#but this sign can't stop me because i can't read

[autistichalsin]

My chapter-by chapter analysis of The Hunger Games, chapter 1

Disclaimer: this and all future chapter analyses will contain spoilers for all the books.

What really strikes me about this chapter is what a masterpiece it is; a masterpiece of foreshadowing, establishing moments of characterization, worldbuilding and more, all without ever feeling like we're actually getting infodumped on. This is accomplished with Katniss's stream-of-consciousness storytelling. I've heard it criticized so much, but even aside from the very salient point that it fits her characterization as an emotionally stunted, traumatized, poorly-educated teenage girl, it still helps the story in moments like this. We feel Katniss's inner chaos, and it makes the story that much more immersive.

On to the spoilery part of the analysis:

When I wake up, the other side of the bed is cold. My fingers stretch out, seeking Prim’s warmth but finding only the rough canvas cover of the mattress.

There was a post, a while ago, that I can't find but wish I could. In it, the OP talks about how Prim is literally doomed by the narrative, not "heavily foreshadowed death," but literally doomed by the narrative, and this paragraph is the first sign, because Katniss reaches for Prim and feels emptiness instead. And re-reading this, I agree. The first thing we see Katniss do is reach for Prim, and find nothing. This time, it's temporary, but by the end of the series, it won't be. We've been warned, even if we don't realize it yet: Prim is doomed.

Scrawny kitten, belly swollen with worms, crawling with fleas. The last thing I needed was another mouth to feed. But Prim begged so hard, cried even, I had to let him stay. It turned out okay. My mother got rid of the vermin and he’s a born mouser. Even catches the occasional rat. Sometimes, when I clean a kill, I feed Buttercup the entrails. He has stopped hissing at me.

Katniss loves her sister and will do literally anything for her. Katniss also has no moral qualms about drowning kittens. With just one paragraph, we learn what a simultaneously harshly practical yet beautifully caring, loving person Katniss is. She has no room in her life for useless things like pets, and drowning strays probably helps the people of 12 in the long run by leaving vermin to be eaten by those on the verge of starvation. But her sister wants to keep Buttercup, and so she will. Katniss will sacrifice anything to keep Prim happy.

Foreshadowing. Prim is doomed.

Entrails. No hissing. This is the closest we will ever come to love.

STILL more foreshadowing, for different themes: both for one of Katniss's biggest complexes (I'll get into details about this later) and for the theme of love. Katniss doesn't truly love anyone but Prim. Her entire world, we know, is going to be shaken when she does finally feel that for someone else again. Once again, we are being introduced to the recurring themes of love vs practicality and the classic question, "how much pain is love worth?"

Katniss is going to answer this question again and again: for Prim, there is no amount of suffering too great. For others... she'll find different answers. Eventually.

My father knew and he taught me some before he was blown to bits in a mine explosion. There was nothing even to bury. I was eleven then. Five years later, I still wake up screaming for him to run.

The first hints of Katniss as a deeply traumatized girl emerge. Sometimes, when you're traumatized enough, thoughts can segue into The Event with no warning, just by proximity. And through the combination of blunted language and stream-of-consciousness leaps, we can see just how broken this has left Katniss. Unfortunately, this is only the start of Events for her.

My father could have made good money selling them, but if the officials found out he would have been publicly executed for inciting a rebellion. Most of the Peacekeepers turn a blind eye to the few of us who hunt because they’re as hungry for fresh meat as anybody is. In fact, they’re among our best customers.

A brilliant bit of worldbuilding. The Peacekeepers are working off of deeply corrupt laws, which they ignore because they too are being mistreated and systematically starved, even if they aren't as at risk as the people of 12. The system doesn't care about the very same people it safeguards to enforce its rules. This is the first hint we get that the system isn't sustainable, and it comes before we even fully understand what kind of hell this government is.

The theme of "bread and circuses" is going to be hammered down to us again and again that this is how tyrannical governments, including this one, pacify the masses. But when only the bourgeoisie are being given the bread and circuses, well.... the proletariat aren't going to take it forever.

The book hasn't shown itself to be the anti-capitalist masterpiece it is yet, but this is the first hint that we're reading a tale of class warfare.

“District Twelve. Where you can starve to death in safety,” I mutter. Then I glance quickly over my shoulder. Even here, even in the middle of nowhere, you worry someone might overhear you.

I have seen criticisms that this is an egregious case of showing and not telling, with Katniss constantly talking about the dangers of badmouthing the government while never facing them. But in truth, it's the opposite. Yes, Katniss hasn't been caught despite repeated statements that she could have, but we'll learn, here and in future chapters, that 12 has been receiving a sort of tradeoff with other districts; their more severe poverty places them below notice. No one thinks them capable of causing real trouble, and even their district specialty- coal- is later proven to be basically useless, busy-work. So they get ignored... for now. Until the oligarchs start seeing what the proletariat can actually do and crack down all the harder to ensure they keep their cheap labor.

Are you seeing the resonance with the real world yet?

Even at home, where I am less pleasant, I avoid discussing tricky topics. Like the reaping, or food shortages, or the Hunger Games. Prim might begin to repeat my words and then where would we be?

Here we see the dual themes of parentification and sacrifice. Katniss will be the adult, even though she ISN'T an adult, for her sister. She will keep quiet on things that hurt her, and upset her, to set a better example for her sister and keep her from getting hurt. Prim gets to have the normal and safe childhood Katniss never had, because Katniss has invested everything into ensuring she does.

We are taking a step up the ladder of self-sacrificial acts, here. In other words: more foreshadowing. Katniss will give everything for Prim. Prim is going to die, because Katniss is going to lose everything she cared about in the process of protecting everything she cared about.

In the woods waits the only person with whom I can be myself.

Katniss can't be a teenage girl. She has to be Prim's mom. She has to be tough. She has to be a provider. She has to be a trader. An advocate. She so rarely complains about it, too. But it shows here just how much she's given up. Only one place, and one person she can be herself with, and yet...

Gale.

Isn't this ironic. Because we are about to see, throughout the entire series, that this day is going to be the last time Gale actually lets Katniss be herself (and even here, there are strong hints that Gale wants Katniss to be something very different).*

*Disclaimer, because it seems important: my opinion on the Katniss/Gale vs Katniss/Peeta ship war is "team nobody." I think both of them were very bad for her in different ways. Any comment I make that seems like it is favoring one ship or the other... isn't.

“Hey, Catnip,” says Gale. My real name is Katniss, but when I first told him, I had barely whispered it. So he thought I’d said Catnip. Then when this crazy lynx started following me around the woods looking for handouts, it became his official nickname for me.

Maybe I'm overanalyzing, but I feel like this sums up the Katniss/Gale relationship so much. Katniss tries to speak, and Gale doesn't hear or understand her. Gale projects something onto her, and Katniss rolls with it. Sure, in this case it's a cute nickname, but it represents so much more to me.

Gale doesn't understand Katniss. Fundamentally. He understands the Katniss he wants to exist. The one who will run off with him and play house in the woods and indulge his little fantasies. He doesn't know very much about the real Katniss, at least as long as he's looking at her through a romantic lens.

“Look what I shot.” Gale holds up a loaf of bread with an arrow stuck in it, and I laugh.

Despite what I just said, I do love Gale and Katniss's friendship, and it breaks my heart that their friendship was as doomed as Prim. (Hint. Hint.) Katniss needed someone who understood the unique pain of parentification due not to abuse, but poverty- the kind where you aren't 'allowed' to feel angry at anyone within reach. Which is the worst kind of injustice. Getting mad at someone who harmed you is one thing, but getting mad at a system you can never (... yet) hope to change is different.

She must have really loved him to leave her home for the Seam.

It's said in a casual and sort of admiring way here. But Katniss is going to learn firsthand about the intersection between love and sacrifice. With the generational mirroring as a theme, especially between Katniss and Peeta, we're being given more foreshadowing that Katniss has self-sacrifice "in the blood."

I try to remember that when all I can see is the woman who sat by, blank and unreachable, while her children turned to skin and bones. I try to forgive her for my father’s sake. But to be honest, I’m not the forgiving type.

Another little glimpse into Katniss's pain and trauma. Her mom wasn't there when Katniss needed her most, and Katniss and Prim both almost died as a result. It wasn't her fault, and we see later that she regrets it deeply, but this still leaves scars. Your parents, above everyone else, are supposed to protect you. Katniss's mom didn't, Katniss nearly died, and because of that, Katniss had to sacrifice what remained of her childhood to become Prim's mom.

Katniss and Prim's relationship never goes back to just normal sisterhood after this. From the moment Mrs. Everdeen's trauma rendered her catatonic onwards, Katniss and Prim's relationship was infused with a mother-child dynamic that never left, not even when Mrs. Everdeen became well again.

It's so painful, all the more so because it's so real. I lived this with my little brother, albeit with stakes maybe 1% this high, when my mom became an alcoholic and my dad was too busy just trying to survive to really do anything. I was the one to take care of him emotionally, to show someone cared, to provoke my mom's anger so he wouldn't be hit, to make sure homework got done and he didn't skip school (I failed. Badly.) He still considers me more his parent than either of our parents. It never really goes away, even when you're both adults; that overdeveloped feeling of responsibility stays with you. Always.

And the worst part of it is when the parent who made you have to do this decides, on their own, that the time is right for them to come back. Katniss's mom is far more gracious about it than my own. She at least understood Katniss's pain, and didn't try to force the role on her; it happened only when Katniss was ready. But that too, as we'll see in a minute, was painfully real for me.

“I never want to have kids,” I say. “I might. If I didn’t live here,” says Gale. “But you do,” I say, irritated. “Forget it,” he snaps back. The conversation feels all wrong.

Once again, a hint that despite their sweet friendship and similarities, these are two tragically, fundamentally incompatible people. Katniss is in too much pain to think of ever having a family, and Gale is in too much pain to think of not ever having one. Katniss wants to survive the way she always has (which she doesn't realize isn't her destiny yet) and Gale wants to flee and survive literally any other way.

Both change in the end, but the underlying incompatibilities in their life approaches are still there.

And even if we did . . . even if we did . . . where did this stuff about having kids come from? There’s never been anything romantic between Gale and me. [...] Besides, if he wants kids, Gale won’t have any trouble finding a wife. He’s good-looking, he’s strong enough to handle the work in the mines, and he can hunt. You can tell by the way the girls whisper about him when he walks by in school that they want him. It makes me jealous but not for the reason people would think. Good hunting partners are hard to find.

A few very interesting things are happening here. One, we're getting another hint, first dropped during Katniss's thoughts about Buttercup, that Katniss has a pathological inability to believe others actually like her- romantically or otherwise. Part of it is low self-esteem, part of it is putting Prim on such a pedestal that Katniss feels she can never live up (and giving her more self-esteem issues) and feeling like anything she attributes to herself might take away from Prim, and part of it is just raw cynicism. And maybe a dash or two of the feeling of permanent othering trauma gives you. Especially when that trauma involves a realization that you're never going to be able to rely on others to meet your own needs. You're responsible for your needs and your loved ones' too.

(Katniss is one of the most complex and real characters of all time. I relate to Katniss an uncomfortable amount sometimes.)

The other interesting thing is that you're getting a sense, for the first time, of how much trouble Katniss has recognizing and processing her own emotions- a very common trait in neurodivergent people. She can sort-of-understand a feeling of jealousy, but can't quite put her finger on the reason, and fitting with her attitude of relentless practicality, she decides that it's the worry of losing a useful hunting partner. Because, after all, Prim is the only person she loves, she can't care for anyone else, there isn't room for that. To care about anyone else would be to "take away" something from Prim.

Katniss repeatedly raises the question of when self-sacrifice crosses the line into self-harm by proxy. When altruistic love becomes self-negation instead. It's sweet that she loves Prim so much, but the codependence... If this is the benchmark for love for Katniss, it's no wonder that she feels at this point that she can't feel it for anyone else. This isn't sustainable.

(Prim is doomed. We've been warned.)

I found the patch a few years ago, but Gale had the idea to string mesh nets around it to keep out the animals.

This is going to be a recurring theme; Katniss is too impulsive and lacking a sufficient cause-effect pathway to be a planner/strategist. Gale makes the plans now; later it'll be Peeta and Haymitch.

(Also, this is foreshadowing Katniss's lack of agency. She is about to become an audience member in her own life story. She found the strawberries, but she didn't decide what to do about them. Gale did. That's about to become her entire life.)

No one in the Seam would turn up their nose at a good leg of wild dog, but the Peacekeepers who come to the Hob can afford to be a little choosier.

There is a hierarchy still, where the Peacekeepers are starving, but not as starving as the people in the communities they're sent to. Everyone is hungry, but some are hungrier than others.

Hint. Hint.

“That’s not her fault,” I say. “No, it’s no one’s fault. Just the way it is,” says Gale.

"Remember who the real enemy is." Katniss gets told this repeatedly, by Haymitch and others, and eventually she learns the lesson in time to lead a successful revoltuion.

Gale does not learn this lesson. He will end up destroying everything he cares about in his pursuit of revenge against the Capitol and anyone associated with it.

Gale would normally say that there is a huge difference between Madge, the mayor's daughter who is pampered and comparatively privileged, versus the willfully malicious Peacekeepers; the middle class are still part of the proletariat, after all. But Gale, in his pain and fear, loses sight of it and lashes out. This time, it's just words. By the end of the series, when he gets actual power, it will lead to something far more catastrophic.

Prim is doomed to die, Gale and Katniss's friendship is doomed to end in the most bitter way possible, and Gale is doomed to be his own worst enemy.

Gale knows his anger at Madge is misdirected. On other days, deep in the woods, I’ve listened to him rant about how the tesserae are just another tool to cause misery in our district. A way to plant hatred between the starving workers of the Seam and those who can generally count on supper and thereby ensure we will never trust one another. “It’s to the Capitol’s advantage to have us divided among ourselves,” he might say if there were no ears to hear but mine. If it wasn’t reaping day. If a girl with a gold pin and no tesserae had not made what I’m sure she thought was a harmless comment.

Gale knows he's wrong to say things like that. But again, as said above, his pain and fear get the better of him, and cause pain to those around him. His normal philosophy is correct, but he loses sight of and discards it far too easily.

(Gale is going to lose everything because of his scorched-earth approach to anger.)

Also, a note: this is how the real world operates too. Culture wars to distract from class war. For an entire generation of readers, this was their introduction to the basic principles of socialism.

But what good is yelling about the Capitol in the middle of the woods? It doesn’t change anything. It doesn’t make things fair. It doesn’t fill our stomachs. In fact, it scares off the nearby game. I let him yell though. Better he does it in the woods than in the district.

Katniss is still hung up on practicality. When she rants about the Capitol, she is, subconsciously, crying for help. But venting for the sake of venting doesn't make so much sense to her, given her stunted emotions.

Another bit of characterization I really enjoy here is the realistic teenage behavior. Yes, they're the oldest in their families, responsible for their entire family and only able to support them by hunting, and they should "know better". But they're teenagers in a fascist government, with an already extreme list of traumas and corresponding problems with emotions. Of course they're going to act irrationally at times and scare off game because they're having a meltdown- even non-traumatized teens would do that sometimes!

They're teenagers. Incredibly well-written, realistic teenagers. They don't have fully developed frontal lobes with the corresponding gifts of planning, impulse control, cause-effect relationships, and other things yet. They're more mature than most, but they're still going to behave foolishly sometimes.

Prim is in my first reaping outfit, a skirt and ruffled blouse. It’s a bit big on her, but my mother has made it stay with pins.

This is probably a "the curtains are blue because they're blue!" moment, but this is another bit of symbolism I enjoy. Katniss, at Prim's age, was hunting and entering the Hob. Prim is being kept alive by both Katniss and Mrs. Everdeen. She has a dress that mostly fits. She has good meals now. She is protected where Katniss wasn't. The dress represents both the sacrifices Katniss made for her and the fact that now, Prim has the adoring mother Katniss didn't have. She has two loving people looking out for her, willing to do anything to keep her safe, healthy, and happy.

(Prim is doomed.)

To my surprise, my mother has laid out one of her own lovely dresses for me. A soft blue thing with matching shoes. “Are you sure?” I ask.

Katniss can't comprehend her mom doing motherly things for her. Both because of the parentification, and because Katniss still fundamentally can't believe that anyone, even her own mother, actually cares for her enough to want to do anything for her. Not after four years of Katniss carrying the entire family on her back. It's incompatible with the world she's lived in for the last four years.

Katniss is painfully relatable.

I’m trying to get past rejecting offers of help from her. For a while, I was so angry, I wouldn’t allow her to do anything for me.

Painfully. Relatable.

What Katniss is feeling in this scene, I don't think I can describe to anyone who hasn't been there. It's relief-bitterness-anger-hope-longing-mistrust.

"Oh great, look who's finally here to help now that things are okay again and I figured everything out on my own! I want you back. I want a parent back. I don't want to do this anymore. I can't stop it. I can't trust you not to make me do it again. I'd better keep doing it so I don't get my hopes up. How do I even live without doing this? How do I live as a person and not a caretaking robot for my family? Am I allowed to do that? What kind of selfish person would I be if I did, especially now that I've seen what will happen if you fail again? No, I'm not letting you do this. I'll let you pretend to the little one because they need a parent figure and they deserve to feel normal, but me? Hell no, do you think I'm stupid? I am taking care of myself, I already learned what it costs to trust other people to see to my needs and that is not a price I'll pay a second time, thankyouverymuch. Yeah, mom I love you. I'm glad you're okay now. And thanks for doing this for me, I guess."

It goes something like that.

But I digress.

In just this paragraph Katniss expresses so much of the pain of parentification, so succinctly yet vividly that it makes my chest hurt.

I just really, really love Katniss, okay?

“You look beautiful,” says Prim in a hushed voice. “And nothing like myself,” I say.

Ow. Just... ow. She says it so matter-of-factly. Like she's just accepted it into her worldview; Prim, the embodiment of everything good in the world, is beautiful. Katniss, the leftover, the thing that exists just to take care of Prim, is ugly. That simple.

I wish we could have seen Prim respond here; surely she doesn't like anyone, even her sister herself, talking about Katniss this way? Or maybe Prim is so used to these kinds of casual self-put-downs that she's stopped trying to talk Katniss out of it.

Again: painfully relatable.

I protect Prim in every way I can, but I’m powerless against the reaping. The anguish I always feel when she’s in pain wells up in my chest and threatens to register on my face.

Once more: Painfully. Relatable. You put so much into protecting 'your kiddo'. And then something comes along and reminds you that you're even more powerless than the useless adults in your life. It hurts. It feels like you failed. It's one thing for you to get hurt, you already know how to deal with it, but them?

Ugh. Dystopian fiction isn't usually where my inner abused and parentified child gets validated, but this series unlocked some things in my neural pathways.

Thank you, Suzanne Collins, for Katniss. I feel so seen in so many ways through her and her story.

Sorry. I know this is supposed to be an analysis, not a love letter, but damn if Katniss doesn't play my heartstrings like a fiddle.

“Tuck your tail in, little duck,” I say, smoothing the blouse back in place. Prim giggles and gives me a small “Quack.” “Quack yourself,” I say with a light laugh. The kind only Prim can draw out of me.

Sorry, I am going to try to not repeat myself so much, but once again it just... Prim gets to be a child, because of Katniss. She gets to be a normal-ish 12 year old who makes silly animal noises and can't tuck her dress in. Katniss was fighting for her life and trying to find food. And of course it's not Prim's fault- I love Prim. But there's something just so painful about this contrast. Katniss had her childhood stolen from her, first by the tyrannical government she lived in, then her father's death, then her mother's mental illness, and finally the needs of a child she never should have been responsible for.

It's no wonder Katniss spends so much of the series in that emotional state abused, neglected, and traumatized children know all too well. You're simultaneously precocious and childish. Too grown-up one minute and acting like a child the next. Katniss never got to experience linear growth, and her psychology sure as hell shows it.

Painfully. Relatable.

Also, yet again: Prim. Is. Doomed. She's the most important thing in Katniss's life, the rationale for every decision Katniss makes, the reason she gets out of bed in the morning. The one person who makes Katniss's life worth living. Precious, sweet Prim, who retains her innocence and kindness in a world that aggressively stomps out both, is doomed by the narrative in every possible way.

Anyway, Gale and I agree that if we have to choose between dying of hunger and a bullet in the head, the bullet would be much quicker. The space gets tighter, more claustrophobic as people arrive. [...] I stare at the paper slips in the girls’ ball. Twenty of them have Katniss Everdeen written on them in careful handwriting.

When you're a child, you can't comprehend something awful happening to your parents, because your life experience just hasn't shaped yet to show you that it's even possible. You don't understand that it can happen.

When you're an adult, you can't comprehend something awful happening to your child, because your life experience has shaped to show you exactly how it's possible. You know exactly how it can happen, so you can't believe that it can actually happen.

Katniss is at a stage of her life that would already be transitional in normal circumstances, where she'd start contemplating mortality- but she's already dealt with it for years.

Her own death doesn't scare her anymore. Her sister's scares her so much that she doesn't even think it's a possibility. After all, everything she's done for the last four years of her life has been for Prim. To keep her alive and give her the childhood Katniss lost suddenly and traumatically.

Prim is doomed.

Taking the kids from our districts, forcing them to kill one another while we watch — this is the Capitol’s way of reminding us how totally we are at their mercy.

We got hints of apathy and cruelty before, but now the curtain is, for the first time, being peeled back. This isn't a system built on simple oppression. It's a system built on raw sadism.

It's another sign that Panem isn't sustainable. People can endure a lot of cruelty when their loved ones are hostages, but there are limits. When those limits get pushed (hint), something will have to give.

To make it humiliating as well as torturous, the Capitol requires us to treat the Hunger Games as a festivity, a sporting event pitting every district against the others.

Bread and circuses. The poor give labor (food) and entertainment, and the rich receive them. The rich live sequestered lives full of privilege, yet ultimately just as much under the thumb as the tyrant as anyone else. But still supporting the system because they lack the empathy to want change when they benefit from the status quo more than they would from a new system, so they think. They are simultaneously disgusting and pitiful.

Like the comfortably wealthy Trump-supporting boomers we all know and loathe.

The last tribute alive receives a life of ease back home, and their district will be showered with prizes, largely consisting of food.

Our very first, incredibly subtle hint, that winning the games might be even worse than losing them. The first time reading, of course, you'll take this at face value. Later, though, you'll think of this and realize it was all only mockery and isolationism, a way of guaranteeing that the victors would be scapegoated by their District, ensuring they would never find companionship again even if their trauma didn't prevent it. And they can't complain, because, after all, they now have a life of comfort.

So many things are intersecting here; class warfare (Victors being an allegory for "temporarily embarrassed millionaires" and the American Dream) and the isolation of trauma and mental illness and more.

But suddenly I am thinking of Gale and his forty-two names in that big glass ball and how the odds are not in his favor. Not compared to a lot of the boys. And maybe he’s thinking the same thing about me because his face darkens and he turns away. “But there are still thousands of slips,” I wish I could whisper to him.

Katniss so rarely worries about herself, only those she cares for. Again; her own mortality is okay to her. It's those she protects she can't let this happen to. But since she can't even bear to face the possibility of Prim being chosen (Prim is doomed) yet, she focuses her feelings on Gale, not only worrying that he'll be picked, but worrying that he will be upset that she might be. She only spares thoughts for herself for a few brief seconds, in the next paragraph.

Katniss gets accused of being selfish so many times, but it's notable that those moments only happen once she volunteers to go into the arena, once her survival depends on a bit of selfishness. Before then, she's one of the least selfish people in the entire series, and I'd argue that even at her worst she doesn't count as truly selfish. She's a teenager trying to survive and return home to her family, not a toddler who won't share toys.

I’m feeling nauseous and so desperately hoping that it’s not me, that it’s not me, that it’s not me.

But, of course, even when you are theoretically okay with dying, being faced with the actual thing will still inspire terror. So for just a moment, Katniss lets herself lapse into worry about herself.

For just a moment, she thinks about herself- and just that fast, Prim is placed in danger.

(This is how Prim will die too, by the way; being put in danger the one time Katniss is focused on something other than her. Prim is doomed.)

Effie Trinket crosses back to the podium, smoothes the slip of paper, and reads out the name in a clear voice. And it’s not me. It’s Primrose Everdeen.

The unthinkable has happened, and Katniss's life has been changed forever.

And even though she can save Prim this time, it's only temporary.

Prim is doomed. Nothing in the world can prevent it now. Prim would die in the arena, but by going instead, Katniss has put herself in a position where any and all actions she does will spark a revolution that gives her a Pyrrhic victory.

There is no version of events where Prim lives.

Prim is doomed.

[thr0wnawayy]

Rei-Demption: A problem and my solution (ft. Rei's trauma and Hori's bullshit)

Might as well give my shot at it.

My take on Rei's personality has always been based in suppression.

Rei's whole life has been a balancing act of doing enough to protect her family, while still staying within the lines to not get disposed of.

She's everything Enji isn't. An iron will, a golden heart and a strong sense of empathy.

So with that in mind, hopefully it she'd light on it thought process with this post

A theory I have is that Rei was aware of the hospital's corruption

These panels always felt off too me, it always made me wonder: "does she know?"

The wording is very specific.

"I told him I liked it, around the first time we met. But only once"

It always struck me as odd, We're talking about the man who looked at his eldest death and kept going, man who destroyed multiple lives for a redundant pipedream.

It's not even why would he remember such a small detail, but rather how?

Unless... the doctors are feeding him information.

Think about it, who pays for all this. Surely it's not Fuyumi, on account of this being a massive money sink.

You really expect her to pay for all that on a teachers salary?

It can't be Natsuo because Enji has likely cut him off from everything to his name.

And that's assuming Enji even bothered to save up a college fund for any of them. Plus Natsuo is a full time student of medicine.

If the doctors are watching her every move, looking for any sign of deviation from the narrative then it makes sense for her to disguise her words.

Of course there's still more

Having PTSD isn't something you can keep someone institutionalized for. Especially when Rei's is very proportionate, given what she's gone through. (No, Japan's stigma of mental health wouldn't justify this)

I mean what are Rei's triggers?: Enji and that's about it.

"But we still... haven't met face to face, I'm still too afraid"

That's a standard reaction to have to your abuser (especially when he raped you multiple times)

('Just stop' gets a whole lot darker when you consider it's context)

Not to mention she's no longer fearful of anything resembling Enji, just Enji himself. So there is no real reason to keep her there unless they are afraid she might speak out.

This whole thing makes me think she's trying to tell Natsuo and Fuyumi what's really going on, in a way.

Subtly and under the calm, complacent mask she's expected to wear, in case anyone else is listening. Anyone who could report back to him.

It might also be she doesn't trust them. Fuyumi or Natsuo could blab or say something within earshot that could set Rei back months.

And she can't have that, not with how close she is to finally breaking free. She loves her children, all of them but the trust just isn't there, how can it be when when they don't have all the pieces.

So here's my theory: The hospital staff are in Enji's pockets. Either taking bribes (as recent as Dabi's Dance) or they were given a large sum of hush money when Rei was first hospitalized, with the goal of keeping her there as long as possible and possibly molding her to either keep her mouth shut or (sickeningly) gaslight her into returning to Enji.

(Note how she was only released when they could no longer keep a lid on things, the moment Dabi frops the bomb. She's out, no struggle)

This paints a picture of grotesque corruption, sloth and apathy (the very same cocktail that created Shigaraki) even by Hori's narrative standards. Shedding light on just how deep MHA's despotic nature goes.

The anime makes this even more apparent. Rei's fake smiles make the whole thing that much more viable. She seems so dead, it's like she smothered her soul or something.

I've seen both the sub and dub of this scene. The sub is the correct translation, the same as the Manga panel above.

The Dub however, while severly off mark, adds it's own flavour of dread. Rei sound so hollow, it was jarring the first time I heard it.

It sounded like she was reading a script (in-universe). Like she'd rehearsed this in her mind a million times, staring at the same 3 white walls + the window and waiting for an opening to finally speak.

That was supposed to be Shoto, until the dorms ruined that. Suddenly Rei's lifeline is gone, reduced to letters that don't even tell half the story.

10 years, 10 fucking years reduced to lines on a page.

Can you imagine the despair, dear reader?

The frustration. The sheer vitriol coursing thorough her veins, far hotter than Touya could ever manage.

Having to do the same thing she's been doing even before she was locked away. As the the skeleton in the closet of a criminal with a license.

Wearing masks for so long you can hardly breath and in the brief moments you can take them off. You can hardly recognize yourself, how you once were.

It must be the truest form of hell.

The Rei-demption Arc

Rei's redemption arc takes the attention of our theoretical arc without overtaking it.

The arc would mostly focus on the more domestic aspects of our trio being: Midoriya, Shoto and Uraraka.

A few minor changes would occur. The dorms never happen, allowing the characters to exist outside of UA.

There is solid confirmation that Fujiya is corrupt and is keeping Rei institutionalized on illegal grounds (ie: not meeting the criteria set up to ensure her silence)

The dinner scene would still happen only it would bd framed for what it really was. A pathetic attempt at creating a moment that never existed.

There's no family with Enji.

Just a family held hostage and a tyrant. I have my own grievances with Fuyumi, but I'll leave that for the future.

The only difference besides Natsuo being properly portrayed as a victim acting well within his right, the reasons for our trio going would be for Shoto's emotional wellbeing, because he asked them to.

Uraraka could have a moment where she realizes that money is as much as good as it is bad. An actually decent shift into her change of goals.

Here Enji motivates her to "watch the watchmen". Her need for money is still a crucial part of her reasons for becoming a hero, but she also has a more front and center goal.

I'd imagine she has a moment parallel to Midoriya's during the Sports Festival.

Where (alone in front of the Dojo after the failed dinner) she rightfully calls out Enji for being a self pitying piece of shit and that "sorry" doesn't cut it.

"You've hurt them in ways you can't imagine." Would probably be the last thing she says before walking away.

She may not know the whole story but she knows it hurt them and that's enough.

Rei's ascent

Rei's biggest hurdle is accepting that she was also an abuse victim. She's furious but she's only furious on her children's behalf and what they lost.

Her unintentionally harmful actions weigh on her, be it her neglect or the night she scalded Shoto, these events have impacted her deeply.

She learns to reconcile with her past, improve her relationship with Shoto and even meets Shoto's friends at one point.

Eventually she finds closure but that's later on.

She also acts as an advisor at times, having given Shoto the idea of using Ice projectiles (as seen in the Licensing Exam)

The second half comes from the Hospitals corruption, as Rei learns that she is long overdue for release (by about 8 years) among other horrific practices. This would play out as the arc's B plot, building up to what I call "The Summit"

The Summit

Eventually Rei fights Hood.

After gathering the evidence, she escapes the hospital. Planning to go to Natsuo for protection. As she's walking across a crosswalk however, she hears what sounds like an explosion.

Eventually she hears screaming and is forced to use her quirk as a bus is suddenly sent hurdling in her general direction.

As of her body moved on its own, she envelops it in her ice. Stopping the bus and saving those behind her in the process.

Only to see Hood land on top. They lock eyes and Rei can't help but see Touya in Hoods ambition.

In response to Rei holding her ground, Hood dashes. Rei counters this by manipulating her ice to send him crashing into an empty building, impaling him on the glaciers end.

Hood is impressed by Rei's proficiency and chooses to fight her.

Rei having no experience, fights for her life. Where as Rei avoids Civilians, Hood has no care for them which forces Rei to play the role of hero.

Rei uses every weapon in her arsenal in order to stave off Hood, who only gets more relentless as the battle stretches on. The upside is Hood's regeneration struggles in the cold, which Rei is constantly producing.

Each side gets blows in, with Rei taking them surprisingly well but still being worse for wear. Hood notes this saying "as if y-you've done t-t-this before" (close, Hood very close)

Eventually Hood gets the upper hand, towering over Rei in a manner that triggers her PTSD and leaves her stunned.

One of the civilians (Horoshi Tameda) emboldened by Rei's efforts, picks up a loose chunk of pavement and chucks it at Hood's back. It hits, causing Hood to look back.

Civilians begin making loud noise, others begin picking up anything they can find and throw it at Hood. Further catching him off guard long enough for Rei to snap out of her episode and strike back.

From here the fight kicks into high gear, with Rescue heroes & paramedics arriving on the scene and a camera crew recording the fight from above. Overall I imagine the scene to be very uplifting, with the Orchestra swelling as Rei prepares a final attack.

The move rivals that of Shoto's, arguably even surpassing it. Hoof is incased in a prison of Ice, covering an entire city block worth of destroyed buildings. And the fight finishes with Rei collapsing to her knees.

From here on out things change. Rei's newfound fame leads to the hospital being forced to do their job. Because of this Rei gets out early (around the time the Internship arc would started had I not scrapped it)

As for what this could lead to I'll let you decide. I'd love to read some suggestions.

Bonuses:

Theories:

The reason they kicked Fuyumi from her job is because she covered an abuser's ass for years. While Fuyumi is a victim, it doesn't excuse her complacency in regards to Enji's treatment of Shoto before and after his "self pity" arc.

Natsuo didnt go to someone because he wouldn't likely be believed, being seen as bitter and untrustworthy (his time away from home wouldn't help with pinning evidence).

Extra:

Hood survived the fight, Rei opted to capture him as opposed to kill him. That doesn't mean he didn't get frost bite. Police found out it is very difficult to question a Nomu.

Out of all her trauma. Rei accepting she was never given a choice will be the hardest to accept.

Rei's family is not inbred, rather her parents ran away so her father wouldn't be forced into a marriage with his cousin. Only to ironically do the very same to their daughter.

Hiroshi still becomes a meme, his 'Can't you see speech' leads to him becoming a motivational speaker.

The reason Hood appeared is because Dabi lost track of him. He nearly had a heart attack when he discovered his mom was holding the Nomu off.

[monstermoviedean]

let's talk about the bridge.

[spnwiki links known filming locations when available. in all three episodes, this is listed as the spur 4 bridge, lower seymour conservation reserve. it may appear in more episodes, but i'm not sure.]

the bridge appears in 05x02 (good god, y'all!), 13x18 (bring 'em back alive), and 15x20 (carry on). now. do i think this specific bridge was specially chosen each time to communicate a certain message? with respect to the crew, nah, probably not. do i think you can read a pattern here? ooh, yes. tl;dr: you cannot cross the bridge. merely standing on it means the rules have just changed in a reality-bending, fucked-up-beyond-all-repair sort of way. attempting to complete the crossing is an acceptance of the new rules.

in 05x02, the bridge appears as dean and sam are driving into river pass, colorado, the town controlled by war. the bridge is broken. they drive halfway across the bridge and stop. this is the first sign to sam and dean that something is seriously wrong here. this is no normal demon hunt. this is a problem on a scale larger than they can grasp. there's a literal gap between them and the town! they have to leave the car (/home) parked on the bridge and hike in. they are entering uncharted territory.

when they do, they find people killing each other and seeing demons where there are none. war is altering reality and playing people off each other. jo attacks ellen! rufus attacks sam! the townspeople turn on ellen and dean! you can't trust anyone! but actually...you can. none of them are demons. the danger is real, but it's not what it appears. and no one has ever come across anything like this before.

so what do sam and dean learn? the apocalypse is here. there's no going back. the rules have changed. the tactics they've always used don't work, because they are in a new reality now. and they accept that. while they can't physically walk/drive across the bridge, they do complete the crossing of their own volition. they accept that their world is different now and they will adapt to it.

in 13x18, dean and ketch are in apocalypse world walking near the bridge. they see a group of angels leading a group of shackled, hooded prisoners across the bridge.

two of the prisoners are executed by the angels right there. they do not cross the bridge. they die playing by the same rules they always have. it's the apocalypse, and they'll fight, but the angels are the angels and it's tough to win as a human. when i started writing this post i thought charlie had crossed the bridge, symbolizing her entrance into a new reality. but she doesn't! the angels fly away with her, without any of them ever crossing the bridge (below are back-to-back screencaps. sorry for the lack of visual but trust me on this)

charlie doesn't fully cross the bridge. she gets halfway across and then the angels fly her somewhere else. dean is hoping she finishes crossing. if she does, it's like she's crossing into his world. maybe this charlie will be just like the charlie he knew and lost. maybe he can save her. maybe he can undo it. but she doesn't cross and he so he can't get to her!

when he and ketch eventually catch up with her at the silo and escape, charlie hears about dean's universe and chooses to stay in hers. because it's hers. charlie's reality has been fucked with, certainly, but she chooses to accept the reality she knows and stay in it (for now at least). she's not outright rejecting the new reality of parallel universes, but she's also not letting the new reality dictate her actions. it's her home, it's her fight, and she's staying. she doesn't complete the crossing.

so that brings us to. deep sigh. 15x20. dean drives onto the bridge, ostensibly in heaven. he drives about halfway across. and stops. he does not cross the bridge. he gets out of the car and hesitantly walks around the front of it. i won't show you all the screencaps but he touches the car and stays pretty close to it as he walks.

the last one is about the furthest point he walks across the bridge, give or take. he doesn't go far from the car (which is a good strong symbol of dean's reality and home). you can see there's two vertical posts in the space between him and the car. when the final shot zooms out from him and sam, they are magically further across the bridge, about halfway across, about five vertical posts away.

dean standing on the bridge means the rules have changed. his world is different now. he cannot go back. this especially works with the next scene, which is the one of the cast and crew in our world saying goodbye. now, can you say that dean dying and going to heaven is the change? sure. but he doesn't cross the bridge. he doesn't accept it. could you say that simply means he's in denial about his death and apparent ascension? i guess. "but what about sam?!" shhhh, not right now.

i think it works much better as dean recognizing there is a new and unknown reality on the other side of that bridge, and instinctively knowing that there is something wrong. that he doesn't want to accept that reality. that if he finishes the crossing, he will be accepting it and will be unable to go back. and sam just appearing out of nowhere, seemingly materializing onto the middle of the bridge without actually taking steps to cross it? somehow moving dean with him so they're both further across the bridge? well maybe that's not real. maybe that's a trick to try to get dean to cross. maybe his acceptance of the new reality will sever his connection to his actual reality - war destroying the bridge in 05x02 certainly did that for the townspeople.

i know others have talked about dean crossing the bridge as an acceptance or an ascension, i'm nowhere near the first person to come up with that. but i do want to call attention to the previous iterations of the bridge. a broken bridge sam and dean cross, only to find war beyond it, an enemy the likes of which they have never seen. a bridge charlie is nearly forced to cross, but which she's taken away from before she can complete it (which would be more likely to lead her to jump realities). and a bridge dean starts to cross, but doesn't. a bridge that appears first in dean's reality, then in apocalypse world, then in dean's heaven, and then in our world, with jensen dressed as dean saying goodbye. and nobody ever crosses that bridge. it's a false promise. you can't do it. all you can do is stand on it and hope you'll be okay, even though you can't go back.

[sherlockianscholar]

in "his last bow" when holmes says: "stand with me here upon the terrace, for it may be the last quiet talk that we shall ever have." i never like to interpret it as a permanent goodbye, but in reference to the impending war and violence that will eliminate "quiet talks" into something much more chaotic. or at least, that's what i like to tell myself.

[artilite]

please take me home 🌠

textless version below! lyrics are from the song Mơ Làm Ma by Ngọt :)

this was meant to be just a quick doodle before bed, but. well. you see where that ended up OTZ

[octoberspirit]

Too soon?

[wisteriagoesvroom]

"i am not seeing the landoscar vision this year–" bro imma stop you there. was rome built in a day. are we or are we not collectively insane enough to ship whatever we want. other fandom ships have literally been pieced together with twigs. powered by fumes. launched via the tiniest scraps of barest interaction in canon. you do not need more acorns to last the cold season, we in fact have a store of them right under the trapdoor here and the party is still going. you must believe in the power of your imagination, of your delusion, if you are to last this winter season of (dis)content. you must light your candles and believe. we defy the odds that are stacked against us (FIA said no more mclaren unboxed). for one day the sun will shine again (mclaren double podium). and we will stand in the blinding light (tumblr dashboard) knowing that we were the few devoted (insane) enough to hold up the banner and cry "ONE NATION UNDER PAPAYA TWINK RPF!"

[sleepy-bebby]

[nocterre]

0 fear head empty

[phabianart]

Sorry not sorry 🤷

I didn't realize right away that the warning was about Crowley, not Aziraphale. But the art-meme is already done... So just smile)

[zongduofeverywhere]

dawn of yangchen spoilers!!!

The Saowan clan was so annoying😭😭

[lenin-it-to-win-it]

Artemis Fowl is what happens when you put all your stats into intelligence and have -800 left over for self-awareness

[roxannepolice]

Yeah no the Maestro knowing the Saxon theme specifically confirms for me that it was the silver raccoon that challenged the Toymaker and the melody got to his offspring. I can practically hear him saying, OK, but wait, let me play you a BANGER.

[neocities-daily]

Today's Website: Hog

[wutheringmights]

what would happen if someone just taped a copy of this tumblr post to warriors’ door

https://www.tumblr.com/yuyurana/759850252499058688?source=share

he really is a rookie rip

[art-spren]

the good news: I'm still here hi

the bad news: all I have to offer is this fucking sofa meme again