya came home without a stella and the plans for who would judge the pastries changed, he didn’t even budge. he just looked forward to spending another day with his family. if the old loid forger was put in this same situation, he would’ve passed out or had a heart attack.

(i have so many other things i could talk about like the way in a few scene, an object divides loid from yor + anya but at the end of the movie that divide is broken but i’ll save that for another day)

so today, i proclaim that loid forger will no longer be referred to as loid “for the mission” forger, but shall henceforth be referred to as loid “the official family-man” forger.

[starbuck]

“…to me” is one of the most powerful disclaimers we have on here… is this character analysis accurate? debatable. but it’s real… to me.

[pinyatapix]

most funniest sudden deviation from a youtuber’s typical video lineup i’ve seen in recent memory

like bro imagine being SO pissed at the direction a show had taken that you have to momentarily quit spongeposting in order to talk about it for two whole hours. king shit

[going2hell4everythingbutbeingbi]

yall gotta learn the difference between "this character is an asshole" and "this character was supposed to be super cool but the author is an asshole" and "this character is a teenage girl who was mean once"

[artist-issues]

That’s It.

I’m tired of seeing everyone repeat the same four points: “1) Nani gives Lilo to the state! 2) Hawaii has a better marine biology program than San Fransisco! 3) Jumba doesn’t get redeemed! 4) Pleakley’s not wearing a dress!”

Those are not the only things that were bad about this remake. You could easily tell it was going to be all that and more beforehand, but most people’s reaction to the trailer was “it’s surprisingly good!” and now they’re acting all surprised. If you didn’t see this coming, enough to purchase a ticket, you’re part of the problem and you don’t get the original movie any more than the people who made this remake did.

So I’m done being quiet, this is the Lilo & Stitch 2025 Takedown Post.

And as usual the only good thing about an attempted-remake is that it gives people a reason to think about what made the original so good.

Let’s go in order. But just scroll down to the Heading you Care About if you don’t want to read all this.

1. Cobra Bubbles

In this movie, Cobra Bubbles is a secret agent hunting for aliens and they have a new character take his place as the state social worker.

The Problem They Were Trying to Solve With this Change: “We shouldn’t have a black man or a government worker feel like an insensitive antagonist to Lilo’s family.”

That’s a stupid surface-level one-dimensional misread of the character from the original…and it wouldn’t have been hard, at all, for a child to explain to the 2025 filmmakers that Cobra is not an insensitive antagonist in the original.

Cobra Bubbles is not insensitive and he is not in any way portrayed as a bad guy in the original. Nani sees him that way, Nani sees him as antagonistic, because he’s the representation of Lilo being taken away.

But Nani is wrong about him and learns that she is wrong about him by the end of the movie.

Can we please make a list?

Cobra’s first interaction with the caretaker of the child he was being sent to protect was that she ran out into the road, yelled at a complete stranger, and dented his car.

Then he found her locked out of the home and threatening the child inside with a hammer in her hand.

Then he found out the stove was on while she was out, and she’d left a 7 year-old alone.

The 7 year-old made comments about being disciplined with bricks and a pillow case.

The 7 year-old looks like she might be more than a little emotionally unbalanced because she’s figuring out how to put voodoo spells on her friends to punish them.

He still gave that pair of sisters three days to straighten the ship. When in actuality, in 2002, under HRS §587-73, (don’t play with me) the social worker would’ve been well within his rights to remove the child from the home right then. But instead he gives her three days to fix it. THEN

The 18 year-old loses her job.

The family gets a “dog” who he is implied to know is an alien, right off the bat.

The alien is violent and wreaks havoc across town.

The 7 year-old almost drowns while they surf instead of find a job.

He lets the child and caretaker have one more night together to say goodbye, but when he’s on the way to get her he gets a call that she’s being attacked by aliens, hears a chainsaw, and finds the house on fire.

Do you understand what I’m saying.

Cobra Bubbles had NO BUSINESS being as BIG A SOFTIE AS HE WAS for all of the original movie. He was not only well within his legal rights to take Lilo away from Nani immediately, but he was actually required by law, it was his DUTY, to remove her immediately. But he didn’t do that. Why?

Now listen to me very carefully.

Lilo and Stitch is a movie about how “Family chooses to love and commit to one another selflessly, no matter what the other person can do for them or how hard they make it.” The fancy way they say it is just “Ohana means family: family means nobody gets left behind or forgotten.”

Did you catch that? “No matter how hard they make it.”

Cobra Bubbles was a CIA agent before this. A CIA agent who saved the planet, by doing what? Convincing an alien race to leave them alone. Oh, he didn’t fight them off? No. How? He “convinced” them? He talked it out? Sounds like a pretty compassionate guy, for all his tough exterior. How did he do that?

He could’ve picked any animal that’s actually endangered. The filmmakers chose to make him the guy who convinced aliens to value mosquitos.

MOSQUITOS. Creatures that give nothing, only take. Ugly little bloodsucking monsters. That’s the creature he convinced them to care about enough to save the planet.

NOW do you have any trouble understanding why this is the specific social worker who would give an alien-infested dumpster fire of a dangerous home a chance when two sisters are about to be torn apart?

Do you see that Cobra is just another example of the grace that the movie is always talking about? The love that transforms someone from bad to good simply because it refuses to give up even when it gets nothing out of it? I’m repeating myself because I want you to see why he was a well-done character who NEEDED NO CHANGE.

Cobra Bubbles’ character is not an insensitive monster who doesn’t care who his actions hurt as long as he gets the job done. But you know who that does sound like?

2. Gantu

Gantu is not in the remake at all.

The Problem They Were Trying to Solve With This Change: “It’s going to cost us upwards of 1.5 millions of dollars to design, sculpt, rig, animate, and render a character this big in addition to finding a suitable voice actor to play the part.”

This is a really dumb choice for several reasons. A. Without Gantu, there is no “stakes-raiser” to Lilo and Nani’s story. The movie has no climax without him. For the first and second acts of the movie, it’s about a grieving pair of girls trying to prove themselves to a social worker while the story-equivalent of Beethoven the Destructive St. Bernard wacky Jumba & Pleakley antics get in their way. But when a 40-foot tall alien stomps into their lives and abducts Lilo & Stitch in a spaceship that careens around the island during an explosive sky-chase scene, now you have a high-octane, somebody-could-die climax.

B. Without Gantu, Stitch looks weaker. The climax gave Stitch a reason to come out of the wackadoo puppy he’s been posing as and suddenly remind everybody that he’s a lethal weapon who can survive thousand-foot drops, lava, and astronomic explosions—and a giant alien’s Thanos-dwarfing fist. Take him out and who do we have as a match for Stitch to go up against, even for a moment, and prove how much he’s changed to be willing to risk his freedom and fight?

C. Without Gantu you have no villain to reflect that STITCH is no longer a villain. (So they substituted Jumba.)

But the reason this character is really worth millions is, again, the theme.

I told you Cobra Bubbles was a character who did not put “duty” or even “convenience” or “position” over the real lives of Lilo and Nani. He saw that there was love there, and in his own way, he gave it a chance. And even when he chose to take Lilo away, he did it carefully; he gave them time to say goodbye.

GANTU IS THE OPPOSITE OF COBRA BUBBLES.

Gantu is the insensitive, uncaring, unyielding Captain whose commitment to duty turns into rage and cruelty. Not Cobra.

Nani thinks Cobra is walking in a threatening to tear apart their family in a display of government judgement. But that’s what Gantu literally does.

His first reaction to Stitch is to call for his destruction. Without even waiting to see if “it can be reasoned with” like the Grand Councilwoman suggests. He’s merciless. He mocks Stitch when Stitch is captive. And he knows that he caught Lilo, a human, along with him. He doesn’t care. He even suggests that Stitch eat her as a snack.

There are only two other characters who laugh at others’ misfortune in the movie. One is Stitch, the original villain. Then love changes him. The other is Jumba, who made Stitch. Then love changes him. But Gantu never gets changed. He’s only concerned with his job, and with personally annihilating the flaws he sees in Stitch.

Gantu is unyielding, ungracious, and cruel. And he’s big and powerful enough to be a test for Stitch to prove he’s changed. For the benefits he brings to the story, he’s worth 1.5 million and more. But they cut him anyway.

3. Jumba

In the new movie, Jumba is a villain through-and-through with designs on overthrowing the Galactic Council using Stitch, and instead of being redeemed, he’s sentenced to prison.

The Problem They Were Trying to Solve With This Change: “We can’t spend money on our real villain so we’ll just keep Jumba evil.”

The reason this is dumb is obvious. They created their own problem, and the ‘fix’ makes the movie weaker, not stronger. But here’s how.

In the original, Jumba is introduced as trying to self-protect. He’s on trial, and he lies. But when Stitch is revealed, he’s genuinely passionate about the thing he’s created. And he cares about image. He prefers to be called “evil genius,” and he hates the headlines labelling him “idiot scientist.”

You have to remember he’s part of “Galaxy Defense Industries.” They had him making weapons of destruction anyway. He just got too into it with his genetic Experiments, went a little insane.

I’m not downplaying the fact that Jumba is evil at the start of the movie. He is. It is evil to be outcasted from society and then respond to that with, “well, if they’re going to treat me like an idiot, I’LL SHOW THEM, I won’t care about anything except my passion for mad science!” That’s evil.

But it also explains a lot.

I said it in another post. Jumba’s whole utility as a character is that he knows who and what Stitch really is, better than anyone. He made him to be a monster who can’t belong and wreaks havoc on everybody else’s ‘place of belonging.’ Jumba is the audience’s insider’s perspective on what is going on in Stitch’s head, at first.

But when he’s redeemed, it happens fast. And why? Because that’s how plain and simple Stitch is, as a character. Jumba knows Stitch is a disgusting little monster with nothing inherently loveable about him, and no “greater purpose.” So when his disgusting monster is loved by someone? When his disgusting monster is willing to ask him, Jumba, for help? Something totally outside his programming, totally not what Jumba thought he’d ever be capable of?

That proves to Jumba, in an instant, that there’s love out there that transforms. And creates a place of belonging.

There were already germs of that, a desire to belong, a compassion, in Jumba after he reached earth.

He doesn’t try to get Nani fired, he offers an explanation for Pleakley’s swollen head.

He claims he won’t hit Lilo (why would he care about collateral damage?)

He sounds sorry for Nani when she’s upset about losing Lilo, and tries to keep Stitch from bothering her.

My point is, Jumba’s redemption isn’t important because it’s cute or because we need to set up the big happy found-family trope everybody loves.

Jumba’s redemption is important because it is just one more PROOF that what’s happened to Stitch is so incredible. The love Jumba finds transforming his monster is enough to transform Jumba, too.

But sure, fine, whatever, make him a soulless one-dimensional talking head. Whatever.

4. Stitch’s Design

In this movie, Stitch is cuter than he is ugly, and he’s half Lilo’s size.

The Problem They Were Trying to Solve With This Change: “Ugly-cute doesn’t come across as well in ‘live action’ animation. And all the Wal-Mart moms remember Stitch as ‘cute.’ Plus we’ll save about 15% in rendering the animation.”

This is crippling to the characterization of Stitch.

Stitch is supposed to be an echo of who Lilo could become now that she’s lost her parents and may be losing Nani. This scene:

Where Jumba points out that Stitch has nothing, and destruction is his only purpose, is the evidence for that. But Chris Sanders, who made this whole story, also point-blank said it. Stitch is a future Lilo, if she loses her family.

So that’s reason number 1 that he should be her same height. But also, practically, no iconic pair of best friends, yin and yang, have visuals where one is smaller than the other. Especially not if one of them is supposed to be disguised as a pet.

The point is, Stitch is not LILO’s pet. He is her best friend, her other half. But between the muzzle-muscles they worked into his upper lip and the darkened dog nose and the butt-scooting across the floor, the remake is trying to make him more pet-like in relation to Lilo.

That’s not what he is.

I said this in another post. But Stitch is supposed to throw food to the back of his head like a gator—his lips are not designed for forming words. His gums and teeth are supposed to look like a shark’s. His nose is supposed to be too big, stamped into his face. His ears are supposed to be like bat ears, not bunny ears. He hunches forward, instead of bending at the waist like a toddler. His eyes can narrow to lizard slits.

He has to look like he can believably be a disgusting monster. Yes, he can also be cute. But he has to first look like a monster. Because that’s what he really is, in the story. If he isn’t, then LILO’s love for him doesn’t look as powerful.

It is easy to love a cat even if it scratches you, because it’s cute. It’s harder to love a life-sized spider that keeps knocking you down and eating your prized possessions and laughing when you get hurt. Stitch is supposed to be closer to the second one, so that Lilo’s love shines brighter.

But also, practically:

She can’t look him in the eye for emotional shots when he’s that short. He’ll always have to awkwardly be standing on a box or a chair or a bed.

How is he going to scoop her up, hero-style, and leap off of an exploding spaceship with her in his arms, when he’s half her size? He could do it: it’ll look stupid, though. So they just don’t have that part in the movie.

She can pick him up. That alone is demeaning and again, the visuals are silly. Not what we’re going for.

5. Lilo’s Personality

In this movie, Lilo doesn’t like weird stuff, and she screams when she first meets Stitch. There’s no problem that this solves. It’s just laziness and a lack of care about the characters.

I would like to remind you that the original Lilo:

Made her own doll that looks like a shrunken head and pretended a bug laid eggs in her ears.

Makes up stories about a fish that controls the weather and actively deep-sea dives to bring it peanut butter sandwiches.

Has a knee-jerk reaction of using practical voodoo spells on friends who wrong her.

Listens exclusively to Elvis Presley.

Fills baby bottles with coffee.

Believes Nani’s manager is a vampire.

Has fishing nets and seashells in her room for decoration.

takes safari pictures of overweight bleached tourists.

meets a social worker and her first impulse is to ask if he’s killed someone.

Nails the door shut when she’s mad at her big sister.

She’s not friends with pound dogs in that original movie; when they first get there she acts like she’s never been in the kennel before, and originally wants a pet lobster.

I know that we all love that little girl they got to play Lilo, but if you were really being objective, you’d acknowledge that she’s a little girl. She’s not Lilo. She’s a cute little girl.

They did not write Lilo into the 2025 movie. They wrote any old little girl.

You should have known, from the moment she first sees Stitch and her reaction is to scream in the trailer, that THAT IS NOT LILO.

Lilo had a very specific set of characterizations. She was a character with a personality that exploded out of the screen. Every other character in the movie meets Stitch and reacts with disgust.

But not. LILO. She’s the only one to react to him like THIS:

She is literally not like anyone else. She’s doesn’t care that he’s ugly. Or weird. Or blue. Or even bat an eye when he can talk with all those shark teeth.

From Moment One, Lilo chooses Stitch. She chooses to love him. Regardless of what he can do for her. Regardless of how many times he pushes her over or rips up her house or makes her relationship with Nani harder. That is the number one thing about Lilo.

She is desperate for people to stay, but she chooses to love Stitch even though he’s a monster. And she tries to make him better. And her love succeeds in transforming him when nothing else could.

Lilo’s personality traits all mean something in the story. (I.e. she likes Elvis because she’s clinging to the past, she snaps pictures of tourists like they’re safari animals because they’re inherently people who LEAVE and she has issues with LEAVING, etc.) But the thing I think that was so obvious that the moviemakers missed for 2025 is she has to be weird. If she’s not weird, there’s no reason for her not to have friends. And if she has friends, what does she need Stitch for?

But also, Lilo’s personality in the new movie is just boring. Cute. But boring. Cute’s not that great of an accomplishment; any 7 year-old is cute.

6. Nani

I don’t think you guys need to know this. It’s not just that Nani leaves. It’s that “take care of yourself” is the exact opposite of the selfless message of the movie.

In the beginning, Lilo literally argues with Nani after being told she’s “such a pain,” and goes, “why don’t you SELL ME and buy a RABBIT INSTEAD?”

And then breaks down and cries at the thought of Nani wishing she had a rabbit instead of Lilo, later.

Because Lilo is afraid of people leaving. But Nani won’t leave her. Nani loses her job, her own life, because of Lilo. But she’s desperate to keep Lilo anyway, because she loves her. Don’t you understand? The message of the movie was about self-sacrificial love. A love that doesn't care what I get out of the relationship.

Nani starts it. But you know what, David loves her like that, too. And then Lilo transfers it to Stitch, who shows it off to Jumba. It’s a chain reaction, but Nani is spearheading it.

You realize that when their parents died, Nani already would’ve been in high school? With a whole life of her own? Her own friends, her own potential boyfriend, a job she went to, surf competitions (the trophies are in her room.) Lilo would’ve been well aware that that was the status-quo: Nani has her own life. And even a seven year-old can see that that life is being put on hold, but maybe the big sister wants to go back to it, at every turn.

The fact that Nani never does that, never expresses a desire for that, only ever expresses a desire to keep Lilo with her, is huge. It’s the core of the movie.

I don’t think that needs any more explaining.

We could talk more. Like about how Lilo needs to see that Stitch is an alien, because that’s the ultimate test: he’s one of the monsters who destroyed her house, he’s been lying to her and using her as a human shield, he’s a criminal—but she still winds up giving everything up to protect him.

Anyway. My neck hurts and I don’t want to type anymore. But we could talk about the music, the social worker, the grand councilwoman—it just doesn’t matter.

Ya’ll had more than enough details in the trailer to be able to not go see this movie because it was obviously going to ruin everything. But instead you chose to make this twisted corpse “the highest-grossing movie of any Memorial Day.” You bought tickets because they ruined a perfect movie and slapped together an uglier package for you.

Whatever. It was my favorite movie today, it’ll be your Treasure Planet or Tangled tomorrow. Keep riiiight on giving them your money, and keep letting influencers regurgitate the same four obvious facts to you over and over, because they paid Disney to make a talking-point for their content benefit. Whatever.

[sunnyrmrez]

[sunny-boooo]

I'm jumping off a bridge. Their backstory is so tragic, I can't.

The fact that even Queenie being in the state she was, Kinger still found humanity in her, the fact that he risked his life knowing she could go crazy and attack him just so he could touch her one last time.

And the fact that Queenie allowed him to do it, the fact that she was able to keep control as a abstracted just so she could feel him. Because she loved him and he loved her back and both of them knew her fate, but in that moment, it was just them, their last moment together so both made it work.

This is such a powerful image I want to hug both of them.

[aerequets]

this post was the catalyst for this comic, and i was also thinking of a desi song lyric (tere dil ke sheher mein ghar mera ho gaya / in the city of your heart, my home is made) and just... hmmm.... leaving your mark.... making a house into a home..... when the marks a child inevitably leaves behind (messes, scribbles, and in this case stickers) eventually fade away as they grow older and you're left with the memories stored in what hasn't been erased....

im not verbalizing it very well but catch my drift?

[shyjusticewarrior]

[luna-azzurra]

How Body Language Changes When a Character Is Falling in Love (Whether They Admit It or Not)

When someone starts to fall, it shows up everywhere—not in the love confession (that’s the easy part), but in the twitch of a smile, in the silence that suddenly feels charged, in the way someone’s hand almost reaches out before pulling back.

╰ They start listening… with their whole damn body

Suddenly, they’re turned toward this person all the time. Full body facing them. Chin tilted slightly in. They lean forward during small talk like it’s breaking news. They notice things, like the rhythm of their voice, the way their lips move when they think too hard. They stop fiddling with their phone. Their knee bounces until the other person speaks, and then, stillness. They’re so present, it hurts.

╰ Their eye contact gets… weird

Sometimes they can’t stop looking. Sometimes they can’t look at all... There’s that moment—the pause, the flicker—where their eyes land on the other person’s mouth for just a second too long. Or they track their hands. Or notice how their hair falls into their face. It’s not about lust. It’s yearning, and it’s quiet and stupid and full of panic. And when the person catches them looking? Immediate eye dart. Back to their drink. To the sky. To anywhere else. Guilty. Flushed. Terrified.

╰ Their hands get stupid

They’re suddenly very aware of what their hands are doing. They fidget more. Or freeze. They keep their arms close to their body, like they’re worried they’ll accidentally reach out. If they touch the other person, even casually, it lingers. Not long enough to be noticed, but long enough to matter. Sometimes they adjust the other person’s collar or brush something off their sleeve and then have a tiny meltdown inside. That kind of touch feels too intimate. It’s not flirtation. It’s reverence.

╰ Their silence means more than their words

They trail off mid-sentence. Laugh at things they don’t usually laugh at. Start saying something and stop themselves. It’s because their brain is trying to do too many things at once—act normal, sound chill, don’t make it weird, try not to look like you’re in love. Meanwhile, the body is over here sweating, shifting, subtly turning toward the other person like a sunflower in denial.

╰ Their whole vibe gets softer

There’s a gentleness that creeps in. Even if they’re a sharp, snarky character, there’s a moment where they look at the person like they’re a planet they’ve just discovered. It’s brief. It’s devastating. It’s involuntary. And they might pretend it didn’t happen. But the reader saw it. The love interest definitely saw it. And suddenly, everything is different.

╰ Bonus: They mirror the other person without meaning to

Their arms cross when the other person’s do. Their head tilts. They laugh a beat after. This is subconscious connection at work. Their body wants to match this person. Sync with them. Be close without being obvious. And when they stop mirroring? That’s a sign too. Maybe something hurt. Maybe they’re trying to pull away. But the body always tells the truth, even when the character’s mouth is lying through its teeth.

[officialspec]

my fan fiction graph

[the-crooked-library]

Nosferatu (2024) is unquestionably a multifaceted work, but what I personally consider to be the unifying idea behind its facets is that, for Ellen, Orlok represents validation.

Her fears are dismissed and called childish?.. He's a nightmarish manifestation of them.

She is consistently disrespected by everyone around her?.. He considers her his only equal. She never uses his title, it's permitted.

She is told to fix herself, misunderstood, and always isolated?.. He knows all the darkest parts of her and is delighted by them. He wants her just as she is, so much that he will lie, kill, and cross the ocean to find her.

The scene in their death/wedding bed is a direct parallel to the scene of her waking in that bed at the beginning of the film. She complains to Thomas that the "honeymoon is yet too short" and tries to pull him down with a kiss - however, he is worried about being late for work, and so he extricates himself and leaves. Cut forward to her sharing the same bed with Orlok, similarly early in the morning; he is startled by cock-crow and begins to rise, but she guides his head back down - and, even though he knows that he will die, he stays. He is her sexual and emotional desire, realized.

Given that there is a plethora of emotions Ellen is forced to suppress on daily basis, there is no singular correct interpretation of her relationship with Orlok. To erase any one of them is to render it shallower than it actually is; but there is no doubt as to why their attachment is mutual. To each, the other is something they’ve never had before.

[patchwork-crow-writes]

Ralsei has known what's been going on with Kris the ENTIRE time, and once you realise that, EVERYTHING he says and does around them makes a thousand times more sense. And you realise that, far from dismissing Kris's "true" self in favour of a copy, he has been working tirelessly to prop them up, to validate their most basic and fundamental choices, to keep them from the brink of despair, and perhaps even death.

We always thought it was strange, how Ralsei seems to baby Kris at times - how he offers heaps of praise upon them for performing the simplest of tasks, how he lets them express themself through violence while chastising Susie for the same thing, how at every turn he puts so much emphasis on Kris's choices, their talents, their intrinsic personhood, almost above the very prophecy he serves. We thought him mollycoddling and completely out-of-touch at best, and downright malicious at worst. We presumed he was encouraging the player to keep playing, and was in fact speaking over Kris's head directly at us. We presumed that the prophecy was all he cared about, and him encouraging Kris was simply a means to that end.

And we were wrong about all of it. Because we didn't know what Kris was truly going through until now. We thought that our possession was the worst thing that was happening to them, and that he was complicit in their suffering by trying to downplay it.

But Ralsei knew. Because Ralsei knows Kris better than anyone else - better than Susie, better than Noelle, and certainly far better than us.

Kris is hopelessly trapped, at all times. There is no hope for them, they cannot see a way to escape their bonds... not alive, in any case. Their suffering is so great, the pressures upon them so immense, that they have been hollowed out into a catatonic shell of their former self - unable to move except through great effort, unable to speak except through stilted phrases. They don't sleep or eat well at all. They don't try at school. They cannot tell anyone about what's happening, and they cannot make friends because of it. For all intents and purposes, they have given up.

But it's worse than that, because they KNOW that what they're being made to do is wrong. They don't want to do any of it, and yet they feel they cannot refuse. That knowledge eats away at them, to the point where they feel like they are inherently Bad, because only Bad people do Bad things, and they're doing Bad things all the time. They don't feel like they deserve the good things in their life because of it. They feel like they're living a lie. And no-one else knows - no-one else can possibly know.

But Ralsei knows.

Why does Ralsei go to the trouble of arranging a tutorial battle for Kris, when they've already demonstrated their capabilities fighting against Lancer? Because Kris doesn't know what they're doing during that fight. They're issuing commands, fighting alongside Susie, and they don't know how or why. They're scared, they don't know where they are, and the one other person they knew from school just ditched them. Through the tutorial, Ralsei breaks down each combat function step-by-step, walking Kris through each one with patience and restraint. And he lets them go off-piste up to a point - he'll let them attack his mannequin and say it's alright if they want to hit him too, he'll let them hug him several times throughout the tutorial, and he will show remarkable restraint throughout the entire endeavour, despite his obvious frustration at their uncooperativeness.

Seen this way, the Tutorial becomes less about the GAME teaching the PLAYER how to battle, and more about RALSEI providing to KRIS some semblance of structure and context to a new and frightening world. Both of them are literally starting at Zero, and have to establish the basics before anything further can happen.

This in turn establishes the framework for their relationship - not an annoying tutorial fairy lecturing an experienced player on things they already know, but a kindly tutor gently guiding a broken teen, one tiny step at a time. Not lashing out at mistakes, not admonishing when they try to assert themself against the established framework - he will let them fight, and let them command him to fight as well, because his desire to help Kris find themself again means he has to provide leeway for if they "misbehave". There have to be bounds, but they must feel like the choices they make matter - even if they actually don't.

When you're drowning in a world that has seemingly conspired to take your agency from you, and break you down into nothing more than a pawn that does what it's told and nothing else... even the illusion of choice is a life-preserver that you'll cling onto for dear life. The support Ralsei provides Kris in this capacity is what gives them the drive to protect Susie from King's attack - to make a choice to protect their friend, even if it wouldn't have meaningfully changed anything.

It explains his secret conversations with Kris too - while we are busy watching Susie, Ralsei is free to let Kris know that despite being literally controlled, the one controlling them is on their side, and that we will help them break free from the more insidious influence of the Knight. He has to tell them to trust in us, trust that we will do right by them to the best of our abilities. And indeed, by Chapter 2, they have become more willing to express themself through their tone of voice, through how they choose to interpret the instructions given to us, either to play pranks or to show their appreciation for the people who, despite everything, still care for them.

And even Ralsei's apparent dismissive attitude to Spamton NEO's effect on Kris can be explained through this prism. Kris is very very slowly starting to recover from the trauma of their situation, and literally EVERYTHING about Spamton is a huge trigger for them. It's not farfetched to say that Kris sees in Spamton a cautionary tale of how they will end up - used up, cast aside, wretched and desperate and bitter and broken. All of Ralsei's work building Kris back up could be undone in an instant, and so he has to tread extremely carefully - downplay its significance, offer nonthreatening proximity (he will hug Kris, but only if they hugged him on the boat ride prior to this), distract them from the immediate trauma with very basic "nice" thinks like cake, and warm/soft things. It seems dismissive at the time because we don't yet know what Spamton truly represents to Kris - not just the fear of being controlled against your will, but of being used up and broken down, and then tossed away like an unloved toy. It's only when we have that additional context that all of Ralsei's actions towards them start to make sense - not only make sense, but also show a level of care and tact that we did not previously assume him capable of.

And I suppose the last question is: why does Ralsei do any of this in the first place? Why go to this trouble when he knows he'll just be left behind, when he knows that if he succeeds, Kris will go back to the light world and live a full life without him? Well... look at the colour of his horns. If Ralsei is the horned headband, and Kris wore him for months, he would have borne witness to Kris's deepest, darkest fears about themself. It's possible that he might have seen the inciting incident that led Kris down this unfortunate path. Either way, he would have been so close to them that he'd almost be like an extension of them.

So, again - why does he do this? Because his purpose was always to guide them back to themself - first as a pair of horns to better fit in with their family, and then as a physical manifestation of those same horns to help them overcome the terrible harm that has been wrought upon them.

But more than this, I think it's because he loves them - the same way that they would have loved him when they wore him all those years ago. And isn't that what you do for the people you love - help them when they're struggling, comfort them when they're sad, gently challenge them to expand their window of tolerance, give them the tools they need to return to the light, to heal and grow back into themselves?

Ralsei knows Kris better than anyone else. And maybe we should start listening to him.

[tomato-face-xoxo]

i just love moments like these.

jax can seem like the 1 dimensional “haha evil shit i do evil shit for funnie haha” guy to a lot of people, which is the persona he tries to uphold throughout all the episodes. his mindset is that because nothing’s actually real, might as well cause chaos for the sake of it. it’s how he copes. but moments like these, where jax is being genuine even for a split second, really show so much for his character.

no, i don’t expect him to be redeemed. gooseworx says that he gets WORSE, and he IS an asshole to everyone around him. but under all of that he is still human. and after being presumably tortured by gangle for who knows how long he really doesn’t have the energy to keep up his fake evil persona. and so he asks pomni how she’s doing, an action which confuses her greatly.

most of the time, jax is terrified of showing weakness. hell, THIS is his reaction to the employee training session.

he’s just had his body twisted in all sorts of ways by a bunch of mysterious hands and his biggest fear is people seeing him weak.

jax you are so pathetic and i love you as a character greatly ❤️

[gobbogoo]

A quick Analysis of Grown-Up Mylo and Claggor:

Mylo was always the insecure middle child looking for attention, and we see bits of those traits have survived in the slightly ostentatious way he dresses compared to his siblings, and the sarcastic way he greets Ekko. While everyone else is drinking from old steins, he's waving around a cocktail glass. And of course there's his weedy little moustache, which like all young men his age was grown mostly for the novelty, and because he thinks it makes him look older.

Claggor meanwhile was the awkward second-eldest sibling who often shared Vi's sense of responsibility, but not her confidence or authority. This changed when Vi died, and evidently Claggor has taken over her duties as the eldest. He's leading efforts to clean up the undercity, and was the one who tells Powder to help out Mylo, to give some examples. His manner of dress is also the most practical of his siblings, with accessories chosen not for style, but because they assist in his work.

Lastly, I feel I should touch on how Powder is so quick to play wingman for Mylo. Obviously everyone's matured since they were kids, but this specifically tells me two things:

1. Mylo must have stopped bullying Powder after Vi died, and she now views him quite fondly.

2. Powder understands her brother's bravado is an act, and actively helps him with his lack of confidence.

If I had to guess, Vi's death hit Mylo almost as hard as it hit Powder. Grief often leaves us vulnerable, which is probably what allowed the pair to properly share their feelings and bond as siblings. Nothing builds empathy like personal tragedy, after all.