#if anyone's got more we must ANALYSE THEM IN DEPTH

[easy-revenge]

Well, now I'm curious. Why do you think Angel had deeper feelings for Aki? Go crazy

ahahah ur wish is my command ~

now bear with me a lot of this relies on things that are up to interpretation so brace urselves for me reaching and being maybe a tiny bit delusional thanks

so, i will deliberately not talk about the very popular moments that akiangel has, i can do a separate post about them at some point, but i want to focus specifically on angel.

meaning: scenes where their feelings and actions are reciprocated like saving each other, helping each other live longer etc will not be mentioned in this post.

lets take this chronologically:

- bomb devil arc

angel is the personification of duality. we know he exists as an oxymoron. from his name all the way to his personality.

this for me is the core of what i think angel is as a character. however i wont get into analysing angel's whole internal conflict rn.

(i have a post talking about angel's feelings, the grief and remorse he must feel with no recollection of what brought them on. I'll talk about that in depth some other time bc even though it plays into this part, we'll stray from the subject. i thought it was worth mentioning briefly though)

that's not what i wanted to talk about in this scene. i want to focus on the second part, which happened after reze's death.

in that scene, makima had ordered angel to bring aki with him to the scene. angel disregarded that order and came alone, which led to makima "accusing" him of being kind for sparing aki from the task of killing a girl. angel replies to this with "i am an angel after all".

what gets me the most about this beautiful scene is that as we now know, makima is the control devil. her word is law. even when she's not actively making ppl obey her will, we know her commanding aura makes it difficult for anyone to stray from her orders. despite that, here is angel, casually going against a direct order to keep aki from doing sth he doesn't want to do.

this might not seem like much, but follow my thought process here.

the infamous scene. contrary to popular belief, im here to talk about the first picture rather than the later two.

the moment between aki letting go of angel's shirt and grabbing his hand, angel gets a flash of the human he was in love with before makima found him.

i used to believe he got that flash bc he thought he was finally approaching his own death (still a valid interpretation), however here rolls a very popular theory about makima's power.

we know who she can control has to do with status, who views her as superior and whatnot. however, at the very end of part 1, we have power breaking her control as she thinks about her moments with denji. in that scene, power is still afraid of makima, so why is makima unable to take control of her?

a lot of ppl have interpreted this as a "weakness" to makima's power. more specifically, that strong feelings have the power to break her control over someone, at least briefly.

rolling with this, we can assume this is what happened with angel in this scene. for just a second he gets to access the memories that makima has locked away. the next question is, what are his strong feelings about in that moment?

we know that angel isn't afraid of death, he's been waiting for it. taking that into consideration, I don't think it was the feelings about his impending death that made makima's hold on him loosen.

i think it was aki. being saved. being cared for. being cared for so unconditionally, by someone who doesn't have two months of his life to spare. by someone who by all means should not care about angel at all.

immediately afterwards, angel is held. held protectively over a chest, against a storm. we don't know how long it's been since angel has been in a situation similar to this but we can assume it's been a long time.

in my potentially delusional opinion, that feels powerful enough to shake makima's control even for a moment.

you might have guessed where im heading with all this.

- gun devil arc:

here. in this very scene. we see the shock on angel's face as aki gives himself up. the horror of what it can mean, the trigger of memory of what it had meant for him in the past.

in this scene, angel regains all the memories makima took from him, without her permission.

makima doesn't seem swayed by this, but she does comment on it, indicating it wasn't her doing at all.

following my previous logic, strong emotions is once again what pushes makima out of angel's head. this time, quite literally kicks her out. even for a little while.

considering makima's power, how easily she takes complete control of him right after anyway, we can only imagine how strongly angel felt about aki losing himself to her in that moment.

now it's up to anyone to interpret this as whatever they want. it's up to anyone to call me crazy and completely disregard this whole thing since it's thriving on subtext and theory along with analysis powered by hyperfixation.

i personally cannot shake the feeling that there are at least romantic undertones here. there are so many akiangel scenes i didn't talk about in this post, so many very blatant hints that akiangel's bond was never friendship. there was tension from start to finish and there's no other explanation for it.

as for angel specifically, since this post is about his feelings, we know he's been in love before. with a human nonetheless. we know he has the capacity for it. I don't think im reaching to think that caring so deeply and wholeheartedly for a human again could mirror these feelings.

i dont think its too unlikely for him to be in love again. but that's just me.

i was asked to go crazy and crazy i went lmao. my asks are open for more prompts for me to analyze. i have sm more to talk about if anyone wants to hear it.

thanks for the opportunity to get this off my chest heheh <3

[philomathresearch]

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[deputychairman]

who is ready for a NEW THEORY about the cobra kai wardrobe department and the deliberate re-use of iconic costumes from TKK? 

obviously there are the Watsonian moments like when Miguel wears the skeleton pyjamas which go from top dog to underdog; an easter egg in s3 when Johnny’s in white at the country club, sees Ali with Daniel and DOESNT get spaghetti spilled on him, but what about Daniel’s TKK iconic red hoodie that he’s wearing on the beach when Johnny first beats him up/when he goes to the cobra kai dojo and Johnny smirks at him/ the cobras push him off the cliff/hill? and he hates that stupid bike? BEHOLD:

(you’re gonna have to trust me on the colours, I *can* just about edit an image but i won’t do it unless I’m getting paid for it) (like you losers don’t remember EXACTLY what both these hoodies look like anyway) Johnny, in s3 ep2!

and then the white with orange sleeves t shirt Daniel’s wearing when he’s learning balance on the boat with mr Miyagi and then also punching? BEHOLD:

(again, trust me on the colours:) Robby in the whole of s2 ep1 when he starts officially training with Daniel, doing all the iconic chores and starting up Miyagi Do (and awkwardly runs into Johnny at the hardware store bc that was an easier screenshot to get)

AND this one really needs a gif (again, i can, but it would take 1900 hours and still be rubbish so I won’t): Daniel’s TKK cutoff grey sweater with the denim shorts when he first meets Ali, complete with that weird shot where the camera shows her looking at him from between his legs like we’re meant to be admiring his thighs (ok?), vs. Johnny’s sexy dream in s2 ep8 about Carmen which ends in Sexy Karate and begins - I SHIT YOU NOT - with her wearing denim shorts and a cutoff grey sweater, BEHOLD:

you are REALLY gonna have to trust me there bc Carmen gets the whole camera panning up her entire body (is this like the focus on Daniel’s thighs? idk, i just say what i see) in soft focus so I can’t screenshot her face and the outfit but I SWEAR TO YOU this is what she wears to start the sex dream

so in conclusion, I don’t know enough about TV wardrobe decisions or the evils of the moving image to analyse this but some choices certainly were made here, i think we can all see that.

[n1kolaiz]

The Six Realms

Okay, so I was pretty close to giving up on writing analyses but I'm back LMFAO plus I see we're close to 100 followers and I just want to thank you guys for being so very supportive <3

Alright, I'm not sure if anyone's ever written about this, but if an analysis like this exists, please do let me know because I'm kind of curious as to what other people think about this, too!

Remember that time Fukuchi spoke about bringing "about the five signs of an angel's death"?

I read a little bit more about it, and as a minor content warning: this analysis will focus on a few religious aspects (Buddhism + Hinduism). So if I get any of the facts wrong, firstly: I do not mean any disrespect to either religion, and secondly: please do correct me if I interpret anything in the wrong way.

Spoilers for BSD chapter 90 onwards + BEAST!AU under the cut!

So I'll start by talking about the Decay of Angels. As we all know, the members include Fyodor Dostoyevsky, Nikolai Gogol, Sigma, and Bram Stoker, and their leader, Fukuchi Ochi. After Fyodor's arrest, the Decay of Angels came into light with Nikolai murdering four government officials in a week. These murders symbolise the Buddhist cycle of existence, or otherwise known as samsara: the cycle of life, death, and rebirth.

"We are the Decay of Angels—hiding here as terrorists, a 'murder association', five people who will announce the demise of the celestial world."

Nikolai Gogol, chapter 57

Samsara is described to be a concept beyond human understanding. According to Hinduism, samsara is the physical world where every being has its soul trapped into a physical vessel. The Hindus believe that everything has a soul, and due to a soul's attachment to desire, it is forced into a deathless cycle of being born, dying, and reincarnating into a different body. In Buddhism, the ultimate way to break free from this cycle is by obtaining nirvana.

Nirvana is a Sanskrit word for the goal of the Buddhist path: enlightenment or awakening. In Pali, the language of some of the earliest Buddhist texts, the word is nibbana; in both languages it means "extinction" (like a lamp or flame) or "cessation." It refers to the extinction of greed, ill will, and delusion in the mind, the three poisons that perpetuate suffering. Nirvana is what the Buddha achieved on the night of his enlightenment: he became completely free from the three poisons. Everything he taught for the rest of his life was aimed at helping others to arrive at that same freedom.

- TRICYCLE'S definition of nirvana

As Fukuchi mentions in the panel above, there are six different realms of existence. These realms represent every possible state of existence, but one cannot live in a specific realm forever. Depending on whether or not one's past actions were morally good or bad, an individual is born into one of these realms. Basically, the controlling factor of which realm a person is born into is dependent on their respective karma. The realms are separated into two categories: the hellish ones and the heavenly ones.

The Deva Realm: where beings are rewarded for the good deeds they have done. This realm is void of anything unpleasant. It is basically paradise— empty of unfulfilled desires, any form of suffering, and fears of every kind. Religious individuals, however, do not seek to be born into this realm since its attitude is more or less carefree.

The Asura Realm: where demigods are admitted. Asuras are driven by greed and envy, and may come in conflict with human beings since they are quite similar. They are powerful beings, but quarrel with each other quite a bit, making this realm quite undesirable to be reborn into.

The Animal Realm: where beings are given the form of an animal (you probably guessed that lol). Individuals here don't actually have good karma to take pride in, but rather, they are born into this realm to work off their bad karma (by being slaughtered, hunted, or forced to work, etc). Being born into this realm forces one to atone for their past sins by living out their life as an animal.

The Hell Realm: where one is punished for their evil actions. The most merciless of realms, where one pays for their transgressions through pure suffering, methods of which include: dismemberment, starvation, and psychological/physical torture. However, once a person's term is fulfilled in this realm, they are presumably promised to be reborn into a higher state.

The Preta Realm: similar to the hell realm, in which beings pay for their past sins (specifically: greed and stinginess) by having to survive through hunger and thirst. This realm is also known as the 'ghost realm,' because some pretas are psychologically tortured by being forced to live in places their past selves have lived in. They are invisible to human beings living at that time, which pushes them to face the depths of despair and loneliness. Your typical horror movie, really.

The Human Realm: the only realm where one's actions determine their future. The status (social ranking, physical wellbeing, and so on) of a human being in this realm is determined by their past actions, but due to the fact that a person has their own conscience to differentiate good morals from bad, the actions they commit in this realm have the power to determine which realm they are sent to next.

Okay, so now that I've got that out of the way, let's shift our focus to the Book. Very little is known about the Book, but the basic fundamentals of how it works is that whatever is written in the book will come into existence only if its contents follow the rules of karma. In addition to that, only a few sentences can be written into a single page of the Book, and it must follow the current narrative of the story.

If I'm not wrong, the first time the Book was mentioned was by Fitzgerald, who wanted it to resurrect his deceased daughter in hopes of restoring his wife's mental health. The next time the Book is brought up is when Fyodor's intentions to possess it are divulged; his goal was to decimate the global population of ability-users. And now, the current arc has the Book as its central focus, with a single page in Fukuchi's possession.

[ BEAST!AU spoilers ]

The Book acts as the central point of multiverses, with each character's lives differing from universe to universe.

Dazai committing suicide in this alternate universe stands in sharp contrast with how he decided to start up a new life in the main universe.

Oda staying alive to act as a mentor to Akutagawa in the ADA differs from how Oda uses his death to prompt Dazai to "be on the side that saves people."

And of course, the way Atsushi and Akutagawa have their positions switched in the two universes depicts how different their lives would be if they were given the chance to be mentored by different people— these are just a few examples of how the Book houses an endless amount of possibilities.

[ end of BEAST!AU spoilers ]

Hypothetically speaking, this kind of reminds me of the differing realms I mentioned before, where suffering is promised in some realms, and better things are granted in the rest, depending on one's karma, or the deeds they've done in their past lives. In this scenario, perhaps one's past life can be understood as one's current life in a different universe. That's just a personal opinion though. Take it as you will.

side note: Keep in mind that the person who is more or less impervious to the Book's effect is Dazai, with his nullification ability. I wouldn't want to propose any theories in this aspect (I don't believe I'm fully fact-checked ;_;), but I could use Dazai as a raw example of how your choices affect your future. If Dazai had decided to stay in the Port Mafia after Oda's death, or if he even decided to go through with his suicidal fixations, life would've been different for him in the root universe (obviously, ryley) I mean, you could basically understand that from how he ended up in the BEAST au, but imagine if he really did slip up in his decision-making in any of the universes.

Many analysts have proposed that he went MIA (early in his life) from the main universe for a while to figure out how the BEAST universe worked, whilst having the Book to his advantage. Perhaps his actions were guided? I'm not saying he's all-knowing, but he's sure as hell smart. I'm not sure if Kafka was trying to highlight the concept of karma when it comes to Dazai, but if he is, then I suppose you could say that Dazai is pretty much unaffected by the rules of karma, existing as the centerpiece of all the multiverses. No Longer Human is the namesake of his ability, but the book talks about disqualification from societal norms and generally, the world. I was talking about it with a friend, and they reminded me that Yozo (the main protagonist) was pretty strong in his views against society. Like he didn't speak out of total defeat, he spoke out of defense. If there was anything Dazai actually lost to, it was his guilt— "Living itself is a source of sin."

Then again, that's my personal interpretation since everyone has their unique perspective of his writings. In terms of the actual adaptation, you could translate the word 'disqualification' to 'insusceptibilty' when if it came to the Book's effects on Dazai? This side note is becoming really long lmao anyways I'll link a few theories which afflicted me with brainrot down below.

Another thing before I wrap up, the name 'Decay of Angels' stemmed from Yukio Mishima's book entitled 'The Decay of An Angel.' This is the final novel to the author's tetralogy: 'The Sea of Fertility.' The main protagonist, Honda, meets a person he believes to be a reincarnation of his friend, Kiyoaki, who takes the form of a young teenage boy named Tōru. The last novel of this series enhances Mishima's dominant themes of the series as a whole:

the decay of courtly tradition in Japan

the essence and value of Buddhist philosophy and aesthetics

Mishima’s apocalyptic vision of the modern era

Again, this could be referred to what Fukuchi goes on to say:

Some people view the concept of samsara optimistically, justifying it by saying that perhaps each individual is given a second (third, fourth, fifth, who knows) chance to refine their actions in order to be birthed into a better realm, with their karma being the independent variable.

On the other hand, other people, specifically the Hindus, view the cycle of existence as some sort of plague. To them, the flow of life and being forced to endure the suffering of mere existence in any form was somewhat frowned down upon. Some Hindus viewed samsara as a trap. Besides, having one's soul being limited to a physical body for the rest of eternity was not very appealing, especially since where they ended up at depended on the karmic value their past actions surmounted.

Even so, particular types of Buddhists don't seek nirvana, but instead, like the Hindus, they make an effort to be good people of society, building up their good deeds to increase the likelihood of being reborn into one of the better realms.

As mentioned before, the Deva Realm was the home of angels, the most carefree, gratified beings to exist. Fukuchi describes these angels as the people who don't get their hands dirty, the people who act as the puppeteers of society: politicians.

In terms of parallels, angels were the most fortunate and powerful, but they didn't have anyone ruling over them. A lack of supervision would lead to the abuse of power, which is what I believe Fukuchi was referring to. Deeming himself the Decay of Angels, he sought to prove himself as the 'sign of death that falls on the nation's greed.'

A few fun facts (okay, not really) about Yukio Mishima: he committed seppuku (ritual suicide by disembowelment) on the day he held a speech to voice out his unpopular political beliefs to the public. Mishima deeply treasured traditions and opposed the modern mindset the nation was advancing forward to adapt eventually. In his last book, The Decay of an Angel, he spoke about the five signs which complete the death of an angel:

Here are the five greater signs: the once-immaculate robes are soiled, the flowers in the flowery crown fade and fall, sweat pours from the armpits, a fetid stench envelops the body, the angel is no longer happy in its proper place.

The Decay of an Angel, p.53

The reviews about this series I've read so far describe Mishima's works to be quite complex; his writings demanded a lot of time to deconstruct and understand. They were highly symbolic, and he was pretty obsessed with death and the 'spiritual barrenness of the modern world.' I think you could attach a few strings from here to the mindsets of the DOA members. Of course, this parallel is completely abstract, but I'll go on rambling anyway:

He should have armed them with the foreknowledge that would keep them from flinging themselves after their destinies, take away their wings, keep them from soaring, make them march in step with the crowd. The world does not approve of flying. Wings are dangerous weapons. They invite self-destruction before they can be used. If he had brought Isao to terms with the fools, then he could have pretended that he knew nothing of wings.

The Decay of an Angel, p.113

I suppose you could resonate Nikolai with that excerpt. As much as Fukuchi takes the lead in this whole murder association, I'd like to believe that each member of the DOA plays an equally interesting part in whatever movement they're trying to execute. Fyodor feels it is his god-sent purpose to cleanse the world of its sins, his motto being, "Let the hand of God guide you." Sigma doesn't know where he belongs, since his origination comes from a page in the Book, and is fueled by the desperation to find a reason to live. Bram holds one of the most powerful abilities which is counted to be one of the "Top Ten Calamities to Destroy the World."

What I mean to say is that the DOA members are incredibly powerful, and they're not your ordinary antagonists (or I'm just biased). It's not just overthrowing authorities, mass genocide, and world domination— you could say that each individual is trying to utilize their purposes to their fullest expenditures, and the way they're trying to assert their plan into action is a little more passive-aggressive (framing the Agency, having a convo with a suicidal dude in jail, etc). They're the gray area between evil and good. As they framed the good guys for their own crimes, they're trying to conquer the bad guys for exploiting the innocent as they please.

This post would definitely age well if all hell breaks loose in the current arc (as if it didn't) and Kafka doesn't give us a happy ending.

That's all I have to say for now I guess! Thank you for reading, and once again, if anyone else something they wanna share, feel free to do so <3

sources (tryna follow Q's example ^_^) :

the six realms

samsara

the decay of angels

beast!au

the book

the sea of fertility

yukio mishima

theory: dazai’s emotional/mental state in beast!au

q’s theory: dazai being the protector of the book

theory: beast!dazai and the book

[etheriadearie]

Hello! Absolutely love your analyses! I'd spend breaks during work reading through a piece and I appreciate all the evidence (data as Entrapta would state) you use. I see many people boil Catradora down to being abusive (aimed at Catra) and it's just so hard to argue since there's so much depth to their relationship. What are your thoughts? How would you respond to someone stating so?

:: ... Reflections on the emotional healthiness of Catradora, on Adora's arc, and on SPOP as a morally complex story-

Hi, and thank you so much for this question, I know that some SPOP fans have this kind of reaction, and while I get why they feel bad, I strongly believe such a reaction was not the intended outcome. Which is my first point:

To anyone who feels this way, Hey!!! Noelle wouldn't hurt us like that, and even though we see hurtful behaviors shown in SPOP, this isn't part of suggesting that we forgive our abusers- Noelle wouldn't do that!!

SPOP is unique in that it explores trauma as seriously as it does… this show is so many different things: it's beautiful, it's fun, it's kid friendly, and it's really meaningful. I really, really believe that both Catra and Adora’s stories are meant to be a comfort to people who grew up in situations like theirs… (I, for one, find Catra’s story very comforting).

My second point is that Adora is as much a product of hurtful abuse as Catra is, and this includes that she has some very hurtful behaviors towards Catra, especially as we see the two of them together starting well before her defection. For example-

We all know Adora is a sweetheart, and for her to even behave in hurtful ways is so against her own best nature that it's a sign that she's not really being herself. It's also very wrong in terms of her ability to be She-ra, as Etheria chose her for her ability to love- she is deep down an incredibly loving and generous person, and love is her power. Yet, when we see her with Catra in ep1, she's acting hurtful instead. This- is where their relationship becomes so complex- because Catra really isn't being hurtful, and Adora has a history...

...And, this is a much bigger problem than just her relationship with Catra, because Adora is also hurtful towards everyone in her past life, she vilifies them and fights them- never once does she make an honest attempt to help her former friends- Adora simply makes an assumption that fighting them is a necessary hurt of her 'destiny'.

Yet... this 'destiny' is a lie, and we cannot ignore how Adora's arc from s1-4 ends with her barely avoiding destroying all of Etheria... furthermore, with Horde Prime finding them all as a consequence. Despite Adora's attempts at being a hero through s1-4, it ends with her having betrayed all of her former friends for a 'destiny' which was evil all along- Light Hope never meant to make her a hero, only to use her and the rest of the princesses as a weapon. This is because Adora had followed her 'duty' and therefore failed to be her greatest good as a hero of love.

Her decision of duty and all that goes wrong results because of how Adora believes in duty before all else, including and especially love. This false belief system, where she simply fights rather than looks to help her former friends, and acts hurtfully to enact this false 'destiny', is because of how Adora was hurt by her abuser. And it makes her actions wrong- she isn't valuing love, and, she is being controlled by others, some which are evil, some which are unfair- through her false belief in duty.

This concept of duty, which is so wrong, is what Adora's entire struggles are about- this includes her hero's arc. Her perceived need to serve a false 'duty' is the reason she justifies her hurtful behavior and neglects to help her former friends, it's the reason her s1-4 arc ends in disaster with her destiny being revealed to have been false, (and that she's been manipulated for evil), and, it's the reason she's so hurtful to Catra- betraying all of their love, while failing to make any true effort to understand Catra's feelings

We might not like Catra's reaction, or how terribly wrong the war is (... one which began before either of them was even born-), but Adora wrongly believes in putting her duty so far ahead of all else that she's failing to look deeper. Adora does break promises, and she does hurt people- she hurts everyone in her old life, not just Catra, with her hurtful and blind prioritization of duty ahead of love and all else- her belief makes her vulnerable to further manipulations. Her entire concept of duty before love makes her miss how she's hurting them, and, how she's wrong to do this... ... it results in so much pain. (-in fact, Adora ends up hurting EVERYONE with her stubborn belief in enacting a false destiny, as we'll discuss.) .

So, for the purposes of this question, we need to look at Adora's behavior, and how she's wrong to be so hurtful. Catra ends up very much more wrong- that's well documented- and which we all know- but, Adora is She-ra, Catra is not, and all of Adora's actions matter so much because she is at the center of all that happens as She-ra. And, she's got to learn to value love, going against the hurtful beliefs of 'duty' that her abuser ingrained into her psyche to control her. Even though Adora is trying to do her best, she falls short of what that actually is, and it's all because of her false belief that duty must define her. She is a hero of love, not a hero of duty or destiny- because destiny cannot power her, nor guide her. Love is what must guide Adora, because love is her real power... and as a hero of love, she cannot "leave anyone behind" who needed her help...

Through s1-4, by acting hurtful, Adora is essentially creating a false equivalency by equating evil upon all of her former friends, in a hurtful way which all but ensures further division and misunderstanding. She-ra is supposed to be a uniter, a healer- yet Adora is making no effort to do so. Adora is such a extensive product of abuse that she doesn't even see that she's doing so, and she has to wake up to this in order to become a hero of love...

:readmore:

Also, in part: their division happens because when Adora leaves Catra and everyone else in her former life behind she does so having not once fought for them (see Lonnie in the portal reality, below) - very much like how she didn't fight for her and Catra's love against their abuser. As She-ra, Adora needs to be strong enough to fight for ALL of them, rebellion and the vulnerable people in the horde who are trapped in its abusive system alike- yet, Adora doesn't do so- instead she takes a simplified view of morality, and through it, justifies abandoning her and Catra's love and fighting against instead of helping everyone in her old life. That Adora doesn't try to do better is already hurtful on its own. Adora's choice of such a hurtful path happens out of multiple complex factors, some deal with her history as a abuse survivor- but in reality, it's mostly because everyone else around Adora also is not being their best, either... ...more later

As for Catra- her choices, while very very bad, come out a reaction to Adora's history of hurtful behaviors- her inability to trust Adora is a trauma reaction, just like Adora's, yet, that reaction comes in response to Adora's continued hurtful behaviors: Catra is trying to be apart from someone who has constantly hurt her by naively following duty while showing no effort to understand how she's hurtful or to fight for their love. Adora did this within the horde by playing favorite to Shadow Weaver, and Catra feels that Adora must be misguided, just like she was before, for leaving her- instead fighting against her so willingly and vilifying her... lumping her in with their abuser as evil.

Catra was constantly abused, and watched on as Adora played favorite to that abuser while ignoring how Catra was treated. So, Adora was betraying Catra all along, and had no awareness of it- it shows that Adora has a blind spot- something which she struggles with throughout her hero's arc: such as Light Hope using her for evil. Catra felt as though she had already lost the friend she thought she had years ago, and then Adora's continued hurtful behavior following her defection, while making no effort to save their love, is what causes Catra to feel she must part ways with Adora. By Catra's reasoning, Adora must not really love her- why else would Adora be so ready to hurt her, when she made a promise to love her? Catra doesn't think Adora is actually being a 'good' person by leaving like she does- and Adora's hurtful divisive actions confirm Catra is right- by choosing divisiveness and a false destiny while devaluing their love, Adora is indeed falling short of being the hero of love which Etheria chose her to be...

So, we can see Catra's distrust and Adora's being used by Light Hope as parallel, because Catra is right that Adora is letting people manipulate her, just like she did within the horde- even if Catra is only basing this belief off of her gut feelings in s1. Adora ends up betraying her promises, and being used as a weapon by Light Hope, (and the rebellion, too) for the same reason: her belief in duty which blinds her to all else.

:: 🛑 There's also the matter of whether Adora and Catra are 'in a relationship' during the war. That's dubious- morality of the war aside, Adora divides their friendship for it, not Catra- so they aren't together anymore... And, as we'll discuss, Adora is coming up short of making the best decision by doing so. But, in regards to our question: what happens during the war between Catra and Adora should be considered separately, as apart from this time in their history, Catra was quite loving with Adora: both before, and then after, the war... and so it's important to not falsely equivalate Catra actions in this way- they are not 'together' (...again, morality of the war aside..) ....more later

We'll come back to Catra's motivations later, but here's the quick reference for the meantime- Catra doesn't do what she does out of wanting to hurt Adora, her love confession in s5 precludes that. And she also doesn't do it out of any great allegiance to the Horde- it's just all she knows, and she stays there because she's trying to live free of Adora- who is a constantly inadvertently hurtful person, as Adora had actually been betraying their love for many years. But: most importantly, Catra does what she does as part of her fight against their real abuser, whom Catra sees as the real evil in their lives. This starts as Catra taking down Shadow Weaver herself, and stays true within the meaning of her other actions through the rest of her arc as well. ...more later

All in all, this is part of how Noelle gave us a morally complex story with SPOP- it's not black and white like most stories we've seen (such as ATLA). The war, while terrible, has multiple sides to it, and with it moral grayness: The horde is wrong, yet isn't really made up of evil people. The rebellion is right to defend Etheria, but has a corrupted view of the horde where they summarily judge all horde as evil. That's an amoral belief, as we'll discuss, and it plays into Adora’s confusion over who she really must be, because their hurtful views block Adora's ability to be the hero of love she's meant to be.

... And, of course- the princesses are part of an evil super weapon, as naive enablers of a generational trauma so dark that it threatens them all... ...more later

Finally, the MAJOR PSA REGARDING ABUSIVENESS.. (and therefore this question)

Since we wish to discuss abusive relationships, we must recognize that there is indeed such a relationship at the forefront of SPOP, but it's not Catradora.

All of their bad behaviors- Catra’s isolationism and hurtfulness for self protection, and Adora’s hurtfulness in the name of false duty and vulnerability to naively trusting in false ideals set out for her by others, is because of how Shadow Weaver hurt them.

SPOP as a series is all about believing in love, (even in other character arcs aside from Catradora-) and it really is about both of their struggles with how their abuser hurt them, which they have to get past to embrace love. Their story is one about the how and why we ourselves sometimes struggle to accept love- many people struggle due to having been hurt like they were- and through them, Noelle tells us a story of our own lives. 💢(minor trauma warn to readers, altho, I promise nothing too dark in this post). It's the real truth of Catra and Adora’s arcs: that they both act out hurtfully due to how their abuser has hurt them, and as such, they both contribute to their division, not just Catra. And, they both go through long arcs of self realization and healing to be better from how they've been hurt, to be their best selves and so they can be together again.

This journey of self realization is what allows Adora to start being a real hero in s5, and accepting Adora's flaws in her actions before then is an important part of understanding her arc, because, as She-ra, everything Adora does matters- no matter how unfair what's done to her is, she's got to be her best, and she has to trust in love in order to win in the end...

That concludes the "short" explanation, but, since abusiveness is such an important issue, we'll cover some specifics it in greater detail. This- is Adora's hero's arc- her and Catra's love IS her hero's journey, because she's not trusting in love in how she acts through s1-4.

So, apologies for how long this will be, but we'll be covering the following subjects as part of this discussion-

1- how and why Adora improperly continues hurtful behavior that started within the horde after she finds the sword, which Catra reacts to, and how Catra wasn't hurtful before then,

2- how Adora could have used She-ra as a liberator to help her former friends, and how the rebellion also being corrupt is why she misses seeing it,

3- Adora's self realization of her truth of love, and how it allows her to step past false destiny and manipulations,

4- how Adora was being a false hero during seasons 1-4 as told through Horde Prime forcing her to fight chipped Catra to save her during Save the Cat,

5- Catra’s wrongness and why she believes she's totally alone against her abusers evils,

6- how the love we see in s5 was always the truth.

Back to the topic of Adora’s hurtfulness, as we see it in ep1, that goes so deeply against her better, loving nature... (part 1)

From the moment we see Adora and Catra together in ep1, it's obvious that their relationship has already become very unhealthy-

This is almost entirely unhealthy on Adora’s side, not Catra’s, as every time Adora speaks to Catra, she does so with a tone- she's rude to her, she's hypercritical of Catra's actions, she's incredibly judgemental, and she acts as if superior to her.

Yet, Adora had become the puppet of their abuser- Shadow Weaver, making the mistake of trying to fulfill the false expectation of being perfect as she was told to do. And in doing so, her naive trust in fulfilling that duty made her an unintentional enabler of her own abuse, as well as Catra's.

So, all of Adora's judgments out of supposed superiority come out as false: she's devoted to a woman who means only to destroy them, it shows that she really didn't know what was going on with Shadow Weaver's abuse.

In contrast, when we look at Catra’s behavior, it's clear she thinks Shadow Weaver is evil. And, in terms of how she interacts with Adora, it's obvious that Catra is actually still being a very loving and supportive friend to Adora- we only see any of her negativity emerge in response to Adora’s own hurtfulness. As things stand in ep1, Catra isn't abusive, if anything, it's the opposite (although I wouldn't use that term).

So, we can start to see that Adora has an entire history of deeply hurtful behaviors towards Catra- starting well before the moment Catra refuses to follow her, or before her decision to forsake their love go to war against her following “Promise”. There was no good reason for Adora’s hurtfulness- it was done in respect to a false duty made for her by their abuser.

This false belief of superiority is another way in which we can see that Adora was failing to see the true evil that was happening as she was playing the favorite- she blindly believed that being good, as measured by an ideal set out for her by their abuser, was her only way of solving her problems.

Yet, Adora always had a choice- her assumption shows a failure of reasoning, because fulfilling that duty as she was told to never would have resulted in anyone being safe- much like her trying to fulfill Light Hope's ‘destiny’. Shadow Weaver only made Adora think that as part of her plan to use and then destroy her.

Likewise, Adora always had a choice to intrinsically value her and Catra’s love over the corrupt duty forced on her by Shadow Weaver- she could have kept the faith in their love, with Catra. Instead, Adora became hurtful towards Catra...

Adora was a bad friend- and her being as such in the name of false duties is the same reason she ends up being used as part of Light Hope’s corrupt 'destiny'. Also, being a bad friend is a canon part of Adora's hero’s struggle, (spoiler warn, LotFP) as being a bad friend can also be seen in how Adora acts towards Glimmer in s4: (as Bow says in s4ep8: "...it's hard being friends sometimes... So why am I the only one who's willing to work at it?". (In LotFP, Scorpia outright calls Adora a bad friend, and rightly so..)

In regards to Adora’s failure in choice- she and Catra weren't children anymore, and standing up to Shadow Weaver was always a possibility. She could have refused to play along in a system where Catra was made to suffer while she was given praise. And, the real kicker is: judging by how easily Catra takes down Shadow Weaver without Adora’s help, it wouldn't have even been that hard.

This shows Adora really was guilty of blind devotion to Shadow Weaver, because Catra had been prepared to step free of that abuse, probably for years. So, when Adora leaves Catra, devaluing their love and instead vilifying and falsely accusing Catra of being evil like Shadow Weaver (which is an immensely hurtful thing to do after the years of torture Catra suffered), Catra decides to step free of her abusers control, while also stepping free of Adora’s continued hurtfulness.

So, we see that Adora has a dangerous level of blindness to the deeper evils that people mean to use her for, which we can see in other places throughout her arc, such as with Light Hope’s plans for her. She can't even see how she's been corrupted.

Catra, in contrast, shows us she knew all along about their abusers' true evil: she shows her awareness by her little rebellions against a corrupt system where she was constantly being hurt. Catra refused to stay weak, and prepared to protect herself from her abuser all along. Yet, all Adora ever did was act out towards Catra for refusing to conform like she did...

Let's jump forward to when Adora finds the sword, and we can apply Adora’s naive belief in enacting duty, while being hurtful in the name of it, to that decision as well:

Adora accepts the sword, and her new ‘destiny’, with blindness and devotion- believing it to be her ‘destiny’, she willingly accepts that it comes at the price of hurting Catra as well as everyone in her old life as part of fulfilling it.

This ‘destiny’, or duty, is actually nothing but a lie made to confuse Adora by Light Hope and the First Ones- it's just a manipulation to use Adora for their evil. Believing in her 'destiny', Adora then makes no real effort to understand the darker truth behind what is really being asked of her, instead trusting in that 'destiny' and betraying everyone in her old life with her hurtfulness, instead of helping them, in service to this ‘destiny’. (...more later)

Adora in effect swaps Shadow Weaver for Light Hope, (the rebellion also uses Adora as a weapon in a hurtful way, which we'll discuss), and in doing so Adora acts hurtful to someone she loves, she agrees to hurt and therefore fail a whole group of people who deserve better from her. Adora has no right to vilify them like she does, after all, she was one of them herself. Also, her vilification shows no concept of her own hurtfulness and previous role as an enabler in that system.

Sure, Adora could complain that it wasn't her fault because she was being unfairly manipulated, yet Adora continually shows that she is vulnerable to those very same manipulations, again and again, throughout s1-4. It's all to do with her false assumption of fulfilling duty at any cost.

... and it brings Adora’s entire supposed ‘moral awakening’ into question, because while she's right to stick up for the citizens of Thaymore, her entire hurtful and superior attitude towards Catra while she does it is false: it's just like how Adora was hurtful towards Catra as part of playing her role as the favorite of their abuser within the horde. She was blind to the real evil that was occurring.

She therefore has no business being so hurtful towards Catra throughout s1, even IF she didn't know about the continued tortuous abuse Catra suffered because of her. All that Adora’s supposed righteousness over her ‘destiny’ actually shows is that she’s blind to what is really happening- in the past, and then again when Light Hope uses her for evil.

Also, fun fact: Adora’s supposed 'holier than thou' newfound morality isn't even her own: we know she's vulnerable to accepting others' expectations- in this case she's accepting Glimmer’s hardline view that all people in the horde must be evil. Adora takes this closed minded viewpoint and uses it as she tries to enact her false destiny all the way through s1-4, never once making an effort to help her former friends.

All in all, Adora falls short of being a real hero by doing this. And, Adora really does take things too far in her stubborn pursuit of her destiny (LotFP spoiler warn). She's so willing to hurt Catra, and all of her former friends, and is so far removed from the hero of love we see in s5 by doing so. Catra is right that Adora isn't the friend she used to have- Shadow Weaver's abuse changed Adora into something hurtful instead. (In LotFP, Adora strait up attempts to terminate Catra’s life; ...in contrast, Catra only ever tries to capture Adora...)

Catra, meanwhile, has no reason to trust Adora when she tells her she's defecting because of Adora's past history as an enabler of her (their) abuse. If Adora could hurt her, while being devoted to her abuser, what reason does Adora give Catra to think that anything will be different with her sudden new devotion to the rebellion? The answer is none, and as Catra had to look out for herself to protect herself from abuse, she won't trust Adora. Meanwhile, Adora can't even make an effort to understand Catra's feelings of being hurt by her actions...

Also- at least Catra had a plan- which we know by how she takes down Shadow Weaver to be free of her continued abuse. Nor, also, does Catra just want to leave everyone in her old life, accepting the rebellions belief that people like her are only worthy of being vilified and condemned by the princesses- Adora's self righteous judgements just makes Catra think that Adora is being hurtful and naive. Adora, meanwhile, had no plan- and even after her 'destiny' is revealed, she's still playing into the hands of her abusers while trying to fulfill her 'destiny'. It doesn't matter if Adora doesn't mean to, she's still got to be better than letting corrupt people use her for evil. She needs to learn to not be so naive.

The best theory for the hurtful way Adora behaves- by being so hurtful while ignoring the deeper truths- is that Adora has a deeply engrained hurtful world-view due to how she was hurt by Shadow Weaver, towards her abusers purpose of using and sacrificing Adora. Because of how Adora was treated, she believes that duty always comes at a cost, and that it will be painful- it's a corrupted, painful way of seeing the world where she just assumes pain comes as part of her reality of being charged with duty.

This is false, it's just what her abusers (Light Hope, too) want her to believe, and waking up to how this corrupt concept of duty is used against her by her abusers is something that must happen for Adora to be able to move past it, so that she can start being a hero of love like she's meant to be. She cannot let naive concepts manipulate her into being hurtful, and cloud her from seeing her path of love. Adora in s1 sees none of this- she only sees her concept of duty which is wrong- she does get wiser throughout s1-4 which sets up for her heroic reveal in s5, when we her true She-ra form.

So, Adora's fighting Catra and all of her former friends, instead of looking to help or understand them, is a presumption that it is a necessary cost of her duty. Upholding her 'duty' was always painful for Adora, and so she thinks hurting her former friends is 'just how it has to be', because Shadow Weaver conditioned her to expect that duty would always feel painful. Her hurtful world view assumes evil on them all, while making no attempt to do better. That's not heroic- Adora is accepting enacting a lesser evil as part of 'duty', just like when Catra was allowed to suffer within the horde while she was given promotion. A real hero faces evil at it's source, by simply vilifying her former friends and breaking her promise to Catra, Adora is being no hero of love...

Which brings us to our next topic: why Adora fails everyone in her old life, and how she could have done better to help the people trapped within the horde’s abusive system. (Part 2)

Adora’s hurtful vilification of everyone in her old life, while never finding a way to help them, really is a failure to all of them. In particular, we can see how much Lonnie feels this way, much like Catra does-

Not finding any way to help them was always a failure of Adora as a hero, something which happens because of her trauma belief of 'duty' before all else, and how her new allies in the rebellion wrongly influence her to believe that all horde are evil. Their corrupted, hurtful views makes Adora miss an obvious possibility:

Adora could have used She-ra as a liberator, rather than as a conqueror.

I realize that may sound like hyperbole, but, there's plenty of evidence of how Adora fails her former friends, and even more about how the rebellion fails the people of the horde. ->see the following pics-

So, we need to talk about why Adora never tries to help her former friends, in order to open a path to freedom like she was offered because she was She-ra.

Even though the rebellion may have the moral high ground in this story, they still fall short of being their best with their derogatory views of the horde- it further divides themselves from what are essentially fellow native Etherians, it surrenders all further thought to what is essentially hate. One result of their flawed views is how we see its Glimmer that activates the super weapon: as she says “we’re the good guys, remember?”. Are they really being their best, though?

Glimmer and Angella have pain from the war, which gives them a corrupted view of the Horde where they summarily judge all Horde to be evil out of their pain. These are derogatory views which are based on their own personal feelings of injury, which leads to their views, as leaders, crossing over from needing to protect themselves, to enacting a unnecessarily hurtful exclusion of a group of vulnerable people who needed their help.

This isn't to say that their pain isn't real… it is, it just doesn't excuse an isolationist, closed minded view of their situation. Surrendering further thought out of emotional pain simply is never healthy, they take their feeling so far as up never show any understanding to any individuals within the horde, or to try to help them. As the leaders of free Etheria, this is a failure of their station as those leaders.

So enters our sweet Adora, who, while she does always mean well, is a lifelong product of abuse that makes her highly vulnerable to blindly going along with others' expectations of her. Afraid to fail her new allies, Adora accepts Glimmer and Angella’s ‘us versus them’ close minded view of the horde as evil as her own, she ignores her deeper knowledge of how this isn't true she has from her time as one of them. Because of it, Adora never considers how they deserve to be given the same chance to be better that she was granted because of her Princess powers.

In all of SPOP, Adora is the only person who is ever actually offered a chance to switch sides. This is a failure that happens because of the derogatory and closed minded views which predominate the rebellion's beliefs- it's no secret that they hate horde soldiers, and that no forgiveness is ever offered. It's prejudiced and amoral.

In SPOP, the Horde isn't evil in the black and white sense that most stories present their villains. They are a combination of bad, but also good: we can see that good in the stories of Catra, Scorpia, Lonnie, etc- even Hordak, the supposed leader of the evil Horde, shows he can be better and gets a redemption.

So, Adora’s intimate connections to people from her former life always demanded more understanding from her than just being crushed under She-ra’s golden boot. ... Not that anybody in the rebellion is actually interested in considering this possibility- and Adora is far too concerned at failing in her new duties as She-ra to stop and see it, and so challenge those views.

It was another missed chance to help people, rather than divide, that Adora misses seeing due to her traumas- her addition to their ranks should have been a chance to change the derogatory views of the rebellion for the better, to open a real path towards freedom for people within the horde who feel trapped by its abusive system, so they can find safety from it like she did when she switched sides.

It's a way in which she could have helped her former friends, and it might even have lead to resolving the war more peacefully- losing soldiers in such a way would have weakened the Horde, possibly even seen its collapse… also, Catra would have seen that Adora was no longer giving in to a blanket derogatory view of people like her... -> ->note, Adora's childhood best friend helms the Horde, and yet, Adora still cannot find common ground ? (This is because of Adora's own divisive and prejudiced behavior towards Catra. Also, Hordak is barely the leader of the Horde- as he hides in his lab and only emerges to makes snide comments.....)

Quick aside: yes, Adora does make a few weak offers of this in s1 to Catra, but always coming after Catra had been further abused because of Adora’s actions, and always with Adora acting in her superior way that shows no understanding of how she's hurtful. It makes Catra doubt Adora’s sincerity.

As it turns out, this derogatory view of the rebellion is a much larger failure: it fails the people of the horde, but very importantly, the way their hurtful views affects Adora equals a personal failure of them all to Adora.

What's really so terribly wrong with the rebellion's close minded views is that we never see any quarter offered to the horde: there's no opportunity for such people to be better- no choice given to them to step free of their abusive situation, and to prove they don't really stand for that. Not having that offer in place is an immoral act, and an abandonment of duty.

Glimmer and Angella’s presumption of evil upon all horde with no path to forgiveness in itself traps those very people in the system which forces them to act in evil ways. War is never an easy thing to solve- but presuming the enemy as evil shuts down all possible further understanding, and perpetuates the violence: as leaders of their world, Glimmer and Angella needed to do better.

And, their hurtful views are also a enormous personal failure to Adora, because it frightens Adora and leads to her continued self hurting-

Adora accepts the rebellion's close minded views that are forced on her, she throws herself into battle continuously trying to make up for her failure to be perfect. She's so afraid to fail them that she acts in compromised ways- such as looking to sacrifice herself, or hurtfully protecting her concept of 'destiny' at the cost of brutalizing her former friends in battle, never looking to help them.

It's a hurtful way to live, and Adora does it because she's so afraid to fail her new allies as a former child soldier from the Horde, and so, their views hurt her- Angella and Glimmer's views that being from the horde is synonymous with evil are a personal failure to Adora, particularly from Angella: as a mother, she could have helped Adora to understand her new role as She-ra, and to help Adora understand her trauma.

Instead, Angella judges Adora and treats her like she's evil unless she fights as she's told to... even though Adora, as an orphan, never had a choice in being from the horde. This is an emotionally hurtful failure to Adora as a friend, (Glimmer) and as a mother (Angella).

::This is also the beginning of a series of failures, one which ends with everyone being hurt, because of Adora’s betrayal of being a hero of love, in what could be considered a butterfly effect-

-> Adora takes the hurtful, close minded black and white view of morality of the rebellion, and applies it to her relationship with Catra- she ignores their intimate history and her promises, and implies that Catra must be evil like Shadow Weaver at multiple intervals following her defection. That is a failure of love, and of their lifetime of their intimate friendship with each other.

Catra had been hurt her whole life, she watched as Adora turned from her as a friend to be the enabler of their abuser. She's had enough of being hurt in this way, and Adora isn't even making an effort to understand why Catra feels so hurt by her actions. So, Catra wants to be free of Adora, who hurts her.

Catra fails Adora as a friend- ending the generosity of love we see her have in ep1-2, that she kept giving despite Adora being so hurtful towards her. Catra is done with Adora’s double standards, she agrees to fight the war against them all, since Adora so seemingly wants it as part of her new life and a 'destiny' which ends up being fake, anyways.

And so, the rebellion's close minded views creates Adora’s failure to Catra, Catra goes to war against them, and so, the one enemy they simply cannot defeat is created by their own close minded views that the forced on Adora...

The rebellion fails Adora -> Adora fails Catra (plus all of her former friends) -> and in reverse, Adora fails ALL of them -> rebellion alike, by failing to make the choice of love, of trying to make an effort to preserve her and Catra’s love, she turns Catra against them all with her lack of faith in their love, choosing to act hurtfully instead. It is a failure of being the hero of love that Etheria chose Adora to be...

A chain reaction that starts with Glimmer and Angella’s own hurtful views ends with EVERYONE being hurt- it amplifies the war, because, Adora is at the center of all that happens, and isn't being the hero she should be... you could ever say it causes a butterfly effect...

Still, Adora had a choice to be better.

Just like she had a choice to stand up to Shadow Weaver in the horde. Just like she had a choice to not turn on everyone in her old life, judging them in such hurtful ways, while never looking to help them. And, just like she had a choice to value her and Catra’s love, and through seeing how her actions hurt their love, seen that the duty she was so blindly devoting herself to was wrongly making her hurt people that deserved better from her.

Adora in s1 has so little emotional presence to be able to see her own hurtfulness- it's due to how she was hurt- that she places her concept of duty so far ahead of love that she can't even see the value of a lifelong relationship of love she had with Catra. Why would Catra think Adora cares about her, when she so casually betrays her, infers evil upon her, implies that Catra must be like their abuser ?

If, Adora was a more emotionally present person, she would have recognized that she needed to find a better way that didn't just brutalizing everyone from her previous life. And the rebellion itself doesn't help her, they just place their unfair expectations upon her. Her trauma makes it hard for her to see why love is important- she can hardly see the bond of love that she has with Catra... so, she doesn't choose love out of false belief in duty and fails to be the hero she's meant to be.. and everyone suffers for it.

In the end, Angella and Glimmer are not in themselves blameless for creating the situation they face with Catra’s determined war against them, because as leaders of the rebellion, they had been failing the vulnerable people in the horde all along.

As the saying goes, hurt people hurt other people. It's true in life and it's true in SPOP. Mostly people hurt each other because of trauma, and in SPOP everyone's trauma adds to the sadness of the war they fight for 4 seasons, horde and rebellion alike, not just Catra... or Adora. It's not the war they needed to fight, it never was, and as such they are all mostly caught unawares when their mistakes in this way results in Horde Prime finding them- ie- the true enemy they all should have been preparing to face...

... Which, it must be acknowledged, results from Glimmer's choice of trying to use a despicable super weapon to win a war- one in which her own bad attitude hurtfully influences Adora and therefore helped to amplify. Glimmer's act nearly destroys them all, while exposing their location to their true enemy all along...

Glimmer’s naive decision results in so much disaster that it really makes you wonder if the rebellion ever deserved to win the war with the way they conducted themselves...

I'd argue no…

Glimmer’s act, and how the princesses are caught so unaware of their true enemies- (ie, Horde Prime and the First Ones) shows them to be so naive that they likely would have inadvertently activated the Heart in time, and thus destroyed themselves, anyways.

They failed to be better, acting in way that added further trauma to the system. (..this is likely really a commentary on the chaos of war in general) And, the princesses really have NO excuse for being caught so unawares like they were- they don't know their own world's history- there's no real excuse for this. Especially when we see that it was indeed possible- Shadow Weaver uncovered much of it as part of her evil plans to attain more power. (Shoutout to Bow’s dads, who made a heroic effort to understand it, while starting from scratch- 🥰)

Add to this that Glimmer’s corrupted choice to activate the heart happens much as a consequence of her listening to, you guessed it, Shadow Weaver, and we have all the proof we need that the princesses don't understand their own “hubris”.

Long story short, everyone messes up the first 4 seasons, nobody is being their best- and so, Adora has to go to great lengths and great personal risk to herself to repair all of their previous mistakes during her s5 arc. She does this in a very beautiful way- she does it through the power of her love- *not* out of destiny, or duty, or even sacrifice. (Part 3)

Adora was always a hero of love, love IS her power, and she should have seen it sooner. Trauma is what blocked her.

A bit of sympathy for Adora:

Even though I'm talking about how she's wrong, Adora constantly found herself unfairly forced into bad situations by others' expectations put on her, some of which are evil, others are at the least unfair and corrupted by hurt. So, she ends up making some wrong choices… yet she's She-ra, she's still got to be better than that.

And Adora shows great courage in getting free of her trauma cycle to trust in the power of love instead of duty, like she was always supposed to do. How she gets past this trauma mentality is by simply learning to reconnect to her best self- and her deepest feelings of love and generosity that she was chosen to be a hero for by Etheria.

... Nevermind the First Ones-- Adora was still chosen by Etheria, as she was as a loving child, before Shadow Weaver ever managed to hurt her and make her into something else.

And, Adora finds this truth within herself with almost no help from anyone with her best interests at heart- Angella tries her best for ~3 minutes in the portal reality, to make up for her own hurtfulness towards Adora. (..Bow and Glimmer do help her some, but are very much involved in their own concerns..) Adora is a hero, but not by destiny… love is her truth.

Now... Adora’s burden as She-ra is indeed incredibly unfair on a personal level, yet as She-ra, she's still got to be able to make the right choices to be able fix the big problems she faces, and making those choices must be guided by love, not by destiny or duty.

So it doesn't matter that she's not responsible for the First Ones original evil, for which she was innocently born into- Adora simply won't quit trying to make it better, because that's who she is at heart. Trying to make things better is always a core motivation for Adora, even though she broke her promise of love to Catra. Love was always her guide, and her strength, that's why Etheria chose her, and in late s4 into s5, we see Adora begin listening to her truth of love.

So, Adora’s hurtfulness with Catra from s1-4 is just the most obvious symptom of how she's struggling with a trauma mindset that blocks her from being the true hero she's meant to be. This means that Adora and Catra's relationship issues and separation was always the real story of Adora's hero's arc, because Adora failed to look deeper and save their love because to her flawed concept of duty.

Being that hero requires not surrendering her reason to false judgements which require her to be hurtful to people who deserved her love and understanding, never mind if Catra makes everything worse with her own hurtful reactions. Adora always needed to be better than that, and being able to be so understanding of the moral complexity of their situation isn't easy, but, she learns to do it. Again, Catra isn't She-ra: Adora is.

::So, SPOP is one big story about people learning to not let their shitty attitudes control them, and of getting past them in order to become better people. Adora had a bad attitude in s1: it made everything worse, she turned on her former friends because of it. Catra’s attitude might be the worst of them all, but they all learn to be better- Glimmer, Angella, Mermista… the list goes on. Everyone needed to be better, and in s5 they are- it's what gives them the power to overcome Horde Prime together.

... Adora rescuing Catra is such an important part of her hero’s arc because of how she is a hero of love, but it's also important because she's making up for her previous mistakes of passing hurtful and false judgements unfairly upon her former friends... and against Catra. We also see Adora’s true powers emerge as she saves Catra, because she's trusting in love...

Speaking of Save the Cat… (part 4)

Still, if you're at all doubting that Adora struggles with being a false hero from s1-4, it's all well confirmed as Adora faces Horde Prime during Save the Cat in order to save Catra…

When Adora shows up to save Catra, and to save their love, Horde Prime pits chipped Catra against Adora, making her play out their entire history of hurting each other for false reasons in order for her to save Catra. This is meant to be a sly and forceful character assasination by Prime of Adora as a false hero, and as a bad friend. He wants Adora to feel weak, that her failures as a hero are so total, and her lack of love so hurtful, that it's much too late for her to fix her mistakes.

Because of his belief, he really isn't expecting Adora to succeed… yet, he doesn't know that Adora has found her truth of love…

He starts out by calling Adora a false hero, rubs it in that she's a First One, part of an evil empire that he easily defeated. And then, as she battles against chipped Catra, he tells her “you will destroy the ones you love in the process.”

This is supposed to be a scathing rebuke of Adora’s actions through s4. One where Adora, and the princesses at large, played into the hands of the First Ones manipulations, where she willingly hurt Catra in the name of her false destiny.

He reminds Adora of all of her failures, and how as a First One she's from an evil race of beings, she's totally at his mercy, just like the She-ra’s before her. He throws Catra at her, tauntingly, offering the chance for her to kill Catra, like she tried to do before in the service of Glimmer and Angella's corrupt expectations that she deliver them from the horde at any cost to herself.

Moments before Glimmer destroys the server, and Adora and Catra get their chance to talk, Prime rubs it in just how much Catra had to suffer for her sacrifice to protect Adora- “she was scared in the end, and she suffered”. A cruelty Catra shouldn't have had to suffer, but for Adora’s long standing history of betraying her for false duty.

Adora tells Catra she's not giving up on her, something she did through the first 4 seasons of SPOP with her blind righteousness towards Catra, never stopping to consider how she herself might have been wrong, instead stubbornly trying to enact her false destiny.

Prime compels Adora- it's too late, the damage is done, he's all but assured to win. She is behind enemy lines, and weak.. “then you are a fool, you cannot stop Horde Prime… he will reign triumphant… it is destiny”.

Her and Catra finally get to talk to each other when the server is destroyed, and as Catra reaches out, nearly taking Adora’s hand, wanting to go home again, he steals it away and taunts Adora one more time: “some creatures are destined only for destruction”- like it always was… Catra was meant to fail from the beginning, to die. And Adora was the tool of her abusers, she threw Catra aside as part of their evil plan to make her fail for their corrupt purposes. He sends Catra plummeting to her near death..

Clutching Catra’s dying body to her chest, Prime tells Adora “it did not have to be like this”. He's telling Adora that it never had to be like this, all of her betrayals of Catra, her struggles in vain against her false destiny, were done in a naive blindness that only ever made everything worse.

Everyone was made to suffer because of her naive belief in that 'destiny', she's failed, and if she's lucky, perhaps Prime might save Catra. By submitting to his will, maybe she can spare Catra her death... or if not... perhaps Adora can at least forget her mistakes like Catra has been made to do…

We all know what happens next. Adora is not the naive girl who played by the rules of her abusers, she's stronger within herself and knows she cannot abandon love. She's there for Catra- she's going to find a way to love her better, even if that's hard to do. As she says to Prime: "you miscalculated”.

And luckily for her, Catra, a true fighter for her own sacred life, surviving against a lifetime of death threats and near death experiences, is able to hang on just long for Adora to be able to save her from the brink of death..

None of this makes Catra’s actions during the war ok, but keep in mind that Catra shows great remorse for all of her mistakes. She's learned her lessons, too… and her remorse and then total confession of love hints that Catra never did what she did as part of wanting to hurt Adora..

Still… what really makes Catra fight against Adora like she does? After all… she had a choice, too, just like Adora did... (part 5)

Catra could have chosen to sympathize with Adora's views at the battle of Thaymore, after all, Adora was clearly right that what was happening to the civilians was wrong, yet Catra didn't.

As it so turns out, Catra isn't very impressed by some suffering of people who have lived their whole lives more privileged than she has, not when every day of her life had been a crime- surviving against abuse and torture with nowhere to run or anyone to turn to, Adora included.

Her life was that of an orphan, singled out for total destruction by their abuser, and as an orphan, the only way Catra knew for sure she could get free of that was through her own actions. She can't rely on anyone liking her or helping her because of innate magical powers like Adora does.

So, putting her life in the hands of the people who have only ever seen her as an enemy makes no sense, she's been hurt too many times before, including by Adora herself, to take Adora’s word for it.

But, she at least hoped that Adora would have chosen her out of love. Adora's willingness to abandon Catra so totally, and then continuing to behave so hurtfully in all of their further meetings, seems to tell another story.

All of Catra’s anger, and her worst actions through s4 can be summed up in one thing, of which never had to do with her wanting to hurt Adora:

Catra believes that she is totally alone in the world against her abuser, that nobody else properly sees Shadow Weaver's evil or will deal with it. And so it's up to her to do what must be done.

Everyone around her is an enabler in some way: Hordak didn't care to take a role in the Horde's everyday, only cared about results. Glimmer and the princesses become the worst kind of enablers of Shadow Weaver from s3 onward by taking her in, giving her total freedom in all but name. (And then there's the matter of Glimmer letting Shadow Weaver channel her power in s3ep4, which she uses to torture and nearly take Catra’s life yet again...)

But the saddest example is how she thinks Adora is a naive enabler who will never learn any better. Catra feels that way because of Adora's hurtful behaviors towards her, and how Adora couldn't even choose Catra out of love, instead vilifying her and hurting her as part of her false belief in duty.

She's wrong about this- Adora sees Shadow Weaver’s evil, too, she just doesn't know what to do about it. Adora had hoped that leaving her old life behind would free her from Shadow Weaver's corrupt influence over her, and yet... we see Adora struggle with how she was hurt right up until the end. Still, if she had just had one decent talk with Catra, it could have cleared up so much hurt between them so much sooner. (but they never did...)

Adora, as we see her in ep1, is a person that is so incredibly naive that Catra doesn't even need to feel that Adora ever intentionally enabled- Adora's blind devotion to Shadow Weaver's plan, followed by total willingness to abandon their fight against their abuser, while instead assuming evil upon Catra while hurtfully lumping Catra in with said abuser, means, as far as Catra could tell, that Adora was never going to choose to help her at all.

Adora’s behavior in the horde was so atrociously bad, that her continued hurtfulness after leaving seems to confirm Catra’s worst fears: that Adora really didn't care about her, and only cared about her duty.

If true, Adora having had no plan to help her would have made Adora's continued naive enabling of Shadow Weaver a clear and present danger to Catra's life. Was playing the favorite to their abuser really Adora's only plan? Would she have just continued to enable Shadow Weaver right up until she pulled off whatever betrayal she had for the two of them, killing Catra, or them both? It sure would seem so.

Add to this the fact that Adora just ends up having enabled a different evil manipulator as part of her deserting her, and Catra is done expecting anyone to ever help her with the realities of her abuser. If the princesses want to call her evil, while sheltering her abuser and further enabling Shadow Weaver’s evil, she won't feel bad if they all get hurt along the way. And Adora is naive, something Catra makes abundantly clear during their fights.

Catra does a lot of dangerous and hurtful things in the name of this belief. But, this is a trauma state Catra learns to wake up from, because she's lost just like Adora is, and her trauma mentality is destructive to everyone around her.

It leaves her with nothing… no moment of happiness, nobody to call her a friend, a life of absolute loneliness with nothing to live for except her drive to punish her abuser at any cost, with little to no chance of forgiveness for her violence. She learns every lesson the hard way- that no matter how much your abusers continued existence hurts you, there's simply some things you just do not do… you're no good to anyone if you surrender your heart to that kind of anger.

Catra does show deep remorse for all of her worst actions. And, she's lucky that Adora saves her. (even if she's a bit pissed at Adora for risking herself like that… 🥺😥)

But, in regards to whether she's abusive… in s5 we don't see that. Catra does act out a little bit while coming to terms with why Adora saved her- she didn't think she would ever get a second chance. From that moment onward we only see love and devotion from Catra, she doesn't want to live in her hurtful ways anymore, even if she still has no idea how to feel safe with her abuser running wild (Adora does see and her best to protect Catra from Shadow Weaver in s5). Catra can't keep living like she was, so living to help Adora makes much more sense.

My final appeal to people who have a hard time accepting Catradora… (part 6)

:: We should all strive to not let our personal hurt block us from appreciating people's situations, and understanding them. I know it may seem like I'm targeting Adora harshly, but that's why I went to such lengths to show how her issues play out in the narrative. Adora struggles to be her best self, like Catra does, and accepting this about her doesn't mean we need to love her any less than we already do!

Adora is absolutely precious, as is Catra… they never should have been hurt like they were- Adora as the ‘hero’ and Catra as singled out for destruction because of how she loved Adora.

They were always sweet girls, like the innocent and loving children we see them as in their earliest memories, before that day when Shadow Weaver hurt them so badly.

The beautiful love we see between them in s5 is what they always deserved- they should have been allowed to grow up with innocence and then fallen in love, but instead they got hurt because of the corrupt intentions of others.

They both spend the arc of the series trying to get past how they've been hurt, to get back to each other. And how they do that is by remembering the way they loved each other before Shadow Weaver was ever able to hurt them so much and drove them apart.

That, was always their truth, their love is good and pure like it is in those childhood memories. They were always supposed to love each other, and their division was a mistake that happens out of how Shadow Weaver and others have hurt them.

Both of them show tremendous courage in working hard to be able to step past how trauma controls them to be better, it's not just Catra who has to do this.

Adora does, too, because she's got to trust in love, not duty or destiny or sacrifice to be incredibly strong in the ways she needs to be to do the really scary things she has to do- such as stopping the Heart, and of solving a millennia old war that was never her fault, plus more. Love was always what makes Adora strong enough to do the very hard things which she has to do.

When Catra is given a second chance in s5, she sees that Adora is being hurt, and how nobody really helps her… they just expect her to do whatever has to be done. And that's wrong, because it’s unfair and it hurts her. Catra knows Adora has been hurt all of her life, she just didn't realize how much...

Catra may have been made to suffer because of Adora, but she survived that, and so she heals herself to be free of it as best she can in s5. And, Catra realizes she can help Adora, really really help her, to do the very hard things that are expected of her… Catra puts everything she has into helping Adora in s5. It's what Catra always thought she'd do, as the wiser child that knew how evil the world really was. She just got all mixed up inside, fearing that Adora would never really love her… and that was wrong of her.

Catra isn't really expecting redemption.. or even for Adora to return her feelings of romantic love back to her in the same way that she feels. She's a bit a of a pessimist, and has been left waiting her whole life to see someone show care and real love to her... But, all she has left is her love for Adora, and so she gives everything she has to her.

I think that's really courageous of her, and when she sees Adora is failing in the Heart chamber, she makes a dazzling series of romantic moves during the dream and the kiss- to show Adora that she's loved, that she's wanted, and that she's not alone. Brave, romantic moves which Catra didn't know for certain that Adora would reciprocate, but... she was still willing to do it, she loves her too much to let Adora fail, and die, while feeling so scared and alone. So, Catra does everything she can think of to let Adora know that she's loved. Catra deserves some credit for that.

We see that it works, as Adora has always loved her, too. Adora was just too blocked from expressing her love by her trauma. And Adora’s final test, as a hero of love, is quite simply to accept that she can be loved, not as a hero, but for who she is...

... I don't know what else to say to anyone who can't accept their love, or at least I won't here. I think it is the most beautiful love story I have ever seen.

In large part this is because it's not simplified. Catra and Adora’s love isn't just assumed to be kismet, they have to work hard to be together. They are both really bad communicators, and had to learn to talk to each other. This is true with most relationships, and in doing so they become truly loving partners to each other.

... So, it might have been nice if there had been enough time for Noelle to give us even one more kiss between them... but, I think Noelle wanted to tell us a very mature, grown up story about overcoming adversity to embrace love. And I think that's really commendable of them.

Sorry that took so long… Anyways, Catradora is the best ship, I don't make the rules! 😅🚢 ✨ I realize I won't be able to convince everyone, but that kiss was beautiful, was it not?? So, I hope my words aren't a total loss, and that maybe I can convince just a few people to feel like I do.

Love is power. 💞🏳️‍🌈☺️

:: Hi!! - I will gladly answer anyone's questions, and feel free to let me know what you thought of this. Thank you.

Also, if you've read this far, thank you for that- if you enjoyed it please consider giving it a ✨reblogg✨ or a like!! *humble thanks 🙇*

Peace and Love,

~EtheriaDearie 🕊

Some final notes:

Yes, I do realize these are fictional characters, but it's easier to talk about them this way- they are the nuanced creations of very creative people, meant for us to enjoy… in that way they might as well be real, because they have so much to teach us-

Got time to read something short (yes I mean it!!) that's mostly pictures? Check out this cool theory about Adora's dream it's real quick!! 💞🏳️‍🌈

-all hyperlinks are on tumblr. Here's a list of my other analyses-

LotFP = Legend of the Fire Princess. It's canon, important, a whole lot of fun, and worth checking out!! 10/10 😉

-note: I will not use the term 'toxic' because of how I feel the word carries cultural connotations which detract from discussion. However, discuss as you wish! I have no issue with the word or the concept, I just seek to be very clear in my meanings -

Finally, here's a link to a YouTube video of Adora saying Catra's name (fast forward to 0:40). You can really hear how her tone changes through time, in particular in s3 right before Catra pulls the switch, as Adora is coming to terms with her mistakes as She-ra. https://m.youtube.com/watch?v=f_WRT3D3n_I

[hayleysayshay]

On Wu’s backstory:

Wu is a character many people find annoying, but I enjoy. His backstory is vague at best. Here is what we know.

Wu is the grand nephew of Hou-Ting. He is the only heir to the throne.

At some point he moved to Republic City. Commentary implies that he was there doing a degree

At some point Mako was made his bodyguard. Commentary implies that Mako was his bodyguard for the three years.

The canon status of all commentary is debatable. As far as I see it, the show is true canon, the only reason we take the commentary as canon is because nothing contradicts it, but it is particularly substantial.

So, let’s analyse this backstory. This is all my personal opinion and headcanon and based upon what I find interesting and what fits Wu’s character as we see it in Book 4.

Was there a Royal Family massacre and is Wu traumatised?

We don’t see any other family members than Hou-Ting in Book 3. In Book 4, we are introduced to Wu, and only Wu. He is the heir to the throne.

At the end of book 3, Ba Sing Se falls to a the angry citizens of Ba Sing Se. We do see them enter the palace. They are seen looting and burning.

So, did this mob murder the rest of the Royal Family? Wu is the only heir. He is the grand nephew. This implies both his parents and grandparents are dead. What happened to them? They all must have died fairly young if Wu is the heir as a twenty something in Book 4.

I believe this is the basis of the ‘royal family massacre’ argument. Wu is too young to be the only heir to the throne. And the mob were angry. Therefore, the heirs above Wu were killed.

Now to be clear: the real reason Wu is a young heir is because Bryke wanted someone young for Mako to bounce off of. He’s around the same age as Mako but has a completely different life to him. Wu is not serious whereas Mako is. Wu is flippant and Mako is serious. Wu is extroverted and Mako is introverted. Wu is rich, Mako is not. This contrast is more fun if they’re the same age.

I say this because I think it’s clear that Wu was created with no clear trauma in mind. Wu does not act especially scared, or traumatised by the past. He is cautious and scared of hearing of Hou-Ting’s death, but acts in a comedic manner (fake strangling sounds) but then resumes a proper mourning action (may she rest in piece). Wu acts fairly silly throughout the series, enjoys the attention from fans, and even towards the end he creates a plan that he hopes will gain him attention from Korra. Wu is breezy and flippant and shallow, only really maturing towards the end and appears to be genuinely committed to dismantling the monarchy.

The trauma seen in fan works is a result of fan expansions, and personally I don’t really see it having a strong basis in the show. Wu is never really shown to be scared, or withdrawn at any points. Wu is never shown to be angry at the local populace who killed his family, as although Wu is shallow he never treats anyone badly. So is he masking? That’s totally up to your interpretation. Wu could be burying all his negative emotions and is acting out to hide his trauma. This is perfectly plausible. Personally, the lack of anger is what slightly damns this interpretation for me, I’m sure he’d show something.

Also I don’t think Wu not being fully prepared to take the throne is unreasonable— it makes sense if he was going to finish his education before starting public duties and gaining more political experience. And he could have made public experiences but still be fairly shallow. It’s implied that the Dai Li have a great degree of power so Wu not taking things that seriously or having a lot of experience is perfectly reasonable: it’s not needed for him to do so. So no, I don’t think Wu being the primary heir to the throne has to be sudden and unexpected because Wu isn’t very well prepared or serious.

How Old is Wu?

If you take the idea that he was in Republic City doing a degree when Hou-Ting was murdered, he could have been eighteen at the time, and twenty-one by the time of Book 4. He could be older. He could have started the degree at a younger age however, so he could even be nineteen at the start of Book 4.

If you ignore the idea that Wu was in Republic City prior to Book 3, and only came to Republic City to be safe after the Queen’s death, he could he even younger, potentially around eighteen in Book 4 if you HC him as young, but he could also still be older than Mako. Basically nothing confirmed, but I think it does depend on how seriously you take the commentary about the degree.

Have Wu and Mako worked together for three years?

This is going to be my strongest opinion, but I don’t think their relationship makes much sense if they’ve known eachother for three years.

I feel like this was meant to explain what Mako was doing for three years, but Mako doing his job as a detective was enough. So I don’t think it was needed.

In the episode where Wu’s coronation is ruined, Wu has a breakdown. Mako asks why he even wants to be King. He apologises, and Wu says that ‘no-one ever spoke to him like that’.

No-one has ever spoken to Wu like, even Mako. For three years? I don’t buy it. Mako is professional but he does talk back to Wu. Mako doesn’t think Wu is deserving of power just because he was born into it. I can’t believe Mako would his tongue on Wu for three years.

Also, I think Wu and Mako have a nice arc over Book 4. They get to know each-other more deeply. Mako sees the more mature side of Wu. I just don’t get the impression that they really knew each other that well beforehand, and I think you’d learn more about each other if you were together 24/7 for three years.

Obviously a lot of fan works expand on this and make the whole three years together thing make sense (by making them fuck usually and then having ensuing drama), but my critique is that I often think this over explains Wu’s character and ignores the very real shallowness Wu does show in early Book 4 by making It doesn’t meant I don’t love these fics, but I just don’t really ever reconcile them with the version of Wu we see in the show.

What I headcanon.

Again, this is literally just headcanon, and the events have no real confirmation in canon, it’s just what I think is both interesting and what I think matches with Wu’s characterisation in the show, whilst also giving him a backstory and more depth.

Wu’s grandparent and heir to the throne had one child, who became Wu’s father. This grandparent and heir dies. This grandparent dies young.

Wu’s parent’s were married. It was a political arrangement as Wu’s mother was from a rich family. Their marriage is strained. They have one child, Wu and don’t really talk to eachother much. Wu’s Dad dies young from partying too hard. Wu is left the only heir.

Wu’s mother remarries a wealthy baron or something. Because of not doing widowhood properly she is not welcome at the palace and moves away from Ba Sing Se. She and Wu have a strained relationship, since she never really wanted Wu in the first place. They sometimes exchange letters. (This could be swapped for his father and his mother was the heir but honestly I just wanted a strained relationship with a maternal figure. She got her happy ending but not with Wu).

Wu and Queen Hou-Ting have a very strained relationship as Hou Ting considers him weak, and despises animals which Wu loves.

Wu ends up with no real close familial relationship and is used to never really caring about anything. He is very isolated and is mostly raised by Dai-Li appointed carers.

At twenty ish Wu decides he wants out and asks to study in Republic City. The Queen is against this but Wu is insistent and she sees it as an excuse to get him out of her hair.

Wu moved to Republic City. After the fall of the walls, the Dai Li are in disarray as much of the leadership flees the city. Wu was previously appointed Dai Li bodyguards but Republic City officials replace them with city appointed bodyguards instead to maintain order. Unsure of how to proceed with Wu, Raiko and the other leaders agree that Wu shall complete his degree whilst Kuvira restores order. Wu is rarely included in meetings that decide the Earth Kingdom’s policy because they don’t like him and everyone just accepts he will be a King supported by his advisors and won’t rule himself.

Wu is of course horrified but he has a lack of personal stake in the death of his great aunt other than the realisation that he is now under a lot of pressure, which Wu mostly just ignores.

Wu completed his degree. After this, he begins to move into the public sphere and begins to make public appearances. Instead of a rotating team of bodyguards he requests a personal one, Mako, because he saw him a newspaper and thought he was hot really cool. This happens around six months before Republic City.

Mako treats Wu as a job, but the events of Book 4 eventually push them to become better friends and get to know eachother. Wu matures What happens next is either comics canon or my own ideas.

This is complete headcanon and I expect some people disagree! Hope it makes sense.

[beyond-far-horizons]

Analysing the Zutara Cave Scene from a Writing and Psychological perspective

Forgive me, I’m an enthusiastic newbie to the ATLA fandom and Zutara (mainly because I knew the ship was perfect for me but was not canon and so I held off watching it for years.) So I know you’ve heard it all before but I wanted to break down this famous scene in more depth from my background as both a writer and a student of psychology. It’s also important since the age old ship wars are being resurrected (which I want no part of) and Zutara and this scene has been looked down on and belittled from some quarters. 

Warning - Wall of Text TM incoming!

The main thing that gets most people is these mortal enemies going from hating each other to being open and vulnerable in about five minutes of screen time. I get the impression more time and therefore more conversation has gone on off screen, but it’s amazing that Katara goes from tirade at the literal face of the Fire Nation (a country whose plagued her people and killed her mother, and Zuko himself who has hunted her and her friends, captured her at least twice and has had several intense fights with her) 

to tenderly touching Zuko’s face and “let me use our one of its kind Holy Water TM to maybe heal your face.” 

Also as others have pointed out Zuko lets this ‘peasant’ (who defeated him, wounded his pride and foiled his lifelong goal several times) touch his scar when he doesn’t let anyone else do that at this point, even girls he’s been close to. 

I doubt many Zutara shippers think this happened because the two suddenly decided the other was hot, even though there might be an unconscious physical attraction under all the animosity. But no-one can deny the writers were trying to show a shared connection that makes them open up to each other. That to me makes the relationship much deeper whether it’s platonic or romantic. 

Katara, despite her understandable rage at Zuko, is surprisingly open to forgiving and helping him as soon as he  -

a) mentions they have something in common - the Fire Nation being responsible in some way for the loss of their mothers.

b) his resolution to make his own destiny and overcome his difficult past associated with the scar.

I just love this about her character. She’s passionate, feisty and full of integrity but she can’t stop herself wanting to help make things better, even to one of her worst enemies. Her compassion is such a strength and it comes out even more when she realises she’s accidentally hurt his feelings re his face.

Zuko in turn is softer with her than I’ve ever seen him with others, even Iroh most of the time. He doesn’t get angry or even really defensive and he opens up about his mother for the first time. Extraordinary considering he’s talking to an enemy.

But this isn’t the first time he’s tried to win Katara over against his normal combative persona. When he captured her in Ep 9 you’d expect him to threaten her, especially surrounded by his men and bloodthirsty pirates. Instead he asks for her understanding and tells her (the little peasant and enemy of the Fire Nation) about his lost honour.

He then goes momentarily into full skeevy villain mode (which I loved) and offers her necklace back by placing it round her neck. (As an aside, yes this was totally the wrong tactic considering it was her mother’s who the Fire Nation killed, but I do love that he unknowingly offered her a Water Tribe betrothal necklace.)

Analysing it more deeply from a writing and psychology perspective, I’d say Katara represents the integrity and vulnerability that is at the core of Zuko’s character - the thing that got him that scar and banishment from his warlike family. 

The same side he struggles with and that Iroh tries to heal and encourage within him. It’s masterly from a writing POV that they brought this mirror up and allowed Zuko to connect and own this aspect of himself again briefly before Azula (the opposite representation and Zuko’s ‘shadow’) literally crashes the party. This is truly his ‘crossroads of destiny’, raising the stakes and therefore making us  - the audience - ache all the more when Zuko makes the wrong but understandable decision to choose Azula and his family’s version of him and betray not just Katara but Iroh too (dat angst.)

(As an aside look at the framing of the above shot. They do this alot showing him literally caught between two sides. In the previous scene with Azula and Iroh, they show both the unscarred and then scarred profile of Zuko to show the ‘two sides of him’ symbolically represented by Azula and Iroh.)

Two sides, Fire and Water, the battle of opposites and the bringing of balance is of course the core of ATLA, and Zuko and Katara’s fraught relationship sums this theme up perfectly. Another reason so many still ship them and feel aggrieved by the non-canon ending. 

I think Zuko is so wounded by Katara’s refusal to forgive him and so determined to earn that forgiveness is because she represents his true ‘honour’ - the right way to be - to fight for balance and justice with integrity no matter what. Thus he must make amends to her, not just as someone he has wronged, but as the mirror of that aspect in himself. 

Thematically this is tied up beautifully in him asking her to join him to defeat Azula in the final season and them working together to do so. 

(As another aside, the theme of balance and Yin and Yang is also mirrored in Zuko and Katara’s relationship and character development. At the start Katara is the caring, altruistic almost motherly sort and Zuko is the angry, aggressive pursuer. However like Yin and Yang that contain an aspect of the other within them, whenever Katara meets Zuko she becomes more aggressive and is allowed to process her grief and anger, unlike with her friends. Zuko, in turn is often softened by her, reawakening his compassion and deeper feelings. Yes these aspects are also fostered by others, but Season 3 highlights this dynamic to Zutara allowing Katara to address her anger and Zuko to practice caregiving and support.)

Coming back to the Cave Scene -  the most poignant part for me isn’t actually the face touch (even though I love it). It’s the final glance between them as Katara and Aang leave. Katara looks back worried, it’s as if she can sense the threshold Zuko is on and feels torn between staying and supporting him and her duty to Aang. I feel if they had had more time together Azula would have had less chance to turn Zuko. 

He looks back at her softly and there’s a beautiful musical cue, hinting at things unsaid and unfinished, she gives him a final lingering glance, still anxious, then goes. 

We all know what happens next. 

Conclusion

Looking at this from a purely plot point of view it - 

raises the emotional stakes and therefore make Zuko’s betrayal hurt worse.

Sets up Zuko knowing about Katara’s healing abilities and Spirit Water so he knows there is a possibility the Avatar could be saved. This all plays into the shenanigans of Book 3, letting Zuko go back to the Fire Nation, Azula giving him the credit and then letting down her father etc.

Giving Zuko more character development work to earn everyone’s trust esp Katara’s when he finally makes the right choice.

However I’m surprised that Bryke didn’t realise how this episode would look to the eyes of most fans esp Zutarians. Yes you could say it’s hetero-normative and why can’t they be just platonic etc but it was the Noughties, it’s a kids show and they are blatantly playing into those well known tropes - Zuko’s previous verging-on flirtatious treatment of Katara, his uncharacteristic softness and openness with her, her touching his scar, the music, their lingering glances, Aang’s jealous look (you could argue it was animosity towards his enemy but while we get this from Zuko, it is definitely played as suspicion about a potential rival so close to ‘his girl’ from Aang’s side.)

Ultimately the writers didn’t choose the romantic route, which I feel is a real shame and missed opportunity because of the depth of feeling and potential there. But what I really resent is when people act like Zutarians were stupid and/or biased for seeing and loving that potential. I hope this analysis has shown that the romantic subtext was strong (and much more believable for me than with Katara and Aang) and in line with the core themes of ATLA itself. This also refutes the suggestion that Zutara was somehow dark, toxic or shallow cos ‘he’s a bad boy’ or something. 

Zuko was owning his own struggles, emotions and destiny in this scene, it’s why Katara finally opens up to him. She doesn’t have to ‘do the work for him’, but she supports him in it as he supports her later on when he earns her forgiveness. And that’s why I love it!

Thank you for coming to my TED talk...

[staysuki]

I didn’t expect such interest in my views, the praise is so lovely 🥰 if Ash would like me to I would love to share my analyse of each chapter 🍕anon. I have the tendency to psychoanalyse people and their behaviours so feel free to correct me if I lead on the wrong foot. I wanted to add some thoughts that popped into my head the other day.

Conflict is in its inception phase. Season one has set in motion the following.

Seungmin and Jeongin’s competition: Ryujin informed y/n in episode 3 that Seungmin has always been top student in regards to his academics. However she briefly alluded to the fact that Jeongin is equally as intelligent and could pose as competition. Whether true or not it was rumoured that ‘Seungmin would go at any lengths to maintain his status’. A stoic type if you will. Yuna made comment in the same chapter that Seungmin claimed ‘he had been pushing himself too hard because Jeongin was catching up and he can’t effort to drop even a single number’. This could potentially cause conflict in future if Jeongin exceeds Seungmin intellectually. How seungmin might react is uncertain? That uncertainty could be dangerous. Many characters seem to claim they know seungmin personally, that he is capable of doing things on his own and works more effectively without help but they don’t seem to know the depth of his personality. He could very much need that help in order to understand that if someone was to surpass his level, it doesn’t undermine his intelligence or integrity. Just a thought.

Extra cred dilemma: Han made clear in ep 4 that the services done by the A.S.S club give credits affiliated with subjects of similar accord. For example (giving Minho’s cats a home) > (vet class credit). y/n makes a valid point in episode 5 asking what it is they need to do to receive credit for classes that they need more than others. The problem is it was never elaborated on. Hyunjin took to accusing Jisung of running an unsuccessful meeting and the query was left in the dust. Sooner or later the group will come to realise that all this work they are putting into helping others through this club has lead them astray to there own needs. Not sure if anyone spotted that one.

Everyone against Hyunjin: it’s not that the others are against Hyunjin but they seems to have a stained perspective of what his personality comes down to. He’s sleazy, he’s emotional, he’s manipulative. It’s clear he has made a bad rap for himself and is evident in how he is described. Fundamentally Hyunjin needs a lot of guidance and affection. He mentioned to y/n in episode 13 that his family favours Yeji over him. An estranged family connection makes for alot of hurt emotionally, hense his lashings out. I think it would be interesting to understand his dynamic with chan seen as chan checks in with him often. Hyunjin needs a nurturer and chan is definitely the nurturing type. But I wonder if Hyunjin overlooks chan because he sees him as an obstacle in the way of him doing what he pleases? He doesn’t like being told to be like others, his sister especially, and chan seems to reiterate to Hyunjin frequently that he must follow the same rules as everyone else. If there is anyone that might understand Hyunjin to some degree it’s chan, he just has to find a way to get through to him to unlock that reluctant door of letting others in.

I’ve got some more things I’ve been pondering on if you guys want to hear more. I’m really flustered that someone would even want to read what I’ve have to say. For reference I am female and use she/her pronouns but thank you for considering the latter bs anon. Your very kind all of you 💋

~Lovegame anon

ofc!! we all love hearing each other’s views and perspectives, it’s all just *chef’s kiss* 🤌. i’d love to hear all of em if it’s not too much to ask ofc like i said to bs anon, seeing the predictions and analysis for the characters breathes more life into their development so i love 🥰. i normally don’t correct anyone (as long as it’s not an important plot detail) because i also love the reactions whenever you find out whether you’re right or wrong as the story progresses. it’s like meta red herrings 😌🙏✨

and omg yes mwah. seeing all of those just gave me 💕💕💕💕. you are absolutely correct. truth be told, the things you listed were all supposed to be in season one because during the early days of this fic, i planned it to be just one continuous series (not breaking into seasons) and every conflict just happens all at once. however, i came across the problem of:

–so many characters became overwhelming to write, much less overarching arcs that happen at the same time hence why the focus of season one being on the dormitory boys and season two being on the student council

—the yeji bullying arc became so heavy and prevalent i decided to just make it the focal plot of season one

—i started dragging my feet midway through it so i wanted to take a break after yeji’s arc (which i now decided to break into seasons hence the updated masterlist)

anyway, good catch! one of the reasons why i got my motivation back with ehaloj is because of the overwhelming amount of support and responses that i get. it’s just been so heartwarming and it got me back on my feet to continue (almost ended up stopping ehaloj after season one but i didn’t want to put all my ideas to waste) so i’m glad it’s getting more traction and people are getting more interested to the point of sending asks, i love them!

i love how you even cited the chapters 🥺🥺🥺. those were some very good and indepth observations. i WISH i could respond to them but i really really don’t want to spoil anything because you kinda threw me offguard there 🤧🤌 but i just love this ask sm, i can’t tell you how much i appreciate the thought of someone appreciating my fic so much that you even remember the clued in plot hooks from long ago. i love dropping those a lot, if you’ll notice in the afterparty chapter (aside from the lovegame aspect of it) there’s also a ton of hook clues that i dropped 🤧.

and yes please, we would love to hear more. actually i want to hear all of it 🥲👑 you dropped this 👑👑👑

[a-written-dream]

Attack on Titan ch.139 spoilers

Okay, so I know a lot of people are going to be talking about what they didn’t like with the final chapter, and how disappointed they are and yada yada, and I get that, because following a series and having it end usually results in some level of disappointment (it’s fricking hard to write a good ending, isn’t it? And trying to tie everything up in a way that is both satisfactory to the author and everyone else even more so) but

I wanted to write down a few things I liked with this final chapter, because while I’m not entirely sure yet about my own satisfaction with the end, there are still things in there that I really enjoyed and that made me feel happy with the chapter. These aren’t meant to be facts in any shape or form, just things I picked up from the chapter that I enjoyed or which brought me satisfaction or happiness (as painful as it was)

(This was meant to be a short bullet list of a few things and turned into 3k of semi-analysis oops my bad)

The one thing I knew I wanted out of this chapter was to see things from Eren’s perspective, to get an understanding of why in the world he’d gone and decided that not only was destroying the world a good idea, but also pushing away his friends and telling them (pretty obvious) lies. There were so many things still left unanswered that I felt required an explanation from Eren’s side, and I really think this chapter delivered in doing that. There are still a few things I’m a little confused about, but I think I’ll need to do a proper read through of the whole manga to truly get it.

I really liked that we got to see Eren sharing his perspective together with Armin, that Armin was the last character we get to see together with Eren when he is alive. I haven’t read most of the manga, but from what I’ve heard their friendship is given even more depth than in the anime, and I really enjoyed the way the anime portrayed it. As a person who prefers platonic relationships in (canon) media, it means a lot to me that it wasn’t the love interest who got the last meaningful interaction with Eren. It shows just how important Eren and Armin’s relationship is and is a nice nod towards the fact that Armin was the one who sparked the flame in Eren that lead him to feel caged and crave freedom in the first place (I’m sure you could do an entire analysis on this but I haven’t spent near enough time analysing the manga or their relationship to be able to write one); I suppose I just think it fits very neatly in with the story and the importance of Eren’s different relationships.

I loved how dark AoT was – genuinely and thoroughly enjoyed the fact that that terrible and horrifying things happened, and this extends to the fact that Eren turns into the villain. But, despite this, I’m still quite happy that what he does isn’t entirely his own doing. Or, rather, that he does what he does to rid the world of Titans (which, additionally, was his one purpose and promise all along, wasn’t it?). He sees the future, a future without Titans, and he does what he needs to do to get there, even becoming a mass murderer (80% of humanity, though? Jeez Eren, little overboard maybe). We see previously how much it hurts him (e.g. when he’s in Liberio and cries about the young boy he meets), and then again in this chapter – and rather than being a monster, he becomes a martyr (I am a sucker for martyrs and guilt-ridden characters, so the fact that my love for Eren has only grown with this chapter makes total sense). But, I do want to point out also that while we see that he’s doing it for reasons that aren’t entirely selfish (though they are by no means selfless), we are still told that he thinks if he didn’t know the others would stop him, he would have flattened the earth anyway. I really like this small, one-panel detail because it makes the rest of it seem more likely. Isayama doesn’t twist Eren’s personality to fit the narrative and happy (”happy”) ending he wants; Eren has always had an anger in him, a selfishness, a misplaced belief that the world should be his. He is by no means a truly good person, never has been, but he can’t easily be placed into the ‘bad person’ camp, either. I think, in some senses, that this chapter really caught those contrasting parts of his personality, his grey morality. He is selfish and full of hate, but he’s also so many other things. He cares about his friends, so so much, cares about the people of Paradis, and at the end of the day, doesn’t that make him a little less selfish, if he’s willing to throw away his own humanity to save his friends (and isn’t that a theme that runs through the series? Remember Armin saying both that to ‘defeat a monster you must throw away your humanity’ and ‘someone who cannot throw away everything, cannot achieve anything’). While I definitely think it would have been cool to see Eren full of hatred to the point where there is none of the good in him left, I’m happy that we got to see him feel love. In some ways, it feels like we got to see him the way we used to know him, back before the time-skip, back before the weight of his own consciousness and guilt made him turn his back on that hope that still lived in him somewhere.

This isn’t something that I noticed/thought about myself when I read the chapter, but I saw someone point it out on here and it really struck me. Eren keeps his promise, to see the world with Armin. While they are talking, they get to explore together (the volcano and the lava, walking through the snow and seeing the northern lights above a snow-covered mountain range, finally getting to the sea) and it’s such a sweet, sweet thing that I barely know what to do with myself. I think, once again this really nicely fits in with what made Eren.. well, Eren, in the first place. That wonder and want in Armin’s eyes to see the outside world. And for Eren to uphold that promise, to the extent he can, is just so sweet, and really says something about Eren’s personality (he cares, he’s always cared, maybe he even cares too much).

I’ve seen some people complain about Ymir being in love with Karl Fritz, and I think it’s a valid thing, but I have to say I personally didn’t mind it. People fall in love with people who are bad to them, it happens, and as an explanation to why Ymir has obeyed his (and his ancestors’) command for 2,000 years, I think it works out. But, what I liked the most about it, is the fact that Mikasa is the one to show her that you can love someone and still let them go, you can love someone and go against them. I was happy already in the last chapter when it became clear that Mikasa would be the one to kill Eren, because to me it was her way of becoming her own person, in a way. Because while it’s clear after this chapter that Eren did, at least to some extent, want them to stop him, none of the others technically know this. So Mikasa isn’t stopping him for him, she’s stopping him for the world, and she’s stopping him for her. It’s her way of, after years of living and fighting and doing things for him, becoming her own person and doing something that isn’t for him. I thought it was a nice end(-ish, it’s not the last we see of her, but regardless) to her character development and her and Eren’s relationship. I also like how it furthers Mikasa’s importance to the story. I don’t think she’s been one of those female characters that exist only to be the main character’s love interest, and while her ending the age of Titans is directly linked to her love for Eren, it feels like it’s so much more than that.

Now, I know this is by no means healthy, but. I actually really liked the way Eren reacted to Armin talking (teasing him?) about Mikasa finding someone else to love with ease. Sure, that possessiveness is unhealthy and toxic, but it also feels so much like Eren. He wants the whole world for himself, so why wouldn’t he want Mikasa to himself too? And the fact that he tells Armin not to tell Mikasa because he does want her to be happy, at the end of the day, even if it isn’t with him, once again falls in line with his deep care for those that matter the most to him. I really think Eren’s character is incredibly interesting (in case I hadn’t made that clear by the endless amount of words above) and I really like how this chapter portrayed that. Is he a good person doing bad things? A bad person doing good things? Or simply a person doing what he thinks he needs to in order to get where he wants and to protect those he cares about? Another thing that I really like about his outburst is the fact that he does it in front of Armin. He dares to (essentially) throw a tantrum in front of him, saying something – that Armin even goes to say is ‘pathetic’ – for only Armin to hear because there’s a trust there that runs deeper than anything they share with anyone else.

As a person who is very supportive of platonic physical affection (I think there’s a huge lack of it in media and I think it’s a shame that physical affection should be limited to romantic and/or sexual partners), the fact that Armin and Eren hold hands (both in this chapter and in the rest of the series) makes me very, very happy to see. I am entirely on board with people who would have seen them end up together as something other than friends (I definitely see the chemistry there and kind of ship it myself), but I also love the fact that they are two friends (best friends) who are physically affectionate with each other every step of the way, including at the end (this goes for the hug too). It’s refreshing and nice to see and I think it speaks volumes about how much they care for each other (regardless of what way that may be, but I’m happy that it is platonically in canon because in my humble opinion there are too few platonic-but-still-affectionate relationships out there).

We know that Eren sees how it ends, with the others killing him and stopping him from eradicating humanity, so we know he can essentially see the future (memories from the future – I really love that), but what we also know is that he can only see his own future memories. He sees his own future memories through his father, but because there is no Attack Titan to follow him, no next Attack Titan whose memories he can see, it’s safe to assume that he can’t see anything past his own death. This makes him saying that the one who’s going to save humanity is Armin, just that much better. Because Eren isn’t saying it because he’s seen it, but rather because his belief and trust in Armin is so large and runs so deep that he simply knows that Armin is going to save them, believes it with his whole being.

The bird. I don't even know if there's any need to elaborate on this; I'm a sucker for reincarnation (and meeting in death, which is why I've loved the reoccurring visits from the fallen Survey Corps) and both Armin and Mikasa getting something from the bird (Armin getting a feather, maybe something of a nod to the seashell; Mikasa getting the scarf wrapped around her again) was very sweet. Another thing I literally just realised is that Eren becoming a bird is absolutely heartbreakingly beautiful, because birds are a symbol of freedom, are they not? (This realisation literally hit me in the face with pain, don't mind me) I think this can be viewed in two ways: either, it is only in death that Eren finds freedom (which is rather sad), or Eren is granted freedom, like he's always wanted, even if he couldn't have it while he was alive (not sure I'm making the distinction clear, but to me there's a large difference and I'd like to believe it's the second one: Eren deserves the freedom he finally receives).

Levi saluting. I can't be entirely sure, but if I remember correctly, this is the first time we've seen him salute? He did 'salute for' Hange in some ways, but it's not quite the same. I don't know all that much about Levi's backstory and his relation to the Survey Corps (besides obviously having a lot of comrades and friends he cares deeply about), but to me him saluting at the end is a sort of acknowledgement to everyone's sacrifice, a sort of 'We did it. It wasn't in vain. You are all the reason we made it this far and I am proud to have stood beside you'.

When I drafted this I wrote down 'the seashell' but right now I can't remember exactly why I liked that, but looking at the panels it clearly has some significance. I can't explain why I liked the fact that Armin gave it to Eren, but I do. It felt important.

While we get to see why Eren is doing what he's doing, given a bit of an insight into what made him do what he did, his actions – in my opinion – aren't excused. There's no 'oh it's okay you killed 80% of humanity but it's entirely reasonable because you did it for your friends'. Yes, Armin thanks him, but he does explicitly call Eren a mass murderer, not letting us or Eren forget what Eren has actually done, regardless of why he's done it. There's no excusing killing that many innocent people, regardless of why, and Eren and Armin know this too; Eren knows that there is no forgiving what he's done, that there is nothing left for him but to die because there is nothing he or anyone else can say or do that will warrant him another shot at life after what he's done.

I'm a sucker for angst and character death (don't ask me why, I honestly couldn't tell you. It simply tickles my fancy) and the fact that Eren dies at the end is right up my alley. Not only does it make my angst-loving heart go 'woo', but it also wouldn't have made any sense to keep him alive, in many ways. So while watching Eren die broke my heart, it also felt like an fate true to the story and to Eren's character and his decisions.

As viewers/readers I think most of us have known the potential that Armin holds since the first season, and it wasn't too surprising when Levi chose Armin over Erwin, but in this chapter we really get to see that it was a good decision on Levi's part. Because just as Eren says, Armin is the one to save humanity (or at least the one smart and compassionate enough to get close). Armin is the first to know what to say to ensure the Eldians' safety after the Titans are gone, is the one who comes up with a plan to stop Eren (I think? My memory might be failing me here), is one of those who are going to bring peace back from Paradis. I don't necessarily think there was any need to 'prove' that Armin was the one who deserved to live, but this chapter really shows that regardless of who 'deserved to live', Armin is a strong and capable character, fit as the 15th Commander of the Survey Corps, that has fulfilled his potential. It just really drives the point that Armin wasn't a bad choice, that maybe he was even the right choice.

And finally, I like the fact that it is left open ended. There has been a lot of resolutions, a lot of things finally resolved, and I think it's all been tied up pretty nicely. But I also enjoy the fact that peace isn't certain, nor is survival (because, is it ever?). Isayama doesn't give us everything, doesn't tell us exactly how things pan out, how life and the world after Titans might look. Rather, he allows us to build our own interpretation of how the world might rebuild itself and which routes the characters choose to take. In some way, it's so much more satisfying to have an open end like this, because it both allows the readers to explore their own interpretations of how the story might continue, but also because life in itself is open ended and the end of one struggle doesn't mean the end of all struggle. That's not to say that I think the series ended on a pessimistic or dark tone, because I really didn't. It's a good ending, a happy one, but it doesn't stray too far away from the darkness of the rest of the manga (though I must admit I was expecting a little darker ending, but I'm not necessarily disappointed). It's a hopeful ending, but not a naïve one, and I really like that.

Oooh boy this became a lot more than I expected it to oops. This was not meant to become analysis, but here we are. Might do a tl;dr later lmao

But yeah I just wanted to spread some positivity in these trying times, and I know that endings can be disappointing, so I thought sharing my own positive reactions to certain bits of the chapter might help someone else enjoy it a little more!

(Also ngl I just wanted to write stuff down because I wanted to remind myself why I liked it, and once I started writing I couldn't stop, so there's that).

[almost-correct-bnha-quotes]

Soft spot|Bakugou×Reader

Requested: Nope!

Warnings: Nah

A/N: It's 12 AM on a Wednesday and this idea popped up.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

At first, he treated you like everyone else. In his eyes, you were nothing but another extra, as he called you. But things changed after you made the simple gesture of standing up for him, after some older students began attacking him verbally. He never thanked you, but the manner in which he treated you had subtly changed since then. While he cursed other people and called them names, he seemed to avoid saying certain things to you.

Seeing the tolerating relationship between you two, people began suspecting something even more was between you. On several occasions, you were even asked if you were his girlfriend. Hell, even Deku asked you about it.

To be honest with yourself, he was attractive, and he definitely had the brains. The only thing that pushed you off, however, was his rather pompous personality. Things were, however, about to take a turn on a Thursday afternoon.

'Alright, y'all,' Aizawa said, during one of the homeroom hours he held for the 1-A students, 'I prepared an assignment that's due next week. You will have to work with someone and make a presentation of three minutes on how the Hero system can improve its security. You cannot choose with who you work. You can be as creative as you want, but keep in mind that you must have a PowerPoint that holds all the information that you'll present us.'

You sighed, just as the rest of the 1-A students. It was a pity- you had a particular strong friendship with Momo, reason for which you hoped that you could work with her.

'I put all your names in a bag, right here,' Aizawa pointed at a black, small, leather bag on his desk, 'Half of you will pick out a piece of paper with a name on it. Whosoever name you got, that's the person you'll work with. All clear?'

'Yes, sensei.' The group of students answered, in unison.

'Good.' Aizawa nodded, as he picked a random piece of paper out of the bag, 'Let's see... Momo, come take a paper.'

Momo did as she was asked to- she walked to the front desk and took a piece of paper out of the bag. Please let it be me, please let it be me., you thought.

'Ashido Mina.'

You pursed your lips. Not this time, you guessed. Momo looked at you and smiled softly. As she passed by your seat, she whispered a quick apology. You weren't mad at her. You didn't need her apology. You were very much aware that it was beyond her control to choose who she was working with that time.

Seeing how you wouldn't be working with your favourite person in that class, you scanned your classmates, looking for other good options you'd have. Deku could be a great person to work with, due to his knowledge over heroes and his persona, maybe Tsuyu would be nice too... Bakugou. He had his knowledge on heroes and the hero system, but seeing how the amount of patience within him was equal to a peppercorn, you doubted how well he's work with anyone.

Aizawa took another piece of paper out of the bag. 'Bakugou.'

The blonde boy stood up and walked proud fully towards the desk. He put his hand inside the bag and took a few moments to mix all pieces of papers inside, before eventually taking one out. He looked at the name on his paper and let his face visibly drop. He didn't have the smallest ounce of anger on his face, but he did seem... frustrated, in a way. You almost wanted to laugh. It was Deku, wasn't it?

'Bakugou,' Aizawa said coldly, 'Who is it?'

Bakugou looked at the man irritated, regaining his composure. 'Y/N.'

You felt your entire body cool off as everyone looked at you. Really...? Did... Did I just jinx it?

'So... Bakugou and Y/N,' Aizawa repeated as he wrote it on a piece of paper, 'Got it.'

'Don't say it like that.' Bakugou mumbled as he walked back to his seat.

By the end of the class, everyone had a partner. As everyone walked out class, you tried catching up to Bakugou. Finally reaching him on the hallway, you put your hand on his shoulder for a moment, as a request for your presence to be acknowledged.

'Hey, are you free this-' You began, only to freeze at the look he gave you.

He turned his head to you with a ice-cold look. He brushed off your hand off his shoulder without saying a word.

'What?' You asked.

'Leave me alone.' He demanded, coldly.

You weren't the type of person to give up so easily, but something in his tone and eyes made you rethink your choices. You shook your head.

'Alright then, mister bad mood. See you later.'

With that, you turned around and walked the other way down the hallway. You could live with a bad opinion on you. Or two, or three. It didn't matter to you much- there would always be people who won't like you, and it was okay. It wasn't even like you and Katsuki had a relationship anywhere near close, so you didn't miss out on much. All you had for each other was a slightly higher tolerance than with most people.

What you didn't know as you walked down the hallway was that Bakugou remained frozen on his spot with pursed lips, watching you get lost in the crowd of students.

'You didn't have to do her like that, you know.' A familiar voice said, next to him.

Bakugou snapped out of his trance and looked at the owner of the voice, only to recognise the relaxed face of a blonde boy in his class who looked at him expectantly.

'I know you have everyone, but-' he continued, but got interrupted mid-sentence.

'Do her like what?' A redhead boy, Kirishima, said with a laugh, 'Don't be stupid, Kaminari. Haven't you seen?'

'See what?' Kaminari frowned, as Bakugou looked at Kirishima in confusion, waiting for a more in-depth explanation.

'Bakugou,' Kirishima said, calmly, 'If you really like Y/N, your current attitude won't help, even if you do your be-'

Once he processed what the boy meant, Bakugou didn't hesitate to silence him through planting a rather violent kick on his head.

'Shut up! Who said I like her?' He yelled in his usual tone.

Kirishima laughed dryly as he rubbed the back of his head. He joked lightly on a different topic, in the hope that he'd change the mood.

As he and the two boys walked down the hallway to their next classroom, Bakugou snorted. Like you. He didn't even know why he tolerated you this much. Your Quirk wasn't anything spectacular, your skills were just a little above average, and he's seen girls who could be considered prettier.

Yet.. that once simple attempt to stand up for him while others took the chance to make him taste his own medicine did catch his attention. It was the first time he felt weak, and it was the first time he felt someone want to be by his side.

The rest of the day passed by rather quickly, as you occupied his mind through the rest of the classes. That evening, you were in your own room in the 1-A dormitory, completing an English essay that was due the next day. An unexpected light knock on your door made you jump.

For a moment, you looked at the clock. It was fifteen minutes past eight. Dinner was just an hour and a half or so ago, and most students preferred to be in their own bedrooms at the time, completing their homeworks. Who would bother visiting you?

You walked to the door and opened it curiously. You expected one of your friends to be there to ask you if they could borrow some school supplies or to ask you something regarding schoolwork, but that wasn't the case this time.

'Eh... Bakugou. Hi,' you greeted surprised as the boy looked at you with his typical frown, 'How can I help you?'

'May I come in?' He demanded.

'Of course. Enter.'

You backed away, allowing him to enter before closing the door behind you. While seating yourself back on your desk chair, you watched how he threw himself nonchalantly. on your bed.

'So... what brings you here?' You asked, trying to sound as friendly as possible.

'Whatcha writing there?' Bakugou raised his head from your pillow, to get a little sight on your desk. 'The English essay? That was really easy.'

You smiled as you continued to write down the rest of the essay. 'Yeah. It's not that hard.'

As you wrote, he didn't say anything. He simply watched you write. You two didn't get any moments to be alone, so you never got to truly know what the other was like when not under the influence of impressing others. He's looked at you before, but he couldn't remain and watch you for too long, in fear of someone noticing. It was in that moment Bakugou truly got to admire you for the first time.

It was then he realised how much he loved the way you looked when concentrating, the little tics you had while focusing, and how well you could use your time without getting distracted. He loved the way you talked, the colour of your eyes, and the way you always looked at things so optimistically. He loved the way how, even if you couldn't do something in that moment, you always pushed your limits to become better. He loved you.

After a while, he got up from your bed and walked behind you, looking at your essay over your shoulder.

'Hey, watch out,' he said as he pointed at a word on your paper, 'You forgot an h after the t.'

You analysed the word before turning at him with a smile. 'Thank you.'

At the sight of your smile, the corners of his mouth rised up inevitably.

'Tch,' he said as he grabbed a small chair and seated himself next to you. 'No need to thank me... loser.'

You smirked. 'Aren't we all losers at something?'

He didn't say anything, but he looked at you with a challenging gaze in his eyes, before resting his head over his arms on your desk. For the next ten minutes, neither of you said anything, except for the occasional moments when Bakugou would correct your mistakes on your paper.

Being honest with yourself, even if you knew that he was smart, you didn't expect him to do so well in theoretical classes. He gave off more of a street-smart aura that had you assuming that he just memorized everything before an exam or test and then let it go once the testing was over.

'There.' You smiled as you arranged your papers who were now full of writing, 'Essay's done. At last.'

Bakugou snorted. 'At last.'

'Thank you for your help, by the way. Is there anything I can help you with in return?'

You locked eyes with him curiously, as he thought. He opened his mouth almost immediately, ready to refuse, but a better idea came to him.

'Are you free this Saturday?' He asked, his smirk not leaving his face.

You felt how your face heated up, resulting in your cheeks turning as red as they could. What is this...?

'Ah... yes. I am. Why?'

'[Insert favourite movie]'s premiere is this Saturday in the cinema, isn't it? I thought you wanted to see that movie.'

Seeing the offer, you couldn't help but laugh. You couldn't say that any of the girls in 1-A were interested in seeing that movie, and you didn't know many people outside your classroom.

'Yes, I do want to see it!' You smiled.

'Then... will you go out with me, Y/N?' He asked.

The confidence he usually presented wasn't there in that moment, and you could easily feel it. You felt how vulnerable he was in that moment as he waited for your answer, and you couldn't understand why. Why would the king of confidence lose his wealth for a girl? Why would a king lose his wealth for a stranger?

'I would love to go out with you, Bakguou.'

You didn't even know why you accepted. You knew how rejecting that he normally was with everyone. Yet... in that moment, it felt different. It always felt a little different, but now the sensation that he might've been more than the hot-blooded demon he was in and outside class.

Bakugou smiled broadly as he got up from your desk. 'This Sautrday at six, then.'

He paused a moment as his eyes lingered a moment from you to your completed essay, and then back to you.

'Good luck with your essay... and everything else.'

'Thanks. You too.'

You watched how he walked to the other side of the room and pressed the doorknob. Just before opening the door, he looked back at you.

'Hey, Y/N?'

'Yeah?'

'Goodnight.'

'Goodnight, Bakugou.'

[bellablue42]

Myself as a writer and Death of the Author

I’m trying to write a novel, and it’s really hard. I feel like I’m not getting anywhere, I’m on my fifth draft and trying to create a lengthy enough narrative that doesn’t feel like filler. It is difficult, to say the least, and I really admire people with the ability to write quickly and well. 

But there’s a lot about She-Who-Must-Not-Be-Named going around again, and it made me think. We all know that she’s not the best person, but she is a writer, and she is a creator, and her works are widespread. And that... causes problems.

Is it ok to consume her work? How much do her opinions reflect in her work, and can we spot it? I have no idea, but here’s my best shot, as an aspiring writer and a high-school literature student.

Please be warned I have no experience, and I’m kind of making this up as I go along, but here we go.

Last year, at the start of the school year, in Literature, my class watched Midnight in Paris. The movie was written and directed by Woody Allen, who is... well-known for all the wrong reasons, namely allegedly assulting seven-year-old Dylan Farrow. One of the girls in my class pointed out this fact, and my teacher nodded and said that we were discussing Death of the Author.

Death of the Author is an interesting topic. It holds that an author’s intentions and background should have no impact on interpreting a text. It is interesting, and it is really bloody hard to do.

Keep in mind that if you pick up a book by a relatively famous author, you will know something about them. If you take Mrs Dalloway, for example, if you’ve ever heard of Virginia Woolf, you will doubtless know that she was a writer and that she committed suicide, even if you know nothing else. The fact that she did commit suicide will influence the way you read Mrs Dalloway.

If you read Lady Lazarus by Sylvia Plath, for example, you will probably know that Plath was not mentally healthy and committed suicide by sticking her head in an oven. And that will influence the way you read Lady Lazarus. If you read any of Lovecraft’s work, you will come to the conclusion that he is a racist. It’s not hard to figure out.

Death of the Author means separating these facts from the way you interpret a work. It is really hard, trust me.

Because we look for links, everywhere we look for these links. We know that Sylvia Plath committed suicide, so when you read Lady Lazarus, you make connections. Go read Lady Lazarus now, go read it knowing that Plath committed suicide, and keep that fact in mind. Here’s the link: https://www.poetryfoundation.org/poems/49000/lady-lazarus

Now read it again, and try to forget it, all the connections you made knowing that Plath stuck her head in an oven. It is really hard to do, because you know, and you remember. Death of the Author is forgetting the context of the author, forgetting their impact on the text.

Here’s a thing, I write a lot. Like, a lot. Not published, obviously, but I write about as much as I read, and that is a lot. And I believe, that when you write, you put a bit of yourself into it. It doesn’t have to be obvious, maybe just the way you connect to a character, or your views on a topic. I can’t say I don’t do this - my main character is an asexual lesbian who panics a lot and loves her girlfriend. Her competence doesn’t come from me, but the gender, the sexuality, the panic? All of that is inspired by, you know, me. My experiences, my opinions. I am conscious in my word choices, I’m trying not to use gendered language for the soldiers, because they are men, women, non-binary, genderfluid and others, all together, so my main character can’t call them her men, they are her soldiers. It’s hard. I’m aware that I have biases, and my reading experiences are usually texts that ... do not do this. 

Sorry, I’m rambling, and no-one wants to know. 

But I as a writer, put a bit of myself in my work. And I think that’s what makes Death of the Author so hard to do, so hard to remember. 

And now onto HER. I can’t remember what brought my attention to her in the first place, maybe a post about a Harry Potter tv show?

The problem about JK Rowling is that she wrote Harry Potter. And Harry Potter is... huge. The problem is that we grew up on Harry Potter. 

Looking back, there are big problems with the series; plot holes bigger than my fist, a lack of original plot lines, and little creativity. Harry Potter is a mishmash of already well-established genres and archetypes, and it... doesn’t fit together particularly well. 

(Take Dumbledore, at once the mentor archetype from the fantasy genre and the authority figure in the boarding school genre. The problem is that being both causes a bit of dissonance. He mimics the typical ‘wise old mentor wizard’ from fantasy, like Gandalf, but he is also a school headmaster. He is a grandfatherly teacher who takes an interest in the son of two of his past students, nothing particularly new, but at the same time, he’s a figure out of legend, an incredibly powerful man, both magically and politically. It is hard for my brain to fit them together well because they are two different archetypes and they don’t mesh. They belong in different genres, because the way he is written can’t seem to decide which one he is. I might write more on this later if anyone’s interested)

But Rowling’s a TERF. And she’s been on Twitter and said all sorts of bizarre things about the odd mish-mash of genres she’s created. I’m not really a fan of Harry Potter anymore, I grew up with it. I have seven books in a shoebox under my bed. I have read far better books, I have read many, many books with more interesting stories, better internal consistency and characters with actual depth, who don’t need fandom to be interesting. 

And yet I still have all seven books in a shoebox under my bed. It’s hard. I genuinely liked the books - when I was twelve. I’d sooner recommend the Discworld books by the late great Sir Terry Pratchett than Harry Potter, and not just because of HER. They’re better books. Harry Potter is average. 

But we loved them. 

And Rowling’s a TERF. Her views on trans people are... not okay, by any measure. I don’t have words for ... how great the cognitive dissonance is. She wrote a series, a seven-book, eight-movie series, about the power of unconditional love. Over a million words, just under 20 hours about acceptance and tolerance. And yet she doesn’t believe that trans women are women. 

The problem is that it is hard to apply Death of the Author. Once you know that JK discriminates against transgender people, it is hard to read Harry Potter without remembering that. 

Then you get into other issues about how all of the endgame couples are straight. And Dumbledore’s only gay when the series is ended. And there’s a lack of diversity in the books and the movies. And once you start reading into it, it gets ... iffy. Because it’s not meant to be read into, not meant to be analysed. It’s a children’s series. But it’s problematic, not for the things it says, but fo the things it doesn’t say.

The thing is that SHE is impressive. As a writer, at least, not as a person. Because it is hard to write, and she managed an extensive, relatively-coherent storyline across seven books, released over ten years. But her first book got rejected, again and again. 

Her net worth is somewhere between 650 million and 1.2 billion. And she earns all that money off a book series whose main themes are friendship and love. And she’s a TERF.

I can’t say I hate her - I don’t know her. She might be a genuinely nice person, but she’s a TERF. She doesn’t believe that trans people are the gender that they say they are. I cannot understand how you can believe that, but. She does, apparently. She wrote so much about love conquering all evil, and friendship saving the day, but she doesn’t think that trans women should be allowed into female bathrooms.

I hate her ideology. 

Go read Discworld instead. Think about Death of the Author, then read Night Watch. It’s a great book. Or go read Good Omens, because Pratchett co-wrote that. 

The thing about Discworld is that you can tell what Pratchett thinks is worth paying attention to. Small Gods is primarily about religion, about belief, and about people. The last one is the most important, because Pratchett believed that the greatest thing you can be is human and kind, and he’s right. The witches on the Discworld are... perhaps not nice, but they are decent, and they are fundamentally people. They are human, and they are kind, and that is what makes them good people. 

The thing about Harry Potter is that “Muggle” sounds like a slur. There’s all this attention paid to the whole “mudblood” thing that people forget that behind all the blood purity nonsense - which sounds a lot like eugenics - the purebloods, the rich entitled kids, believe that non-magical people are less than animals. The Wizarding world is stuck in the Middle Ages, not even the bloody Renaissance. Human history has passed them by. It is so hard now to read Harry Potter without finding problems, like how all the magicals are fundamentally stupid, how a literal one-year-old is praised for supposedly killing an extremely powerful mass-murdering psycopath. A one-year-old. The Wizarding World is not a functional society, and it’s not meant to be. It’s not meant to hold up to scrutiny.

Look, Harry Potter is average, at best. Ask me for good kids books and I will point you in a dozen different directions, and I will point you in a dozen different directions - but not there. 

Because Death of the Author is hard. Not taking the creator’s intentions and background into account when interpreting a work is hard. You can know that an author is queer, or a person of colour, or of a certain religion, but once you know it, it is hard to not see it. 

You see, all the main characters in Harry Potter are white. They’re also all straight. Everyone not Harry Potter is flat. There is very little depth to anyone in those books, because they don’t matter. Hermione is defined by her relationship with Ron because her relationship is the most debated part of her character. Ron - in the movies at least - is seen as stupid because he is written stupid, he is written as comic relief. Book-verse Ron is a strategist, but that’s only really shown in the first two books. They’re not written with depth, they don’t need it. Harry’s the protagonist, Hermione’s the smart one, Ron’s the dumb-but-loyal comic-relief best friend. Ginny is the love interest, Luna’s the crazy one, the twins are comic-relief pranksters. Draco is the racist antagonist, Voldemort is a more extreme mass-murdering version. There are exactly zero trust-worth adults in a whole seven-book series, there are three? characters with depth in the whole series, everyone else is defined by a role and a single characteristic.

It is so hard to look critically at Harry Potter and not see everything that relates to Rowling. It is problematic as a series, and problematic as content created by a TERF. It is problematic as literature in the first place. It’s written as a kids book, but for all its ‘adult’ themes, it can’t stand up to scrutiny.

This got long - I got a bit carried away. Sorry.

Tell me what you think, tell me your opinion. I’d love to discuss this with you because it so hard to write about. Argue with me, tell me I’m wrong. Tell me I’m right if you think I am. Have I said anything problematic? Please lets start talking about this because it’s interesting and a difficult topic, and I think we need to start looking closer at authors and content creators. 

[angelofthequeers]

If canon!Luka is too much of a blank slate, and fanon!Luka is basically Adrien-lite, what would you fo if you had to fix his character? Not a stan or anything like that, I agree with you on Luka, it's just I saw many posts like like yours about him but not a single one that said: "This is what I would do if I had to give him depth:", please correct me if I'm wrong and just didn't look hard enough. (I'm on mobile and English isn't my native language, please be gentle (._.))

Just have him not revolve around Marinette. That’s literally it. More detail and an analysis of a few scenes below the cut, because that’s the simple answer to your question but I have to go in-depth to really explain where I’m coming from. And your English is just fine! I’ll kick the kneecaps of anyone who makes fun of you for it, because heck if I can speak anything other than English. All the quotes I use are from the transcripts on this site here.

Luka’s got a few basic traits and some hints of flaws but because his screen time revolves solely around his love interest - with the exception of that one scene in ‘Reflekdoll’ with Juleka - they haven’t been developed nearly as much as they could have been, and so we haven’t seen him developing independently of Marinette because any character development is tied directly to her. For example, it could be a double-edged flaw slash core personality trait that he doesn’t get too angry on behalf of himself but he gets furious when someone he loves is threatened. It would be a nice parallel to Adrien and serve to further show how they’re foils. But since we’ve only seen him getting angry on behalf of Marinette, it’s not nearly as fleshed-out a trait as it could have been. If we’d even had just one scene of him reacting to Juleka’s akumatisation, it would’ve expanded him so much further than as just a love interest.

Whether Kagami is objectively more developed is an argument I don’t want to get into, even if I’m going to analyse her below, but she definitely comes across as a lot more fleshed out because she doesn’t exist to revolve around Adrien. Her debut episode involves Adrien but isn’t focused on him and her (first) akumatisation isn’t due to her role as Adrien’s love interest, whereas Luka’s akumatisation episode focused very pointedly on his role as Marinette’s love interest. He only got mad enough to attract an akuma once Bob Roth threatened Marinette, not when the music of his entire band was threatened - because it’s not just him in Kitty Section, and one of the other members is his sister. I can quote the scene and put bold emphasis on how his anger only really flares when it’s Marinette he’s talking about.

Luka: That’s not true! You copied Marinette’s costumes!

Marinette: And it’s the exact same song. You stole Luka’s music!

XY: Oh, come on. Let’s not exaggerate now. We may have just been a little bit… inspired, that’s all.

Luka: Inspired? You flat out stole! You didn’t design this mask! (rips mask from XY’s head) Marinette did!

Marinette: Listen, it’s not too late to do the right thing. Just tell the truth and let Kitty Section appear on the show. That’s all we’re asking.

Bob: Yeah. First they’ll wanna be in the show. Then they’ll be asking for a cut of the profits. No way! Never saw or heard of Kitten Division.

Luka: Forget it, Marinette. It’s no big deal. Let’s just go.

Marinette: No! It’s not fair! I won’t stand by and let my friends’ work get stolen. (to Bob) If you won’t tell the truth, then I will! Right now, on the air, live! (walks up to the camera)

Bob: (grabs Marinette’s arm) If you do that, I’ll tell them you’re the copycats, not me. I’ve got all the music biz eating out of my hand. So who do you think they’re gonna believe? Me, or a group of nobodies?

Luka: Grrr…

Bob: You’ll never have a future in this business. You’ll never make another costume. And there’ll be no more music for your buddies because as far as everyone’s concerned, you’ll be the rip-off artists.

Luka: Grrr…

.

(The akuma enters the mask Luka is holding)

(’Silencer’)

Luka’s primary concern in this scene is that Marinette was cheated. Marinette is the one bringing up Kitty Section and how their music was stolen, but Luka is laser-focused on how Marinette’s designs were stolen. Even when they first see the stolen music video as a group, he’s focused on Marinette.

Ivan: But that’s our original style!

Luka: (to Marinette) Your unicorn, and your mask!

Marinette: (to Luka) That’s your melody. (to Rose) It’s your music. That’s not fair! That should be you guys up there on TV. There better be a good explanation. We have to have it out with Bob Roth and XY.

Again, Marinette is the one to bring up how Kitty Section was cheated. Marinette and Ivan. And again, Luka was focused on how Marinette was cheated. This episode could have been a great way to flesh out Luka, to show his dedication to his band and his furious desire to protect his loved ones, but it ends up being just a whole 22 minutes of him revolving around Marinette. This is literally the episode of him being The Perfect Boyfriend, for people to project their ideals onto and squee about how he’s so perfect and romantic for Marinette. Leaving out that Adrien and, arguably, Chat haven’t needed flowery speeches and a laser focus on only Marinette/Ladybug to win her heart, and she constantly goes back to him whereas, like I mentioned in my last post about Luka, she seems to kind of just…blush and then move on from Luka’s confession.

Now let’s compare the scene before Kagami’s akumatisation and bold her focus:

Kagami: (She sighs in defeat, then walks up to Adrien, offering her hand for a shake, which Adrien takes. Kagami calmly walks out of the room.)

.

Adrien: I’m going to offer him a decisive match. (He goes running after Kagami, grabbing her saber from the ground as he goes. Kagami is about to get into her car when Adrien catches up to her) Hey! Wait! Your saber!

(Kagami throws her glove into the car and removes her helmet, turning to look at Adrien expectantly. As she does so, Marinette runs up to the school entrance.)

Adrien: (Momentarily stunned by her appearance.) Let’s do a… decisive match? (As he speaks, he notices Kagami’s ring.)

Kagami: What’s the point? You won. There’s no such thing as a second chance in my family. Goodbye. (She gets into her car, which drives off.)

.

Kagami’s mother’s: (Voicemail) I’m not available at the moment. Leave a message. (Beep!)

Kagami: Mother, you thought I was good enough, but… I lost. I won’t be joining the D'Argencourt Academy. (she hangs up and sits back in her seat. The akuma flies into her ring.)

Hawk Moth: Riposte! I am Hawk Moth. I’m giving you a second chance to prove that you are the best fencer of all, but in return, you must bring me Ladybug and Chat Noir’s Miraculous.

Kagami: On my honor, Hawk Moth, I shall be victorious! (She transforms into Riposte, slicing open a new sun roof into her car and leaving.)

(’Riposte’)

Even the locations of the akumas give that little extra boost of characterisation. Kagami’s is in her ring, showing the audience that her drive is to be the best and make the Tsurugi family proud and she and her mother don’t tolerate failure, because they stake their honour on success. Luka’s is in the mask that Marinette made, which just shows that…he’s angry because Marinette was wronged. And yes, Hawkmoth’s speech includes the line of “The anger of a creator whose work has been stolen” but considering that every bit of Luka’s anger up to this point has been focused on Marinette, it just…rings hollow. The Lukanette stans noticed this too, but they took it as a positive and used it to shout about how much Luka loved Marinette and how sweet it was that she was the reason he was akumatised - and believe me, I used to be there, I’ve seen it.

And yes, I know that ‘Oni-Chan’ exists. I know that Kagami’s reason for akumatisation revolved around Adrien and that her akumatised object was the rose that he gave her. But I’m focusing on debut akumas and even then, it shows that there’s a jealous, possessive side to her. It works with her previous appearances to round her out, to show that she’s driven and ambitious but also jealous and possessive. ‘Ikari Gozen’ takes this even further and shows that she’s awkward and wants to make friends but doesn’t know how to interact with other people, and it furthers her focus on honour and worthiness and shows that she ties her self-worth with her success:

Hawk Moth: How tragic it is to feel unloved. Alone, deprived of friendship. (turns a butterfly into an akuma) Fly away, my little akuma, and evilise her!

.

Kagami: I guess I’m not worthy of our friendship; our bloodtypes must be too incompatible.

(’Ikari Gozen’)

Although each episode that she’s in does feel like a totally different portrayal of her, and a lot of criticism/dislike for her came from how she felt all over the place, they’ve also come back together to tie her together as a multifaceted character: someone who’s ambitious and must be the best (’Riposte’), who sees romance as a competition like she does fencing (the whole “change your target” to Adrien and “I never hesitate” to Marinette in ‘Frozer’ and her admission that she has to win Adrien’s heart in ‘Heart Hunter’) - which further adds to her lack of ability to navigate social situations that’s expanded upon in ‘Ikari Gozen’, an episode that also emphasises her fatal flaw of never hesitating. Yes, she’s right to say that hesitation can cost you, but this episode shows that some hesitation is necessary, and jumping into things without thinking and expecting everyone else to do so will definitely lead to some stumbles.

Every time Luka’s on the screen, I don’t really learn anything new about him. All I know is that he’s romantic and likes Marinette and only gets angry on behalf of his loved ones. His first meeting with Marinette focused on how he found her cute and how she was flustered, whereas Kagami’s first meeting with Adrien wasn’t focused on the Adrigami ship outside of Adrien’s Pink Bubble Love Stupor. And first meetings tend to set the tone of how characters are going to interact. Marinette/Adrien and Marinette/Kagami’s first meetings focused on misjudgement and how someone’s impression of another person isn’t necessarily correct, and we see this with how Marinette goes gaga over Adrien and has her moments of seeing him as a perfect Greek god (which isn’t to say that she worships him like a fangirl, but rather that her crush is acting as major rose-tinted glasses) and how she blows Kagami up as an evil villain in her mind until she pops her own bubble and makes herself see Kagami as another person instead of an evil rival. And Ladybug/Chat Noir’s first meeting focused on having to build a partnership on the spot and showed how Chat didn’t fall for her until after she’d stood up to Hawkmoth and declared that they would protect Paris. But Marinette/Luka’s first meeting shows that Marinette gets flustered around pretty boys and Luka just…up and decided that he liked her. It shows that Luka’s focus is going to be Marinette and that’s it.

I’ll cut Luka a little slack and admit that yes, ‘Desperada’ did have him become Viperion because “Desperada attacked my friends and my family”, just as Kagami became Ryuuko to save her mother, and this scene wasn’t specifically focused on how Marinette and only Marinette might have been affected. But the starting scene of the episode once more shows us something else about Kagami - that she’s got a mischievous side and is starting to be rebellious and sneak around behind Tomoe’s back - while showing us nothing about Luka except that he’s…got a crush on Marinette, which appears to be reciprocated, and that he’s good at guitar. Which we already knew.

Marinette: You’re so talented, Luka. How long have you been playing for?

Luka: Since I was in diapers. (strums guitar)(Marinette giggles.)

Alix: I get the feeling Marinette likes Luka a lot.

.

Alix: Your father let you out?!

Adrien: We’re officially at fencing practice right now, but - oh, no, Kagami. Isn’t this the wrong address?

Kagami: Oh, dear, I think you’re right.(Adrien and Kagami chuckle.)

(’Desperada’)

Even the ending scenes of Luka and Kagami’s debut episodes set the tone for them. In Luka’s debut of ‘Captain Hardrock’, the ending is focused on his role as Marinette’s new love interest and as a rival of Adrien’s, even if they don’t actually see each other as rivals.

Adrien: Thanks, uh…

Luka: Luka.

Adrien: Thanks, Luka.

Alya: (To Marinette): Is the compass going crazy?

(’Captain Hardrock’)

On the other hand, Kagami’s debut episode ending focuses on how she craves friends and would love to get to know a friend of Adrien’s, along with her competitiveness and desire to win in a now-friendly rivalry that grows into a friendship and then romance, rather than love at first sight. Just like the meetings between Marinette/Adrien and Ladybug/Chat Noir, it sets the scene and promises more to come, rather than laying all the cards on the table and basically just stating “yeah, this character’s just gonna be a love interest and just be chill and co-exist with their love rival” like the Marinette/Luka and Adrien/Luka ones do.

Adrien: Please, take it. (He again holds out Kagami’s saber to her.)

Kagami: (She glances between Adrien and her saber for a moment before taking it back) I’ll be happy to get to know your friend Marinette! (She and Adrien bow to each other. She and Adrien look at each other for a moment before Adrien holds out his hand.)

Adrien: My name’s Adrien. What’s yours?

Kagami: Kagami. (She takes Adrien’s proffered hand and shakes it, then walks to her car. She looks back at Adrien.) Get ready for that decisive match!

Adrien: I can’t wait, Kagami.

So basically, to give him depth, I wouldn’t focus so much on his guitar. I’d maybe show someone getting annoyed that he defaults to his guitar, because we got one line in ‘Captain Hardrock’ that he finds it easier to speak through music but it doesn’t really flesh him out since no one else comments on it or gets annoyed by it. It’s a trait that’s got nothing else to work off, whereas Kagami’s awkward attempts to socialise with Marinette and her abrasive manner clash with Marinette’s misconceptions of her and create that scene in ‘Ikari Gozen’ where Marinette realises that she’s treated Kagami awfully and Kagami said that she wasn’t worthy of Marinette’s friendship. Like Luka’s guitar, Kagami’s awkwardness and bluntness aren’t inherently a flaw, but they act as one in certain circumstances and end up fleshing her out just that little bit more.

I’d focus a little more on his relationships with everyone else. At least with Kagami, we know that she’s awkward and has no friends outside of Adrien (and later Marinette), so it makes sense that she wouldn’t have very many other relationships. We’ve even seen her relationship with her mother and how her few friendships - Adrien and Marinette - are influencing her to change and become more rebellious, such as the escape scene in ‘Heart Hunter’. I’m not counting Instagram posts, otherwise I’d point out Kagami spending time with Marinette’s friends as well and bonding with them as more evidence. But Luka’s part of a band and canonically hangs out with Marinette and her friends, so to break him free of just being a satellite love interest to orbit around Marinette, just show him interacting with others independent of Marinette. Show more of him being a big brother to Juleka; show how he interacts with Rose, as Juleka’s best friend; show the relationship between him and his mother, because they seem to be more like house(boat)mates at this point, and Anarka and Tomoe have had roughly the same amount of screen time, especially with their kids.

I’d also make him a little more of a rival to Adrien. He doesn’t have to be mean and antagonistic like how the Marinette/Kagami rivalry started - a rivalry doesn’t necessarily have to be negative - but he does have to show some reaction to losing Marinette to Adrien. All he ever does is push her into Adrien’s arms, which is all well and good to show how selfless he is, but he’s never visibly upset. His smile never wavers. He never shows any sign of being upset at losing the girl he supposedly loves to someone else; he’s basically just The Perfect Boyfriend who’s willing to let Marinette go if it means her happiness with no hurt feelings on his part, and the only force of rivalry that he exerts on Adrien is just making Adrien think that Marinette’s into him and therefore isn’t available, which isn’t even anything that Luka himself does, so I can’t even give that credit to him. He just…exists. While Marinette pushes Adrien and Kagami together for Adrien’s happiness, she shows outward signs of distress. She still gets jealous even though this is a decision she made. She’s sad over it. She’s human. But Luka? You could probably replace him with a pot plant and nothing would change.

[rhydium]

Info dumbo about the StarFinite story?

aright u asked for it anon GET READY [cracks knuckles] this is gonna be long so obligatory cut in 3, 2........

...1!

so the uh, the au! the story!! w/e yall wanna call it! full disclaimer, i only began working on this whole thing a while ago, but it's totally taken over my fukn brain. like, we're talking big hyperfixation hrs. am i cringe for being this invested in my own content? yes? cool i do not Care >:3€

i should also throw it out there real quick that i am kin w/ infinite, n this is actually one of my two canons (both of which are my own aus lmfao wow). i didn't go into it expecting it to be but sfsfsgdfs here we are ig!! for that reason it's got extra importance to me n this definitely contributes to the euphoria i get from it!! it's a lil odd writing ur own canon,,? but i kinda just go w/ the flow!

the au n, the story that i will start Eventually, revolves around infinite n starline (obvi) n it's honestly just ... the tl;dr is big healing momence n, what's this? uh oh sisters !!! they are falling in love 😳😳😳

uhhhh so infinite is an android, made by eggman. that's like, the most notable canon divergence here! super important context to have. i've got a whole big theory on the possibility of sega originally intending infinite to be an artificial being (which i explored in the works for my Other canon too), stemming from not only the scene in forces wherein infinite comments on sonic's "data", but a line of dialogue from tails in one of the last stages of the game where he Literally Says "so this is where eggman built infinite". that ... i mean. that contrasts w/ episode shadow pretty hard don't it?? would explain why that dlc was so rushed, n the comic too. ANYWAY adsfsfs um that's a seperate ramblepost. yeah!!!

they are also agender n use they/them (primarily) as well as he/him!! so i'll be refering to them w/ those pronouns!

after the war, infinite is taken in by the resistance n, instead of being dismantled, they're basically given a chance to rehabilitate themselves. it's agreed that they won't be reprogrammed, as despite the potential risks, it feels wrong to do so; like a violation of their free will, individuality n thinking. if infinite is to be a good person, it's not gonna be bc other ppl recreated their entire personality, it's gonna be bc it's what they themselves truly want. robot ethics idk man!! u can't tell me that sonic n co wouldn't offer this to infinite if they offered it to metal in IDW,,,, i am Standing By This!!!

it's, yknow, a bit rocky, at first. infinite has to really fight the urge to return to eggman (something they already tried once, before the resistance found them; they were cast out). it's a struggle against what they were built to do, against giving into unhealthy familiarity over facing a, while healthier, unfamiliarity. new faces, a new life, turning their back on their mission n creator, it's like, a lot.

they work for/with the sonic crew, rebuilding the world they tore down as deemed fitting justice, being closely monitored for a bit as a natural precaution. as it becomes apparent infinite truly no longer has any ambition to harm others (they don't have much ambition for anything, really), they're then granted more freedom, n start taking on more important missions!! it at least gives them something to do, keeps them occupied. they have issues with dissociation, unreality, whether they're truly a real person bc, well, android. feeling purposeless, n a lack of worth, especially. a need to prove themselves. heavy stuff. i'll kinda go into that a bit more in a sec. their work grounds them, if only temporarily.

n soooooo... IDW comic stuff happens. metal virus time. starline gets kicked out of the empire.

now, as the comics are ongoing, n as this is already an au, there's gonna be divergence, n i must admit i haven't planned out all that yet. there's a lot i have to consider!! infinite being w the resistance/restoration is a big game changer ... tho i Do believe that they were absent, likely on a far out mission during most of the chaos. eggman doesn't know abt them, nor does starline or anyone else other than the sonic crew; n some civilians that recognise them.

i'm not 100% sure of Exactly when it happens, but i think it's just after bad guys, that infinite is sent to locate n bring in starline. it doesn't prove too difficult. there's a whole, starline realising "oh fuck it's you???", some bickering n, the two don't hit it off right away. they're both kinda like. not mentally stable ddgddgdds,,,

so uh. starline ends up essentially going thru the same sorta shit as infinite. careful watch, rebuilding, all that jazz, making sure he can be trusted. he's like... very very lost, quite like infinite is. the world has kinda calmed down, in the meanwhile.

it's at this point i'm gonna go ahead n drop a bit of a ramble i subjected my friends to a while ago, to articulate the way i see the two, n their dynamic together!! i was considering making this it's own post a while ago!

analysing their characters a bit... let's look at starline. Like. so we have this, in bad guys, which SENT ME tbfh;

i feel like it's the moment that triggers starline onto the path he is rn canonically,,, he's clearly like. rly mad n bitter. the core of this?? he wants his work n his efforts to be acknowledged.

he's big angry. still kind of in denial at this stage. he has himself obsessed w/ the idea of making eggman see him as Worthy, that if he just tries hard enough, that'll happen. he's dependent on eggman's validation, n i mean, it's no surprise; he's followed him a Long Time by the sounds of it.

then in the recent issue, hold the fuck up, bc we got, This;

god. my god it's all comin together now homies. this???? this right here??? it is the CLASSIC "i have to do this to prove i'm strong n powerful n smart n worthy n should be respected please Give Me Acknowledgement" ..... n who else is Like That? can u see where im going w/ this?

i think most ppl are aware of infinite's character being extremely indicative of self worth/esteem issues n the need to prove themself, right?? the extreme adversity, repulsion, perhaps even fear toward the idea of being weak. the compulsion to prove otherwise, to show their strength, to become powerful, to conquer to make a point. their theme exudes this same energy as their behaviour in-game; an aggressive attitude, trying to assert themself, while if u rly listen...? the lyrics are actually really sad in places. it reeks of cover up, although composition wise, a v interesting thing to note is a lot of the more telling lyrics are prominent while some of the affirming ones are in the background. indicative of a desire to have their true feelings be heard but caught in a vicious loop?

okay okay that's yet Another different analysis. AHEM.

not to get deep on main (oh who the hell am i kidding that's the point of this entire thing) but i think starline has issues w/ his worth in a similar way to infinite. they both seem to have this need to Prove something, whether it's to others or themselves, n get caught in a toxic spiral of doing worse n worse things for Some kind of validation or acknowledgement. they'll go to really big lengths chasing that, n both of them ultimately sought validation in the wrong place n wrong way.

this is a big part of my starfinite dynamic,, n so, what happens, as they get closer n open up??? we have them BOTH realising together that they don't have to do fuck all to prove anything to anyone. they don't need to do all this to show they're strong n smart n worth something, not to anyone else OR themselves. they're enough as they are. they bond over that shared feeling that they have to do xyz, to prove themselves, n that desire to just finally be acknowledged n appreciated n help each other thru it. to help each other understand that other ppls approval, or lack thereof, doesn't define them, their strength, intelligence, and worthiness.

i feel like they have an interesting parallel between them in like... the above could be taken as a general analysis, but to go more in depth on this au specifically?? ...

starline followed eggman for presumably a long time n it no doubt left him feeling a heavy and deep regret for all that time wasted n spent on an unhealthy path. infinite kinda teaches him that what matters is what he's doing Now n also reminds him that if none of it happened, starline wouldn't have learnt a lot of the serious skills he has. n while starline still feels bad, he also realises himself that, he likely never would have crossed infinite's path if none of it happened. for that reason, he wouldn't take it back.

infinite has only been recently made, on the other hand. they haven't really existed long, yet, but so far their experiences haven't been very positive n it can be .... discouraging. starline sorta, shows infinite their limited experiences w/ the world are a very tiny fraction of what's out there, n things can absolutely change, yes, including for the better; that's the essence of life, a neverending, constant flow of change.

it's a big tale of moving on n letting go, honestly; made easier as they're doing it together. n as they heal n grow, well... these bitches gay. sfshshdgds like, ig that's putting it p bluntly but!! they start to trust each other, understand each other more. as they get to truly know who the other is, they both start developing The Feelings. they're both pretty oblivious n the reveal is totally unknown so far!! yeah, i know, bummer. i suck. boo. adafsfsds however i can say there will be lots of content in the making!! if that soothes the soul! i've got of ideas i hope to bring to life.

ofc there's still a lot of more specific things i haven't covered here so! if y'all want more juice hmu w/ more focused questions but !! this is the overview n i hope it was a decent read now that gave some uhhh! Cool Insight! yea!!! ✌

[ddagent]

Podcast question for Jay & Bee: What's the worst version of Goldenhand and the Blue Knight you've ever read? Can you describe any of the scenes that made it so bad? And, relatedly, what inspired this podcast? Loving it and appreciate the distraction from my own undergrad students. ;D

Anonymous: Hi Jay and Bee! I've binged your eps on my work break and I'm a big fan! I have two questions, if you don't mind. One serious and on silly. 1. Were Ser Blue and Goldenhand the figures that got you into history, or are they just the current end point of your path? 2. And how are you the two of you most and least like BOTH of your namesakes/ancestors?

B: The following podcast contains strong language, literary violence, and explicit sexual content.

(tourney horn plays)

J: It’s The Bear and the Poorly Written Maiden, the footnotes! And, for the first time, we’re recording at my place. 

B: I don’t know why we don’t record here more often; it’s infinitely nicer than my flat, and you don’t have any neighbours fiddling with their bedframe all night.

J: (laughs) Their headboard is banging, Bee; I think they’re fucking. 

B: I know that; I’m not an idiot. I was just trying to be coy.

J: We read out historical pornography on a podcast; coy went out the window along with your valiant attempts for us to just be acquaintances. 

B: Yes, suddenly it’s five years later and you’re my best friend. 

J: You could do a lot worse. 

B: I could do a lot better, too. When you give friends spare keys, for instance, it’s expected they only use them for emergencies. 

J: Is this about this morning?

B: I was in a towel.

J: Your bedroom door was open.

B: My front door was locked. 

J: I ran out of cereal!

B: You live on the other side of the city! (pause) Right, enough bickering, let’s get on with the podcast. 

J: Fine. So, this is our footnotes podcast, where we answer your questions, go into a little more depth with our discussions. 

B: Eventually, we would like to have a couple of guests on, like your brother does.

J: (laughs) As if anyone would want to be on this! No, that’s a lie, Papa Bee would love to do this podcast. He’s up next week; you should ask him.

B: I am not asking my father for his help analysing historical erotica. 

J: Well, it’s a good thing I’m invited to dinner so I can ask him myself. 

B: (sighs) Jay.

J: Bee. (pause) Fine. We’ll talk about it later. For now, we’ve had two questions. The first one is from (laughs) oh, this is great. It’s from tarthserjaime@ravenmail.com. They must be a fan of The Caged Lion. For those of you that aren’t familiar, it’s the sequel to The King’s Road, and it covers Goldenhand’s journey as he, well, becomes Goldenhand the Just.

B: That is a beautiful scene, as well. Very vivid. 

J: Having seen your island, I completely understand the reaction. 

B: (pause) It is rather beautiful. 

J: So it is. (pause) Anyway, tarthserjaime has two questions, the first is: “What's the worst version of Goldenhand and the Blue Knight you've ever read? Can you describe any of the scenes that made it so bad?” Oh, fuck, well for Goldenhand it has to be Trant. 

B: We’ve mentioned Trant a couple of times. That’s Roslin Trant, and she has a whole series of Goldenhand novels, such as The Ravishing at Riverrun, The Kingsguard’s Oath, The Lion and the Maiden, The Squire’s Suprise, The Bedding of the Beauty...she’s written about twenty of them, I think. 

J: And in all these books, Goldenhand fucks at least three different people. 

B: Oh, at least. In The Quest South, there’s an orgy in Sunspear. 

J: It’s got very little in common with the real Goldenhand: Trant writes him as a playboy who’ll fuck anything. 

B: He has multiple bastard children, too. Well—

J: (laughs) More than the three he had canonically, at any rate. So, yeah, Trant is the worst. We will have to read some of it, won’t we? 

B: I think we’ll have to. As for Ser Blue, the versions vary. I think the worst one is Into the Wild, where, during the Long Night, Ser Blue takes a break during the fighting to engage one of the Wildlings also in the battle. 

J: (gasps) Oh, I remember when you read that. I got a series of angry text messages at 3am. THE BLUE KNIGHT WOULD HAVE FOUGHT TO THE DEATH; SHE WOULDN’T HAVE TOSSED ASIDE HER SWORD TO SWALLOW A WILDLING’S COCK. 

B: (groans) Oh, Gods, yes, that one is dreadful. And I think, is it Blackwood who wrote her as a broodmare for Goldenhand?

J: Yeah, he knighted her, and then immediately she wanted him to fill her with his seed. She spent the Long Night in their chambers, waiting for a break in the fighting so he could come and impregnate her. 

B: Thank you for the reminder, tarthserjaime.

J: Hopefully her second question doesn’t bring up such bad memories. 

B: Let’s hope not.

J: “And, relatedly, what inspired this podcast? Loving it and appreciate the distraction from my own undergrad students." Undergraduates are terrible, aren’t they?

B: Not all of them.

J: Of course you don’t think that; you get the good ones. Cee likes you best.

B: Of course she does. And, in answer to your excellent question tarthserjaime, it all started when Jay’s brother Ty came round and he was looking at the strange collection of books on his brother’s nightstand. He asked Jay to read out the worst bits, we all got atrociously drunk, and the next day Ty suggested we should do the podcast. 

J: Excellent chance to plug Ty’s podcast, by the way. It’s A Hundred Ways to Disappoint Your Father; listen to it wherever you get your podcasts. 

B: Now we have a question from oathkeeper@ravenmail.com. Excellent choice of email address.

J: I’d prefer Widow’s Wail.

B: No you wouldn’t; everyone prefers Oathkeeper. (pause) They write: “Hi Jay and Bee!”

J: Hi yourself.

B: “I've binged your eps on my work break and I'm a big fan!” Well, that makes two. You and my father. “I have two questions, if you don't mind. One serious and one silly. 1. Were Ser Blue and Goldenhand the figures that got you into history, or are they just the current endpoint of your path?” The Blue Knight and Oathkeeper and our family line was certainly the reason I got into history. I was obsessed with knights and quests as a child. I even tried to take Oathkeeper from the exhibit. 

J: Is that the photo up in your dad’s hallway?

B: Yes, my neighbour Robb took a picture before my Dad found us and, very gently, told me to put the priceless family heirloom down. (they laugh) What about you?

J: It was my uncle, Gerold, who got me into history. My father didn’t like the stories, didn’t want me or my brother fixating on the golden age of heroes. But my uncle took us to the museums in Lannisport and the Targaryen Museum of Ancient History in King’s Landing. I remember the day he told me I shared the name of one of the greatest knights in history. I was over the moon.

B: He sounds like a great uncle. 

J: He was. (pause) Anyway, so that’s the first question, what’s the second?

B: “How are the two of you most and least like BOTH of your namesakes/ancestors?” So not just Ser Blue for me but Goldenhand, too. 

J: Well, I don’t have a hand made out of gold. (both laugh) That’s probably the most obvious difference. I haven’t got a sister, but I do have a younger brother. No children. Goldenhand stepped away from family duty really early, but I didn’t. I went to school originally for business and worked at my father’s company for five years before I decided I’d had enough and walked away. 

B: There’s actually eight years between us. 

J: You were so sweet and innocent back when we first met. Eighteen years old, fresh-faced from the Stormlands. 

B: Oh don’t.

J: See, you’re more like Goldenhand. Papa Bee wanted you to go to SEU but you applied in secret to—

B: Bear Pit University.

J: (laughs) Bear Pit University, yeah. You knew your own path and you went for it. 

B: I suppose so. As for the Blue Knight and I, we share a similar background. Only child, widowed father, exceptionally tall and plain. 

J: Oh pull the other one.

B: Am I not taller than you?

J: You are but you’re not...you had a boyfriend in upper school. 

B: One boyfriend does not mean I’m suddenly pretty, Jay. 

J: No, but nor do no boyfriends mean that people aren’t attracted to you.

B: I think we’re getting off-topic. (pause) oathkeeper, tarthserjaime, I hope we’ve answered your questions. If you have any more, send them to us at thebearandthemaiden@ravenmail.com.

J: We’ll be back with a new book to read very soon. Until then, valar morghulis.

(tourney horn plays)

[a-student-out-of-time]

(Mod, can this anon just say I really appreciate how much self-control you have? When that Haiji defender showed up on your blog, you just said "get off my blog". This anon really appreciates how you didn't scream at them, accuse the person of secretly being a pedophile themself, tell them to kill themself or to choke on broken glass, encourage your followers to harass Haiji fans, etc. Today's generation of pop-culture-fandom could learn from your example.)

//Now that you bring this up, if you’ll indulge me, I’d like to talk for a bit about fandom toxicity.

//There is, in a way, a feeling of entitlement and ownership when it comes to characters or properties. That, because these things hold a special place in our hearts, that they belong to us and that our interpretation of them is the correct one and that anyone who disagrees is wrong.

//So when there comes creative decisions or opinions made by others with those properties, even ones by the actual creator of the work, that don’t match up to our own, there can come a feeling that these are a direct attack against us as well. With that comes a lot of the worst parts of fan culture: harassment, insults, bullying, threats, and even actual attacks on these people.

//But the truth is, these people were probably just expressing their feelings and emotions about the same work, because they enjoy it too. They were never trying to directly or indirectly attack you, they just simply had a different opinion. It’s important to keep that in mind: the people you talk to online are human beings with thoughts and feelings of their own, and those feelings are rarely going to be the exact same as yours.

//An unfortunate part of the problem are the inherent psychological biases that we all have, and confirmation bias especially. Where we’ll focus on information we agree with (even if it’s factually wrong) and ignore anything that conflicts with that (even if it’s factually correct). This goes beyond just fandom, but I’m going to stay on topic.

//There is not a single human being at any point in history who hasn’t been guilty of these biases. You, me, everyone you’ve ever met, we’ve all done it at one point or another. The issue is when these biases get us to leap toward intolerant conclusions about those whose viewpoints we disagree with. “You don’t have the same opinion as me, so you must be stupid/evil/bigoted/brainwashed/etc.”

//It can be so easy to draw those conclusions about people, especially when the arguments aren’t well-structured and you’re in the heat of the moment. But let’s be real: we’re never all going to 100% agree on everything. And that’s okay. Hell, if we did, that sounds more like a dystopian nightmare scenario where free thinking has been suppressed.

//And thinking is an activity I’ve always encouraged. Toxicity is ultimately at odds with critical thinking, where any dissenting opinion is hunted down and suppressed and anyone who speaks up is bullied into silence. That is not what my blogs are about. It does kinda make me sad that I’m being praised for not being a toxic asshole, because I don’t really feel like that’s praiseworthy. I want that to be a normal thing.

//Here’s an experiment: take your favorite DR character and ask yourself why you like them. What is it about them that drew you to them? Their personality? Their backstory? Their role in the narrative of whichever game they were in? When you have those reasons in mind, consider the following: what about this character is flawed? What about them is inherently dark or troubling? Why might someone else dislike them?

//And then work backwards from there: take your least favorite DR character and ask yourself why you dislike them. Then find all the ways why someone else might like them without diving straight into intolerant conclusions. Look past the surface and dig a bit deeper to see what exactly makes them tick.

//That’s not me asking for essays, that’s something I want you all to consider for yourselves.

//I’ll be the first to admit I really disliked Junko. I didn’t consider her all that interesting of a character or a villain, and she just cames off as very annoying and overblown to me. I considered everything that she sets in motion to be far more interesting. 

//I have, however, seen a lot analyses and in-depth looks at her as a character and after going through those, I came away with a lot of insights I didn’t even consider before. My opinion hasn’t changed too much, but I can definitely see (DR3 notwithstanding) all the way she can and does make for a interesting villain.

//So the takeaway is, even if you don’t end up changing your opinion, you can at least say “I still disagree, but I’ve gained some perspective into why someone would feel this way and I’m better for it.” Critical thinking does not mean you have to give up your opinions, and there does exists a very wide middle ground between total agreement and toxic harassment.

//But critical thinking is at odds with the idea that it’s best to retcon, ignore, or fabricate details of canon that we disagree with to justify those opinions. This is why I got so mad at the anon who claimed Haiji was talking about fictional underage girls, something that is not at all substantiated by evidence in the game. You can’t simply ignore these details because you don’t like them.

//Critical thinking is about being able to either say, “Okay, I fully acknowledge that these details about this character I like are problematic and I understand why it might upset people, but they’re not the sole or central reason why I like this character”, or “Okay, after careful analysis, maybe I was wrong about what I originally thought about them.”

//Me personally, I look at these details and ask “Okay, but how can we build off of this? Can we tell a new story with it?” For example, while SDRA2 Chapter 0 left a bad taste in most everyone’s mouths, I didn’t want to just retcon it. Instead,  thought Kokoro being regretful over her actions and wanting to reconnect with her daughter would make for a very interesting story.

//But the most important part of this that I’d want anyone to take away is that it’s important to listen to others and consider their viewpoints as well, and again without immediately jumping toward conclusions and talking over them before they make their case. Listen to people, ask them questions, and remember that on the other end of the conversation is another human being with thoughts and feelings of their own.

//Now, there is that invisible fear that “understand that others have different opinions” is shorthand for “just accept that some people are into r*pe/inc*st/p*dophilia and let them make content of it.” I promise you that is not at all what I’m suggesting here. I hope my previous angry rant about Haiji cemented that fact.

//What I am saying is that we need to be acutely aware of both the thoughts and feelings of others and those of ourselves. That it’ll be better for us as well as others to apply critical thinking and careful insight into our opinions, not taking them as inherent fact simply because we hold them, and understand that others will not always enjoy the same content the same way we do.

//And most importantly, being able to separate those who are willing to listen vs. those who’ll prefer to stay toxic, bitter, and unmoving is a very important skill to learn. There is no shame in withdrawing yourself from any sort of talk with a person who upsets people for fun, and it will be better for your health in the long run.

//Finally, let’s be real, what’s gained from arguing with people online? People who you never have and probably never will meet? Not much. But if someone is not going to budge and only wants to share their toxicity with the world, it’s better for you to simply walk away, block them, cut yourself off, and move on. Their toxicity is their deal, and it doesn’t have to be yours.

//But I also think there are people who are willing to listen, who may simply not know that they’re engaging in things that are hurtful or toxic. And some frank but kind insight as to why can change their opinions. A willingness to listen, not to just defend their position, is what’s important.

//I’ll be completely honest here and say I was in that position once. I’ve said and thought some awful things before, and I feel so fortunate that I met the right people who stopped me from going down that road before I got too far. Not with hostility or arguments, but honest and kind discussions and insights.

//As fans and as people in general, we can, should, and need to be better. That’s why I don’t want my space to be full of hate and bullying, but just storytelling and creative discussions, where people are welcome to express their opinions, and even if we disagree, that’s alright. We’ve at least gained some insight into each others’ views ^^

//Compassion and wisdom are what I consider the most important virtues, and being more critical of ourselves is how I think we can solve the issue of fandom toxicity. That’s what I’ve tried to apply here. My goal is just to tell a good story for you all to enjoy here, and I appreciate each and every one of you who’ve followed, liked, reblogged, or even just considered any of my posts worthwhile to read

//And if you made it all the way through this, I hope you’ll consider everything I’ve said here as well. You can’t change every single toxic person out there, but you can change yourself for the better and encourage others to do the same.

[rickybowxn]

hey!! ok so i just need someone else’s opinion bc i haven’t seen anyone talking about this and i literally can’t wrap my head around it lol ok so ricky and nini dated for a YEAR and never once said i love you? and if ricky isn’t ready to say it was he going to wait till 2 years? 3? 4? or was he never going to say it? i also don’t understand why he doesn’t understand that he broke her heart :( i love him but he essentially broke up with her after she told him she loved him on their anniversary 😭

hiya! this is such a great line of discussion and so there’s a lot to break down, bear with me this is gonna be a long one :)

let’s start with the thought that ricky doesn’t understand that he broke nini’s heart. i agree and disagree with you on this. i think that as a 16 year old boy, in the heat of the moment after he saw the instagram post and was clearly overwhelmed by it, he definitely didn’t know that he deeply hurt nini when he decided to not say it back and break up with her. he was as impulsive and sudden in action in response to a post/declaration that in his perspective, was impulsive and sudden by nini. he definitely underestimated the consequences and the weight of him not saying it back in respect to nini’s emotions, and thought that there was space to come back from not saying it back (and i’ll get to why he assumed that in a bit). now, fast forward to junior year, i think he’s definitely understood just how much he broke nini’s heart. i think kourtney’s resentment toward ricky in respect to how nini was treated and more importantly, nini’s general irritation/stand offishness and just distaste towards him throughout the first three episodes allowed ricky to understand how hurt she was by it.

now let’s get when ricky was supposed to/will say ‘i love you’. i don’t know about you but i personally believe that every relationship has a pace, and that pace is different for everybody. saying ‘i love you’ simply doesn’t have a timer on it, it could happen in weeks, or months, or years. how fast or how long it takes to say those words neither validates nor weakens the relationship, and that’s what i believe. personally, i’d argue that throwing around ‘i love you’s’ at 14/15/16 is more unusual/immature than a healthy/mature response (and i’ll elaborate on that in a bit as well) in a relationship. with respect to rini/rickini/ricky and nini, it’s more about each character’s motivation and circumstance with respect to their relationship, as well as their relationship as a whole. tackling that first bit, ricky is in a really rough spot in his perception of love atm, it’s been skewed into negativity since his parents’ marriage started falling apart, i’ve mentioned it in another post of mine when i was analysing ep4 - ‘the only concept of love that he grew up with, his parents - he witnessed them be in, and slowly fall out of love. his only understanding of love is that it is temporary and painful’. now parallel that with nini’s perception of love, beautifully explicated by the subtext of kourtney’s (kinda) monologue in ep5 “i don’t get it, what happened to the seventh grade nini who used to belt this song… ever since you discovered boys, you’ve spent way too much time trying to see yourself through their eyes”, we know that they are worlds apart in how they perceive and pace the idea of love, as well as a relationship itself. nini, from what kourtney said, can be deduced to loving the idea of love - having a boyfriend, getting attention and affection etc. she’s a 14/15 year old girl who started a relationship with the first boy she met and seriously had feelings for. it’s even safe to assume that she jumped into saying ‘i love you’ because she thought ricky was ‘the one’ and she must have watched about 3737328473 romcoms and musicals that pushed the agenda and romanticised relationships and being in love (which no doubt influenced her version and understanding, which is still completely valid and integral, of love). it’s really important for us to understand that just like ricky’s understanding of love is twisted, so is nini’s, neither of them have really gotten to knowing the depth of how good and not so good love can be, and how big of a commitment it is, and that’s because of what i talk about next!

the bombshell that has created the entire arc of the ricky and nini relationship is immaturity. immaturity! ricky and nini are teenagers who are still developing skills such as communication, their independent values and beliefs, as well as self-image. these are all fundamental aspects that encourage and foster a healthy environment for a romantic relationship to grow. getting into a relationship so young, at 14/15 and committing to a person is so difficult simply because you don’t have a developed skillset of these things yet, and ricky and nini are a poster example. remember how i said i’d get back to why ricky thought that he could come back from not saying ‘i love you back’ to nini? well we’re here now, it was immaturity. ricky didn’t have the empathy or emotional maturity to understand how it would effect nini, and nini didn’t communicate, (and actually still hasn’t communicated), why not saying ‘i love you’ back hurt her, she’s just been lashing out so far. now the mature thing to have done is to have sat down with ricky and talked through it, asked him and understood his train of thought. she didn’t do that and ricky just walked away without explaining himself. that, is called a lack of communication. and that skill, comes from learning and ageing. yes it was obvious to us as an audience what he’d done was so wrong, but seriously, as a 16 year old coming from a broken home and never having experienced/seen a healthy relationship, i doubt you any of us would be able to fully grasp it if it was happening to us. and that’s why i’d argue that taking a relationship slow, feeling it out and getting into it as older and more mature individuals is more thought-out. your feelings at any age toward another person are valid, especially in the case that they are reciprocated, but that doesn’t mean you will have a functioning relationship. that’s because relationships. are. work. and kids can’t handle the work because they don’t have the skills that match the job description. ‘i love you’ encapsulates that promise - exercising communication, empathy and support, it’s more than just an emotion i think. in this case, i actually think that ricky understands that better than nini does, because as i said in my other post, one of the motivating reasons he didn’t say it back is because his parents didn’t keep their promise - they fell out of developing their skillset and supporting each other. 

now the most important side-note: none of us will ever perfect these skills that make a relationship work, its constant practice in empathy, in communication, in understanding, in esteem and confidence, and in support. i just think that nini and ricky never got to experience even developing those skills independently and that’s why their relationship fell apart in the way it did. this break has already matured them, ep5 showed nini gaining genuine confidence in herself and ep4 showed ricking communicating to nini how he felt about everything going on at home. them independently going about their lives and growing is already inevitably readying them for being in a relationship and committing to them the right way, when they’re ready for it! i’m so excited to see it

finally, as for when ricky will say/was planning to say ‘i love you’ - i think the writers are taking us on that journey right now! the break ricky and nini have been going through is perfectly setting them up for that mutual and satisfying understanding of the love they have for one and other. i personally think that ricky has loved nini from the get-go, his fear of externalising those emotions is that he’ll have the same outcome as his parents, his insecurities right now don’t allow him to believe that he can have, or even deserves, more than his parents’ fate. hopefully gets out of his rut with talking about how he genuinely feels about nini and how he’s ready for that relationship soon. nini is already getting better at being more sure of herself and what she wants, i think she’ll soon realise how ricky is different to her, and how that doesn’t take away from his legitimate and very strong feelings that are ever-present for her.

what ricky did sucked and he was undoubtably a douche. but that was the exposition to his, and ricky and nini’s story, it only gets better from here! it already has xx

(i’m so so sorry it’s this long, you just really got my analysis flowing lmao, hopefully this wasn’t just a mumble and was kind of an insight. i have so much to say but my brain feels like ramen rn)