#and that those characters don't change morally because of them

[samhadjblog2]

Honestly, I felt the magical plot line enhanced the political one. It is in fact a show built on the idea of magic being obtained and used by non magical beings to enhance lives and/or destroy lives. It's about balance and universal laws and how magic is used or abused in different realities. In the current universe, it is used by those whose intentions are geared towards helping all beings but gets corrupted and used improperly by those who are greedy and oppressive. Also use in weaponry due to perception of threats. It's very realistic that perception is a key element in everything.

Yes that was how the first season went about "The Arcane" in that it was a neutral force that is dependent on the user. However S2 states that "The Arcane is inherently evil" and that Viktor and Jayce should of never used it. On top of being a parasitic virus that infects everything and whose own goals are to destroy the world.

Perception of the other is changed by a joint effort at a common cause and it leads to taking steps towards healing and changing the perception from "you're different and that makes you a threat" to "actually you're not as different as we thought and we created these differences over years of oppression; how do we rectify this inequality". And it's shown, not everyone is on board immediately; there will be push back, but there's also more support to make the changes. There's hope, but it will take effort and time

And that's just a cheap way of having the cities work towards peace. Because it has them unite without acknowledging any of the bad that happened to them and in turn they are uniting out of moral obligation to save the world. On top all of this, it just isn't an interesting conflict its giant MCU film. There is no longer any blurred morality its just black and white conflict. The show runners themselves have said in an interview that "Save the worlds story"s aren't character driven".

All of which is discarded in the finale.

That hope leads me to believe we will see more in the future, and I think we will through the other spin offs. Everyone is acting like there's not 3-5 more storylines coming from this same universe and that they won't mention it again; that they won't mention progress later. I think yall just hate the more realistic ending and want to bitch about it not being the happy perfect ending, but that's me.

How do we even know the conflict will mentioned once again, the show glossed over the Ekko's tree as well as the larger ramifications of the anomaly on Zaun's water supply. Nor did it try to explore any possible ramifications to Caitlyn using the Grey.

Also there nothing that indicates that the next 3-5 spin-off's are going to focus on the conflict of Piltover and Zaun and are more focused on other regions.

And even with all of this taken into consideration, why not just make more season of Arcane. The show already rushed through three seasons worth of story. Why make spin-off's when they could of just continue the main series.

Also a lot of the character's story's have concluded in S2. Jinx got to walk away and her story is left up to interpretation. Cait and Vi happy together, Ekko made peace, Mel got her mom's approval, Jayce and Viktor are exploring the out universe. Everything is tied up to the point we don't need further spin-off's to explore them.

Reality isn't perfect and honestly it's kind of nice to see a bit more realistic ending than just "and then everyone on this side was bad so they're all punished and this side will take over and everyone lives happy ever after". (Which is just vindictive retaliation that would just hinder true equally and instead create more oppression just in the other direction; this only repeats the cycle again). That's not a good ending. That's simply, in my opinion, childish thinking.

How is it realistic, the story ended with a "Save the world" narrative in where all the nuance was stripped down to a black and white story. Meanwhile with the class conflict there was no good guys or bad guys. And its not like the show "had" to end with the two sides making peace rather that the focus shouldn't have been moved away from the more interesting messy conflict of the two cities.

It ended how it was supposed to, with hope for a better future and with people willing to fight for and put effort into that future. Honestly, I feel if they would've done the "happy ending," that would've been dropping the political plot more so by glossing over the hardships and effort it takes to correct the inequalities. It would've been lying to the audience about how hard it is to course correct after decades of oppression and classist torture. The effort, the hope, and the work it takes to fix a broken system is not easy, and the war destroyed that system and created better perceptions, which allowed for change to start. So, without the magical plot, the political one would be non-existent; the cycles would've continued and hope would be lost. But that's just my opinion.

They only fought to save the world. And as the writers have stated. That isn't a choice rooted in interpersonal choices. Also no one was asking the show to just "have the conflict resolve over night" rather that it comes off as if the the show is resolving the conflict completely after this one war the equalizes everyone.

If enjoyed S2, good for you, I'm glad you found something you enjoyed. However i wanted to share why so many people had issues with Season 2's ending.

Don't you just love it when the actual meat and bones of the narrative—the class conflict and the nature of privilege and wealth—get dropped because the show wants its MCU magic zombie fight?

[whumpster-dumpster]

Hey… sorry if this is too deep, no need to answer this.

(Tl;wr I've been looking into myself and find I've got some negative traits. I'm trying to be as morally good as possible and I feel whump is bordering on sadism but I genuinely still like it)

So I've been in the whump community for about 5 years, just lurking, although I posted a few things early this year. It's gone though because I suddenly started to feel this kind of self hatred. At first, I figured it was just because of my decline in mental health but it's stayed even post depressive episode.

I really don't know what to do. I like whump. I like putting ym characters through pain but it feels sadistic and unrealistic. I like mental whump and s/h whump and I feel like I can excuse that because I have similar issues, but I write about s/a whump and abuse whump and I've never gone through any of that. I feel bad, like I'm romanticizing pain. That, of course, is not my intention, but how can I tell if I'm doing the right thing?

I'm sorry for putting all this on you. Again, please don't answer this if it's been covered already or it's too heavy to cover. I just needed someone else to speak to about this and you seem to be a guru in the community.

This is a complicated thing to address. I'm sorry you're feeling so down. I will say a lot of us write whump scenarios that we haven't personally experienced, you're not alone there.

I personally feel like as long as it's done conscientiously and sensitively, with research as needed, and it's tagged with appropriate trigger warnings so people can avoid it if they so choose, it's okay. You're not hurting any real people and you obviously have a conscience. This community is a place where discomfort and pain and trauma and the lowest moments of life, which most people try to avoid or choose not to talk about, are put front and center. Sometimes it's romanticized, sometimes it's portrayed with the dark, ugly, nitty gritty truth, because that's the range of fiction for you. It just depends on how the author wants to approach it, and no one else can control that but them. Seeing these topics explored so openly here can make people uncomfortable, even us sometimes as we write it. Comfort levels vary from topic to topic and person to person; it's hard to judge because it's kind of an individual gut instinct thing about which content is crossing a line we don't want to cross.

You could try taking a break from writing those particular types of whump you feel guilty about, see if there are other whump tropes that interest you too to write about instead. If writing other variations of whump makes you feel better/more comfortable, maybe that's a better direction for your efforts, at least for now. You could revisit the other topics at a later time to see if your feelings on them have changed. I don't know, it's hard to answer concretely for anyone but myself and my personal moral boundaries.

TLDR: in my opinion if you tag trigger warnings on your content appropriately and continue to check in with yourself to feel like you're not crossing your own comfort lines, I think it's fine because no real people are getting hurt. I don't know if that helps at all but I hope so, and I hope you feel better soon.

[mako-mahko]

One thing that I haven't seen mentioned (and if someone has please direct me to it) is that there is a clear visual representation of the inaccessibility of the council room in episode one.

When Salo gets crushed under the rubble after the explosion, he becomes wheelchair-bound and loses the function in his legs. His first scene after this is when he enters the council room, and in order to get to the center of it, he has to go down two sets of steps in his wheelchair. The camera focuses on these shots, and I think it's a really interesting way to portray that inaccessibility, especially since a person with a physical disability played such a large role in the previous season. Not only did the writing in season one support the fact that the council was inaccessible, but this cements the fact that without Jayce, a council member willing to bring those without access to the other side of the table, Viktor wouldn't have had any possible chance of affecting change.

It stood out to me on my first watch because I thought it was a really solid visual way of showing that the council isn't as inclusive or fair as they portray themselves as being, and that in order to affect change, the people that don't have direct access to the council have to put themselves in peril in order to get there. No one on the council was physically disabled prior to the explosion, and it is only after they have been brought down to the level of those they preside over that their inaccessibility becomes an issue for them. That moment is a sound reinforcement of that inaccessibility, and I found it so cool that they decided to include it.

[canonically47]

i cannot ever get over gi-hun actually. the fact that he chooses to believe in the good of humanity even after witnessing what he has, and that he joins the games AGAIN with (mathematically) even LESS chances of survival JUST because he wants to save people, people who DON'T CARE, people who are SELFISH and who continuously betray and hurt him just fucking KILLS ME. a very big critique from many people (and i've noticed, especially men) about the second season and gi-hun's character is that he is stupid. they find him to be stupid that he has this weak spot for an uncaring crowd, that he comes back to the games to save people who wouldn't think of him twice, instead of going to his daughter. they think that him caring and despising a system this deeply is a sign of weakness and stupidity.

but if anything, i find it admirable. maybe i can't bring myself to hate him because i think i'd do the same thing. i watch him on-screen and think, "yeah, i would do that too", every single mistake, every single thing, i get him. and he may look stupid to some but i think if anything, he's just too caught up in an ideal world in which people care, but i find it admirable that this is his personality even after witnessing the previous games. he still has hope, they haven't wiped it away from him. comparing him to in-ho is like night and day, because in-ho was broken by the games and came back to perpetuate that same hurtful system, while gi-hun was broken by the games and came back to break the people that created the system, and the system itself.

he speaks to me, as an individual who clings to hope until his very last breath, who can never seem to learn from his mistakes because he is so stubborn, he wants to prove that humanity could, and should, have hope and that it's worth to fight for it, not to just leave for a different continent and forget about it. that's what draws me to him, this endless fight in him, i can't find him stupid because he's so desperate to change things. and he never gives up even after his friends die before him.

idk i just am really unwell about gi-hun. i think people treat him too harshly. i'm unsure how well this is worded, but what i really want to say is that i don't think he should be perfect and immediately learn from every single mistake he has ever made. the fact that he is this broken given his past, even before the games he's set up as this really caring and traumatized individual, and that they double down on his same characteristics that make him so incredibly real... he's just really special to me. i really admire the way he is written and i think he's a really good representation of people who fight for a change even when it all seems lost. he's just that kind of guy that doesn't, couldn't, will never give up. and i really love that.

[lith-myathar]

.

[britneyshakespeare]

Sorry I can't stop talking about that ex-mutual who went off on me last night (well really I only made that one, really long and rambly, pretty over-repetitive post about it) but it's been like just running through my mind because of how hurtful that was from someone that on some level I did consider a friend. Not like a close friend who knows everything about me, in fact as I stated to exhaustion in that post I made earlier, the part that really got me was how much they were illustrating that they DON'T really know about me, how much they just ASSUME without ever having heard or seen confirmation from myself. And how unkind those assumptions were. But I did like them (do? I still have sympathy for them as a person and don't wish them any ill...). I cherished the thought of our online friendship we shared around the time I was 18-20ish or so, and even if we never kept in constant conversation (in fact, before I replied to their message last night, we hadn't chatted through DM since early 2021, if that's saying something). I'm sure they still did/do feel that way about me and this isn't easy on them, that they feel hurt by my posts in some way, etc. I did not go on a rant to them, though, attacking their moral character, calling them a coward who can't take criticism and refuses to learn and grow. I told them I think it's ok if we grow apart and though I still hold my differing opinions from them, it's ok to be upset at me for that. But don't bring it to me.

I would've seriously just preferred it if they unfollowed and left. All I keep thinking about these past couple of hours of marinating on it is: entitlement. I've crossed a line because I don't post about issues in the way they would like me to, and ultimately I still will be voting for Kamala Harris. They maintained that much very firmly even after I replied to their first message saying that they were putting a bunch of words in my mouth and not acknowledging how little they actually know about my views and actions in the real world, off of Tumblr; that I might have ways of caring about and engaging with things that are specifically not on my personal blog because of how toxic some zealous communities on this website can grow to be. They still felt the need to attack me at length for all the things I, in their opinion, "support" because I choose to vote for "a fascist" (meaning Harris). Their opinion that both sides are truly the same is the only logical answer and I'm not trying hard enough to be a good person if I don't agree with that. But that's what makes them presumptuous. That's not what makes them entitled.

I feel like the fact that they really did think well of me at one point, that we shared emotions and kind words with each other, that we talked about music and poetry and all sorts of matters of sensibility together, is why they felt the need to bring that to me. When we feel an attachment to someone, even someone we may be lacking a lot of information about, but there's that mutual sympathy there... we feel that we are invested in them. They (and I) felt that the two of us, as friends, reflected each other's values and sense of self. To be honest I was getting annoyed at some of their posts, too, that were basically fatalist about the US Democratic party and how nothing has ever actually changed since Tr mp left office. I simply don't agree with that analysis, and I didn't know how to sensitively bring that up with someone who I did respect and care for as an individual. They were asserting things that basically implied our views were irreconcilable; and yeah, I basically agree that if you're going to call me essentially a g n cide apologist, I don't really know how to reconcile that with you. I don't think that's what I am; they do. They discussed that because they felt that way they were no longer open to a dialogue (one which I never had brought up to them personally) in their reply to my response to their ask, and blocked me afterward. Well, I think it's ok to not be open to a dialogue. In that case, I really don't know how to defend myself. We're on two entirely different levels of interpretation if mild support of Kamala Harris's presidential campaign is seen as akin to me denying g n cide to you. If that's the angle you're approaching me with, I don't want to have a dialogue with you, either. I don't think one in good faith is possible at that point.

They got angry at me though not just for my differing opinion, but for the disappointment they felt in me for it. I ruined the Diana they had so much respect for. Their initial message reminded me so much of when fans hound celebrities to speak on particular issues they may not know anything about. But at least if you're, like, asking the lead singer of your favorite band to speak about a currently topical issue, you probably are falling back on the argument of thinking they have a higher status to their audience that they're neglecting to use for good. Or maybe they've seemed to do and say things in the past that make their current silence seem hypocritical. I don't particularly agree with the former argument, that every celebrity should use their "platform" to raise awareness for certain causes. There are some times when I think calling on a celebrity to speak on this or that specific thing is just kind of silly. I tend not to proclaim instances where I feel that way publicly, because I don't want to trivialize the issue or the fans' feelings. But there's also the parasocial hurt I've seen some people display when they suddenly interpret a person's silence, or (in their perception) 'inadequate' statements and actions, as genuine indifference. That tends to make fans actually angry, the disappointment that this person they admire could be 'doing better' but isn't. I was told by this person that I'm 'not even trying to do better' when we had never had a conversation about what I'm actually 'doing' or thinking or feeling, even a single time. They let their impression of me fester in silent resentment before finally snapping at me about all the things I never actually said to them.

I'm sure they felt like they had reached their limit of tolerating me, and reaching out was only so they could feel like they had some closure. That they had said their piece to a person they cared about but could no longer associate with. I don't think they actually considered what use their message would actually have to me. That it would be hurtful to be accused of all these moral failings by someone I used to just talk about Jane Austen books with. Someone I shared my poetry and feelings with when I was younger. They must have been feeling 'betrayed' at me for not living up to the expectations and standards they set for me, for not being the idealized friend that I must've seemed when we were in our late teen years. But I am feeling shock and confusion at the sudden void of sympathy or benefit of the doubt being directed towards me from someone I once mutually regarded somewhat highly and rather affectionately.

It didn't have to have been a deep friendship, where we shared all aspects of our life with each other, for this to be hurtful to me or for my words to have been hurtful to them. I'm sure they felt so angry at me because they do think I'm a smart and sympathetic person that they expect 'better' from. But I'm really not your confirmation bias friend. None of the sweet but somewhat shallow memories they once respected me for has to be null and void now because I'm not sufficiently radical in my politics for them. And again, I do think that they were under the impression that they knew my current thoughts and personal philosophies a lot better than they do, because of how much more of an open book I used to be on this website when we first started following each other. I never made some announcement that I was going to start being more reserved about certain things, guys, so, like, don't act like you know everything about me. Because should I have to? I don't have a "platform" or really any meaningful social status on this website. But they still thought I wasn't doing "enough" with it because they interpret my blog as being more intrinsically linked to my actual life than it is. My social status to them was the good opinion they had of me, that I soiled by disagreeing with them in principle about electoral politics.

I'm not less smart or kind than I used to be. That's really not how I make sense of people I mostly like, but who have done or said something I deplore and that disappoints me deeply. You don't have to abandon all faith in the individuals you love. People do not always make sense with your own moral compass, but you can still tell when they're not evil. And I don't think they think I'm evil. I don't think they're evil. None of the sympathy I ever had for them is gone. I'm just honestly hurt and confused. I don't understand why they thought it was appropriate to take up their issues with me in the way that they did.

And again, in every single timeline, I would rather have just been disappointed to see that a once-respected mutual has unfollowed me, after some years of growing apart and changing, than I would to be hurt by someone dramatically going off on me about how they can't be friends with me anymore because I'm just not good enough for them.

[styrofauxm]

Honestly, I am pretty frustrated by the "haha why would anyone hate ace people" responses to Rowling's tweet.

Don't get me wrong, the support is nice. But if you want to be an ally, you have to do so on our terms, not yours. And that means actually engaging with the aspec community, not just posting positivity every now and again. And what those responses highlight to me is what I've known for a while; you guys only support aspec people when it's easy and convenient.

It's easy to support aspec people when it's J.K. Rowling being awful again. It's easy to support us when it's just reblogging an "aspec people are queer" post.

But what about when we are talking about amatonormativity and the relationship hierarchy? When we are discussing the enforcement of compulsory sexuality? When we are pushing for greater awareness and support for aspec identities that are not asexuality or aromanticism? When we are criticizing terminology that you use but harms us? Because I can tell you right now, I rarely see allo people engage with those posts.

Why do people hate asexuality (or any other aspec identity)? Because it challenges the societal norms that benefit them. And that is uncomfortable and scary. So they turn to hate and oppression in order to assure that the changes we push by just openly existing never happen.

That means that to be a good aspec ally, you can't just make a positivity post every now and again, and you can't just laugh about how stupid aphobes are. You have to openly challenge the societal norms that harm us, even if they benefit you. Including but not limited to:

The idea that romantic and sexual attraction is the default state of being (amatonormativity)

The idea that a romantic, sexual relationship completes a person

People in marriages receiving special privileges and benefits

The idea that platonic, familial, etc. attraction are default states of being

The idea that not feeling some form of attraction must be compensated for through another form of attraction

The idea that love (not just romantic) is inherently morally good, while not feeling love is inherently a moral failing

The idea that any one form of relationship is inherently more important or deeper than any other (relationship hierarchy)

The idea that any one thing makes someone human

The idea that not having sex is shameful or infantile

The idea that having sex without romantic love is callous

Gendered divides of sexual and romantic attraction

Other aspec people please feel free to add on/challenge any of this. Allo (not aspec) people please feel free to ask questions.

Additions:

Addition from @blkaroculture

Addition (in tags) from @fluffytimearts

Addition (in tags) from @cjreblogsthings

I've placed some resources for learning more about these topics under the cut.

Amatonormativity:

[PT: Amatonormativity:]

1. Amatonormativity Coining

2. Introduction to Amatonormativity

3. Challenging Amatonormativity

4. Effects of Amatonormativity and Compulsive Sexuality on Asexual and Aromantic College Students

5. Effects of Amatonormativity On Black, Polyamorous Men

6. Essay on Amatonormativity From a Aroallo, Loveless Perspective

Marriage Benefits:

[PT: Marriage Benefits:]

1. Article about Singlism and Marital Privilege

Other Aspec Identities:

[PT: Other Aspec Identities:]

1. Aplatonicism

2. Afamilialism

Loveless:

[PT: Loveless:]

1. Loveless articles on the AUREA website

2. Essay on Amatonormativity From a Aroallo, Loveless Perspective (repeat from Amatonormativity section)

3. Follow-up Essay on Lovelessness and Aroallo Antagonism

4. Results of a Survey of Loveless People (part 2 is linked instead of part 1 as part 1 is mostly demographic information)

5. Guide to Writing Loveless Characters (it focuses on fictional characters so should not be taken as a catch-all for real people, but it still has a ton of good information about lovelessness and loveless antagonism)

Compulsory Sexuality:

[PT: Compulsory Sexuality:]

1. Effects of Amatonormativity and Compulsive Sexuality on Asexual and Aromantic College Students (repeat from Amatonormativity section)

2. Breakdown of Compulsory Sexuality

Relationship Hierarchy vs Relationship Anarchy:

[PT: Relationship Hierarchy vs Relationship Anarchy:]

1. Relationship Anarchy Coining

2. Breakdown of Relationship Anarchy

3. Issues Presented by the Relationship Hierarchy

Oppression:

[PT: Oppression:]

1. Aphobia Masterpost

2. Asexual History and Oppression

3. Asexual Theory 101

Miscellaneous:

[PT: Miscellaneous:]

1. Research on Aromantics

2. Ace in the UK Research and Activism ft. Yasmin Benoit

3. Asexual History and Oppression (repeat from Oppression section)

4. Asexual Theory 101 (repeat from Oppression section)

Books and Video Essays:

[PT: Books and Video Essays:]

An Ace Discourse Retrospective by Jenny Geist

Ace: What Asexuality Reveals about Desire, Society, and the Meaning of Sex by Angela Chen

Refusing Compulsory Sexuality: A Black Asexual Lens on Our Sex-Obsessed Culture by Sherronda J. Brown

[prncssguya]

on hwang in-ho/front man, seong gi-hun and their dynamic.

first, idk why people are getting so upset at other people calling gi-hun dumb, we were told that in the first season. lol being bright is not his strongest trait but he has a good heart and we love that about him. however, he is still an idealistic gullible idiot with a gambling problem. except this time his gambling addiction is backed by a sense of justice and righteousness and he no longer gambles with money, he’s gambling with people’s lives. front man asked a good question at the end of the season, “did you have fun playing the hero?” can we even call gi-hun the hero of the story anymore? he gambled with people’s lives and front man showed him the consequences of his moral heroics.

front man only agreed to help gi-hun with his revolution when he mentioned about "small sacrifices for the greater good". i think he reveled in the fact that the “good guy” was willing to allow a few innocent people to die for the greater good to stop the games, which is exactly what the entire VIP theory is to rid the world of 'trash' to improve the world. notice how gi-hun's moral code and belief also changed, from being "nobody should die" into "yeah small sacrifice is okay as long it's for the greater good" at this point, he just proved that front man's belief is actually valid. AND he gets more of his own people killed in the pointless battle with the soldiers that they had no chance of winning. now he gets to feel responsible for all those deaths and the death of his friend and for whatever additional torture they cook up in the next games (as punishment for the escape attempt).

now on hwang in-ho, i believe he was once a good man and the story he told gi-hun was the truth. but in the end he lost a kidney, lost a wife, a baby, lost his money, got fucked over by the wrong people and got into serious debt and had to play this game to help his wife and probably it was too late to save her. he might have played the games like gi-hun but saw how ruthless and greedy people are and resolved that they don't deserve help

i don’t think in-ho wants/will kill gi-hun, but he wants him to understand things from his perspective and show him that his compassion for the people in the games is foolish. you can tell the frontmen (the old man and in-ho) are extremely fond of gi hun. not only did he protect their original front man when nobody else did, he then won the games and thus their respect as he is now as rich as them. he's no longer "trash", he’s an elite like them. i think they both actually kept tabs on him after he won (i wonder if they do that for all winners? inserting them with gps chips?) because they knew he had not used his reward money and in-ho wanted gi-hun to get on the plane and be happy with his daughter

there’s one interesting aspect of the games that makes front man such a complex character. the fact that they’re operating a organ transplant trafficking network. in a way, he’s creating some good to come from a really fucked up situation. but is it really for the good of others who desperately need it, people like his wife, like his brother? or is it just a money making scheme?

either way, i don’t think there is going to be a redemption arc for in-ho, he’s too far gone. we may get to see more of his human side if he manages to see jun-ho again. the only time we’ve seen genuine emotions from him was when he shot his brother like he seemed distraught

the real cliffhanger for me, is will gi-hun stay true to his belief that people can be good, or will he be forever changed into a villain and become the next front man…? after the events of this season i don’t see how his will doesn’t shatter. he’s witnessed how humanity consistently chose money over survival, he’s lost two close friends, his mother, abandoned his daughter. he has gained nothing from wanting to stop the games and this clearly feels like an origin story for the next front man. it’s clear the front man has won this round and i think squid game will either die with 001 or continue with gi-hun as game master

another thing i find funny that i don’t see many mention is how gi-hun is like the luckiest guy in the fucking world. but i don’t think him being alive this long is plot armor, it makes sense. the games exist for the entertainment of rich sadists who have so much money they don't know what to do with it (remember what old 001 said in s1 about life being no fun for both people with no money and people with too much money). and i’d imagine killing hundreds of poor debt-ridden fools year after year gets boring. especially when said fools are desperate enough to gamble with their lives because they think they can beat the system by playing better than everyone else and surviving and getting the money.

gihun is different because he got the money, got out, and still came back. not because he's unfeeling or because he wants more money, but because he's still convinced he can beat the system.

if you're a rich bored gazillionaire, would you rather watch some randos die or would you rather watch this exceptional idiot fail again and again until he learns that his ideals are meaningless and people are inherently greedy and equality is a myth and people at the bottom of the barrel don't get to question the system?

if you're an asshole gazillionaire, you don't want someone to challenge you and just get away with it. you want to hand them 45.6 billion won and make them go away quietly, traumatized, after breaking them psychologically by making them do horrible things until they understand they're just powerless "horses". if they insist on challenging you and your system and your beliefs (money = boundless power), you teach them a lesson and show them their place in the most manipulative and cruel way possible. if gihun dies right away, that's boring. so he can't die, he needs to suffer. he needs to concede defeat.

also, i find it funny how people are comparing hwang inho and gihun dynamic to hannibal and will graham. makes sense, their whole cat and mouse game, front man hiding his true nature from gi-hun the same way hannibal does, trying to corrupt the righteous protagonist, sowing chaos, testing him and observing his behavior like a lab rat, the crazy tension and staring contests, the gaslighting and manipulation. and with the fact that they think lee byung-hun looks like mads mikkelsen. i never put the two of them together but now i can’t unsee it lol

[buggachat]

honestly what I love about miraculous and what I think a lot of people seem to hate about it is that the show is completely character-driven. it absolutely follows the rule of "would" rather than "should". episodes and plot lines and everything make so much sense and are so easy and engaging to follow when you understand that everything happening is because that's what the characters would do. things like: marinette would lie to protect someone's feelings, chloe would need more than just being queen bee to change her, adrien would forgive someone and try to see the best in someone who has shown him nothing but red flags. these aren't things they should do, it's just what they would. they don't change their behavior to tie up every loose end, they aren't vessels to give the audience moral lessons, their interpersonal conflicts are sometimes never addressed head-on and instead remain as a constant noise in the background of their relationship, they are all so stubborn and complicated. the plot bends to them, not the other way around. i see all the time people complaining about how the show is so bad/a failure but in the same breath say that they love the characters, as if the show's primarily goal is not to create and facilitate those same compelling characters that you love and let you watch as the story unfurls around them.

i mean, it's completely fine if you hate it. it's fine if you'd prefer every loose end to be tied, if you prefer the plot and story to take center stage, if you don't like it when a plotline seems to be forming but the characters decide against it, etc. it's a narrative choice, and not a "good" or a "bad" choice, just a choice. we all have our preferences. but your hatred of it is not any more "objective" than someone else's love for it. sometimes being a character-driven-story lover is difficult when online media criticism seems to always see it as a bug and not a feature.

[the-one-and-only-elita]

One thing that I absolutely love about TFOne's writing is that it manages to avoid a lot of the heavier criticism I've seen regarding MegOp's hero/villain dynamic over the years (trust me, the mid-2010s TF discourse was crazy)

*Spoilers Below*

First of all, the narrative benefits so much from the main 4 cast members all being a part of the same exploited mining class. So many takes on MegOp have Orion being of a higher status (an archivist, a cop, etc) while Megatron is much lower down on the social latter (a miner, a gladiator, often in the context of being a slave).

I've seen many people be put off by this, because it feels as if Megs is being villianized for being rightfully angry at the system that deeply harmed and exploited him, while Orion/Optimus is praised for taking a more pacifistic stance despite him not suffering as much from or in some ways even benefiting from the system he claims to oppose. I don't find their dynamic to be as simple as that, and I do find these takes to be a bit reductive, but I do very much see where they are coming from.

I am definitely one of those people who's very frustrated with the way pacifism is hailed as the one true path of morality, and the inherent implication that taking any sort of revenge on the people who abused/exploited you makes you just as bad as them. Also, Marvel's particular brand of demonizing any form of radical political action, despite the system clearly being broken and corrupt, but being completely unwilling to offer any other alternatives to meaningfully change things for the better.

When looking at what I described above its pretty easy to see how a lot of versions of MegOp's hero/villain dynamic unfortunately fits into that trope. Bringing it back to TFOne, you can see how Op and Meg coming from the same political/social status subverts this. The existence of Elita and Bee only further illustrates that out of the 4 people of the mining class who were all deceived, exploited, and literally mutilated in the same way it is only D-16 that completely loses himself to his rage, even to the point where he loses compassion for his own companions and disregarding the safety of the other miners (when he decides to "tears everything down" and Elita exclaims he's going to "kill everyone").

What I think I love most about the characterization in TFOne is that Orion is the radical one. Not only that, but he is praised by Elita and by extension the narrative for it. He is constantly challenging authority, and is the first to have the suspicion that their society is structured in an unjust way.

Meanwhile D-16, to be frank, is kind of a bootlicker. He fully believed in the system and that Sentinal Prime, as someone with power, had the right to decided "what was best" for those who are weaker/lesser (I wish I had the specific quote from D-16 to support this, but the movie's still in theaters). It illustrate that D-16 already held certain fascistic ideals, and that he and Orion already have fundamentally opposing moral/political values, it simply hasn't been of any consequence yet. It shows that their eventual falling out was inevitable, even if they had decided to rebuild Cybertron together.

It should also be noted that D-16's feelings of anger and betrayal do not necessarily have anything to do with the unjust system itself, but that said unjust system was predicated on a lie. Hence his fixation on deception in the post-credits scene and him naming his faction the Decepticons. Meanwhile, when Orion learns the truth he's just sort of like "yeah, I always kinda knew something was up" because again, he understood on some level that their system was predicated on injustice.

Even D-16's obsession with Megatronus Prime, while initially an endearing aspect of his character, is also an indicator of the questionably large amount of value he puts on one's strength. It foreshadows the "might makes right" ideology that the decepticons follow, and is a key part of their ideological characterization across continuities.

Instead of the narrative we often see in Transformers media were Optimus is idolized by the narrative for being more moderate and Megatron is villiainized for being radical (or so people often claim), it is instead Optimus who is rewarded and praised by the narrative for being radical, and Megatron who is villainized and punished by the narrative for holding potentially fascistic values.

I do agree with some criticism I've seen that the whole thing with killing Sentinel and D-16's final turn into villainy felt a bit rushed and more than a little cliche, but I also understand it both had a limited runtime and that it is ultimately a family film meant to be accessible to children. More importantly though, I think the movie set the groundwork early on that, no matter how this final act played out, D-16 was always going to turn to darkness, and Orion would not have been able to stop him.

Its perfectly tragic, the way all MegOp should be, while also feeling really well thought out from a thematic standpoint. I love it.

[specshroom]

hello hello, I stumbled across your writing and wanted to say how much I enjoyed “Blood In The Water” I was curious about how reader struck that deal with all the mer-creatures in the first place?! did they try to eat reader too? or did one/many have an attachment or attraction since reader grew up around that place? the whistling was soooo cool, like they were dogs trained to a command! does that mean they had struggles with communication at first? do the mer-peeps understand language or just body language? I’m full of questions 😂❤️ it was just so enthralling and love a good morally grey character! is reader struggling to make ends meet and that’s why they do this? or is it more of ‘it’s either me or them’ type scenario? OR reader is just like this is the easiest way to get money?! 👀 oml lemme stop here this is getting quite long— LOVE UR STUFF 😚

I'M SO GLAD IT INTERESTED YOU SO MUCH (˶ᵔ ᵕ ᵔ˶)

I like to keep things up to interpretation cus I think it's more fun BUT I can answer a few of those.

- They definitely struggled at first lol. The merfolk can't speak human language and don't understand it. Humans can't speak mer-language either because it's mostly high pitched clicks and chitters. Reader figures out that the closest they can get to making sounds the merfolk understand is by whistling because it's loud and high pitched enough that they can hear it easily even through the water.

- They do share a lot of body language and mannerisms with humans (like kissing👀) so that made things easier.

- The merfolk do recognise Reader as a local and that made them more trustworthy. (Later on they marked the bottom of Readers boat so they know it's them🥺)

I wrote a little drabble to answer the "How did this happen?" question.

꒷꒦꒷꒦꒷꒦꒷꒦꒷꒦꒷꒦꒷꒦꒷꒦꒷꒦꒷꒦꒷꒦꒷꒦꒷꒦꒷

You sigh as you row your way out of the canal and into the open waters.

Your new patron lounges in his seat on the opposite side of the gondola, staring up at the clear blue sky. You preferred doing business at night when it's quiet, few braved these waters at night. Alas dwindling funds force you to suffer the business of the day. There's just too much comotion in the daytime, too many tourists.

Its been like this since the first rich fool "discovered" that your relatively small and unimpressive lake town actually boasts some magnificent and horrific monsters in the depths of the decievingly calm waters surrounding it. Now flocks of fools come to "test their bravery" by crossing the dangerous waters.

Conservationists and locals convinced them that hunting down the monsters in the lake would lead to environmental catastrophe and the snobs decided that it would be a better investment as a tourist attraction.

"Don't you get bored of this?"

Your patron slices the silence in half. You blink out of your thoughts, releasing the iron grip you had on your oar.

"I could give you a different job."

The well dressed man's tone is almost convincingly sympathetic. You keep your gaze locked onto the familiar waters ahead of you...until you hear the distinct sound of coins being jostled against one another. That changes things.

You hesitantly turn to where the stranger sits comfortably, grinning with pride.

"I thought so, it's always the same with you locals."

The tourist opens his money bag and takes out one gold coin. At least enough for a small meal.

"What would you do for it?"

He plays with the coin in his fingers before tossing it out of the boat and into the water. The carelessness with which he tosses his gold makes your blood run hot. Through the thick permanent fog that hangs over the waters, you can just barely see the gold coin as it sinks into the abyss and your stomach growls pitifully.

He holds out the pouch over the side of the boat, dangling it over the water.

"Would you dive for it?"

The sick thing is that you actually consider it. You stare intensely at the stupid pouch that could keep you going for a good while.

The man suddenly drops the pouch and you jump forward to catch it but he yanks it back up by the drawstring before it can touch the surface of the water. He laughs at his cruel humour and your blood reaches it's boiling point.

You don't know why it was that patron in particular that made you snap or why that bad day in particular made you finally put the knife skills your father taught you to good use.

But before either of you know it his laughter turns to bloody choking. You scramble off of him, panic clear on your face. He reaches for the knife in his neck but it's useless. His body sags over the edge of the boat and his blood mixes with the water. You watch with wide eyes as he takes his last struggled breaths.

It's silent for a while before you take your eyes off of the man Infront of you to look down at your red stained hands. You look around as if anyone could've seen your crime through the fog anyway.

After a while of just staring blankly at the still body Infront of you, you try to compose yourself and lift him off the side of the gondola. You manage to tip him over and watch his body sink down.

You stare at the corpse fading deeper into the water. Just as you ready yourself to leave the scene something rocks the gondola slightly and you fall on your ass, gripping the side of the boat.

You feel a breath on the side of your cheek and jump when you look over and see two big pitch black eyes staring at you from over the side of the boat. Your skin turns to ice, unable to move.

You hear chittering from the other side and jump again as another one peers over the furnished wood of the boat. The first one takes your frozen hand in their cold clawed hand and inspects the drying blood covering it.

They stick their tongue out and slowly lick all the way up your shaking hand, licking away at the blood as if cleansing you of your sin. The other makes a clicking sound that sounds oddly like laughter.

Once all the blood on your hand has been licked off, the creature looks up at you for a moment before disappearing below the surface once more. The other one doesn't look like it wants to go but a few clicks from the water convince it to slowly lower back into the depths.

You lean over the side of the gondola trying to get a better look at the creature before it leaves. You deflate when you don't see so much as a ripple in the water.

Suddenly, just as you were sure they weren't coming back, the same one from moments ago bursts from the water. In a second it cups your cheek and kisses you. It's hard and deep, more passionate than you'd ever had before. The creature releases you and this time before it leaves it gives a little wave with its strange webbed hand. You wave back, a little dazed, as the monster dives back into the water.

You have to sit there for a good while staring at the pouch of coin the tourist left behind and then back to the murky waters, touching your lips while contemplating what the hell just happened.

[blight-if]

Demo | Kofi (TBA) | Playlist | Character intros |

WARNINGS: Violence, gore, mature language, general struggling, realism, sex and sexual themes.

Genre: Apocalyptic grimdark horror.

“AND THEN THE WORLD ENDED. Everything came crashing down for my already screwed up life when those... creatures came, infected. Trapping me into another cage that we now call life. Running, fighting, scavenging, hiding… is on repeat constantly. Just a never-ending cycle of fighting for your life. Living is so.... exhausting. Not even living, just surviving.” I cleared my throat.

“I discovered secrets that I still cannot wrap my head around. Secrets that would have ruined everything. I'm sinking into it all.”

“Despite the chaos, there was a shining light in my corner. A group.” I smiled.

“We worked together and fought people, the world, as best as we could with our little but growing knowledge. Being a team was a little rocky in the beginning, but we knew making it through this mess would be easier if we had each other. Or at least by a little.

“But...” I took a long pause. Heaviness filled the air, like there was a pressure drop. It was almost as if we both knew what it meant without words. My eyes fixated on the floor as I felt my eyes watering, just a bit.

“Good things don’t always last. If I learned anything, it was that. And now, I’m here, alone.” A heavy sigh escaped my mouth, and my shoulders weren’t tense for the first time in what feels like forever.

“I should’ve been there....”

My hand reached for his, tight but gentle. “It’s okay. There was so much going on, anyway. What matters is that we’re together now.”

He smiled for a moment before his eyes descended into thought. “But what... really happened? I mean, that was so vague.”

My mind flashed through the events since the outbreak. Faces, sounds, smells, places. All kinds of feelings, even ones I can’t describe, weighed on my chest; so much in only a few seconds. “Well, what do you want to know?”

“Everything.”

The apocalypse engulfed you, and along with the rest of the surviving population, no one knows what’s happening. Or so you think. Infected overran the world, leaving most of the population dead. Streets are quiet, and houses are empty. Sometimes you just want to go home, but then you remember, there is no home to go to. Anyone would go insane, losing everything all at once.

Supplies linger, but they have run thin in the chaos as you survive in conditions you never would’ve expected; leaving behind the expected comforts of what you knew. Everything you wanted you could get with ease, but now you scavenge for food in a world where everyone and everything is out to get you.

People changed after the apocalypse, and that is ever so clear as you fight, not only infected but raiders who will do anything to get what they want. But not everyone you come across will have such nefarious intentions. There are also the compassionate, helpful people, but there are also people who sit in the middle, balancing their morality.

The road of survival will test you mentally and emotionally. Leaving you wondering if trying is really all that worth it. Many more questions linger in your mind, even dark ones that hide in the far corners of your head, gathering and waiting for you to break. But you won’t break, because you’re a fighter; you’ve always been. When an infected comes charging at you, you’ll stand your ground. Why?

‘Cause that’s just what you do.

Scavenging rabbit hole to gain supplies.

Customize your character's name, gender, pronouns, sexuality, eyes, hair, and more.

Personality and skill stats.

Romance one or two of the four characters in the next section, or just be friends.

Survive against raiders and infected.

FYI your parent's names are Elena and Pedro, if you don't want the same names as them.

| Caleb ??? | 23 | He/Him

Gender: Cis man

Sexuality: Bisexual

Race: African American

Appearance: Dark brown buzz cut, dark green eyes, and dark brown skin tone. Has a heart tattoo with the letter C on the inside of his wrist.

Body Type: Muscular, little to no definition, mass.

Height: 6'0

A brooding leader who leads with rationale and determination. He keeps his heart closed to anyone, fearing his past would come back and haunt him once again. His loner and cold nature holds him back from truly connecting with those around him. At the end of the day, his leadership is strong, keeping his group together like he knows he has to.

| Sudiro | 22 | He/Him

Gender: Cis man

Sexuality: Bisexual

Race: Javanese (Indonesian)

Appearance: Black, slightly wavy neck-length hair, dark brown eyes, and tan skin/honey skin tone. Back tattoo, nose and ear piercings.

Body Type: Lean and defined.

Height: 5'7

Loves to live life on the edge and have fun. Jokes are his protection. His dream was to see the world, but it was abruptly crushed. Despite his adventurous nature, he is extremely pessimistic, always thinking of the worst. He can be snarky and rude, but deep down, he is caring and compassionate. Will those walls come down? Either way, he won't be listening to you anytime soon.

(Javanese people don't have last names.)

| Rue Benson | 21 | She/Her

Gender: Cis woman

Sexuality: Lesbian

Race: African American

Appearance: Dark brown shoulder-length dreads, eyes, and skin tone. Double sleeves.

Body Type: Muscular/Ripped, in between definition and bulk, straight waist.

Height: 5'8

A kind-hearted soul who goes out of her way to help others. She knows how to handle herself but prefers to avoid confrontation. Gentle but strong. Her life before the apocalypse was a mess, and that mess only became worse. The world around her collapsed into moral ambiguity, but she stayed true to herself. But sometimes people can be too good.

Dana Léon | 21 | She/Her

Gender: Transgender woman

Sexuality: Bisexual

Race: White

Appearance: Light blonde armpit-length hair, blue eyes, and fair skin. Freckles. Earlobe piercings.

Body Type: Toned and slender.

Height: 5'3

Can be mischievous from time to time and is very self-assured. A little flirtatious, too. Doesn't think she needs anyone else and can survive on her own. But doesn't actively push others away, just stays alone as a first choice. Idealism keeps her going as she always tries to see the positive. She tells herself that the world will go back to the way it was all the time, even if she knows it's not true.

NOTES:

This game is 18+

If you have any suggestions, corrections, or criticism, feel free to tell me, unless it's something I already cleared up or went over, but I will not accept hatred. I want to grow, not to be put down.

I'll update this post if there are changes regarding anything that is considered a warning.

I used AI somewhat for my code. Until recently, I didn't realize how bad that was. My future projects will be free from any AI, and this project will be as well as it progresses. If you want to stay, I appreciate it, but if you don't, I understand. It's something I'm not proud of, to be clear.

@interact-if

[thydungeongal]

question: Why is it bad that cultists are a common enemy in Dnd? Have you *met* anyone from the Catholic Church, the ILBP, the Mormon Church, etc?

I mean D&D cultists don't really lean into an understanding of cults as manipulative groups led by a charismatic leader, they lean more on a very American Evangelical understanding of cults as these secret groups within good society trying to make good people do bad things like sacrifice puppies for Satan. Comparing D&D cults to modern religious movements misses the point because D&D cults don't have anything to do with those but are based on a very culturally Christian fever dream about secret satanic groups hiding within the populace. With a dash of orientalism, since the imagery of cultists in D&D owes heavily to classic swords & sorcery fiction, which was rife with orientalist imagery.

And I'm also not saying that that's necessarily bad, because I don't think engaging with media with iffy ideas in it will automatically make people catch moral impurity, that's silly. But it's good to have an understanding of where those ideas and images come from because if one wants to personally avoid replicating those tropes and themes then it's good to be aware of all the cultural context behind them. D&D cults have very little to do with modern cults, because that's not what they're based on, so to compare them to those misses the point wildly.

(Also this relates to people's attempts to make D&D queer, because with a lot of people what they do is just turn the player characters into a wholesome queer found family but otherwise change nothing about the game, so you get the cool heroes slaughtering cultists that are ultimately based on a very American Protestant image of Satanic cults, and the dissonance is weird and a lot of people don't realize it.)

[raven-at-the-writing-desk]

Someone told me they weren't a fan of Silver because he's written too heroically good without any flaws. To be fair, you don't have to like Silver at all; to each their own, but I don't understand how someone can go through Book 7 and not see the blatant flaws the writers gave him.

If I had to pinpoint why his flaws aren't as well seen, it is likely because he's not intentional about any harm he causes at all. It's not as shown in Book 7, but he's like Kalim where he is known to be naive, oblivious, and blunt to an almost painful degree, lacking total social awareness in most situations. In Book 7, specifically, we see that he has total self-worth issues, where he feels like he needs to repay Lilia for raising him (he doesn't) and constantly apologizes for things outside of his control (like Malleus's overblot). Poor self-worth is still a character flaw, even if it doesn't necessarily have a negative effect on other characters, and it manifests itself in Silver in a different way than how Sebek's issues with his self-worth are shown. I know that they aren't the most obvious character flaws, like how other characters are seen as arrogant, petty, or quick to anger, but they're still flaws regardless.

It's probably harder for the writers to write flaws for a character whose main inspiration comes from a Disney prince and princess, who are often characterized as paragons of good morality (most princesses' main character flaws are naivety anyway). But just because he's more stereotypically good than the rest of the cast does not negate the flaws he does have. What are your thoughts? Off-topic, but I really enjoy reading your character analyses even if I don't agree with them sometimes; it helps me look at the story from a new perspective.

dhjwekskskn Very quickly, thank you for the feedback! That’s always my goal with analyses—not to necessarily change minds, but to hopefully expose others to + get them thinking about perspectives beyond their own.

This is the first time I’ve heard of someone claiming Silver doesn’t have flaws 🤔 I would sort of get it if this was pre-book 7, as Silver content is quite scarce before then. Mmm… even so, he has opportunities in various vignettes and event stories to show us areas where he’s lacking. For example, in Leona's Ceremonial Robes vignettes, Silver believes that Leona and Malleus are friends, despite Leona's very blatant hostility towards Malleus--which indicates denseness and a lack of social awareness. He's also unaware of how he presents himself to others, leading to peers thinking he's unapproachable (his Dorm Uniform vignettes) or to otherwise be stiff-faced (something Vil comments on in Fairy Gala If and in Silver's P.E. vignettes). Those can, however, be easy to miss, especially if you weren’t already on the lookout for him to begin with.

I think we readily overlook Silver’s flaws (even when they’re on display) because 1) he’s not as loud about it like Kalim is and 2) he’s a “good” guy in a cast of characters that usually act like assholes or take it a step further and come close to committing actual crimes. It’s hard for a normal nice guy to stand out against that crowd. Another part of it is, I think, how Silver's greatest shortcoming is easily conflated for something "good".

A consistent theme for Silver is feeling as though he is not enough. This can cause him to train intensely in order to rectify the situation. For example, in the aforementioned Dorm Uniform vignettes, Silver immediately seeks help learning how to appear more friendly to his classmates. Similarly, in Azul's Halloween Dress vignette, Silver assumes extensive training to help him be more intimidating so that he can get the other Diasomnia students to obey him. (As it turns out, they actually don't listen to him because Silver has a tendency to fall asleep mid-conversation.) He also drinks coffee, invests money in clocks, and does whatever he can to help himself stay alert, as he cites his inability to stay awake as a personal shortcoming rather than a health condition he has no control over. He’s frequently apologizing to others for falling asleep on them and even apologizing for others (like Sebek). In short, Silver is always pushing himself to "be better" (something typically regarded as positive), which is a LARGE contrast to the majority of his peers, who are resistant to change and slow to acknowledge their faults. The key thing to note here is that Silver is doing all of this out of a lack of self-worth. He believes he's not worthy, not good enough.

This all culminates in the events of book 7, in which we learn that Silver has deep-rooted insecurities about being "enough" for Lilia as well. As he tells Malleus in 7-28:

"17 years ago... Father found me as a baby deep in the forests of Briar Valley. Father is fae. I'm human. I'm not related to him by blood, and there's no other reason for him to be responsible for me. Yet he took me in. He raised me as if I were his own. He fed me, he trained me, he stayed with me all night whenever I was sick... Humans and fae are different in every way, from our constitutions, to how fast we grow—all of it. Barely anyone in Briar Valley knows how to care for a human. And Father lived alone there. I can only imagine how hard it must've been for him to raise a human baby with no one to turn to for help... I can never thank him enough. I was ready to spend the rest of my life repaying him... But I haven't given back a single thing... And now he's planning to pass on in a faraway land. Even if Father loses his magic and grows frail... Even if he forgets everything, I still want to be at his side, supporting him... I'm far from a fine son! I can't grant my father the one thing he wished for. He wanted me to send him off with a smile on my face..."

Silver is incredibly hard on himself, and even moreso once he learns the truth of his bloodline. Not only does he tell himself that he's undeserving of Lilia's love or even calling himself his son, but he also convinces himself that Malleus and Sebek would also despise him now + tells himself he deserves this:

"Father, don't... I... I don't deserve your love." (context: he's telling past!Lilia to not taking in his infant self)

"Stop that! Stop crying! You have no right to cry!" (context: Silver berates his infant self for sobbing when Lilia takes him in)

"What worth could a bunch of shriveled up old acorns have? Why would you lie like that...? *sob, sob*" (context: Silver learns that the acorn bracelet Lilia considers his "single most valuable possession" was a gift from child!Silver)

"It's pitch black everywhere... Maybe this place is what I deserve. I can just stay here, alone...forever... *sob* (context: Silver is astray in his own darkness)

"What must Sebek think of me now...? ...Does he hate me? I don't want to think about it... I don't want to think about anything."

"Father, did you know that this ring originally belonged to the Dawn Knight...? The Dawn Knight, enemy to you and all of Briarland... Vanquisher of Malleus's parents... And I'm... I'm his... *sob* *sob* *gulp*I... I... How will I ever face you and Malleus after this? *sob, sob*"

"Even though we aren't related by blood, I've always seen myself as your son. But...I can't call myself that in good conscience any longer." "You could never truly love someone related to the Silver Owls... Let alone the Dawn Knight's son! You could never... *sob, sob*"

"Was that voice another vision I conjured to comfort myself?" (context: Silver is greeted by a vision of Lilia praising him; he rejects that image, but accepts a hostile version of past!Lilia who sees him as the Dawn Knight and moves in to strike him down)

Silver is only pulled out of his swamp of darkness when Sebek reminds him that he is so strong only as a result of Lilia's love. Even after this point in time, we see Silver's penchant to be a little too self-sacrificing putting him in danger. He throws himself in harm's way to shield Lilia from a blow in the Eastern Fortress, does the same at Mallemom's lightning, and when confronting Malleus multiple times throughout book 7. (This isn't even limited only to protecting his father; Silver is shown to jump into action in other instances, like protecting Idia in GloMasq from what is basically a party popping handkerchief. Sebek doesn't do the same; his protective behaviors primarily relate to Diasomnia.) Silver is, quite literally, willing to lay his life on the line for others--and that, in part, comes from being a trained knight, of course. However, part of it could also coes from a place of thinking of others as having more worth than he does, or feeling as though he must "repay" the people important to him.

This is why it's sooo satisfying seeing Silver formally take on Lilia's surname at the end of book 7. This entire time, he has been struggling with his identity and self-worth. By finally becoming "Silver Vanrouge", he's affirming that his father does love him, and that he is worthy of having that love. Everyone there at the party is even there to bear witness to the completion of that character arc.

[ninicaise]

what's so refreshing about will as a character is that he doesn't throw a denial tantrum about it at any point like most characters with Darkness Within Them do. he's not a moral paragon, his angst and secretkeeping don't get annoying at any point. and i think it's because there's no contrast between who will Really Is, which is Good and True, and the dark king as his shadow or his dark self.

will is the dark king. he behaves like the dark king. he lies and he manipulates and he's a "sneak" and he's scaringly charming and he's possessive over james and a ton of other messed up shit and he tells himself it's for a good reason, and maybe it is!! and will is clearly you know. a Good Person. while his methods are sneaky, he does not actually do anything wrong. but those are his methods still, and they are cool moments and badass and also kind of eerie.

with the way he's written, i would argue will doesn't have or even need a corruption arc, he's just like that from the get-go and he's not gonna change. and i don't mean he was born evil or whatever other bullshit i mean that he was born a full person, including the dark king and will both, and there's complexity, but no clear line separates them.

[beannoss]

Something I think about a lot and wonder if maybe gets overlooked in Twilight’s story and as vitally indicative of his character is actually in the very first chapter:

Anya isn’t needed for Strix. Twilight decides to adopt her anyway.

[Spoiler warning: Mostly this post deals with early chapters already in the anime but there is reference to chapter 62, which has not yet been animated and will be in season 3]

Twilight decides it — “I’m going to rework the mission so it doesn’t involve a child because that’s too dangerous” and he’s 100% right! Donovan Desmond is canonically a far right warmonger with fascistic authoritarian aims. His government made liberal use of the SSS — a group to mirror the Stasi — who continue to operate in morally dubious ways (much more likely they’re actively morally reprehensible, though we’ve mostly only had rumours of that so far). From what we can tell, Desmond is at best an absent father and likely actually worse than that: if that's how he treats his own children, imagine how he might treat others. And the timeline seems to indicate that the experimentation performed on Anya was done under Desmond's government — even if Twilight isn't aware of experimentation on children, he is aware of both human and animal experimentation under Desmond's government. Taking all that and also the complexity of Strix's aims, undoubtedly there were other things that could be done, more straightforward if not necessarily easier.

So. Why? Why entertain the change at all? And then, having entertained it, why go back when the reasoning is indisputable?

On the Doylist level, I think Endo wanted to ensure that Anya had some agency within the set up — Endo also does this with Yor. It would be much harder to be on Twilight’s side fully, or to trust him on an ethical level/take him as any sort of moral authority, if he were just straightforwardly using these two people. To have them be active and consenting participants (arguably to actually be affirming the arrangement: Twilight sets it up, but Anya and Yor actually make it happen) even if the audience only knows the depth of their knowledge/motivations/etc currently, shifts the power dynamic in important ways.

But it also the set up tells us important things about Twilight. He is largely impatient, cold, detached in chapter one. His overarching feelings towards Anya are, I think, real annoyance, real confusion, and real impatience. He just doesn’t understand this damn kid and it turns out she’s a person which is frankly unacceptable — he’d needed and anticipated an automaton, ideally of himself in miniature form. (Though I think one could ponder whether Twilight was, in many ways, an automaton himself at this point, but that's maybe for another meta 🙃)

He’s not entirely unmoved of course — we're given to understand he’s affected when Franky tells him how many times Anya’s been adopted and returned, and isn't amused by Franky's joke about names. Franky's comment — "Just don't get attached" — reinforces this. The prospect of “the future” perturbs Twilight when he’s reading the parenting books. His initial reaction to Anya’s kidnap is horror. All these are true too.

Then there’s also this, from earlier in the chapter:

It’s exposition, yeah, and it’s also exposing. "Hopes" and "joys" are very specific words to describe those events. It could simply have been "A marriage? An ordinary life?" but describing them as such — hope for marriage; joy in ordinary life — expose something of what Twilight feels about those two experiences and, on the flipside, they expose what he deems he's lacking. No hopes of intimacy; no joy in (an ordinary) life. There's an argument as well, of course, that he's being ironic but I don't think that actually invalidates the above analysis. Drawing attention to 'hope' and 'joy' at all are revealing, regardless of Twilight's tone in thinking of them. I think it's also interesting this panel, taken in conjunction with a pair of panels in chapter 62, Twilight's backstory. The above is almost a pulled out version of this below panel of Twilight's recollection of his childhood, and of course the returning image of not just a rubbish bin but a rubbish bin on fire when it comes to disposing of his identity:

Back to Strix. Both his final interaction with Karen and the whole everything of the framing of Strix is making Twilight think (and feel, ahem) things that he hasn't for some time. Twilight decides, I’m reworking this. It can’t proceed this way. Not because Anya is a pain in his ass, not because she’s not as (apparently) intellectually advanced as he’d originally thought, not even because he thinks he can find another child who would better be exactly what mission parameters called for. No:

And what changes his mind is Anya asking to come home.

One of the important parts of this to me is this:

He seeks consent.

This moment is a keystone, I think, to understanding Twilight. It’s also more telling than he maybe realises. Twilight is decisive — we all laugh because he spirals at the drop of a hat when his daughter or wife look even mildly upset but outside those (also very telling) scenarios, he makes decisions and he pursues them. Often he makes decisions quickly. He’s a dab hand at it; it’s a large part of why he’s as good a spy as he is.

He’d decided to change Strix.

Anya asks him, in essence, not to.

So, he doesn't.

But it's wild that he entertains keeping her request at all — why? Why even entertain it? It’s dangerous; it’s impractical; there are too many moving parts outside his direct control; Anya isn’t the sort of child he’d wanted for the mission if he’d spent any time thinking about what a child might actually be like; Strix is in many ways an extremely long shot anyway, Desmond could just stop attending for reasons unknown and unrelated; etc.

So, yeah, why? Maybe because of this —

In conjunction, I often think of this moment in the cruise arc:

Twilight first naming the feeling as lonesome, and secondly tacitly conceding that he perceives Yor as a companion and that that relationship is important to him, something to be missed. What makes this for me though is that Anya calls this out "Papa's you're so sappy" and Twilight's reaction is that of someone caught-out. He doesn’t say “nuh-uh!” but he may as well have. Essentially, something landed a bit close to home, hm? Maybe some of that hope for marriage? A soupçon of joy of an ordinary life?

Twilight’s loneliness underpins many of his decisions with his family — probably without him being fully conscious of it. I think he is at least somewhat conscious of it, but also if he looks too closely... Well, best not to. I could fill this post, I think, with images that demonstrate his loneliness throughout the series; that sorrowful/pensive close-up of his eye(s) is one of the abiding motifs for Twilight throughout. I'd probably start with this one from Twilight's backstory arc:

Anya's request plays directly off his loneliness. Still though, he doesn’t immediately capitulate — he emphasises Anya’s choice. Is she sure? The last day has been scary for a child (and for him, but he's ignoring that part) and Twilight, in his increasing recognition that Anya is a person, is probably aware in the back of his mind that he hasn’t exactly been warm or welcoming or at all patient with her. Things that people respond to — he's otherwise excellent at manipulating people, so of course he understands this. So. Given she'd just had this scary experience, given he hasn't exactly been great with her: Is she sure? She wants to come home — with him?

I think the moment may get a little lost because Anya says something riffing off his own earlier thoughts and self-revelation (featuring that shadowed, lonely eye motif again!)

Were this a post about Anya, I’d talk about how it’s an important character moment for her as well by way both of demonstrating her agency/choice and also that she isn’t nearly as dumb as Twilight thinks (and the audience, maybe, also thinks).

But in my view, she didn’t actually need to say anything about it making her cry. I think she could simply have said yes in that moment and Twilight would have agreed.

Twilight’s an unreliable narrator; he’s disconnected from his heart and that shrouds his own motivations from himself — something he actually also concedes in this chapter!

And it shrouds from us just how much he actually understands himself. He’s also a master of deflection. Easy to assume or say that bringing Anya home is just to align with Strix. Nothing more to see here; nothing else going on. But also that ripping off of the mask in the panel above — and the literal 'riiip' sound effects — also indicate to us that this is an unveiling to himself.

In my view, Twilight agreeing to Anya's request, deciding to go back to original mission parameters, actually shifts his motivations, subtly. Now he’s committed not only to the original mission goals, but also to Anya. He needs Anya to succeed at Strix, not only for Strix's sake, but also because otherwise the mission will end and she’ll have to go back to the orphanage, and he’s just agreed with her not to do that (not right away, in any case). I don’t think at this point he’s thinking it’s forever — his thoughts throughout the manga indicate he still expects the Forgers to be temporary. I don't think the shift in motivation is necessarily even conscious, but given the set up, I think something inside Twilight recognises that agreeing to bring Anya home is a compact, jointly engaged. Mostly all this has become subsumed into Strix: he makes decisions. He pursues them. He deflects, even from himself. Of course it's just for the mission; this saved him the trouble of reworking it, of figuring out something else. Nothing more to see; no need to think any more on it. And to be fair to him, Strix is very high stakes, resting pretty solely on his shoulders, so of course that is, objectively, motivation enough. Why even consider beyond that?

But I personally think that to the extent he's aware of it at all, there is something else going on, that he wants to have Anya for as long as it takes him to work something else out for her. If that's the case, then of course, we have Occam’s razor: the simplest solution may be the best one.

Maybe Twilight should just keep Anya himself, eh?

[Image description: gif from Spy x Family season 1, episode 1. Twilight and Anya have just found out Anya passed her entrance exam and are overjoyed. Celebratory, Twilight picks Anya up and swoops her into the air as they smile at one another. End image description]