#i actually cut several things

[aspoonofsugar]

Chuya's Tainted Sorrow

Here comes a meta on my favourite bsd character:

Chuya is mostly explored in the two BSD novels Fifteen and Storm Bringer, so this post covers what happens in these books. In particular, I am going to use Chuya's song, gift and literary references to explore his story.

DARKNESS MY SORROW

Darkness My Sorrow is Chuya's character song and its title combines two different literary references:

Darkness comes from the Sheep Song, which is used to trigger Corruption:

O acquaintances, grantors of dark disgrace, do not wake me again!

Sorrow comes from Upon The Tainted Sorrow, which gives its name to Chuya's ability

Let's discover what these two poems represent.

CHUYA'S DARK DISGRACE (THE SHEEP)

O expectations, stale and dismal airs, leave this body of mine! I want nothing anymore but simplicity, quiet, murmurs and order. O acquaintances, grantors of dark disgrace, do not wake me again! I will endure my solitude, arms seeming already useless. O eyes that open doubtfully, open eyes that stay motionless for a while, ah, heart, that believes in others more than itself, O expectations, stale and dismal airs, leave, leave this body of mine! I enjoy nothing anymore but my wretched dreams. (The Sheep Song, Part II)

The Sheep is Chuya's first group, which welcomes him in as a child. Why is the organization called after this animal? There are several reasons, which tie with Chuya's relationship with his friends.

1 - Chuya is a herding dog

The Sheep's members are normal kids, but Chuya guards their territory and punishes trespassers violently. This is the behaviour of herding dogs, which are famous for their aggressiveness towards outsiders.

"Everyone's waiting for you to give this enemy a beatdown! That's the only way we Sheep can protect our turf! We've only made it this far because everyone knows they can't mess with us!" (Shirase in Fifteen)

2 - Chuya is a sheep among wolves

"Chuuya's got all that berserk firepower, but here he's like sheep getting stared down by a wolf." (Dazai in Fifteen)

Chuya's relationship with the Sheep is exploitative and toxic. The other kids use Chuya's love and wish to belong to control him. All in all, Chuya is used as a pawn for the organization's well being:

"We Sheep took you in when you had no family and nowhere to go, but you already gave us more than enough in return. That's why... it's time to rest... after dying and contributing to the Sheep one last time." (Shirase in Fifteen)

3 - Chuya is the King of the Sheep

Luois I, King of the Sheep is a children book about a sheep, who finds a crown. He puts it on and becomes King. The point of the story is that Luois I is like other sheep, but chance and a superficial attribute turn him into a royal.

Chuya sees himself in the same way:

"I'm not a King," the boy, Chuuya Nakahara, spat. "I just happen to have something no one else does: power. I'm simply fulfilling the responsibility I have." (Fifteen)

Chuya's "crown" is his gravity manipulation gift that sets him apart from others. He even calls it a "good card", so something luck gives him.

Luois I lets the crown get to his head and believes he is above others. Chuya instead really wants to be part of the flock:

Chuuya wasn't anyone special; he didn't have a skill, either. He was just a regular member of the group. He wasn't the king, he had no powers, he wasn't the center of attention - he was simply a single Sheep among the flock, chatting with his friends. (Chuya's wish in Storm Bringer)

However, his ability is so powerful that it is the Sheep kids, who forget Chuya is a teenage boy just like them:

"Chuuya's covered in wounds. I've never seen him like that. He looks just like a regular guy my age. Wait, no - he doesn't just look like one. He is my age. He's a boy just like me." (Shirase in Storm Bringer)

In short, Chuya doesn't want to be the Sheep King, but he is forced into the role by the crown of power:

"Shut up! If you think you can become king, then do it! You can have this power!" Chuuya howled, unable to take it any longer. "To hell with power! If I didn't have this skill, I'd still be with you guys...!" (Storm Bringer)

Still, gifts are metaphors of the characters' interiority. So, what does Chuya's abnormous skill symbolize? What is the real flaw that defines Chuya's relationships and gets in their way?

"Once there was this boy who could amplify the skill of anyone he touched. Super convenient. So what do you think would happen if he used it on himself instead of someone else? (...) He amplified the skill to amplify the other skill, which amplified the skill to amplify skills that amplify skills. This self-referencing continued nonstop as he endlessly amplified his own skill." (N in Storm Bringer)

Storm Bringer reveals that the origin of Chuya's gravity manipulation is the gift to make other skills more powerful. The user applies his gift on himself and makes it stronger and stronger until infinite energy is created and space warps. So, Chuya's singularity is born: a gift able to control gravity. In other words:

The original ability is to make others stronger

If the ability is used on one-self (so that the wielder can become more powerful and make others even more powerful), then a contradiction arises and a monstruous skill appears

This process is a representation of Chuya's tendency to grow stronger for others' sake. He hones his fighting skills to protect the Sheep (to make them stronger), but this turns them too dependent on him (an organizational vulnerability). What a good leader should do is instead to nurture his people, so that they can be independent and strong:

“A leader is both the head of the organization and the organization’s slave. For the survival and the profit of the organization, they gladly put themselves through any manner of filth. They develop their subordinates and place them where they best fit. And, if necessary, they use and dispose of them. For the sake of the organization, they take on any act of barbarism with glee. That is a leader. All for the organization, and for the protection of this beloved city.” (Mori in Fifteen)

This is Chuya's mistake and the reason why the Sheep disbands. Chuya falls short as a leader not because he isn't as smart as Dazai or Mori (if anything, I think he is going to be a better leader than both). Rather, he fails because he doesn't know how to depend on others:

"It's because you are our friend. Were things different with the Sheep?" They had been. That was what Chuuya's flustered expression was saying. Everyone in the Sheep depended on him. The contrary was unthinkable. (Storm Bringer)

He insists on doing everything by himself, but a leader should work with his subordinates. This is what Chuya lacks in Fifteen and what he sails up to learn.

Still, to succeed Chuya needs to face the origin of this flaw, which lies in how he perceives himself:

O eyes that open doubtfully, open eyes that stay motionless for a while, ah, heart, that believes in others more than itself

Chuya sees himself as inferior to others. This complex makes him willing to be used, if it means he belongs somewhere:

LONELY DARKNESS MY SORROW, once it is opened by the key I'd rather just fall than go back to being alone Staring at the destroyed cage of this self, (GRAVITY) Slowly, I sing, "Not bad at all."

This is the key stanza of Chuya's song, which reveals what Chuya's darkness really is. Loneliness. Chuya is scared of being alone, so he does his best to conform to others' wishes. For example, he dresses like those around him not to stick out.

Chuuya, age fifteen - He wears sportsy clothes, with several sheep symbols:

Chuuya, age sixteen - He wears a formal attire with much black in it. Perfect mafia-style:

However, he can't escape his interior pain, which metaphorically manifests in Corruption:

O acquaintances, grantors of dark disgrace, do not wake me again! I will endure my solitude, arms seeming already useless.

It is not by chance that the verses, which open Chuya's gate affirm the poet's solitude. That is because deep down Corruption is just this. Chuya's isolation.

THE TAINTED SORROW (ARAHABAKI)

Upon the Tainted Sorrow, Today, the snowflakes fall so harsh. Upon the Tainted Sorrow, Today, even the strong wind gusts. The Tainted Sorrow is Just like a fox’s hooded fur. The Tainted Sorrow is Covered by snowflakes and it cowers. The Tainted Sorrow has Nothing to desire and nothing to wish. The Tainted Sorrow has A dream of death to its wary self. Upon the Tainted Sorrow, Trembling like a pitiful soul. Upon the Tainted Sorrow, Nowhere to belong, the sun sets... (Upon The Tainted Sorrow)

Corruption is a state where Chuya gives up his body to Arahabaki. What is this entity? In universe, it is a singularity, a self-contradicting skill able to create infinite power. It metaphorically represents two things:

Everyone's objectification of Chuya

A part of Chuya himself

1 - Chuya's life is defined by others reducing him to a skill

-N and the Government kidnap, abuse and clone Chuya because of his self-contradicting gift. It is not the two kids (the original and the clone) they are interested in. Rather, they reduce them to their special abilities:

"Just like how we respect your will, we respect the will of your skill Arahabaki, as well. But... how should I put this? Your will is tying Arahabaki down, and as long as your will is firm, we won't be able to remove Arahabaki from you." (N in Storm Bringer)

N says it oudloud. He respects Arahabaki's will more than Chuya's. Except that Arahabaki has no will:

"Sigh... Why do you wanna see it so bad?" Chuuya said. "It doesn't have a personality or a mind of its own, so what's meeting' it gonna do for you? You gonna pray to it because it's a god? It's a god of destruction, y'know. Nothing more than a mass of energy. It's no different from a typhoon or an earthquake. Ya might as well pray to a power plant." (Fifteen)

Arahabaki is not a person, but the embodyment of Chuya's gift. And yet, it is given a name and treated as more important than the kid.

-Rimbaud literally wants to turn Chuya into a skill:

"Allow me to reintroduce myself. Rimbaud. Arthur Rimbaud. My skill is called Illuminations. Chuuya, my goal is to kill you and absorb you into my skill" (Rimbaud in Fifteen)

He doesn't want to kill Dazai because he hates murdering children. And yet, Chuya is Dazai's same age. However, Rimbaud sees him as nothing, but Arahabaki's host.

-Verlaine wants Chuya to be his clone:

"I dunno about you, but I'm human." "You aren't human. You're 2,383 lines of code." (Chuya and Verlaine in Storm Bringer)

He denies Chuya's humanity and insists he is an artificial creation. Chuya can't be the original kidnapped child, but needs to share Verlaine's origins and hate for the world. Verlaine doesn't consider his brother a person, but an extension of himself.

2- Arahabaki is Chuuya's inner beast

In psychology, the beast is a personification of one's deepest and most repressed feelings. What are Chuya's?

His control on gravity suggests two strong emotions:

a) A lack of freedom - The ability to control gravity should make one freer. And yet, Chuya is always chained:

Even though it feels like I might be trapped, there is no room for sentiments I'll push myself to the limit and dye everything jet-black The world is a bird cage, faded in colour Even if I lament, I can't get out of this prison

He spends his childhood imprisoned in a lab. He is used as an attack dog by the Sheep. He is threatened to join the mafia with his friends' lives and Rimbaud's secret files. In a sense, he always serves someone. That is why Arahabaki is a servant deity.

b) A huge existential weight - He can make things lighter, but he still shoulders too much:

"Tell me, tin man," Chuuya suddenly stated, his voice devoid of all emotion. "Why did they die?" "Because of you, Chuuya." Silence. "Yeah, it is my fault." (Chuuya and Adam in Storm Bringer)

For example, Chuya blames himself for what happens with the Sheep, the Flags and later on Adam:

"What's wrong, Chuuya? Everyone's going to die at this rate. You're going to kill them. Your shortcomings are going to kill them." (Verlaine in Storm Bringer)

Chuya fears whoever gets close to him dies. That is why Arahabaki is a god of destruction.

Points 1 and 2 explain Chuya's loneliness. On the one hand others only see his skill (objectification). On the other hand Chuya doesn't see himself (struggle with the beast).

Arahabaki is a god whose origins are uncertain, so nobody understands it. Not even Chuya:

'In languor dreams of death' … who was the one that said it?

In the song, Chuya wonders who is the author of his own poem. This shows how disconnected he is from himself. He wears a mask of violence and bravado to hide his vulnerability. Still, this fragility emerges every time he lets Arahabaki out. Here comes the interpretative key of Chuya's character...

Arahabaki is nothing, but the Tainted Sorrow of the poem:

Upon the Tainted Sorrow, Today, the snowflakes fall so harsh. Upon the Tainted Sorrow, Today, even the strong wind gusts. The Tainted Sorrow is Just like a fox’s hooded fur. The Tainted Sorrow is Covered by snowflakes and it cowers.

The tainted sorrow is a fox covered in snow, while the wind howls:

Black snow began fluttering around Chuuya. Red scar-like runes crawled across his skin. He ignored the law of physics, hovering in the sky, as he glared down at the beast on the surface. Intense heat caused by the gamma radiation filled the air. The night was scorched, and the scenery warped. (Storm Bringer)

Arahabaki-Chuya is described as a tailed-beast and the anime shows he is similar to a fox. Moreover, he is covered in black snow, while his gravity powers manifest a strong wind.

The rest of the verses convey Chuya's feelings:

The Tainted Sorrow has Nothing to desire and nothing to wish. The Tainted Sorrow has A dream of death to its wary self. Upon the Tainted Sorrow, Trembling like a pitiful soul. Upon the Tainted Sorrow, Nowhere to belong, the sun sets...

Interestingly, the fox and the setting sun come up in Storm Bringer:

The video showed a golden coin. One side was engraved with a fox, the other with the moon. It was beautiful yet somewhat melancholy. (Storm Bringer)

The young Chuya repeats Upon the Tainted Sorrow while playing with a coin that has a fox and a moon on its sides.

The literary metaphor becomes clear. The Sheep Song is the key to open the Tainted Sorrow's gate. Chuya activates Corruption through verses, that state his loneliness. He says them, when he is ready to face the darkest part of himself.

WHAT IS CHUYA?

The Tainted Sorrow has Nothing to desire and nothing to wish. The Tainted Sorrow has A dream of death to its wary self.

The Tainted Sorrow dreams of death, which means Chuya is suicidal.

This is why he is both drawn and repulsed by Dazai:

"Your birth itself was a mistake. We're the same. Is there really a point to suffering through all that pain for a life that isn't even real?" The voice was taunting him. "Shut up," Chuuya spat, but even he knew he was talking to himself. "Screw you, Dazai." "That's just proof that you at least somewhat believe what I'm saying. Because deep down inside, you're the same as me." (Storm Bringer)

Dazai is the Chuya, who regrets being born and wishes to die. Still, he is also the Chuya, who wants to live, despite it all:

Chuya quietly stared at Daai's expression as if he were searching for something human deep inside of him. "So you're saying... you want to live now?" "I wouldn't go that far," Dazai replied with a resigned smile. "Maybe I won't find anything, but I figure I'll give it a try." (Fifteen)

The Tainted Sorrow wishes nothing because it isn't a person. Chuya fears he has no will of his own because he isn't human:

Chuuya Nakahara didn't dream. For him, waking up was like a bubble emerging from within mud. (Storm Bringer)

This fear is why Chuya's friendship with Adam is so important.

Adam is a an artificial creation, like Chuya. He is even called after the Frankenstein monster. He is a robot programmed to destroy himself for the sake of his mission:

"This is the real reason why an android was sent, instead of a human detective. My core, which now contains state secrets, will be incinirated along with Verlaine." (Adam in Storm Bringer)

Adam is a person, like Chuya. He is even called after the first man. He is a friend, who chooses to sacrifice himself for a loved one:

"I get to protect you. I couldn't ask for more." (Adam in Storm Bringer)

Dazai and Adam are linked to life and humanity, which are the main themes of Chuya's arc in the novels.

They both get to keep on living together with Chuya:

Dazai curled into the fetal position and screamed, "Dying with Chuuya? Anything but thaaaat!!" (Storm Bringer)

"Would you like to hear an android joke, Master Chuuya?" (Adam revealed as alive at the end of Storm Bringer)

Fittingly, Storm Bringer ends with the three of them together and alive. Chuya loses several friends, but by the end he still has two bonds. Two people who survive their friendship with him.

Even more importantly, Dazai and Adam both care about Chuya's humanity:

"Chuuya's gonna kill N at this rate and lose his humanity, but I want to see him suffer as a human. That's why I have to stop him" (Dazai in Storm Bringer)

"Do you know whether Master Chuuya is human?" I was curiously hopeful that he would know the truth. (Adam in Storm Bringer)

Not only that, but they help Chuya finish his arc and find himself:

Then what is a soul? My friend's final words... What if those words were merely the words of a soulless command? So what? (Chuya in Storm Bringer)

Dazai gives Chuya a choice and Adam helps Chuya make it.

Dazai believes in Chuya's humanity more than anyone else:

"You sound like you're certain he's human." "I am." Dazai sighed, smiling. "There's no way I could hate a man-made character string this much." (Storm Bringer)

N, Shirase, Rimbaud and Verlaine all reduce Chuya to a skill. Dazai instead sees Chuya as his own person. Sure, he finds Chuya annoying, but he is the only one, who interacts with Chuya for who he is, rather than what he can do.

Adam realizes Chuya is human no matter his origins:

"Asleep or not, he is just an ordinary human," Chuuya replied indifferently. "his skill is strong, but that's it. He gets mad, he worries... That doesn't seem to be enough for him, though." "You are exactly right. It appears you have reached the conclusioin you needed to arrive at." (Chuya and Adam in Storm Bringer)

The Flags, Verlaine, Dazai and Chuya himself are focused on uncovering Chuya's birth. Is he the original kid or the clone? Discovering the truth is everyone's goal. Still, by the end Adam realizes Chuya's nature doesn't matter. He is Chuya either way. He is the person who teaches Adam about humanity. He is Adam's first friend.

Thanks to both Dazai and Adam, Chuya finally faces himself and activates Corruption. Not only that, but Chuya's final choice to let Arahabaki out is a perfect example of how he interprets freedom:

Even though it feels like I might be trapped, there is no room for sentiments I'll push myself to the limit and dye everything jet-black The world is a bird cage, faded in colour Even if I lament, I can't get out of this prison BUT NOW, DARKNESS MY SORROW I have not yet fallen apart So, as I laugh off this imposed inconvenience Let's overturn even the heavens and the earth (GRAVITY)

Chuya is trapped in many ways and he knows it. He is given a gift he doesn't want and he is forced to join an organization he dislikes. And yet, he makes all these "imposed inconveniences" his. Chuya accepts the "card he is given" and uses it the best he can.

He combines his gift with martial arts, so that it really becomes his own ability:

He finds his own motivation to work for the mafia:

"I chose to join the Mafia on my own, and I'm never gonna be your lackey, much less your dog!" (Chuuya to Dazai in Fifteen)

He doesn't open the gate when N forces him, but he chooses to on his own terms.

It is really not by chance that in Chuya's first big fight in the manga, this happens:

Chuya claims there is no choice, but he is still the one who decides to activate Corruption. Even when trapped, Chuya always pushes forward and plays the hand he is dealt with passion. Even if he is unsure of who he is, he lives on as himself.

WHO IS CHUYA?

Chuuya took off one of his leather riding gloves and gazed at his hand. This is my hand, he thought. (Storm Bringer)

Chuya is a person. He has always been, no matter if he is the original or the clone. He feels pain, happiness, surprise. He is able to bond and to empathize with others. All of this makes him human. Not only that, but all of this makes him Chuya.

It is interesting that by the end, many people who objectify Chuya, recognize his personhood.

Shirase sees him as the teenage he is and saves him

Mori traps Chuya in the mafia, but is touched by Chuya's passion and loyalty:

Both Rimbaud and Verlaine eventually see who Chuya is:

"Chuuya, you already possess strength and talents all your own, separate from Arahabaki. You are strong not as a god but as a human being." (Rimbaud in Fifteen)

"Does that mean... you do not yet resent the world?" "There's people I hate, but not all of'em," replied Chuuya. "I know better than to try and live a solitary existence. You used to feel the same, right?" Verlaine didn't respond. It was as if his silence itself was his answer. (Storm Bringer)

And tell him to live on:

"Chuuya... can I... ask you... a favor?" "What is it?" "Live" Randou said in almost a whisper. (Fifteen)

"Chuuya-live." (Verlaine in Storm Bringer)

Chuya manages to inspire all these people. At the same time, he is inspired back by them:

I was blessed with wonderful friends. That's all. I could have been in your situation, and you could have been in mine. (Chuya to Verlaine in Storm Bringer)

He integrates all his loved ones in who he is:

He (probably) imitates Hirotsu's habit to wear gloves and to take them away, when he is getting serious. This mannerism partially substitutes his practice to fight with the hands in the pockets

He is given his motorcycle by Albatross and keeps it as a memory of the Flags

He wears Verlaine's hat, which is really a gift from all three Chuya's key parental figures:

1- Rimbaud creates it for Verlaine

Once Verlaine puts on the hat, the fabric lining acts like coils, deflecting any external command sequences that could tamper with his mind. In other words, the wearer can control command sequences at will. With this hat, Verlaine is one step closer to becoming a human with free will. (Rimbaud in Storm Bringer)

2- Verlaine passes it down to Chuya

"You really like that hat, huh? That was his, right?" "Yeah, I'd rather not wear my brother's hand-me-downs, but it's got some pretty useful functions." (Shirase and Chuya in Storm Bringer)

3- Mori gives it to Chuya as a gift when he joins the mafia

"What's the hat for?" "It signifies your acceptance into the Mafia," Mori explained with a smile as he stood facing Chuuya. "Whoever recruits a new member into the organization usually looks after them as well. It's custom to gift the new recruit with something they can wear as a symbol of that bond." (Fifteen)

As a result, Chuya's hat is an object full of symbolism:

Within the darkness, a shadow of a hat lightly dances.

It is both shadow (a shadow of a hat) and light (within the darkness, it dances). On the one hand it is the key to Corruption, so to chaos. On the other hand it gives Chuya the power to control this chaos to an extent.

It is both what grants Chuya's free will and what threatens his autonomy:

It describes Chuya's bond with Mori, which is contradictory. Mori blackmails Chuya to join the mafia and controls him. He also offers Chuya a family (heart) and an insight on leadership (mind).

It represents Chuya's bond with Rimbaud and Verlaine, who are Chuya's literary parents, as their real life counterparts inspired Chuya Nakahara's poetry. In general, Chuya's past lowkey alludes to the true poet's one, at least metaphorically.

Nakahara Chuya is born in a rather wealthy family and forced by his father to pursue medicine studies. However, he discovers poetry when he is 8 years old and his younger brother dies. Later on, he rebels against his father's education and is inspired by Rimbaud and Verlaine's works. He imitates both their poems and their dandy life-style.

Similarly, BSD Chuya finds himself trapped until he is symbolically awaken to literature (break out of the lab) by Rimbaud and Verlaine. Here, his poetry (Upon The Tainted Sorrow) is set free and Chuya is reborn:

Those newborn cries filled the outside world in the form of flames. The raging flames brought destruction to the surface for as far as the eye could see. And thus, " " was born. (Fifteen)

Interestingly, Chuya is 7 or 8, when Rimbaud and Verlaine arrive in his life. Moreover, his survival and freedom come at the cost of his other self (his clone/the original Chuya). Just like Nakahara Chuya's first poem is the result of his grief for his brother's death.

In other words, Chuya is Rimbaud and Verlaine's literary child. He is what their bond leaves behind. This is why initially they both strongly project on Chuya, but eventually let him go. Isn't it normal for a parent to see themselves in their child? And isn't it normal for the child to imitate the parents to an extent? And yet, the child is his own person. Just like this, Chuya is strongly defined by both Rimbaud and Verlaine, but he is growing into himself:

"It's okay. The Port Mafia is my family now" (Chuya in Storm Bringer)

So, who is Chuya? It's easy, really. He is a Port Mafia Executive (and probably the next Port Mafia boss). Right now, he needs to define his role within the organization and outside Mori. As a matter of fact, Mori is Chuya's third father, so to become an adult, Chuya needs to outgrow him. Just like he did with Rimbaud and Verlaine. Only then, he will truly choose who Chuya Nakahara is.

[daily-odile]

everything is the same except Odile is the one looping

oh. heheheheh. muahahahaha. hold on *digs through my pile of disorganized sketches*

Odile loops au; a sketch compilation!!

Some old fic drabbles + associated sketches under cut (a6 secret spoilers):

hc: Since equipment carries over, as long as Odile uses her book in a fight, she can write down notes and have it carry over loops

toxic doomed yuri (for a more fleshed out fic I highly recommend The Sweetest Thing by soreimoon, it's amazing)

[melverie]

Okay, but you guys do realize that the reason Mephisto behaves the way he does is because he has been raised with the intent of only being beneficial to the future demon king and nothing else, right?

(Buckle up because this is going to be a loooonnngggg post)

Mephisto comes from a family that has been serving the royal family for ages. He mentions multiple times that his family has always acted as their knights, their advisors and their protectors to them, and it won't be any different with him. It shouldn't be any different with him. Being beneficial to Diavolo has literally been decided to be the very meaning of his life even before he was born. He's been forced into the role and he's following it to a T because he's never known anything else, and because he can't afford to lose that. Without it, what else is left of him? What worth does he hold other than being essentially a tool for Diavolo?

And then the brothers fall and suddenly his position is at risk. Lucifer and Diavolo have already gotten along fairly well back when Lucifer was still an angel. Both Diavolo and Lucifer (as well as several others) mention that they go way back in their Nightbringer homescreen dialogues, and we see them having mutual respect by the end of the 'The Glory Days' Devilgram in the original game. Mephisto and Diavolo meanwhile might be childhood friends, but here's the thing

Diavolo wants a friend. A real friend. Someone that genuinely appreciates him for who he is as a person instead of focusing on his status as the future demon king. And that's something Lucifer can give him. They often hang out for the sake of it (apparently even eating dinner at Ristorante Six together regularly), they regularly engage in lighthearted banter, and Lucifer isn't afraid to give Diavolo his honest opinion

But that's not really the case with Mephisto...? He was never meant to be on equal footing with Diavolo; Diavolo even calls him "mini-Barbatos" at one point. He is literally still calling him 'Lord Diavolo' all the time, requests to speak his honest opinion first and waits for Diavolo to allow him to do so before actually giving it. That's why Mephisto keeps pushing down his own feelings and keeps showering Diavolo in praise any opportunity he gets while he adjusts every aspect of life to be beneficial to Diavolo in a way. Sure, he might be popular, but as long as Diavolo doesn't want him to get married he doesn't even waste a thought about relationships. He might have no real interest in journalism, but of course he'll take over RAD's Newspaper Club. After all, Diavolo asked him to! He's part of the House of Lords because as the future king's right-hand man that just makes sense. He was always just meant to be a tool for the crown prince to use, so he doesn't know how to treat Diavolo as anything but. He was literally groomed to be dispensable, so he's obviously going to act like it

And that's also where Mephisto's dislike for Lucifer stems from—he can only watch as Lucifer slowly grows closer and closer to Diavolo, and threatens to take the role that was always made up to be his. And so Mephisto keeps challenging Lucifer over and over again, trying to sabotage their friendship any way he can in hopes of winning back his position as the crown prince's right-hand man

That obviously doesn't make the way he treats Lucifer (and the rest of the brothers!) right. Lucifer isn't responsible for any of this, and blaming him for it is misguided. But it still doesn't change the fact that Mephisto has the right to be hurt at the situation at hand. His entire purpose of existence is just being ripped away from him right before his eyes and all he can do is watch. That must hurt. Especially when your entire familiy's purpose has been to serve the royal family, and you are the first one to lose that

Also, I feel like something else we need to talk about is how his fight only ever really seems to be with the brothers, especially Lucifer? Again, part of the reason is the entire Diavolo situation, sure, but I feel like it also has to do with the situation in the Devildom at large? I already vaguely talked about this in a different context a few months back, but ever since the brothers have been cast out of the Celestial Realm and arrived in the Devildom, the entire situation has just been super unstable. We as a player have a unique perspective on the events because we only have a limited outsider view to on the actual politics going on the the Devildom, while also being aware how things will play out in the future. We know that ultimately letting the brothers stay is the right choice, but that's not the way a regular denizen who has to live through all this sees it. I mean, just the way Mephisto describes the brothers really puts things into perspective:

The entire realm is super destabilized, they just semi-lost their current king, and there have been multiple very real threats of war—first when the Devildom took the brothers in in the first place, then when "Raphael" showed up and told the brothers to return, and Lucifer rightfully points out to (a comatose) MC that they are bound to go to war should the Celestial Realm ever find out that Diavolo turned Lilith into a human. There's just a lot of tension in the air, and the brothers—extremly powerful as both angels and demons—seem to be at the root of most of it in one way or another. From a the House of Lords' perspective, it makes sense to want the brothers gone, same goes for a denizens perspective. And while it is a delicate situation all around that can't just be blamed on the brothers, it makes sense for Mephisto to also see them at the center of it all. Again, that doesn't make the brothers' treatment right, but it's at least understandable given the circumstances

On a side note, when discussing his beliefs, I think it's also important to remember that he to this day is incredibly sheltered. He just accepts all this as normal because to him it is normal, but as we've seen in lesson 31 hard mode Thirteen was so shocked by his views that she immediately decided to drop everything and play therapist for him (absolute Queen for not just blaming it on him btw 💖). I know this was just a throw-away line, but this paired with him basically excisting to serve Diavolo already says so much about his character:

And with everyone else he seems to be generally pleasent? I mean, he says he doesn't want anything to do with angels or humans, and yet he risks getting injured in order to save Luke from falling. Yet he actively seeks out MC to solve one of the 666 Mysteries of RAD together with them, and saves them from tumbling on the floor because "anyone else would have done the same" (they wouldn't have. The season 1 brothers would have laughed straight in MC's face). He literally complained to Thirteen about how he was just about to go home and how he doesn't have time for her, yet diligently carries all her things for her as rain is pouring down on him. His actions always end up betraying his words

Also he has a massive sweet tooth which alings perfectly with one of the headcanons I had for months and is RAD's local horse girl so we stan! <3

-> more character & relationship analyses -> masterlist

[shadystranger]

the switch from worry for sam to appealing.. oh he knows how to fuck him up so perfectly tailored for him

[crispycreambacon]

I'm gonna be fr y'all social media is just not doing it for me nowadays

[meowsticmarvels]

we are so fucking back. despite intending to go into vlr/ztd spoiler free i could not handle it anymore and ended up spoiling myself on a few things (...not everything bc its Mostly just related to characters I care abt and im gonna try and gaslight myself into pretending I didn't see it anyway).

but oh my fucking god clocking phi as transfem in the first hour of vlr was some incredible foresight because she is even more transgender than I thought

original post here if anyone wants to see it or my additional reblog but god. im crazy

[queenlucythevaliant]

I'm watching Star Wars with my roommate, she hasn't seen any of it and she is completely unspoiled I am LIVING

[magnoliamyrrh]

its been insane witnessing the full force of propaganda and american imperialism with my own two eyes as an adult these past few years. obviously ive known abt it plenty and seen it before, but witnessing it at this age with this much force is... dystopian and crazy

[kennys-parka-jacket]

Actually, now that i think about it... who do yall think would win in a fight? Kyle or kenny?

[raiiny-bay]

here are some outtakes from my last edit btw

[ereborne]

Song of the Day: February 23

“Inkpot Gods” by The Amazing Devil

[lesbiansanemi]

I think… I have figured out the reason I never get gendered as a guy anymore and it’s making me have…. A lot of really complex feelings

[kingofmyborrowedheart]

Swifties getting mad at Taylor for things she has absolutely no control over is one of the most interesting “takes” I’ve seen recently.

[titsthedamnseason]

my roommate cut my hair for me tonight and at first i was (secretly) sad because it is wayyyyy too short but then i realized. i literally just got the 1989 chop. like this was all meant to happen this way

[apple-os]

ppl who like making friends solely with one-note cardboard boxes who will hang out with them when it's convenient and never open up about who they are as people and what their lives are like dni

[cave-monkey]

I'm watching Monkey King 2009, and I know a bit of what happens to Six Ears later so I can't help but look at things through that lens, specifically the ways the FFM troop are a hot mess in a way that's actually kind of interesting and addressed in the show (to the extent a kid's show generally touches on those things). Like! The fact it's only the second episode and the troop is now two-for-two throwing Six Ears to the wolves at the first available opportunity! I decided to look back on what happened the last time they did this and go ahead and outline the thoughts I was having on it because, apparently(!), this was not a one-off! And I was not overreacting!

The very first fight scene in the series in Episode 1. Analysis, go!

Specifically, the part where a child is the one facing down the leader of the enemy warband, a combatant who already mowed through the advances of two experienced, trained adults with minimal effort, and the show...actually kind of goes a semi-realistic route with it?

Six Ears starts off strong and confident. He's basically an adult, his king put him up to this, of course he can handle it! He won't let him down!

And he does a pretty good job! It's very kid's show fun and punchy.

But then the Demon King of Havoc - an adult, a trained fighter, a blooded fighter - starts buckling down. And Six Ears slips up. And then he keeps slipping up.

It's not fun anymore. Six Ears is in way over his head and he knows it. So you get this (honestly kind of heartstring-tugging) shot of him glancing away while the Demon King approaches to look for his mentor and idol for help or guidance or something. He's a kid, he's scared now, and he wants his grandfather.

...and finds him asleep.

Now in most media I'd expect this to either be the mentor-figure feigning indifference or carelessness to encourage their pupil to handle the problem themselves (and implying in the process that they never doubted their pupil's ability to handle it - that they were never in actual danger), or this would just be building tension before the seemingly-oblivious mentor-figure suddenly intervenes at the critical moment.

But, of course, Six Ears isn't the actual protagonist, and that's not what happens. Six Ears looks to his king for help, finds none, and that's it. The Demon King of Havoc goes in for the kill and all Six Ears can do is run.

And he does, and he runs and runs and runs, farther and farther from his troop and anyone who can help because apparently no one was paying attention to the kid who was taking on the leader of the entire opposing force by himself, and he barely stays ahead of the sword, the trees the Demon King sends crashing down on him, and he's blatantly not able to do anything more than survive moment to moment.

And then he can't run anymore.

And the Old Monkey King doesn't show up. We find out he was never going to show up.

We get a shot of the Old Monkey King slowly waking up way back in the camp well after this scene, in response to Stone Monkey's hatching. (He also stands bolt right up, which is probably meant to be in shock at the giant stone rocketing into the sky wreathed in universe energy but I also like to think might also have been a "Where the FUCK is my KID" just so I can imagine someone was concerned about Six Ears during all this.)

Like, I cannot emphasize enough, Six Ears would be dead if Stone Monkey hadn't been hatching at this exact moment. An energy burst from the hatching blinds the Demon King long enough for Six Ears to bolt and start the chase again. That's what saves him. And then again when Six Ears manages to get the egg between him and a blow from the Demon King's sword.

Considering how eager the generals are to throw Six Ears to Stone Monkey when they're still convinced he's a legitimate danger in literally just the next episode, presumably just days after all this went down, and I...sort of think they were fully aware Six Ears was likely going to die to the Demon King. While I hesitate to say they didn't care at all, they showed in Episode 2 pretty clearly that they definitely cared way less about a child of their troop's likely death than they did about saving their own skins. Not enough to back him up, not enough to go after him when he's forced to flee, not enough to take on the fight in his place.

Which is tremendously messed up all on it's own, but it gets worse because these generals are all for treating him like a young kid when it's convenient for them. They see him as a child! But they're just as quick to throw him under the bus of adulthood as soon as that's convenient for them. Whatever requires the least effort from them, that's what they want him to be.

Seriously, who the hell is taking care of this kid? Because at this point it sure seems like the Old Monkey King - who is very old and very tired and whose body is blatantly failing him - is stuck not only trying to keep his troop in something vaguely resembling working order and secure them as much as possible for his imminent death no one but him seems concerned with, but is also somehow expected to be the primary (if not sole) caregiver of a young child. Something he can't be. Like, geez, guys. Let the man wither away in peace without piling on him more fraying threads of the things he can't possibly tie up properly before he goes, thanks!

Not to mention how this would blatantly conflict with the Old Monkey King's need to have a successor as soon as possible, since the most eligible adults in his troop are, apparently, all lazy cowards who are entirely unsuitable. He brings it up like two or three times in the first episode alone, so this is clearly something that's stressing him out, and his best option is still a boy. Meaning Old Monkey King is in a position of having to desperately (but trying not to show that he's desperate) push Six Ears to grow up just a little faster because he doesn't know how much longer he has left. There's just not a lot of room for him to just let Six Ears be a kid, in those circumstances. He needs a king. He needs Six Ears to make decisions and lead and take risks, even if the ones he's taking are far beyond the sort of things that should be on a kid's shoulders. He can't be his mentor and his grandfather and his king. No one person can be all three of those. Something is going to give. And so the Old Monkey King makes his mistakes. He piles too much on Six Ears too soon. He expects too much of him too soon. He nearly gets Six Ears killed in the first episode. (He accidentally leaves Six Ears vulnerable in the future to adults who want to use him.)

It's a fascinating little set-up. Obviously not really addressed in the show, since it's for kids and framed from a kid's perspective, which is also sort of genius? I'm thinking of the second episode where the generals are more than willing to dump Six Ears on the sacrificial alter, even physically carrying him out the door, an adult on each arm, like he might wise up and get scared and run (and if he did, like they wouldn't let him), and all Six Ears does is laugh. He's a kid. We've all been kids who think some of the most messed up things are perfectly normal simply because you don't have anything to compare it to. This is just the generals being the generals, obviously. They're so silly :)

But adults were writing this show, and I can't imagine an adult writing this not knowing exactly what they were doing. Especially knowing what happens to Six Ears.

Anyway, long story short: I want to fight the generals with my bare hands. I do not want to fight the Old Monkey King with my bare hands, but I do want to give him a long, disappointed glare over his cups that I feel like he would understand perfectly.

Also, someone needs to wrap Six Ears up in a burrito blanket and stuff him in a pillow fort with Stone Monkey where nothing can hurt them. That would be nice.