#concept also was more exploring...mercy forgiveness

[clemencetaught]

(jumps in your askbox to ask things about the birthday boy uwu)

THESE ARE!!! For Patrick (Verse One):

⏳ In which aspects have you seen Patrick change? As in, the initial idea/concept you had of him VS. Now? ⏳ If he had the time and availability to have a pet, which one do you see him choosing? ⏳ Did he use to have a favorite place when he was a child? Somewhere he remembers with fondness? ⏳ What's a place he's always wanted to visit but hasn't? ⏳ Does he know that a certain detective named Lee Hyuk always carries him in his heart and mind and misses him like nuts and blames me for being away (IUWEHDWEIUDHWD)?

Feel free to skip any (or all) questions ;W; HOPE YOU'RE DOING WELL!!!

now it's the professor's turn ( nosy questions for the birthday enby w/ @jeoseungsaja )

ALEX!!! 💕💕💕 my dear friend, first of all THANK YOU SO MUCH FOR THESE 🥺🥺🥺 i shall do my best to answer them as thoroughly as possible :DDD

⏳ In which aspects have you seen Patrick change? As in, the initial idea/concept you had of him VS. Now? 

HMMM, well i make it no secret that his inspo is professor layton, specifically in the third game- like literally, i think i made a post adding him to my muse roster on suki’s blog ( JK IT WAS ON CALUM’S BLOG here’s the post tho )...i was honestly debating between whether to make an oc inspired by her*shel lay*ton or just to write the professor himself. But i also wasn’t confident in my ability to write canon characters and i also knew that the layton rp community is kinda…dead?? ANYWAYS, when patrick started out, i originally planned for him to be very similar to layton himself: someone whose life at multiple points has been marked by significant losses, but because these losses happened a while back, someone who has learned to, not necessarily move forward (yet) but more of learned how to live with the grief. Since the creators of the lay*ton games probably didn’t have as much time to flesh out the professor in the third game as i would have wanted them too, patrick was basically supposed to be my exploration of that…you could say patrick in a way, is my self-indulgent lay*ton fanfiction FJSKLDJFLSD 😂

But to be more specific about the initial concepts, patrick was supposed much more in touch with the outside world ( henceforth the ‘anthropology’ part of his career once upon a time :’D ), more adventurous and also a tad more…brusque? more frigid? Kinda like that professor who’s always affable and you admire from a distance, but u wouldn’t necessarily go to for emotional support….basically not quite the gay english professor that all of the queer kids end up loving and subconsciously consider him the father figure they never had :’D

This is all way, if i may compare patrick to lay*ton, i’d say patrick ended up be way more milder, reserved and closed off in comparison to lay*ton. Warmer too although i think part of that also comes from his relationship with hyuk AKA as once stated, hyuk uses his teeth for patrick so patrick doesn’t have to grow them himself. Also while the two do more or less do still have the same demeanor, but patrick, in particular, is unabashedly biased towards his loved ones. Would drop everything for them even his morals ( which isn’t exactly very good of a gentleman :’D ). So i’d say in that sense, lay*ton is almost?? Ironically milder in this sense? In while he does have preferences, he doesn’t have as many sheer dislikes….patrick on the other hand does have very specific dislikes that while he doesn’t vocalize, it’s very obvious to know what they are. 

I’ve also noticed in this past year, patrick, depending on the verse, is becoming a lot more…petty morally ambiguous ( hyuk come collect your person and chastise him too fjksldjfdls :’D ). Selfless yes, but the means and his way of thinking uh….maybe it’s not the most morally upright version :’D i also do think he’s a bit more prone to silliness too in comparison to my original concept <3

⏳ If he had the time and availability to have a pet, which one do you see him choosing?

It’s more apparent in verse three and maybe even verse two, but patrick is very much of a cat person. Not that he hates dogs, but i do think he’s more drawn to cats, whether they’re on the sillier side or the reserved side- he’s a big proponent of self-suffiency and since the man is like, always working, he would want a furry companion who doesn’t mind just passing the hours in peaceful quiet :’D as of right now, he could probably get a cat, but it’d be an adult cat, probably one still pretty young.

If he gets one after elise has flown the nest though…i could see him getting a kitten :’D preferably a stray one bc patrick has a tendency of taking in strays, human or not &lt;3 <3 <3

⏳ Did he use to have a favorite place when he was a child? Somewhere he remembers with fondness?

Libraries have always been a source of solace for patrick especially when he was in secondary school. As the only asian kid in his town and not to mention probably the only kid that was adopted, the books in the library provided him with examples of sorts of people who were more like him…granted in the 1980s there probably wasn’t as much as there is now, but it certainly made him feel less alone. So i’d say the library in his childhood would be one of his favorite places aka one place he also would probably sleep over in if not for the librarian kicking him out :’D i’d say if he didn’t get in engrossed in academia and teaching, he’d probably be a librarian ( which he was in his second life &lt;3 )

⏳ What's a place he's always wanted to visit but hasn't? 

Anywhere that has hyuk in it. OKAY BUT SERIOUSLY, i would say….maybe yeongju? Since that’s where he was born originally although patrick wouldn’t actually know that until like after the whole thing with felicity went down. But i do think it is a place that would also help explain some of the strange images he sometimes gets of his past life as a seonbi…

⏳ Does he know that a certain detective named Lee Hyuk always carries him in his heart and mind and misses him like nuts and blames me for being away (IUWEHDWEIUDHWD)?

Hmmm, i don’t know hyuk…you might have to say a bit louder for patrick in the back to hear JFKLSJDFLSKJ jkjk, pls don’t apologize for your speed, patrick and i are MORE than happy to wait for u…unfortunately for all of us, you are stuck with me for as long as this hellsite is around and even when it dies i'll still be haunting u &lt;3

but since you’ve mentioned this, patrick has snuck out here to say something:

“Ah, spoken like a true pigeon– do let him know to come back as soon as he can. I’ll have a Crosstown donut and an iced americano ready for him.”

[himebushou]

One of Buddy Daddies' central themes is the concept of change. The series explores both whether it's possible for people to change and whether they should be allowed to change.

In Episode 7, Kazuki openly admits to Karin that he fears changing because that, to him, is the same as forgiving himself for what happened in the past.

However, Karin encourages Kazuki with the words, "I bet you can make [Miri] happy too!" The rain promptly stops and the sun comes out, symbolising that Kazuki can now walk towards a brighter future.

Then, in Episode 8, Rei tentatively asks Kazuki, "You think we can change?" Once again, change is presented positively: we see Rei and Kazuki driving through darkness, but their path is paved with light the entire way.

This conversation takes place a few months after Kazuki meets Karin; therefore, Kazuki's already had time to commit himself to changing. For Rei, however, the conversation in Episode 8 serves as a vehicle for allowing the audience to know, explicitly, that he wants to change.

So: Kazuki didn't want to change but was convinced that he is allowed to. Rei didn't know if he could change but was prompted to try.

However, if we go back to the start of the series, the person who is most invested in the pair changing is Kugi Kyuutarou.

In Episode 1, as Kazuki leaves Mistletoe Café, Kyuu-chan pointedly asks:

From Kyuu-chan's perspective (and we see Karin reiterate the same idea), Kazuki has mourned for a long time — long enough that he can now be merciful with himself and think about his own happiness. The fact that Yuzuko died five years ago is significant: had she died 'too recently' (e.g. a year ago), there is a risk that the audience would have accused Kazuki of moving on too quickly and therefore failed to sympathise with his pain. However, with Yuzuko's passing taking place half a decade ago, both Kyuu-chan and Karin could be positioned to say to Kazuki, "You've been unhappy for a long time: I give you permission to move on." Of course, the five years also allows for the exploration of other ideas, such as the parallel of Kazuki's unborn child being the same age as Miri — but this is a seperate matter and I'll try to avoid going on a further tangent just now.

The scene in Episode 1 is the first indication we receive that Kyuu-chan doesn't simply care for Kazuki and Rei as colleagues. In fact, he wants to see them living better, more fulfilling lives.

Then, in Episode 5, Kyuu-chan looks after Miri and comes to the conclusion that her influence is a positive one. He does have some reservations, but he shares these with Kazuki and Rei, stating that he's unsure of whether Miri's presence will be good or bad for the pair.

Ultimately, however, Kyuu-chan gives his blessings for the trio to continue living chaotically — and let's not forget that he's indulgent enough to babysit Miri while Rei and Kazuki undertake a reconnaissance mission.

Next, in Episode 7, Kazuki 'runs away'. He whines to Kyuu-chan about his living conditions and Kyuu-chan notes, "You've really changed," with a small smile on his face.

Kyuutarou is pleased. He's wanted to see his friends happy for years — he introduced Kazuki and Rei to each other in the hopes that they would be good for one another in some capacity (and, as knowledgeable as Kyuu-chan is, I doubt he could have predicted that Kazuki would take over Rei's life in such a dramatic way). As he listens to Kazuki whinge about domestic life, Kyuu-chan comments, "Sounds like you're having a lot of fun." Kazuki protests, but it's clear thst he enjoys what his life has become.

Nevertheless, at the end of Episode 10, Miri — who has been presented as Kazuki and Rei's light — leaves with Misaki. Kazuki and Rei believe that they are doomed to return to their old, empty lives and Kazuki says, "Guess we weren't able to change." Rei agrees, offering a resigned, "Yeah." Here, the pair are too absorbed in their grief to realise that they have already changed.

When Kazuki and Rei believed that change was possible, they were both basked in light. Here, however, the shining Ferris wheel (which now represents what they believe will be their last ever happy memory with Miri) is behind them. Even the bright stars are behind them. Rei and Kazuki are locked in darkness and the idea of being able to change is consigned to their past — a foolish, naïve past where they believed that they, two men with bloodied hands, could ever be truly happy, like normal people. Once again, light and shadow are used to juxtapose the past and the future.

But this post is about Kyuutarou, so we must ask the question: how does Kyuutarou feel about all of this?

My guess is that he's devastated.

In Episode 10, Kyuutarou uses some forthright language to convince Rei and Kazuki that their life with Miri is over. He reminds them, "We're the ones who killed her father." From his standpoint, Kyuutarou needs to speak these harsh truths and intervene (by calling Misaki) in order to save lives. It's easy to perceive Kyuutarou in a negative light — however, we can understand that his hand was forced. In Episodes 5 and 10, Kyuutarou warns Rei and Kazuki that the Organisation does not show leniency; it is probable that Kyuutarou fears for his own life, also.

So when Kyuutarou shows the pair a picture and states, "All of this was only ever a dream," he isn't simply addressing Kazuki and Rei. He's also talking to himself. For Kugi Kyuutarou, too, a precious dream — one where his friends can change, one where they can be happy — is dead.

And having to be the one to sound the death knell? Having to bear the burden of driving nails into a coffin?

Kugi Kyuutarou is in mourning.

[tomthomasblog]

Exploring God's Unwavering Love and Faithfulness in Psalm 119:64

Psalm 119:64 in the Bible highlights God's unfaltering love and faithfulness, especially during challenging times. This scripture is a profound reminder of God's abundant mercy and forgiveness, emphasizing our role as caretakers of the Earth. Understanding and embracing God's mercy can significantly impact our perspectives and behavior, leading to the cultivation of inner peace, joy, and overall fulfillment. Furthermore, sharing and encouraging others to recognize the significance of God's mercy can contribute to the establishment of a harmonious society, inspiring collective efforts towards creating a more compassionate and loving world.

As we delve into the depths of Psalm 119:64, we are invited to reflect on the enduring nature of God's love and faithfulness. This enduring love is a beacon of hope during times of turmoil, reminding us of the unwavering support surrounding us. It also instills a sense of responsibility within us to emulate this unconditional love and faithfulness in our interactions with others and in our stewardship of the Earth. By embodying these qualities, we honor the divine teachings and contribute positively to the world around us.

In moments of uncertainty and adversity, the concept of God's mercy becomes a source of solace and strength. It encourages us to approach challenges with steadfastness and resilience, knowing we are enveloped in God's love. Additionally, as stewards of the Earth, this scripture underscores the importance of nurturing and preserving the environment as a manifestation of our gratitude for God's blessings. Through mindful and sustainable practices, we can fulfill our role as Earth caretakers, honoring the divine trust bestowed upon us.

Understanding and internalizing the message conveyed in Psalm 119:64 can profoundly impact our daily lives. It empowers us to navigate through the complexities of life with a renewed sense of purpose, guiding our interactions with compassion, understanding, and forgiveness. Embracing God's mercy transforms our attitudes and actions, enabling us to cultivate a community centered on unity, empathy, and love.

In conclusion, Psalm 119:64 is a timeless testament to God's enduring love and faithfulness, offering solace, guidance, and inspiration to all who seek it. It implores us to recognize the profound impact of God's mercy in our lives and motivates us to extend this understanding to others. By nurturing a spirit of empathy and compassion, we can collectively work towards creating a world guided by love and understanding. Let us strive to embrace the message of Psalm 119:64 in our daily lives, fostering an environment of unity, kindness, and harmony.

=======================

The Scripture Collection A compilation of 20 uplifting music videos inspired by a different Bible scripture. First Edition: https://www.youtube.com/watch?v=Rv1XEZzrCvE Second Edition: https://www.youtube.com/watch?v=ucV8yJIEsvc

=======================

Today's song lyric is based on Psalm 119:64 made into three genres.

70's rock: https://www.youtube.com/watch?v=nxriSgbnq4U 80's Rock: https://www.youtube.com/watch?v=eqH08lFhQwU Techno: https://www.youtube.com/watch?v=7p7gMriEBAU

[islamicloveduas]

Dua Qabool Hone Ki Tasbeeh: Power And Practice

A warm welcome to all our valued readers. Dua Qabool Hone Ki Tasbeeh is a profound practice in Islam, Moreover, Dua (supplication) is a direct way to communicate with Allah (SWT). Muslims believe that through Dua, they can ask for anything they need or desire, whether it be guidance, forgiveness, or blessings. One of the beautiful ways to enhance the power of Dua is through Tasbeeh (A way to praise Allah by saying special prayers over and over).

This article will explore the concept of Dua Qabool Hone Ki Tasbeeh (Tasbeeh for the acceptance of Dua) and provide examples of powerful Duas in Urdu with their English meanings.

What Is Dua?

Dua is an Arabic word that means invocation or prayer. Specifically, it is a personal request to Allah (SWT) for help, guidance, or any need. Unlike formal prayers (Salah), Dua can be made at any time and in any language. Importantly, it is a sign of a Muslim’s faith and reliance on Allah.

Importance of Dua in Islam

Direct Communication with Allah: Firstly, Dua allows Muslims to directly speak to Allah, seeking His help and guidance in all matters.

Expression of Faith: Furthermore, making Dua is an act of worship and shows one’s dependence on Allah.

Comfort and Peace: Additionally, Dua provides spiritual comfort and relief, especially during difficult times.

Blessings and Mercy: Finally, through Dua, one can ask for Allah’s blessings and mercy.

Understanding Tasbeeh

Tasbeeh is a way of praising Allah by repeating special phrases over and over. Muslims commonly use the following phrases:

SubhanAllah (Glory be to Allah)

Alhamdulillah (All praise be to Allah)

Allahu Akbar (Allah is the Greatest)

Combining Dua with Tasbeeh

When Muslims mix Dua (prayer) with Tasbeeh (praising Allah by repeating special phrases), it helps them pray with more sincerity and concentration. Consequently, many believe that these combined prayers are more likely to be accepted by Allah.

Dua Qabool Hone Ki Tasbeeh

There are specific Tasbeehs and Duas that are believed to help in the acceptance of one’s supplications. For example, here are some powerful examples:

Tasbeeh Yunus (Tasbeeh of Prophet Yunus)

Muslims recite Tasbeeh Yunus (Tasbeeh of Prophet Yunus) in times of distress and difficulty. The Dua comes from the prayer Prophet Yunus (AS) made while in the belly of the whale.

Dua in Arabic: لَا إِلَـٰهَ إِلَّا أَنتَ سُبْحَانَكَ إِنِّي كُنتُ مِنَ الظَّالِمِينَ

Dua in Urdu: لَا إِلَهَ إِلَّا أَنْتَ، سُبْحَانَكَ إِنِّي كُنْتُ مِنَ الظَّالِمِينَ

Translation in English: “There is no deity except You; exalted are You. Indeed, I have been the wrongdoer.”

When to Recite: You should recite this Tasbeeh whenever you feel trapped in a difficult situation and seek Allah’s help.

Tasbeeh Fatima (Tasbeeh of Fatima)

Muslims named Tasbeeh Fatima after Fatima, the beloved daughter of Prophet Muhammad (SAW). It is a simple yet powerful set of phrases.

Tasbeeh in Arabic:

33 times SubhanAllah (سُبْحَانَ اللَّهِ)

33 times Alhamdulillah (الْـحَمْدُ لِلَّهِ)

34 times Allahu Akbar (اللَّهُ أَكْبَرُ)

Translation in English:

“Glory be to Allah”

“All praise be to Allah”

“Allah is the Greatest”

When to Recite: Muslims often recite this Tasbeeh after every Salah (prayer) but can also recite it at any time for blessings and peace.

Dua for Forgiveness and Mercy

Muslims consider asking for forgiveness a crucial part of their daily life. You can use this simple yet powerful Dua to seek Allah’s forgiveness.

Dua in Arabic: أَسْتَغْفِرُ اللهَ

Dua in Urdu: اَسْتَغْفِرُاللهَ

Translation in English: “I seek forgiveness from Allah.”

When to Recite: You should recite this Dua frequently throughout the day, especially after committing any sin, to seek Allah’s forgiveness and mercy.

How To Perform Dua Qabool Hone Ki Tasbeeh

Sincerity and Intention: Start with a sincere intention to seek Allah’s help and make a firm belief that He will answer your prayers.

Wudu (Ablution): It is preferable to perform wudu before making Dua and Tasbeeh, as it purifies the body and mind.

Quiet Place: Find a quiet and clean place where you can focus without distractions.

Focus on Meaning: Focus on the meaning of each phrase while you recite Tasbeeh. Doing so enhances the spirituality of the act.

Consistency: Develop a habit of regular Dua and Tasbeeh. Being consistent in your supplication increases the chances of acceptance.

Examples Of Duas In Urdu With English Translation

Dua for Guidance:

Urdu: اللّهُمَّ اهْدِنَا وَهْدِ بِنَا

English: “O Allah, guide us and make us a means of guidance for others.”

Dua for Health:

Urdu: اللّهُمَّ اشْفِنِي شِفَاءً تَامًّا

English: “O Allah, grant me complete healing.”

Dua for Success:

Urdu: اللّهُمَّ اجْعَلْنَا مِنَ النَّاجِحِينَ

English: “O Allah, make us among the successful.”

Conclusion

Dua and Tasbeeh are powerful tools given to Muslims to seek help, guidance, and blessings from Allah (SWT). By combining sincere supplications with the glorification of Allah (Dua Qabool Hone Ki Tasbeeh), Muslims can enhance their spiritual connection and increase the likelihood of their prayers being accepted. Therefore, it is essential to remember that the key to a successful Dua is sincerity, faith, and consistency. Furthermore, encouraging children and young Muslims to practice Dua and Tasbeeh regularly will help them develop a strong bond with Allah and rely on Him in all aspects of their lives. May Allah accept our Duas and grant us all that is good in this world and the hereafter. Ameen.

[abislamicsg]

Jenazah

Understanding the Significance of Solat Jenazah: Honoring the Departed

Losing a loved one is a profound and challenging experience that touches the lives of people from all walks of life. In Islam, the Solat Jenazah, or Funeral Prayer, holds great significance as it serves as a means to honor the departed and seek blessings for their soul. 

This blog explores the importance and rituals of Solat Jenazah, shedding light on its spiritual significance for Muslims worldwide.

The Concept of Solat Jenazah:

Solat Jenazah is a specific prayer performed by Muslims for the deceased. It is considered a communal obligation (fard kifayah), meaning that it is obligatory for a sufficient number of people from the community to attend and participate. 

While it is not mandatory for every individual, it is highly recommended to partake in this solemn act of worship.

The Purpose and Intentions:

The primary purpose of Solat Jenazah is to honor the deceased and seek forgiveness and blessings for their soul. Muslims believe that through this prayer, they can intercede for the departed, asking Allah for mercy, peace, and a smooth transition into the afterlife. The intentions behind Solat Jenazah are rooted in love, respect, and a deep desire for the well-being of the deceased.

Rituals and Observances:

The following are the rituals and Observances performed during Solat Jenazah:

a. Congregational Prayer:

Solat Jenazah is performed in congregation, typically held at the mosque, funeral home, or even at the gravesite. This communal gathering reflects the unity and support of the Muslim community in times of loss. 

b. Specific Supplications:

The prayer consists of supplications, including praises to Allah, seeking forgiveness for the deceased, and prayers for their soul's safe passage. It also includes general supplications for all believers and blessings upon the Prophet Muhammad (peace be upon him). 

c. Standing and Movement:

Muslims stand in rows behind the Imam, who leads the prayer. The prayer involves specific movements, such as raising hands and saying "Allahu Akbar" (Allah is the Greatest), as well as bowing and prostrating. 

d. Recitation and Reflection:

During Solat Jenazah, recitation of the Qur'an and reflection on the transient nature of life are often emphasized, reminding individuals of the temporary nature of our existence and the importance of preparing for the hereafter.

Community Support and Condolences:

Solat Jenazah benefits the deceased and serves as an opportunity for the community to express condolences and support for the grieving family. Muslims gather to offer comfort, share prayers, and stand in solidarity during this challenging time. The presence and support of the community can bring solace and a sense of unity to those mourning the loss of a loved one.

Reflection and Spiritual Growth:

Solat Jenazah encourages reflection on life's fragility and death's inevitability. It serves as a reminder to cherish our time, foster meaningful connections, and prepare for the hereafter. 

The prayer offers a chance for spiritual growth as individuals contemplate their mortality, seek forgiveness for their shortcomings, and strive to lead a righteous life.

Conclusion:

Solat Jenazah holds a deep significance in Islam as a means to honor the departed and seek blessings for their soul. It serves as a unifying act of worship, fostering community support and expressing condolences for the grieving family. 

If you have recently experienced the loss of a loved one and are planning for Solat Jenazah, we at Alkhatib Basharahil Islamic are here to assist you.

We are dedicated to serving the Muslim community and ensuring the departed receive the reverence and prayers they deserve. Contact us to get started!

Visit our website to get more information related to Umrah packages.

[online-quran-classes]

Online Quran Classes USA | Major Sins in Islam

Online Quran classes USA: For Muslims, religion Islam is just not a belief; it is a way of living. However, to practice the religion Islam in their lives, one must learn about it from a young age. Therefore, when a kid is in his/her early stage of development, they absorb more knowledge and impressionable. Moreover, learning is a process throughout the life of man, from birth to death.  To fulfill the obligations of Islam, the Holy Quran is the ultimate source of guidance for everyone and everything.

What is the best way of learning the Quran? There are various ways through which one can learn Quran, but one must be aware of the facts for what they are choosing to learn the Quran. As one must consider the best and most reliable source for learning purposes. Further, the most famous way these days is to learn Quran online. How to learn Quran online? Several learning websites for kids and adults are available which facilitate online Quran classes USA, UK, Europe, etc, and almost all counties of the world. Live Quran for Kids, is one of the best institutes that offers the best professional online Quran teacher to learn Quran online.

Major sins in Islam Learn through online Quran teacher

Religion Islam do places emphasizes living a life according to Allah almighty. The major discussion for today's blog is the concept of “Sin”. Every Muslim strongly believes that committing sin will result in a violation of Allah’s commandments. That will result in a negative account of this life as well as of life after death. Furthermore, online Quran teacher, through their class sessions, will also teach about other significant aspects of life as well.

Concept of sin through Learn Quran online

There are major seven sins in Islam that are considered primary sins according to the verses of the Holy Quran and Hadiths. These are the best source for learning about sins. However, one may also learn about these important subjects through online Quran classes USA, UK, Europe, etc. Learn Quran online, proves to be the best mode of learning for every Muslim, especially for overseas Muslims. Hence, Allah almighty is merciful and gives forgiveness if someone truly seeks repentance for his or her sins. The following are the consider the most deadly sins in the religion of Islam

•Shirk (relates a partner with Allah almighty)

•Murdering

•Stealing and robbery

•Adultery & fornication

•Falsehood & lying (dishonesty)

•Slander or backbiting

•Stinginess

Are online Quran classes reliable? One of the major features of learn Quran online, it is easily reachable to every Muslim in the world with just one click. Online Quran classes USA, UK, UAE, Europe, etc are conveniently available to every region without any restrictions for timings, language, etc. It is the most trustworthy source; hence, online Quran teacher is well trained and experienced to teach online Quran.

What is shirk? Learn via online Quran teacher

It is regarded as the most severe sin in Islam, it is about associating someone with Allah almighty. It is unforgivable; however, if someone repents of his sin before his death, with true intentions, Allah might forgive him. All Muslims have a stronger belief in the existence of one and only Allah and that there is no one comparable to Him. Believing in one Allah is known as “Tawhid” which is the first basic pillar of the Islamic belief system.

Murder

Killing someone is strictly prohibited in Islam. Human life is considered sacred, therefore, killing someone without any reason considers a severe sin. There are strict rules for murderers according to Shariah instructions of Islam. One may explore more about these aspects by taking help from their online Quran teacher.

Adultery & Fornication

If someone is engaged in sexual acts outside marriage, according to Islam, it is considered a major sin. There is a severe punishment for those women and men for extramarital affairs. There are strict sayings in verses of the Quran for this sin, which you can learn through online Quran classes for Kids.

Robbery & stealing

It is also considered as one of the most severe sins in Islam. Whoever commits this sin, must get punished according to the rules mentioned in the Holy Quran or one can learn through Hadiths for more explanation.

Backbiting

Speaking behind others also comes within the boundaries of doing sins. It is strictly prohibited in Islam to talk on others' backs. It may harm someone's respect and reputation as well. Hence, through online Quran classes, one may also learn about the ethics of Islam for developing a strong moral character.

Stinginess

Allah Almighty commands Muslims to do charity to help the needy. However, being miserly and not giving others in need, will also consider as major sin in Islam. Furthermore, Islam is a true religion that guides humanity in all perspectives of life. One must learn it through Quran learning online.

[stainedglassthreads]

In early Undertale fandom days, there was a popular trend in fan projects for a while, to have Frisk scared of Chara (and, quite often, for them to have confided in Sans that Chara made them do a No Mercy run in the past, meaning Sans also hated Chara), while being utterly obsessed with Asriel and the concept of saving him, specifically. (Sometimes going on No Mercy runs to seek a way to save him, which... really never made any sense to me, in retrospect.) 

This was probably a reflection of the fandom’s demonization of Chara and generally feeling bad for Asriel. But I think it’d be interesting to explore a story where Frisk’s feelings on the two are sort of reversed. (But also more nuanced.)

If you believe in Narra-Chara theory, then of course Frisk would feel a lot of good and positive feelings towards Chara. That’s their partner! That’s the person who always accompanied them and kept them from getting lonely, who cheered and encouraged them with jokes and witty observations, who gave them dozens of hints about how to Spare monsters! That person is the reason they managed to Spare Asriel, free their friends, and break the Barrier at all! 

Even if you don’t believe in the Narra-Chara theory, I can pretty easily see Frisk relating to this mysterious First Child. Asriel claims Frisk and Chara are extremely different, but their situations are fairly similar. Two children who fall into the Underground and have a huge responsibility thrust upon them. Two children tasked with teaching fearful, angry, vengeful monsters that it’s possible to coexist with humans. Two children given the responsibility of breaking the Barrier. Two children who become the future of humans and monsters... but also two children who fall into the Underground to find a family, which inspires them to break the barrier. For them. 

(I will admit, Chara’s motives are a lot easier to glean than Frisk’s, but some dialogue while saving Toriel as a Lost Soul implies that by the end of the Pacifist Run, Frisk has come to genuinely care for the monsters and desire their freedom.) 

Even after a No Mercy Run, I like the idea of Frisk feeling conflicted. Because Chara did not give them this idea. Did not start the murders. But they also did not stop them. Did eventually help them. But they were also with them every step of the way, still keeping them company even if they had become more pragmatic and cynical, and still held responsible the one responsible, still forced them to accept consequences. Chara and Frisk are partners, but perhaps their relationship becomes more complicated. 

Meanwhile... Asriel. Asriel/Flowey is a very sympathetic and tragic antagonist, but he’s also the monster who’s the cruelest towards Frisk. In addition, he started out wanting to save and help monsters, but by the time Frisk meets him, he’s simply terribly bored and lonely. Other antagonists are all given sympathetic motives from the moment you meet them. Toriel wants to protect you. Papyrus and Mettaton desire popularity and acceptance. Undyne and Asgore want to protect and free monsterkind. But what does Flowey want? 

Initially, he seems to want Frisk’s soul. As Photoshop Flowey, he wants to play out his trauma by trapping Frisk in an endless loop of death, and then claim their soul. People like to separate Flowey and Asriel as two separate characters, and act like becoming Asriel again is all Asriel needed to feel compassion and love, and magically become his old self again... but no, after gaining not one, but seven Souls and becoming Asriel, he still isn’t fighting Frisk for the greater good. He’s doing it... because he doesn’t want them to leave, and leave him all alone. Him openly poorly coping with death, abandonment, and trauma is a great deal more sympathetic and heart-wrenching than previous fights, but it’s still not him fighting because he believes he’s doing something righteous and just. 

Asriel does apologize and make amends, but we’re still left with the choice of whether to forgive him or not. And honestly I’d like to see it explored more, where Frisk has a very complicated relationship not just with Flowey, but with Asriel? 

On the one hand, he’s the one who gets it. Who understands what it’s like to have reset. To try and try and try to get it right, to feel the simultaneous freedom from consequence and heavy responsibility, to see your friends and family look at you and have no idea who you are, to die over and over and over again...

But at the same time... regaining fluffy white ears and a gentle smile does not erase the fact that he’s one of the ones who killed them the most. It doesn’t change how he tried to hurt their new family, repeatedly. He’s probably the monster that was cruelest to them, and had reasons for why he was like that, but it’s not really a justification. 

 (Yeah, you CAN die to other monsters. But I’ve always thought Flowey/Asriel’s repeated attempts at inescapable killing blows, and initial betrayal, would be more impactful. Just my personal opinion.) 

...Overall tho. Yeah. More nuanced views of Chara are becoming more common, more nuanced views of Asriel are... still rare, but I’ve been seeing a couple people who have them, which is nice. 

[zmeydeva-arch]

   ⊹      THE DRAGON’S EYE:   empathy explored through transmigration

as a warning,   before i get into the nitty gritty of this post there are MAJOR spoilers in here for rule of wolv.es so if you haven't finished or made it to this point in the series and would like to remain unspoiled do not proceed further…   with that out of the way let's begin.  

FRUITION:   zoya's empathic abilities begin to manifest themselves a few months following her union with the dragon saint,  juris.   juris is not the first grisha to bear the title and form of a dragon.   when he trains zoya he implies that the dragon is not simply a state of being but it is also a mantle,   in a sense,   that is worn and passed through generations.   this is important to note because zoya's empathy is not an addition to the presence of the dragon but the two are one in the same.   this six sense,   this heightened perception,   and emotional awareness of those around her is referred to as:   the dragon's eye.   this is very similar to the concept of a third eye,   which is heavily entwined with both hindu and buddhist traditions.   the third eye is said to be located above the pineal gland which i am only bringing up because reptiles specifically use their pineal gland to sense light,  or in other words,   to help see.   the pineal gland is a dormant organ in humans…  but not in zoya.  

zoya's killing,   and subsequent consumption,  of juris in the fold is zoya's second death.  juris explains that the proper conception of an amplifier requires sacrifice from both parties involved.  when zoya killed the tiger as a young girl for its teeth,  a part of her perished in the process,   though at the time she was unaware of it.   this was not a proper union between souls and its imperfection is described in how zoya was only  allowed a fraction of the tiger's power.   her second death,   the slaying of the dragon,   was one of totality.   there was a definitive ending of one life as she traversed into a new one with the dragon and all the dragons that came before him nestled into her shadow.   these past lives and their wisdom,   and immortal knowledge are the root of zoya's empathy.   she is firmly imbedded to the making at the heart of the world   ━   she is thousands upon thousands of hearts dead and buried and renewed over and over again.  

IN PRACTICE:   this ability remains dormant at first,   with good reason.   the full scope of the sight would have driven her mad if she were to let in all her past lives at once.  it begins in glimpses into the strongest emotions of those around her:   rage,   grief,  blindingly bright bouts of happiness,   and the depthless pits of depressions.   without means for regulation it is the emotional stimuli around her that drive her into premature transformations.   the dragon is closest when the eye is open widest:   she grows teeth,   scales like armor,   wings that cut through the blades of her shoulders.   it is excruciating as she fights against the dragon's eye;   it only results in her becoming more of a half-formed creature.  when she begins to allow herself to become more in tune with the internal wellbeing of those she shares her life with it is only then that she can reach a point of equilibrium:  the woman and the beast both become satiated through an act of mutual eating.

her act of mercy on the battlefield against the fjerdans is when she finally is able to conduct a fully balanced transformation;   whereby both the past dragons and the current zoya are in unison with each other rather than in opposition.   mercy,   benevolence,   and forgiveness is how proper mastery of her power is achieved.   she holds both ruin and revelation in her mouth;   both pardoner and executioner.   her status as a saint being solidified following this display of clemency is no surprise at all.   there is nothing people find more novel,   more divine,  than compassion from a force above that may strike you down.   the vengeful god that inevitably…   chooses forbearance.   thus the people give her a crown and they call her queen but her empathy is not a kindness,   it is a form of sapience.   a knowledge that comes from a degree of immortality.   she only choose mercy because she let go of her childish impulsivity but when she chooses violence now it is with all the ancient conviction of a primordial storm witch.   it is deliberate and it is final,  and in a way…   it is a justice.  

WITH REFINEMENT:   for the extent of empathic link itself there is no real limit to what zoya may access.   telepathic communication is reserved for when she is in her dragon form and is in no possession of a voice of her own so she may project her thoughts into the minds of others.   emotion,   in its rawest iteration,  is closest to her at all times.   she can easily sense how others feel about her but more importantly if she encounters an individual enough she is able to recognize their distinct emotional signature in a crowd of thousands.   every person has a different psychological threshold,  a  resting point when they are in a state of calm and composure.   for example;   if someone is prone to anxiety naturally and zoya is familiar with them she will be able to tell that this is a chemical imbalance rather than fully fledged panic because she is able to identify the root causes of one's sentiments.   that being said,  this awareness should not be mistaken for mood manipulation.   she cannot calm a person or incite fear,   she is strictly a bystander in this process. 

it also must be noted that there is an element of memory retention to this skill as well.   certain emotions are firmly rooted in past instances,   facets to memory like trauma are deeply entwined with one's individual history.   zoya can recall these instances,   usually unwillingly,   since they bubble to the forefront of a person's psyche when they are having an emotional response to a catalyst.   zoya understands this to be an intrusion and as i stated above getting caught in a wave of nostalgia usually does not typically suit her interests.   when she gains the mental fortitude to combat it she typically bars this aspect to her empathy from taking hold  and hijacking her senses.   this gateway to memory is more commonly used to read the emotional history of places.   for instance,   if one of the dragon's past incarnations had visited a building in particular years prior,   zoya may press her hand to a door or a wall and be able to see that landscape as it once was through her third eye.  if the pull is strong enough zoya can be whisked off into a vision from a departed era that highlights the potency of that tether,   if it was a great tragedy she will see those deaths,   if it was a joyous occasion,   she will witness that kiss.   when she fully unlocks the breadth of her empathy she becomes her own creation myth,   a genesis and exodus,   she is a series of infinite beginnings and cessations.

[piccolina-mina]

Our girl is thriving this season, but what the fuck is this Wyatt plot? I need your thinks about this one. I just knew you'd be six posts in on this by now. HAHAHAHAHAHAHA!

*sighs* For fk's sake, nonny. I don't even like talking about it because I get ranty.

What do you want me to say? Honestly, everything you can imagine I would feel about this, you're probably right. Because you know, I'm that b*tch always getting ranty about racism and stuff.

In short, I hate it. I think it's unnecessary, tone-deaf, random, pointless, lowkey offensive, and illogical. I legitimately find it triggering AF. And it doesn't make sense.

It's Unnecessary. There is a fraction of a chance that it will connect to something more significant, but even if that's the case, I'm confident that end result or connection could've taken place without this random reform racist Wyatt storyline. This series has struggled enough as it is properly utilizing all of its primary characters as well as providing them with decent screentime and arcs. It literally makes no sense to spend any of that time that could be used elsewhere on primary characters on a recurring guest star.

This isn't actually about Rosa, it's about Wyatt. Following up on the previous point, this specific arc caters to Wyatt. Revolves around Wyatt. Rosa is just a passive participant and vessel for this Wyatt storyline. So again, the arc itself is about a recurring character. At least when they did something similarly bringing back Cam to siphon time and arcs away from its main cast they found ways to implement it better and tied her to multiple main characters, so it wasn't a total waste.

The intended Wyatt/Rosa parallel is illogical. I know what they're intending to do with this storyline, drawing parallels between Rosa's experience coming back from the dead after ten years and trying to make sense of that and atone for things before and having this second chance to make things right and go down the right path and so forth and Wyatt losing his memory and his racist ways and having to reconcile with who he was to who he can be and all of that. I understand the concept they're trying to sell. It just doesn't work. Rosa's addiction is not equivalent to Wyatt's racism and violence. Her mental illness isn't either. It's dangerous to invite the comparasions with this storyline.

It's not successful redemption. True redemption is Wyatt knowing and remembering his actions and then trying to atone for them. It's not the convenience of amnesia wiping out his memory only giving him distance from his actions rather than really facing up to them. Because of the amnesia, to Wyatt, it's like he's hearing about another person. It's a cop out. He doesn't Actually have to do the work to redeem himself or atone or learn or grow. IF we're supposed to compare it to Rosa, she knew what she did and remembers and knows how she hurt her loved ones or whatever and she's actively trying to make amends for that as part of her program... a program that Wyatt isn't working or anything BTW.

They've contradicted themselves too much and are rewriting their own work and thus twisting everything up just to make this storyline work and it still doesn't. The timeline is all fkd up... what they established already all of it..The Longs were racist before Kate's death. Kate was racist. To suggest that a 10+ amnesiac blackout clean slates and erases all of Wyatt's racism is just wrong. As in it literally doesn't even make any sense. That is not how the amnesia works but they keep playing both sides of it trying to make it work. To sell us what they're claiming, he would have to have ALL of his memories wiped and have forgotten who he was completely.

Wyatt is behaving like he's shocked by racism in this town but they're also trying to argue that he was born into it. Wyatt was surrounded by racists and his friends come from racist families but he's acting like the very concept of him ever being ingratiated in it is some huge surprise. Wyatt looks affronted by things like Confederate flags. Wyatt being steeped in and surrounded by racism predates his amnesia period.

Kyle mentioned that line about Wyatt putting Whites Only on water fountains, and it sounded like a school prank. It also sounded like something Kyle was reminding Rosa of as if she was alive when that incident happened. Therefore, Wyatt was doing racist stuff before she died. Kyle would've been out of school by then so how else would he know that or why would he bother retaining it?

IF Wyatt and Rosa really were friends before (which holy retcon), then it makes no real sense that he would get psychopathically angry about his "friend" who does drugs getting into a car accident with his sister who does drugs. He would've mourned them both not jumped to severe racism and violence. But both he and Jasmine's family (who are MIA for all of this) did that... jumped to racism. So was Wyatt indoctrinated by his family or indoctrinated by message boards and shit? And if Wyatt and Rosa were friends than why was Kate such a racist bitch to Rosa?

They're backdrafting history JUST to make this storyline that we don't need with a character who isn't even a main one to work.

By not actually addressing that Wyatt has to unlearn racism and giving him an out through amnesia, there is the very realistic issue of that latent racism to come out at any given time. What happens when he's drunk? What happens when he's really angry at a POC?

Tying Wyatt's redemption with his clear affection for Rosa is again dangerous and irresponsible. I know we would all like to think that love is the way and through love it can heal racism, but that puts the responsibility on the disenfranchised person to be "lovable." Because if Wyatt WAS friends with Rosa once then that means the second Rosa did something unlovable she was just another *insert racist slur of choosing* right? It means that there's a possibility that if his feelings for Rosa dwindle or things go sideways in some way there's a chance that he could revert back to those racist ways. Loving Rosa(linda) and pinning all of his wanting to be better on her because of her makes his actively learning to be anti-racist conditional. Right now he's not doing this for him. He's doing it because of Rosa.

This entire storyline has placed the burden of forgiveness on Rosa, his victim. Without him ever having to actually make amends. It's this turn the other cheek BS that means there's nothing too big or harmful that can't result in forgiveness. It relies on Rosa and all that she represents to extend an inhumane level of mercy and grace to their tormentor and oppressor that was never once extended to them. It's such a consistent and problematic thing projected on disenfranchised parties that ONLY benefits the majority and makes them feel good. It's a narrative of meeting someone halfway when the playing field was uneven and the minorities are in actuality doing more work and making a longer trek. Halfway and meeting in the middle only works if both sides were even. They are not. It's the reaching across the aisle both sidesms when one side was clearly and actively more harmful than the other and than calling that peace and equity. It is not.

This storyline was meant to scintillate some viewers with this "what if" notion and teach others a meaningful lesson or be this poorly thought out gateway to exploring a complex storyline but it came at the expense of other demographics who actively have to deal with racist crap. And because of their problematic approach what is simply "just entertainment" to some who has the luxury of not having to think about it beyond that, is just gross and insanely triggering and uncomfortable to others. The others who deal with the reality of the subject at hand.

They wrote themselves into a corner with Wyatt so trying to dig him out of that no matter the cost or logic is absurd. This storyline could've worked better if Wyatt's racism didn't also include conscious, constant, extreme violence. But they spent all of this time making Wyatt the face of violent racism and now are trying to redeem him with no real effort. He wasn't just using slurs or making microaggressions. He wasn't some insensitive or aloof white person. He is a murderer. He has killed people. He technically murdered Liz in cold-blood. He knew she was in the crashdown when he shot up the place. The lights were still on. He beat up Arturo so badly he nearly killed him well after his friends even stopped. He attacked and intended to kill Rosa. And his handiwork was a constant thing, enough for Jenna to comment on it. And now we're supposed to ignore all of that because he has amnesia and has puppy dog eyes?

The fact that we can entertain (and for some succeed) Wyatt in all of his hot white dudeness' redemption after everything he has done slips into the inherent racism of society in the first place and is enraging. Because systemically and culturally and inherently society will bend over backwards to find a way to absolve a hot white guy no matter his actions. Flint and Noah couldn't get this type of redemption... So their intended storyline about evolving from racism STILL plays into the racist structures set up in society.

And because some people like it, there's this slippery territory of NO everyone who genuinely enjoys this aren't racist for enjoying it. But yes, this entire storyline and how it is playing out is at the very least racially insensitive.

In order for this storyline to work they would actually have to show Wyatt doing the work. They don't have enough time to dedicate to such a delicate storyline. It's been a C and D filler storyline with 45 second to a minute scenes. That's not enough time to explore this properly. We would've needed to see Wyatt returning home from the hospital. We would've needed to see Wyatt with his friends and it not feeling right and his discomfort. We would've needed to see Wyatt going through his yearbook and googling himself and the horror and disgust he felt. We would need to see this through his eyes. But we didn't have the time for that and we wouldn't have anyway because he's not a main character. We only get Wyatt through Rosa's eyes and they haven't even dedicated enough time to that for it to work. Rosa isn't conflicted at all. She didn't struggle to forgive him. She was reduced to a school girl with a crush and an insane level of grace and they just threw that at us with no buildup whatsoever. I don't know where Rosa's head is and how she got to this to place. Not really. And the only thing working about this is the chemistry between two actors who are allegedly dating so of course there's chemistry.

It literally feels like another instance of a favorite actor being shoehorned into a storyline just for the hell of it. Just because they didn't want to let Dylan go or something. Just to give him something else to do.

[fictionadventurer]

I need some help constructing the Themes List for the Inklings Challenge. (I want to have it ready for the official announcement post). I’m aiming for seven distinctly Christian themes, and I want them to be unique enough from each other so we truly have seven different options, but also clear enough so people understand their meaning without me having to explain it. I’d appreciate any feedback.

Some of the front-runners are:

Creation: Seems like a good starting point, and a fitting prompt for a world-building based challenge, inviting people to focus on the idea of our world’s Creator or on our role as sub-creator. But would it be too easy to leave it at “I’ve created a world so it fits the concept?”

Redemption: A very Christian concept that fits in well with stories, but there might be better words to use

Stewardship: Seems fitting for a world-building challenge to invite people to explore the ways in which we’re called to take care of the world we’re in. This is all but a lock for the final list. (Unless it doesn’t fit in well with the other options).

Sacrifice: Central to the Christian story, and provides possibilities to explore both Christ’s sacrifice and the sacrifices that we have to make for God or for other people. But because of the connection to Christ’s story, is it too similar a theme to Redemption?

Obedience: Something that Christians are called to do, but that’s difficult for a lot of people, making for interesting stories to explore the nuance. But does it seem a bit...basic, and might seem out of place in a list of more complicated theological concepts. And might be better replaced with one of the concepts in the list below.

Forgiveness: Again, central to Christianity, good story potential. But should I use the word Mercy instead? Would this be too similar to Redemption?

Grace: Central concept that allows for eucatastrophe, but in practice, does it overlap too much with redemption?

Other possibilities include:

Salvation/Restoration: Possibly instead of Redemption? Or are they different enough from Redemption that one or more of them should replace a different theme on the list (like Obedience?)

Incarnation: I really, really want to use this one. It’s one of THE uniquely Christian concepts, and would allow for exploration of what it means to be an embodied person. But would it be too narrow? Would the meaning I have in mind not occur to people who aren’t obsessed with Theology of the Body?

Mystery: In the sense of exploring/being content with the Mystery of God, which is very fitting for world-building challenge and seems like it would add more variety to the above list. But it would be very easy for people to just read it as the genre rather than the theological concept.

Wonder: Possibly instead of Mystery?

Hope: Good Christian concept, very short word. Seems a bit basic (probably because it’s so short), but the more I think about it, the more I like it. It kind of overlaps with the idea of the struggle and sacrifice, and with Grace, but it also uniquely focuses on the future, and on the Christian struggle to hold onto that final hope through all the struggles of the world.

Goodness: Especially in a secular entertainment world where goodness is boring, it could be cool to specifically invite people to explore what true goodness looks like within a story. But it could come across as a bit saccharine of a theme. (And could overlap with Stewardship).

Joy: Inviting people to explore the joy that comes from bearing crosses, the joy that awaits a well-lived life, etc. But it’s a very short, simple word, and could be too easy to interpret as merely “stories about happy fun times”.

Charity: It’s an excellent word if we use the traditional meaning of “self-giving love”. But most people nowadays just read it as “giving things to other people”.

Sorry if I’ve just confused you all with my dithering, but I’m trying to explain my though process so you know what I’m going for. Are any of these concepts particularly good to explore? Anything you’d definitely leave off the list? Are there other concepts that I’ve completely forgotten about that should be on the list? I’d appreciate any input, because I’m already overthinking this and could use some outside perspective.

[clione-of-heart]

Witch!Clione headcanons

Some headcanons for Clione’s Witch verse! An overall explanation of Clione’s witch verse can be found here

WITCH

There have been new rumours about the great witch of Marzanna Forest, lately. They say she’s changed, that the wicked witch has suddenly turned kind, welcoming travellers and hosting them in her cottage, not once lifting a hand to harm them, and allowing them to leave freely. (Clione introduces himself as a witch to those who visit his cottage, and travellers confuse him for the great witch of Marzanna Forest/his mother)

Helicina was proficient in all magic, but she only taught potion-making to Clione (thinking that this would make him harmless). He is capable of magic, but he has yet to learnt it

Helicina didn’t often bring Clione along on her visits to the village, as he couldn’t stomach her methods. The only time he went with her, as a small kid, he wore a cloak and was only seen by her victims, who didn’t live to tell the tale. The village didn’t know about his existence. 

A few months after rebelling against Helicina and taking her place as the witch of the Marzanna Forest, Clione ended up visiting the nearby village. His intention had been to buy ingredients/food, and maybe explore a bit his surroundings. He dressed lowkey, trying to pass as a normal person instead of a witch (but he kept his hoodie thing). The villagers didn’t recognize him, neither as the son of the witch nor as the new witch, and considered him simply a nice kind boy who said he lived nearby. He was treated with kindness by the village, and he reciprocated that kindness back. After hearing he lived on his own, some of the village ladies even decided to pack him lunches and offer him advice. 

They don’t yet know that he is the new witch, since the villagers have long learnt not to approach the cottage (the only visitors these days are mostly uninformed wanderers). Clione would like to think they’d still treat him well, if they knew he was the witch’s son and the new witch. He considers the villagers his friends and often visits. 

Clione still loves cooking in this verse, but he's not quite as obsessed as in his Canon verse. 

Clione is more interested in brewing permanent transformation potions (in order to transition) than more dangerous or interesting ones. As of the moment he’s got zero (0) interest in eternal youth.

Helicina is very fond of blood magic, both for rituals and potion-making. 

Helicina will become very offended if she hears anyone refer to potion-making as “Alchemy”, to the point of smithering down the offender without giving them a chance to explain. It’s not as personal in Clione’s case, but he also finds the term uncomfortable due to the way he was raised. 

His hoodie thing looks like this in this verse:

Sometimes he wears a witch hat on top of the hoodie. I’m still considering the pros and cons of this. He does wear the witch hat without the hoodie on occasion, though. 

I’ll roughly be following this magic system, though of course I’m willing to twist things a little to fit into other people’s magic systems. 

ANGEL

Clione's angel heritage makes him a lot more kinder than usual. He is appalled at the concept of murder and will always try to find solutions that avoid it (hence why he made his mother a frog, and why he doesn't use human ingredients for his potions). He's a merciful and forgiving person.

Angels are immortal/possess eternal youth. They don't age, and therefore people with angel blood in them are slower to age than average humans 

Because of this, Clione looks younger than he is. In this verse, Clione is 15 years old, but he looks about 10-12 years old. His mental age is all over the place, with him sometimes acting more like a teenager and other times more like a small child.

Clione's father fell in love with Helicina (Clione's mother), and she had an interest in him as well. He was a kind man who thought he could change the woman he loved, who refused to truly see her flaws. Helicina murdered him shortly after giving birth to Clione, and used his corpse to make an eternal youth potion. She was hoping to brew a potion capable of granting true immortality with Clione's body parts (she wants to use angel blood/body parts to brew potions that grant angel traits, basically)

Clione's mother does not resent him like in his Canon verse. It's not something personal. Here, she is simply a person who doesn't care about others or feels empathy in any way. She became slightly (a very very small fraction) more good after drinking the potion made from Clione's father's blood, the angel contents affecting her. She underestimated Clione, considering him weak, her tool, and not seeing him as a potential threat. This was her doomfall.

Inspired by @ikkaku-of-heart​​ ‘s witch headcanons (x x x)

Helicina’s cottage has protective wards dependent on her life energy. If she were to be killed, these wards would stop functioning, and would cause an self-destruction (in order to avoid any of her enemies getting their hands onto her research/knowledge)

Since Clione shares blood with Helicina, he is protected by the wards as well. Sometimes Helicina regrets making this a feature of the house. 

Helicina is extremely proficient in dimensional magic, and the cottage exists within a pocket dimension. This means that, for outsiders who have not been invited into the wards, they’ll find the area where the cottage should be located to simply not exist. It is impossible to find unless you’re a witch extremely skilled in divination and you already know what you’re looking for, or you have been noticed by the witch and accepted into the house. Only then will the person be able to see the cottage, almost as if it had always been there, like the space where it was located had been somehow unfolded. Clione is not knowledgeable about dimensionalism himself, but the wards obey his commands and will let him welcome people into the cottage. 

The cottage also has an attached greenhouse where Helicina, and now Clione, cultivates rare magical herbs. 

Helicina was part of a traditional coven of very old witches. They follow the ancient ways of witchcraft, and are reluctant to adapt to changes. They hold grudges against those who do not follow their rules or principles. 

Helicina has an old-fashioned way of thinking in regards to the Church and demons, preferring to avoid both groups and willing to murder them if they get persistent in their approach, while Clione is more about coming to his own conclusions once he meets the individual in question. He doesn’t like the idea of holding grudges against people he hasn’t even met, simply because someone else told him to. This might make him more naive and vulnerable than he’d otherwise be. 

Clione doesn’t sell his potions, but is willing to hand them out to help someone in need (healing potions, boost potions, etc). 

[mybg3notebook]

Gale Summarised Analysis

Disclaimer Game Version: All these analyses were written up to the game version v4.1.104.3536 (Early access). As long as new content is added, and as long as I have free time for that, I will try to keep updating this information. Written in May 2021.

The majority of sources used for this article are in the game itself (this includes my Gale-solo playthroughs as well as a combination of the videos by munmomuu and selphie1999), and the few dev’s notes provided by pjenn. Gale as origin is not taken into account since it’s not finished and has little to none Gale-related content. There will be little datamining content as well since pjenn said the game contained almost no gale-related notes (only in the Weave and in the Revelation scene).

Additional disclaimers about meta-knowledge and interpretations in (post)

The number between brackets [] represents the topic-block related to (this post), which gathers as much evidence as I could get.

We can infer about Gale by analysing what he approves and disapproves of. Sometimes, we can even lightly infer some information from his neutral reactions, but let’s be honest: this way of analysing a char is pretty poor since it leaves everything to speculation. Neutral reactions can only be analysed, in very rare instances, by contrasting the same situation in other contexts, and seeing what other options Gale approves or disapproves of. With these considerations in mind, we can proceed to describe this character.

Disclaimer: this is a meta with my personal interpretation of the character, sticking as much as possible to the facts and leaving little to “desires” or “projections” of what I want him to be. If I do so, I will state it explicitly in the text for the sake of analysis honesty. I want to be clear about what is canon (facts shown in bg3 EA), from what’s personal interpretation with little proof.

Understanding Gale (integrated text)

We are none of us monsters. We are merely hatcheries for monstrous things. So we fight them

---Gale 

Collecting most of the information provided in-game, we know he has a cat, a Library, and writes poetry sometimes. One of the first things that Gale will reveal is that he is a private person. He easily and clearly sets boundaries from the first moment, showing Tav where they stand. The second aspect he makes us aware of is his pragmatic thinking and his preference for diplomatic approaches. A third aspect that stands out on its own: he is a very verbose person, maybe as a result of his academia background in combination with his poetry hobby. He also has a bad posture when talking, but I’m not sure if this is intentional or a bug.

We can assure that Gale certainly is a man of the city [13], and may have a decent social status. It's impossible to say for sure if it's noble or rich or both, or it is just a natural consequence of being a wizard scholar: he is frustrated by the harshness of the camping life, he misses the civilisation of the city which offers well cooked meals, soft beds, and scented baths. Not by chance he is the only companion in the group who would approve of giving Oskar 200 gold to fight “the discomforts of the road” [13]. However, he adapts. Despite the lack of luxuries, he managed to survive in the wilderness.

Gale and his link with magic is unquestionable. Magic is life for Gale, metaphorically and literally speaking since it's magic what allows him to stay alive despite the "orb" in his chest. If we talk about Magic, we have to talk about Mystra and the Weave. The Weave is not only the embodiment of Mystra, it's an extension of Mystra herself. It extends across many planes of existence and is in almost all parts of Faerûn. By dragging power from it, Magic can be performed. 

Mystra, for lore reasons and conjectures that I will discuss in the post "Mystra and her Chosen ones", turned teenager/young adult Gale into one of her Chosen, making their relationship more intimate and granting Gale a deeper access to the Weave. This put Gale into the category of an archwizard. It's clear that Gale was and still is a devotee of Mystra, which could give us a hint of his alignment since she is a neutral good goddess and she expects for her Chosen to align around it.

Gale likes confidence, in others and in himself. He is confident in his looks (he has described himself as a “handsome devil” and answered during the romance/Revelation scene that he knew he was beautiful under the light as well as Tav). But beyond these two lines, qualifying him as a narcissist seems extreme. He is surely very confident about his knowledge, and we see he is not just mere words: his Mind Flayer knowledge is at the the same level of what githyankis know. If we compare how Astarion/Tav struggled with the book of Thay, and then we see how Gale manages it (sadly the scene is not complete yet in EA, and there is almost no datamining info of Gale), we can conclude once more that his knowledge and power of the mind are real (he is, so far, the main companion who allows us to explore the lore of the game in a deeper way during his conversations). We also know it's a bit more complicated to intrude into his mind using the tadpole because he has knowledge and mental tools to protect himself (check the post about the Tadpole inside Gale). He is certainly a very verbose and confident scholar, who knows his limits, and in occasions he seems to dabble into an ego-teasing play as an attempt of levity, displaying his “insufferable side”, as he has described himself (his self-awareness of these traits is remarkable, and it is the reason why I avoid qualifying him as arrogant. Arrogant chars are hardly self-aware of their own bad manners or insufferable traits). But we can see it's usually done as a joke or, with an evil Tav, as an aggressive reaction. For a deep analysis of this aspect, check the post about "Gale Hypotheses- Part 2", section: "Narcissism". 

Based on his approvals and disapprovals, we can see that Gale has a strong preference in avoiding fights, violence, and bloodshed [1]. He will always prefer diplomatic and persuasive approaches [2]. Reasoning is his best weapon, but if the individual we are dealing with can hardly be persuaded, he would approve of a deception or an intimidation as long blood is not spilt. Here is where we see his pragmatism in action, all the time. His primary goal at every moment is to avoid bloodshed. His philosophy could be summed up in the line “the means [as long as they don’t kill gratuitously] hardly matter if the end is worthy”. And for Gale, nothing is more worthy than life [3]. This doesn't cover only the life of innocents he cares about, it includes the life of the most dubious characters as well, such as Rugan or Crusher. Gratuitous death is meaningless for him. During the scene of Nettie we can have a glimpse of his philosophy towards life: he viscerally hates treating life as if it were nothing: 

Gale: How dare she snuff out life with as much thought as snuffing out a bloody candle? […] It's not right to feel the cold breath of death in your neck, then move on as if it was nothing but a soothing breeze. One respects life by fighting for it, and one respects death by fearing it.

Gale: One should never be afraid to live life to the fullest.

Probably the limited amount of life he has due to the "orb" increased his sense of respect for life and its celebration. I personally understand Gale as a character who embodies the perspectives of a seriously ill person, knowing that their life may be short, but they will try to make the best out of it. 

He doesn't only respect life per se, he also cares about its dignity. This can be seen in his explicit rejection to undead existences such as Connor (he explains that it would be merciful to put an end to his undead nightmare), or in his disapprovals of humiliation and torture [9]

 We could suspect that this emphasis in protecting any life comes from the fact that only people who are alive can (sometimes) be forgiven or/and change. This is not explicit, but since he is a character who talks about being better and wiser than his previous self, about acknowledging mistakes, about forgiveness, this interpretation seems reasonable. 

These concepts of kindness and compassion combined with “the mistakes of the youth” are repetitive in his interactions and approvals [5,12]. Of course, they echo in his soul since they are reflections and desires of his own experience. This pattern covers forgiving children in particular [5], and disapproving hard judgements [16], especially on matters whose story is not fully understood by Tav. This means he doesn't like quick judgements when he doesn't know the whole story first. This scenario can be easily seen during Karlach's quest, he reserves his judgment until knowing Karlach's side: There are always two sides to each story.

Gale: I have to say I don't know if agreeing to this hunt was such a wise idea. Who's to say who's the real villain in this tale of devils and masquerades? [...]When we track Karlach down, let's chat before we chop.

Similar concept appears during his Revelation scene, when he encourages and keeps asking Tav to listen to him first before judging. This is also the reason why in his Loss scene he would disapprove if Tav quickly assumes that his loss of Mystra was due to arrogance. Tav judged him without knowing the whole story. However, once Tav knows the whole story, Gale will accept any judgement from them without approval penalties during the Revelation scene.

He approves all actions that imply helping others in hard times and disapproves of them if they were done out of greed [4]. He is an animal lover [6,7]. Being kind to animals and treating them good will increase his approval, while animal cruelty will earn his disapproval. Same goes for humanoids: any display of gratuitous violence that could have been prevented with a trick or a diplomatic approach, any humiliation forced upon others, any torture or situation of slavery, is disapproved [8, 9, 11]. 

In particular, Gale seems to advocate the philosophy of “give others their own medicine”[18] or in other words: poetic justice. We can see this during the Myconid colony; he approves of helping the Myconid to avenge the young killed by the Duergar, adding the comment: “Wicked killers deserve wicked ends”. He is implying to give them a similar, wicked medicine to the Duergars. Another less deadly situation of this kind is shown during the foot situation with Crusher: Gale is the one suggesting “pungent poetic justice” and telling Tav that they should force Crusher to kiss their feet. 

The most iconic scene, however, is during Nettie's, if Tav lies during her interrogation. As a hot-headed reaction, Gale states that he would have poisoned Nettie if this situation would have happened to him. Although, after calming down, he approves of and confirms Tav's actions [if Tav managed to persuade Nettie to give them the antidote]

Gale: A taste of her own medicine is what she deserves! […] But you handled it, and you handled it well. 

 In this scene we also see a pattern: Gale is shown as a fallible human; his most visceral reaction during the first moment is anger and indignation, giving us a hint that he is not so rational when it comes to emotional states. An extremely obvious, human concept. 

The scene of Nettie trying to kill a potential menace (the victim of a MF) reverberated in his consciousness, projecting immediately a fact in his mind: if he ever dares to reveal his "orb" problem, and anyone knows what a danger he represents—no matter how stable it looks—people will want to remove the menace by killing him. 

This is the reason behind his words “It's just that, had it been me... had it been...” Gale knows that this simplistic and common thinking in removing what's dangerous would end up turning into a more destructive tragedy in his case than in any infected victim of the tadpoles. So this combination makes us see, for the first time, an emotional Gale. After some seconds, he cools down and returns to his more rational, diplomatic, and moderate self. What we can read here is that Gale would be very prone to rush decisions or to make mistakes under emotional circumstances. We will learn later that the other mistake he made under emotional stress ended up with the "orb" stuck in his chest. A third mistake was done during the party, once more under the emotional stress of a potential abandonment by Tav due to the true nature of the orb. 

Everything related to the “orb”—which is his most traumatic experience—naturally makes him more emotional and prone to mistakes. To see how truly traumatic the "orb" is in his life we can notice the following patterns during the meeting scene: he speaks about the tadpole in a relaxed, rational way, despite the traumatising experience. He first asks for an archwizard instead of for a cleric, because his priority is the orb. Gale's main fear is not the tadpole, but the orb. If we remember his words after the consumption of the artefacts, we realise he lives in a permanent state of anxiety and raw fear, and probably pain too, given his facial gesticulation when anything interacts with the "orb" (whether artefacts or Tav's hand). His banter with Shadowheart reinforces the concept that he always has a knot in the stomach. When he accepts the deal with Raphael, it seems to be related to the orb, not to the tadpole. The effect of the "orb" has ceased, but the tadpole is still in Gale's head since we still need to roll against a high DC and not only against a 1DC during this scene, so we can assume he still has the tadpole despite Raphael's deal. See the post about "The Tadpole" in Gale for more details.

Gale is a character that represents human experiences deeply related to growing up: mistakes done in the past, and the acceptance of not being forgiven despite the desire of wanting to. This can be easily seen during the conversation of the second tadpole dream, where Gale's mood is foul and we learn that his deepest desire is for Mystra to forgive him, but he also knows it's impossible for that to happen. He detects the lie in this dream because he has accepted that Mystra will never forgive him. Gale is the story of mistakes done during youth with grave consequences, of acknowledging them and trying to make them right, of surviving those mistakes, and depending on the interpretation, he is also the story of an ill dying man, with a gentle vision and deep care for life. 

The great majority of his approvals are based on actions that show kindness and compassion, both reiterative concepts that are so important in his character that they come from his lips when we see the goblin party: 

Gale: The shadow within is spreading like poison, corrupting kindness and compassion. [Only after a tough DC of 15]

In combination with: Gale: I don't know myself anymore. All this... It's not who I am. Around you, I'm not who I want to be. I should leave. 

These lines show how, in a sudden change to an evil path, Gale would start doubting his own morality, explaining that the cause of it is the "orb" itself, corrupting the most core aspects of his personality. This corruption may or may not be lore-related. It's not completely clear what Gale's "orb" truly is. For more details, check the post of the "Orb".

 His constant critical thinking comes from his advocacy to non-conventionality [15]: a true scholar will always explore all the options and hypotheses before reaching a conclusion. Therefore, Gale would approve of any non-conventional way to fix a problem [15] as long as it doesn't potentially cause harm or bloodshed [1,2,3,8,9]. Due to his own background, Gale will always advise to be very careful of the consequences of one’s actions. This can be easily seen when, after encountering the caged goblin Sazza, Gale would advocate to explore the possibility of reaching Gut Priestess to cure the tadpole. However, when Tav helps Sazza to escape, Gale will comment briefly against this action.

Gale: I know I said it's not inconceivable a goblin priestess could help us. And yet... was it really wise to set another goblin free so she can arrange introductions? […] consider the consequences. What if she leads her entire tribe to the grove? Tav: I don't care, I owe this grove no allegiance. Gale: No allegiance, no. Though we don't need to sign its death warrant

Once more we see that Gale is up to using any (unharming) means to get a goal, but not at any cost. He has a clear line he doesn't like to cross: life [3]. Avoiding putting other people's lives in danger is very important for him. We see this concept over and over in most scenes.

He doesn't likerushed decisions, and in that same train of thoughts, he will disapprove any use of unknown magic or tricks when nobody in the group can truly understand how they work [17], for example the tadpoles or Raphael's deal (he is against accepting it quickly, but he will approve of having a more cautious attitude and carefully thinking about it). 

Since the moment we meet him, we can infer he is obsessed with the artefacts. It's obviously understandable: he doesn't want to die, but also, he doesn't want to kill all those that will be caught in the eruption of the orb. For this reason he will insist on the loot in the Temple Ruins despite knowing that grave robbery is not correct. 

Gale: Bad form, isn't it? Grave robbing? […] Let's have a look at the loot. It isn't for your pockets only. 

He keeps pondering life over death: although he respects the dead, he will always value more the living creatures in the present. This is also what pushes Gale to suggest Tav to open Rugan's chest. Stealing from the evil Zhentarins is not something that will weigh on his consciousness too much. Besides, he knows it belongs to a wizard: meaning that the chance for it to contain a powerful artefact is really high. Similar suggestions will be said about the Idol of Silvanus, but talking with him in the camp will show us that he won't approve of taking it, only as a last resort. He keeps pondering the living over a sacred piece of stone, since he knows the druids won't take the stealing very peacefully. Once more we see Gale's respect and care for life, trying to minimise damage as much as the circumstances allow him.

Gale is also a survivalist. He doesn't want to die, he loves celebrating life in its more mundane and small details. He is an emotional character for a wizard, a bit strange since they are usually portrayed as more rational and cold, losing their lives among dusty books. However, Gale has shown in many scenes that he prefers to survive without killing, but if he has to, he will do it, dealing with the weight of it in his consciousness because killing unprovoked affects him (scene in the camp after killing the druids, or the goblin party scene). 

His moral in preventing gratuitous death sometimes will conflict with his own survival, especially if he is by an evil Tav's side. He couldn't accept bloodshed when other peaceful options were available and possible to reach. This is clearly shown during the goblin party, where Gale's consciousness suffers and feels the corruption of the "orb" killing the kindness and the compassion inside him. He accepts that wanting to live is a powerful drive, but he doesn't support this massacre, questioning if all that blood was necessary. A Tav killing the tieflings seems to lose the possibility of pursuing Gale romantically, at least in EA so far. For Gale, survival is important, but the means to do it (when they can cause death) matter too. Life is worth preserving.

 The usual archetype of survivalist tends to be an individualist one who would survive at any cost without remorse because that's the “law of the jungle”, the strongest must survive. However, Gale seems to embody a different concept of survivalist that it's hard to put in words: a sort of communal survivalist, trying to survive in coexistence with his community: he wants his survival to imprint the least harm possible (even though sometimes it would not be possible), trying to help those around him as long as his condition allows it; for example, despite wanting Gut's potential cure for the tadpole, he would disagree in helping Sazza escape because she will lead the goblins to the Grove, no matter the fact that doing this will grant them their introduction to the priestess. 

His list of approval shows that his sense of survival is always pondered with the consequences that it can cause on others (check the post with the "Extensive list of Gale's approvals"). The whole concept of the "orb" has this motivation as well: he wants to live and survive, but he also can't give up because his body would kill many, so he needs to do as much as his moral allows him to keep it in check. If he cannot do it any longer, he promises to minimise the disaster as much as possible by erupting in the deep Underdark or in a desolated corner of Faerûn (and considering his ridiculous list of approvals and disapprovals, we know he is honest in not wanting to kill gratuitously). Gale acknowledges his own mistakes, trying—to the best of his ability—to deal with them without catching others in them. Although all his speeches keep emphasising that he is a mere human, and plans may fail. 

At some point, if he wants to survive “not at any cost”, he will be forced to ask Tav for help during the scene of the stew (available only for medium approval or higher). As a gesture of honesty, Gale will set a boundary before making this request, acknowledging its unfairness but giving Tav the decision to proceed or not. He is not denying to explain the details later, but at the moment he can't speak the “why” of his condition no matter how curious Tav is. Tav will decide whether they can keep their curiosity on the matter. 

We will understand later that this impediment comes as a precaution as well as consequence of his personal trauma with Mystra and the "orb" (See post about "Gale: Manipulation, Lies, and Trust"). So, he is very clear about setting the conditions in which this conversation will happen from the beginning. The easiest way for Gale to avoid this whole situation would have been by simply lying, but he opted for an honest approach with clear out-loud reservations, knowing he was asking for more trust than he was allowed to, but the intention behind is more than important. There is a clear, huge contextual detail that we can't miss: this scene doesn't happen because of Gale's whims, he is forced to ask for help since his condition “is not a patient one” and will endanger everyone if not kept at bay. 

This detail where Gale explicitly asks for an exchange of trust is not present if Gale's approval is neutral or lower. In this case, Gale would not care about giving a context to his strange request: he doesn't trust Tav and he doesn't expect to be trusted either, he only wants the artefacts to keep his condition in check for his sake and the sake of others. We can understand this change of attitude depending on the approval as he doesn't want to give any extra explanation to someone he is not interested in building a relationship with. For more details, check the post about "Gale: Manipulation, Lies, and Trust".

I personally support the idea that nobody in canon Faerûn is free of racial prejudices since Forgotten Realms lore has been created based strongly on fantasy racism. I've read that WotC wants to move forward and improve this aspect in 5e, but so far what they allowed Larian to do with the Tieflings in BG3 seems to show the contrary. So, since apparently we are going to face fantasy racism anyways, I will try to analyse racial prejudices from all chars. When it comes to Gale, it's a bit far-stretched to point out unjustified racial biases. He has a vague comment about Rashemi that some people may consider a faerunian saying. Personally, I think that line is a bias forced into him to have a particular dynamic with Minsc (the Rashemi “silly” companion -we all can see where Larian seems to go with this). Gale clearly sees tieflings, gnomes, and even goblins as people, and has a cautious attitude towards some githyanki (at least that's what we can infer with Lae'zel when we find her in the cage), but given the githyanki lore it's pretty reasonable to see them as dangerous creature that could kill people on the spot. So far, he seems to have no racial preference either [10]. 

As it was said before, he prefers to avoid killing people, but that doesn't mean he won't do it if his life depends on it. He will prefer persuasive and defusing approaches, but if he needs to kill to defend innocents or his own life, he won't hesitate. So therefore, stories about characters making mistakes or having violent excess in an effort to protect themselves or what they hold dear will be understood by him but hardly approved [19]. He tends more to approve a call out of that excess than approving an excuse for it.

Gale has deep abandonment issues that can be easily seen when he defends Astarion from being handed over to Gandrel. We need to put this in context before going on: for Gale, Astarion represents a danger as a vampire who attacked one of them during their sleep. By the display of meta-knowledge, we know with certainty that their approvals and disapprovals are mostly opposite: What one approves, the other will disapprove and vice versa. Getting rid of Astarion should be something that Gale would approve, however, he doesn't. If we explore his comments we will realise that what Gale disapproves from this situation is Tav's abandonment. After Mystra's abandonment, he knows very well that “Loyalty is such a very rare commodity”, and the few situations in EA in which Tav can display abandonment, resound strongly in Gale. 

Gale is a scholar with a strong balanced rational side. But unlike the trope, he also embraces an emotional side that, so far the info we received in EA, it's the side that makes him prone to mistakes. 

As an amateur poet, Gale loves words. We can obviously notice this in his verbose attitude, but also in the way he carefully uses words. One of his characteristic words is “spectacle”. He has also shown a reiterative—although not always—uneasy use of the word “fun”. Using “fun” as a way to describe the night spent with Gale gives him a slight uneasiness. “That’s a word for it.” He disapproves of using the word “Fun” after the Mayrina/Connor situation, in which scene Gale alludes that “your new company may be a proof of how depraved and twisted you are to see that tragedy as “fun”. Personally I think this is a direct allusion to Astarion, who considers Mayrina's situation as “entertainment”, in the same way he considered as “fun” the show of Arabella's death (two of several instances where he used that word). Gale also doesn’t use the word sex during EA, instead he uses romantic ones such as love-making, intimacy, art of the night/body. In the most technical case: coitus (used only when he is talking about “goblinoid intimacy” in the expression “post-coital snack”). These details are showing not only his poet/romantic side, but also his interpretation of sex from his perspective: sex can only be possible through a connection. We know he doesn’t engage in casual sex with Lae’zel if he is not romanced, and his romance can only potentially start if Tav shares that deep connection with him through the Weave. 

Another detail related to words is that Gale has always used an infection/disease-related vocabulary to explain the “orb” stuck in his chest: infested, taint, shadow spreading 

[…] I failed to control [this chaotic magic]. Instead it infested me. […] This Netherese taint... this orb, for lack of a better word [..] […] the shadow within is spreading like poison, corrupting kindness and compassion. [...]

Gale apparently has a particular way to sense magic. I have no way to check this in-game, but it seems very strange how he immediately identifies magical artifacts without casting Detect Magic. There are some extra scenes as well where he says to taste or smell the magic in some objects. Even his encounter with Shadowheart, besides being considered a flirt, could be also interpreted as him detecting the magic that we saw later in her hand or maybe the dark magic that blocks her memories, since Gale pointed out about a curtain covering her soul: “if the eyes are the mirror to the soul, yours have dark curtains across the mirror” (a very ominous flirting if it’s only a flirt)

This makes me suspect that, if the "orb" is not giving him this skill, it may be a consequence of having been Chosen of Mystra (for more details read the post about "Mystra and her Chosen ones"). If this is the case, he may have hindered remains of theirs powers when it comes to detect magic at will.

Gale has a perception of magic with all the senses: he sniffs and tastes magic. During the mirror scene you have an option related to [Arcana] tag where he “Sniff the mirror, trying to understand the nature of its magic”. A wizard Tav will just “Inspect the mirror”. He also said that he could “taste” the magic in the necromancy book and in the runes of teleportation. 

What we know of his family is little: when he was a kid there was a housekeeper in his life (mentioned only once during the scene of the harpies) and his mother that seemed to have personally raised and cared for him (mentioned twice: in the ruin temple scene, and in his banter with Wyll) 

Tav: Why care about decorum in a long-abandoned tomb? Gale: Because my mother raised a gentleman. Then again, to be alive is to be curious. 

Wyll: Between the orb and the bug you've got more than your fair share of unwelcome passengers. Gale: What can I say. Mother always taught me to be a gracious host.

This post was written in May 2021. → For more Gale: Analysis Series Index

[solacefruit]

enemies to lovers (or similar) for the fanfiction tropes. it's always been one i personally enjoy, lots of stuff to explore with the characters (and setting, usually)

Hello there! Thank you for asking in.

Enemies-to-lovers: absolutely A tier, god level trope, I love it. I genuinely do not think I could ever be bored of this one, and honestly there are so many potential iterations of it too and they’re all good. 

I love that petty rivals thing where two people basically despise each other out of attraction and envy and it’s especially good when they feel threatened because they’re each almost the best at whatever it is they do, except for this one other person, who they hate for that. I love when people bitterly obsess over each other for reasons that they can only partly articulate, and also it’s so good when that loathing is just a way of coping with and reframing genuine respect and interest that’s so evident to the reader but only fleetingly understood by the character. Very much that “if I didn’t hate you, I would have to adore you and that frightens me more, so I grip closer to hate and find increasingly destructive excuses for interacting with you and justifying the fact I’m not getting over you, I can’t ignore you and somehow that’s your fault” thing. Mint concept in all ways.

But I also love that genuine, heartfelt enemies situation where two people mean each other so much ill and would rip chunks from the other if they got the chance, or worse, but can’t quite get the chance because they’re each other’s foil and match, so it’s a constant, brutal escalation with very real, dangerous stakes. Or perhaps they finally get their chance, and experience a strange twinge of mercy--but maybe not enough. 

I devour this kind of thing, not least of all because the potential resolutions are so delicious. Like, sometimes it’s fun when they kill each other--or one kills the other, or they betray after that tentative moment of kinship and trust, because I’m a little awful and I love a good tragedy and I love strife and tasteful agony. But it’s just as good when they slowly learn to be honest and trust each other, becoming genuine friends; or learn to trust each other enough to fuck occasionally without a fatality risk, but ultimately remain somewhat opposed and at odds; or lean in and stay enemies (in name), be nemeses outwardly, and keep their affection as a secret between them; or never get resolution and smoulder for eternity, going slowly insane from unidentified longing; or be deeply toxic and codependent and destructive, because they’re not a good partnership, they just match each other in intensity--that old thing of getting on like a house on fire (no survivors); or--you get the idea. 

Just about the only thing I can’t forgive is if writers rush from enemies to lovers, as if enemies is just set dressing and not a very challenging thing to become lovers from. It has to ultimately feel earned, whatever is happening. As a writer and as a reader, I really enjoy when characters have conflicting worldviews and ideology in equally persuasive, understandable ways, so that it’s hard to cleanly decide who is “right” (if anyone), and enemies-to-lovers is often that when it’s done in a way that’s satisfying. 

There’s actually this wonderful line in Pratchett’s Masquerade that really gets to the heart of what I enjoy so much about this trope: 

Granny Weatherwax was firmly against fiction. Life was hard enough without lies floating around and changing the way people thought. And because the theater was fiction made flesh, she hated the theater most of all. But that was it—hate was exactly the right word. Hate is a force of attraction. Hate is just love with its back turned.

She didn’t loathe the theater, because, had she done so, she would have avoided it completely. Granny now took every opportunity to visit the traveling theater that came to Lancre, and sat bolt upright in the front row of every performance, staring fiercely.

There’s something about hate that’s fun and compelling. It’s a form of passion, and if you block off the usual path for passion to follow--love, for instance--the river will rise elsewhere and find another way to run whether you like it or not. That’s what good hate is, in my humble opinion.  

Send me a fanfiction trope and I’ll rate it!

[sanoiro]

Lucifer Meta: The Stained Glass

It’s one of the most iconic props on Lucifer. 

Loved at first sight in S1,  1x02-Lucifer, Stay. Good Devil.

Many times there have been good meta about it and a general misconception in my opinion over what exactly this art piece depicts. 

First of all we need to explore how it was decided to be in Lucifer’s penthouse. 

If we look the S1 plans of what the penthouse set should entail we will see many familiar features. One of them is the stained glass art close to Lucifer’s bedroom

If we look closer to the plans we will see how similar the concept of the penthouse art piece is to the eventual piece however changes were made. 

What I always respected in the Vancouver crew & production was that they made everything have a deeper meaning, especially the props. From the Jesus Christ metal plaques between the elevator to the some other small details that remained despite the onslaught of the WB prop house additions. certain pieces were always there as a misplaced memory (weird choice of words I know) or as a foreshadowing.  

Now most love to place this piece in the setting of the Bible where we have Adam and Eve taking the apple from the Tree of Knowledge. But there iif we look closer we will see that there is no tree to be found only a grand vase with flowers. 

Another interesting feature for me is the 11 spheres, well 13 if we want to be completely accurate.

One of my ideas was that the 11 could represent the planets of our solar system and before you say WHAT!? I would like to remind you that after the 2006 categorisation there were 11 plants...  The terrestrial Mercury, Venus, Earth, and Mars. The gas giants Jupiter, Saturn, Uranus, and Neptune and the dwarf planets Pluto, Ceres, and Eris... But if we count 13 then we have the 13 cycles of the moon... And no I’m talking about the waxing phases. In reality the lunar phases are a bit more than 12 but not exactly 13 in a year.

Of course we also have the Thirteen Attributes of Mercy... But who knows if the prop master was aware of them or if they hold any kind of meaning? In any case I will close this meta with them.

They are the Divine attributes with which God governs the world according to the Judaism’s tradition (More Here)

יְהוָה YHVH: compassion before a person sins;

יְהוָה YHVH: compassion after a person has sinned;

אֵל El: mighty in compassion to give all creatures according to their need;

רַחוּם Raḥum: merciful, that humankind may not be distressed;

וְחַנּוּן VeḤanun: and gracious if humankind is already in distress;

אֶרֶךְ אַפַּיִם Erekh appayim: slow to anger;

וְרַב-חֶסֶד VeRav ḥesed: and plenteous in kindness;

וֶאֱמֶת VeEmet: and truth;

נֹצֵר חֶסֶד לָאֲלָפִים Notzer ḥesed laalafim: keeping kindness unto thousands;

נֹשֵׂא עָוֹן Noseh avon: forgiving iniquity;

וָפֶשַׁע VaFeshah: and transgression;

וְחַטָּאָה VeḤata'ah: and sin;

וְנַקֵּה VeNakeh: and pardoning.

Most of them are created in dark purplish tones. The roses, the tulips, the purple and yellow pansies. 

The yellow pansies in particular as the net informs me are given to people who  are going through a rough patch in life... Whilst the purple one symbolises nobility, beauty, and royalty

Purple roses also hold the symbolism of royalty but as they are known as the mystic roses due to their rarity and the conveying meaning of a mystical world, the endless enchantment.... What they also symbolise is love as all roses do but in this case the lighter purple ones symbolise ‘a love at first sight’ and the deeper purples ‘a deeper and long-term love and romance’.

Finally we have the poppies... most are quite familiar with poppies..  a symbol of sleep, peace, and death. Mostly of sacrifice and remembrance as the UK fellows may well know.

So we have a wonderful bouquet that symbolises everything we have seen in Lucifer and perhaps will see to its end. 

What I also love is that both figures are wrapped in vines or a long green ribbon probably both as the later might symbolise the first... The vines are a symbol of Christianity yes but also a symbol for life for ancient Sumerians which S1 and S2 has drew from quite a lot. 

We do know that the root/tree lamp in Lucifer’s apartment is often referred to as the Tree of Life but any symbol of life also entails the meanings of strength, determination, endurance, survival, and progress over time.

That is what you will have to remember eventually for the series as a whole. 

And finally comes my opinion over the figures. As far as I see it they are not Adam and Eve but Chloe and Lucifer. However the models used were not their adult forms but their childhood faces.

In my opinion always I feel like it is a foreshadowing of the growth both will go through in the series as even Chloe will need to grow up. 

And as a final note I like how the boy/man is reaching for the tree first while the girl/woman is reluctant but looks directly at the person who sees the art piece while the other figure is more focused on the flowers. 

One was always seeking meaning in what it had to be deciphered, easily distracted, childish, the other one evaluating the space around her watching, protecting, always in tune with reality no matter the tribulations.

[tea-mew96]

Analysis: TFP Optimus Prime and a Discussion on Revenge

Disclaimer:  This post is going to be a long vent about my frustrations with TFP Optimus Prime, specifically with the advice he gives to Arcee and the audience in regards to revenge. So if you’re someone who does likes him or hold similar views to him, you are probably not going to like or agree with what I’ll say in this post and that’s completely ok. The whole point of this post is to provide another perspective and open discussion with me and anyone else about this (But do so respectfully, please).

Also, there are going to be spoilers for Transformers Prime in this, so skip this post for now if you don’t want the show to be spoiled for you.

So without further ado, let me explain why TFP Optimus Prime’s stance on revenge is wrong.

For those who aren’t familiar with Transformers Prime or don’t remember everything, one of the biggest subplots of the show was Arcee and the loss of her partners, Cliffjumper and Tailgate. Throughout most of Season 1 and Season 2, Arcee is on the hunt to find out who killed Cliffjumper and to get revenge for Tailgate by going after Arachnid. 

Everything with this arc was going ok...until Season 1 Episode 20, Partners.

During this episode, Arcee ends up following Arachnid, much to Optimus’ distaste. After Optimus saves Arcee from Arachnid, he tells her that seeking revenge for Tailgate is a bad idea. Later on in the episode, Starscream lets slip that he was the one who killed Cliffjumper, and Arcee reacts accordingly by attacking him. She almost kills him, but is stopped when she realizes Bumblebee is watching them and she lets Starscream go. The episode ends with Arcee saying that she thought settling scores would allow her to move on but that her actions instead lead to the Autobots losing an ally. Optimus comments that wisdom is gained, not automatically earned. This arc continues in Season 2 Episode Episode 10 Armada, where Arcee ends up trapping Arachnid in a stasis pod, ultimately ending their rivalry. The pod is taken back to base, where Ratchet says Arachnid “deserves worse”. Arcee responds that she “intended worse, more times than you know” and Optimus responds that Arcee is “stronger” for her choice.

These series of events are what ruined both Optimus as a character and Arcee’s arc for me.

Optimus tells Arcee that seeking revenge is bad and that she’s a “stronger person” for giving Arachnid a fairly merciful fate of being put in stasis. There’s one problem, though: he’s wrong. And apparently no one on the writing team knew that.

What Optimus ends up implying is that Arcee’s anger at both Arachnid and Starscream is not justified, that being mad at them for hurting her makes her a “bad person” and wanting them to suffer consequences for it is not the right path to take. Except none of that is true.

I think it’s fair to say that Arcee is victim of murder, and has a lot of trauma and emotional damage because of it. She has lost two partners that she clearly cared for and were close to, with one of them (Tailgate) dying right in front of her optics. She displays signs of depression throughout the series, and if the flashbacks in Season 1 Episode 12 Predatory are any indication, Arcee probably has a good case of PTSD too. 

The thing about people who have been severely hurt and traumatized by others like this is that they need closure, and there are many ways that this can be accomplished. Forgiveness is only one way. Sometimes closure comes in the form of having the aggressors be given jail time or the death penalty. Sometimes with bullying, a victim will find peace by seeing the bully getting in trouble with the teacher and being suspended. Some find peace through therapy. Sometimes, people can only find peace by taking matters into their own hands and punishing the aggressors themselves (victims fighting back against their bullies and the story of Gary Plauche are good examples of this one). The point is that victims and their friends/family members affected by murder, rape, bullying, or any other hurtful acts is that they don’t have to forgive the ones who committed the crime, nor are they required to. In fact, many people don’t.

This is something that Optimus Prime simply doesn’t understand, and many adults don’t either.

I want you to take a quick read at these statements that people often give as solutions to bullying:

“Don’t react, just ignore them. They’ll go away.” “Don’t fight back, that’s stooping to their level” “Tell them to stop saying/doing those things, they’ll listen”

On the surface, all of these statements sound correct because these are all very tame, non-violent solutions. They’re all moral high ground statements. But almost any victim of bullying can tell you that none of this advice ever actually helped, and if you ever told a teacher someone was bullying you, you at best got ineffective solutions/similar advice to the above and at worst did nothing about it.

Optimus Prime’s statements about not seeking revenge come from the exact place that the above quotes come from: a place of wanting to appear moral and above-it-all but having none of the experience or knowledge to actually back it up. 

Optimus wasn’t as close to Cliffjumper as Arcee was. Optimus didn’t see Tailgate’s gruesome death first-hand. He may be older, but being old doesn’t automatically make you right. And I find it ironic how Optimus states that wisdom is earned at a cost yet he’s the one who is clearly is struggling with that concept when it comes to Arcee.

It upsets me to no end how Optimus is contantly tellling Arcee that she’s the one who has to be the more moral, bigger, stronger person. But Starscream and Arachnid? You know, the ones who caused all of Arcee’s anguish to begin with? Naw. Arachnid can continue to tease Arcee by asking if she’s lost any more partners and Starscream can pretend to feel bad about killing Cliffjumper and then immediately brag about it the next day. Yeah, those two don’t need to change. ARCEE DOES. CUZ REVENGE BAD. 

Remember how Arcee said she intended a worse fate for Arachnid and Optimus praises her for it? While the show treats that as “closure” and the end to that rivalry, I’m not convinced. For the longest time, Arcee wanted Arachnid dead. So for her to all of a sudden switch to being merciful to Arachnid seems off to me. And thus I began to wonder: Did Arcee decide to not kill Arachnid because she had a genuine change in morals, or did she do it in order to make Optimus Prime happy? Or in other words, is this a genuine change of character or this just the writers’ last-ditch attempt at pushing the “no revenge” narrative into the audience’s face? I don’t know for sure (although I’m pushing for latter in both questions) and the show doesn’t address this. And this is bad because depending on this answer, this could mean that this arc was never truly finished. If Arcee still didn’t believe or feel that having Arachnid in stasis was good enough closure, than the story isn’t fucking over. But no one of the writing team thought this far. No one was willing to put this kind of depth into the show.

Furthermore, I’d argue that this constant talk about Arcee being a “better person” is causing her to be critical of herself over things that aren’t really her fault or that she wouldn’t be able to predict the outcome of.

One is Arcee blaming herself for Smokescreen’s “death” in Season 2 Episode 21 Alpha/Omega. The other is Arcee regretting her attack on Starscream and losing a potential ally. But the reality is that Starscream is extremely fickle and having him join the Autobots wasn’t guaranteed to end in success to begin with. Even if Starscream did join the Autobots, there’s no promise that he would side with them forever. Almost all of his decisions are based off his own goals, and many times that can go against the ideas/goals of the group he’s in. Actually, Starscream does end up betraying the Autobot’s trust anyway in Season 2 Episode 23 Inside Job where Starscream uses the Autobots’ (ok, most Optimus Prime’s) trust to steal the Omega Keys and use them in order to gain Megatron’s favor again. Unsurprisingly, trauma victims in the real world also blame themselves for what happened to them too.

There’s many things about TFP Optimus Prime I can forgive. Boring characterization? Fine. An intriguing characterstic (lack of outward emotion) that has potential to be interesting but the writers never decided to explore it? Whatever. But I draw the line at shitty advice presented as a good lesson, especially when your audience is young kids who don’t know better and may need desperate help.

Kids get bullied and abused. Kids need to be told that fighting back against bullies and abusers who have hurt them doesn’t make them a bad person because the “lessons” and “solutions” that many schools and adults teach or tell rarely work. And telling them otherwise because it sounds right isn’t going to help. If anything, it’s only going to hurt those kids in the long run.

TL;DR Arcee is a good girl who deserves hugs and therapy, and Optimus Prime is a self-righteous moron who deserves to be thrown into a smelting pit.

[manifesting-author98]

What do you want, Adora??

Why does this line from She-Ra destroy me? Like it hits so hard and I feel like it’s because it’s such a simple question, but Adora has never once seemed to have thought about the answer. What does this say about her? What are the writers trying to show through her struggle to consider the answer to this question?

I think the show really interestingly explores it by deconstructing the concepts of selfishness and selfless, especially when in relation to individual wants/desires and self-care.

There is definitely a spectrum at play with these principles. On one end, you have complete selfishness. Other people’s feelings aren’t important. You must do what you need to do to make yourself happy. This might be self-care (because you are getting what you want), but it’s also making a negative impact on others and therefore, is selfish and damaging.

On the other end, there is complete selflessness. This is putting everyone else’s needs before your own and not engaging in self-care at all because any type of behavior that is done at the individual level feels selfish. However, although this seems morally upstanding, it can be ultimately harmful to the self at an individual level.

This is why the best types of self-care strike a balance between what a person needs at an individual level and how these wants may impact other people as well. It’s not on either side of the spectrum, but rather, at an undefined, malleable point somewhere in the middle.

And She-Ra explores this idea in the same way that it does with most other ones: through Catra and Adora’s character arcs.

In the beginning, many of Catra’s actions are selfish. That is not to say that she is irredeemable- she was an abused child, so she finds that the only way for her to get control and love is through acting seflishly. In other words, she thinks she needs to take what she wants because no one was ever considerate of her so in order to be happy, she can’t care about what happens to them either (this is a warped world view but regardless...)

Think about Adora’s decision to leave the Horde through Catra’s eyes. To her, this was selfish. Adora left to get new friends and new powers, but didn’t take into account how it would affect Catra (which may not be true, but it’s accurate to Catra). Therefore, she decides to pursue her own desires in a similar way. She wants the Horde to win to defeat Adora, regardless of the morally problematic nature of the Horde. She opens the portal to live happily with Adora without thinking about how it literally could have ended the world!! These are all exceedingly selfish actions that Catra performs because she just wants to be happy, stop hurting, and win for once. And she doesn’t care who she hurts along the way.

Until the guilt comes.

After the portal, Catra is finally confronted with the effects of her selfishness- and eventually, is forced to see that her actions are not a type of self-care or ambition, but in fact, just selfish. And have been constantly damaging her relationships throughout the series as well (namely those with Adora, Scorpia, and Entrapta).

Catra was much too far on the one end of the scale, exploring the consequences of selfishness and how it damages interpersonal connection.

On the other hand, Adora deals with the exact opposite. Throughout the series, it becomes clear that Adora never does anything for herself. She sacrifices her own wants and needs to do what is right for the world and will help the most people (this often has to do with her duty as She-Ra).

This distinction isn’t super problematic in the beginning because Adora’s wants often align with what the world needs. She wants to defeat the Horde and her duty is to do so, etc.

However, whenever she is really confronted (emotionally speaking) by Catra, this is when the two paths split. Adora never wants to hurt Catra, she shows her mercy, even when it’s not the best strategic move, and even after Catra opens the portal, Adora refuses to leave her behind, even though the world really just needs her to forget about Catra and shut the portal down.

This distinction is further exacerbated after Catra redeems herself- because now, Adora is confronted more and more by the difference between what she wants (to be with Catra and keep her safe) and what everyone else needs (for Adora to let go of Catra and fulfill her duty as She-Ra).

As Shadow Weaver puts it, Catra is a distraction to Adora- one that is preventing her from being able to help the others around her. It doesn’t matter what Adora wants. She has a higher duty.

In this way, Adora does not think that she is allowed to care about herself. Others must always come first. To her, allowing herself to love Catra is selfish because it does not take into account all of the people that Adora is responsible for (all of Etheria is counting on her). And having to constantly forget herself and be deprived of what she actually wants deeply damages Adora- because she doesn’t think that she deserves to be happy on an individual level- even though everyone needs some sort of self-care or happiness in their lives. Adora needs Catra. It is not selfish for her to want love. But Adora isn’t able to see that (especially with all the pressure surrounding her duty as She-Ra), and she suffers. And this suffering is actually what prevents her from turning into She-Ra, not her selfishness or distraction.

This is why Adora is on the exact other end of the spectrum as Catra. She is much too selfless, which causes her to be unhappy on a personal level. And this inhibits her from positively impacting others. Therefore, it’s not actually more responsible to be selfless- it can have a negative impact, just as selfishness can.

But as the show continues on, both Catra and Adora drift further and further into the middle area.

Catra is first. After finally seeing how destructive selfishness can be (it literally destroyed ALL of her relationships), Catra sees that taking into account other people is not weakness, but rather, vital to caring for yourself too.

Take Catra’s apology to Adora in Corridors, for example. This is a moment where Catra does something that is truly not motivated by her own desires. It is not selfish. It’s a sacrifice- she gives herself up, expecting nothing in return, and ultimately hoping Adora can finally be happy. She doesn’t care what happens to her anymore.

This moment was huge because she finally drifts back into the middle of this scale and does something that will benefit the world as a whole, rather than fulfilling her selfish desires.

However, this move is actually a bit of an overcorrection, which is important. Catra doesn’t know how to be both considerate of others and loving towards herself. She goes straight to the other side of the spectrum (to selfishness), giving up her own autonomy and freedom and fully believing that she is worthless and does not deserve to get anything she wants (because she’s hurt so many people). It makes sense why Catra would think this, but again, the show smartly combats this ideal.

Although this moment could have been Catra’s hero moment, and her sacrifice could have just ended there, having Adora go back for her, forgive her, and remind her that she does have worth and she does deserve love, displays that Catra’s decision was actually not the final answer because it didn’t involve Catra learning to love herself.

Adora’s loyalty and love shows Catra that she does not need to overcorrect and be a selfless sacrificial pawn to save everyone else. She is allowed to still have wants and desires, just as long as she doesn’t hurt other people on the road to them (ironically, this is the exact lesson that Adora needs to learn too).

And as Catra slowly apologizes for everything she’s done and redeems herself, she finally starts to really learn how to navigate selfishness and live comfortably in the middle area. After some struggles with it (Catra leaving Adora because she feels like she’s in the way), Catra’s entire journey culminates in her final decision to stay with Adora and ultimately, to confess her love for her.

Even though she was told her love was a distraction for Adora and they both thought they wouldn’t have time for it (the world was basically ending), she decides that they both deserve it and are allowed to want it. This is HUGE. This is Catra’s hero moment (Noelle has even said this!), because even though at the climax of this huge world-wide conflict, she allows Adora to attempt to save the world (even though she may die), which displays her being considerate of Adora’s responsibility to save everyone, eventually SHE DRAWS THE LINE while watching Adora die. She will not let her go. They both deserve to survive and get what they want: love.

Adora goes through has a similar journey. As the finale approaches, she feels an immense pressure to be the selfless hero that she’s supposed to be (like Mara was), but both Catra and Mara challenge that ideal, asking Adora what it is that she personally wants. But she doesn’t think she’s allowed to want anything.

Adora is also having trouble transforming and she thinks it’s because she’s not being selfless enough, but it’s actually the opposite. Once Catra leaves her, she glitches because she feels unfulfilled and heartbroken that she’ll never get to be with Catra.

And in her final hero moment, when she can’t transform into She-Ra and she starts dying, we’re given a literal representation of Adora’s individual desires through the dream: she just wants love (from Catra and from Glimmer and Bow).

So when Catra comes through into her vision, confessing her love, Adora thinks that she’s going to die and she knows she’s done all she can for the revolution (she literally can’t help anymore). So she finally has a MOMENT to think about what she actually wants.

And she wants to be with Catra. She wants to love her and be loved by her. So she confesses her love back.

And then transforms.

Her want for love on a personal level wasn’t a distraction. In fact, it was the solution.

This is the middle area, where they’re supposed to be. Which is why this love is so powerful, and why it helps Adora transform and save everyone anyway.

Finally, the message becomes resoundingly clear: People who don’t care about themselves aren’t healthy. Being selfless isn’t the ultimate goal. People who care about themselves as much as they care about others are actually much more powerful than the ones that are deprived of self care and love. This is why Adora is able to save everyone- because she cares for herself first.

What a rare message for a chosen one-type story. The hero is encouraged to think about what they want on a personal level- and use the happiness they get from their fulfillment to become an even better hero.

Overall, the show takes the time to really tease apart how harmful both selfishness and selflessness can be. It displays to viewers the important lesson that engaging in self-care is okay (often, it’s extremely vital) and as long as you consider the feelings of others as well, you will become the best version of yourself possible- regardless of whether you’re an 8ft tall warrior woman, who can then restore balance to the world or a reformed villain, who can finally overcome self-hatred and both give and receive love as a result.