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flawseer · 8 days

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Ok, these time rate me the Jade WInglets

I've been sitting on this work-in-progress picture for so many months now. Maybe if I post it here, I'll finally sit down and finish it.

Very long post incoming.

Discussing the Jade Winglet

Okay. So, you want me to rate the Jade Winglet group. That’s going to be very easy: I love all of them.

It’s also going to be extraordinarily hard because... well... I love all of them. How am I supposed to put them into an ordered list? It can’t be done. So I guess what I’m going to do is: First I will put them into a tier list, and then I’m going to just talk about each of them individually for a bit.

But on account of aforementioned adoration I have for all of these guys, said tier list is going to be very lopsided. The tiers are going to be “I adore them with the intensity of seven suns”, “I really like them”, and “I very much like them, but...”. You’re going to have to imagine that there are five or so more unused tiers below that.

Let’s unceremoniously get that ranking out of the way first. From top to bottom, the tiers are:

I adore Turtle, Qibli, and Winter.

I really like Moonwatcher, Kinkajou, and Peril.

I very much like Umber and Carnelian.

As for more in-depth commentary, here is a disclaimer: When I think about these guys I mostly consider books 6 (Moon Rising) to 9 (Talons of Power) and the first half of 10 (Darkness of Dragons). The second half of 10... if I’m being honest, I didn’t really enjoy it. I don’t want to go into it too much here, if you really want me to talk about my misgivings with the second arc finale, put a message about it in my inbox (it’s not just the obvious thing; it actually mostly pertains to Winter and the absolute nightmare ending he got saddled with, and some very unfortunate character implications).

Some of my musings are also going to be a bit critical. I just want it to be clear that I make these observations as a fan of the series. It’s a good practice to think critically even about media that you like. It helps you better understand why you like it in the first place. Also, I make no demands to be agreed with. This is just how I see it.

Anyway, enough stalling, let’s get into it. Not in order:

Turtle

CW: Parental abuse

Turtle is the most wonderful thing to ever happen in the history of the universe. I wake up every morning and the first thought in my head is “Ugh, another day in this backwards reality where Turtle is not real! No thanks!!” Then I go right back to sleep disappointed until the next day. Okay, maybe that’s a bit hyperbolic. But I do think that everyone’s lives would be greatly improved if Turtle was real.

Turtle is a very vibrant and insightful character who, much like Winter, is unfortunately cursed with a pair of malicious and incompetent "parents". Some of his scenes really hurt to get through if you’re a parent yourself or have ever had parental feelings. The first scene he is in, when Moon observes him arriving at the academy, his mother makes a passing comment about how Turtle has no value because he cannot inherit the throne. Turtle is within earshot when she does this. And he has no overt reaction to it, which to me hints that Coral asserts this about her male children so frequently that he has accepted her line of thinking and internalized it. He just accepts it as the truth. That is heartbreaking.

And then there is his father, mild-mannered and ostensibly gentle Gill, who killed Turtle’s budding interest in writing as well as the entirety of his self-confidence back when he was a kid, by assigning a little boy a task that was well beyond him (and only to him, even though there were more people present who could have helped), and then made him believe he killed his unborn sister when Turtle inevitably couldn’t do what he was asked. The narrative really tries to make Gill sympathetic in that moment by insisting he’s speaking in anger and doesn’t really mean it, but um, no. I don’t buy it, dude. You just gave a little kid a lifelong guilt complex because you couldn’t think of asking more people for help. Or taking the egg with you while you left the hatchery. Or telling Turtle to take a message to the palace guard so someone who didn’t still have their milk teeth could mount a proper, organized search while interim guards were posted in the hatchery. Or literally any of the thousands of other options that didn’t require traumatizing your own son.

As a result, Turtle became emotionally reclusive. He registers to others as dull, placid, unpassionate, and boring, like he cares about nothing and is content to never strive for or achieve anything in his life. He himself explains that writing used to be something he was into at some point, but then lost interest in. But I don’t think he has. He still loves literature and thinking about stories, he's still doing it in his internal monologue. He just denies it because he subconsciously feels the need to punish himself. I imagine he still gets that drive sometimes, to sit down and start writing again. But every time he thinks about it, or catches himself wanting anything, his father’s voice resurfaces in his mind, telling him that he killed his sister and doesn’t deserve it. And then he self-punishes by depriving himself of everything he loves doing and every positive emotion associated with it. Because he is convinced he is guilty for failing his father, when in actuality, the opposite is true.

The tragedy is that, if Gill had known how much damage he caused and wasn’t in a situation where he needed a flowchart to keep his 30+ sons apart, he probably would have apologized. He doesn’t strike me as malicious, just horribly, horribly incompetent as a parent. But as things played out, Gill is no longer able to fix his mistake. The only person who can now grant Turtle the forgiveness he needs is himself. I hope he will be able to do it.

Turtle truly is an endearing character and a wonderful son undeserved by his parents. If I could adopt him right now I would. In fact, I’m gonna do it. Hold on while I get the papers. Wait, I have to finish? Uh... okay.

Moonwatcher

In a sense, Moonwatcher may be the most interesting character in the entire cast. She certainly had the potential to be my favorite character period. But there are a few points holding her back.

The thing about Moonwatcher is that, more than any other character, she requires meticulous care and attention to detail to be written well. The reason for this is that, when you’re writing for Moon, you also technically write for every character she interacts with. She is written brilliantly in her own book, since the narrative is allowed to focus on her; Moon Rising may thus actually be my favorite book of the second arc. It’s very enrapturing, seeing her navigate the academy’s social dynamics after growing up as, essentially, a feral jungle child, and battling with her own feelings of loneliness and inadequacy.

The thing is though... Wings of Fire has a bit of an odd quirk. Something I’ve noticed with regards to its writing is that, whenever a character is not particularly in focus during a scene, they often get reduced to their most basic traits and will rigidly act according to them regardless of prior context or external factors. I call this phenomenon “Auto-pilot”. If you’ve read my Mail Call #3, this is what I think happened to Tsunami during the second arc—Tsunami’s basic traits are that she is bossy, emotional, and blunt, so she spends the entirety of her page time as a deep-sea-themed wrecking ball who yells at everyone and dismisses everything as “ugh, nightwing powers” and “Peril was bad in book 1 once, I hate her forever”, despite having other, more pressing matters to prioritize.

Whenever Moonwatcher gets set to auto-pilot, it is very depressing. She needs careful, attentive writing to shine, and whenever she doesn’t get it she turns from the most interesting character into a dull brick that recites exposition and occasionally exists to be fawned after by boys. Tragically, the auto-pilot hits her bad after Winter’s book is done, and she never manages to escape it afterwards, save for maybe one or two scenes. There is a particularly egregious example in book 10 that, in my opinion, does permanent, irreversible damage to her character. It’s all a bit soul-crushing if dwelt on.

So yeah, I like Moonwatcher. I really do. I just wish the strong way she was written could have carried through the entire arc.

Winter

CW: Parental abuse

I initially didn’t really know what to make of Winter when I read Moon’s book. He seemed kind of like a buttface who was needlessly hostile and unapproachable. But he really comes into his own in his book, and looking back at his earlier scenes with that new context makes it all make sense. He became one of my stand-out favorites after that.

Winter really has a lot in common with Turtle, so much so that I wish those two actually had some deeper interactions with each other. Like, at one point Turtle saves his life, you’d think they would want to talk about that some time. Where Turtle’s parents are one half malicious, one half incompetent, Winter’s are pure malice AND incompetence. Blessed with three children, they managed to completely ruin one of them, almost ruin the other, and then the third one is kind of out of focus so I don’t know how he is faring, but I doubt there is a lot of love there either.

In a way, you can draw a lot of parallels between Winter and Icicle, and Zuko and Azula from Avatar: The Last Airbender—The unfavorite who tries to do right but constantly fails to live up to his father’s/parents' warped standards, and the prodigy who seemingly has her father’s/parents' approval but secretly suffers from the abusive parenting just as much, but in different ways. Hailstorm then tries to take on the role of Iroh, an older figure that acts as a source of positivity and genuine love, and offers a reprieve from the abuse. But where Iroh is an adult drawing from a lifetime of wisdom, Hailstorm is just the slightly older sibling who comes from the same abusive household battling the same demons, so his effectiveness in countering the toxicity is limited.

Where Zuko pursues honor, Winter strives to be strong. Both his parents and his sister perceive him as weak and label him irrelevant. While this hurts him deeply, I don’t think Winter fully surrendered to his inferiority complex until he heard his brother mirror the same sentiment at him. Winter is repressed and struggles with processing his emotions—Thus he heard the words Hailstorm only said to save his life and took them at face value. Even the person he loves the most, the only source of affection and affirmation in his life, thinks he is weak. This is what drives Winter to feverishly desire strength and thus adopt a persona of the strongest thing he knows: a stoic Icewing warrior.

This is why he acts the way he does in book 6: aloof, threatening, unapproachable, invincible. But all of these traits are diametrically opposed to his actual personality, which is warm, compassionate, and just wanting to be loved for who he is. So whenever Moon reads his mind, he comes across as a confused mess of conflicting emotions. Because he is pretending to be something he isn’t.

The interesting thing here is that Winter actually is genuinely strong. He is just unable to recognize his own worth, due to the toxic way royal Icewings are raised, warping his perception of what strength means. When he meets Foeslayer, who is said to be an ancient enemy of his people, his mind cuts through the veneer of tradition and old bullshit justifications and sees her imprisonment for the cruel injustice that it is. He then undoes that injustice and frees her. It takes an incomprehensible amount of personal integrity and willpower to just casually defy the will of your entire country like that. This is equivalent to treason; by aiding her, Winter risks becoming an enemy of his people on par with Foeslayer herself. And he does it anyway, because it is the right thing to do.

This dissonance in his perception of strength with regards to his Icewing upbringing, and the actual strength he embodies and has embodied all this time, is something I would have liked to see explored more in the finale or something. As it stands now, he got pressured into putting his life on the line in the battle for Jade Mountain, has sworn loyalty to a people that mistreated him and tried to ruin him from a young age, and then got saddled with an existential nightmare of an ending that leaves me baffled to this day.

In terms of personal misfortune, he certainly is the Starflight of his group.

Qibli

CW: Parental abuse

Qibli is a very charming and versatile character. It is easy to imagine him in a variety of different situations and the scenes almost write themselves, especially when there’s another person with him whom he can bounce off of (figuratively, though I wouldn’t put it past him to try to literally bounce off of someone too). The 10th book posits him as some kind of parallel to Darkstalker; the latter even overtly states this and tries to recruit him as a manner of apprentice. It’s interesting because I think they are actually pretty different.

Qibli excels in situations where his options are limited. He is great at thinking on his feet and coming up with solutions to problems within a restricted framework. He'd be great in an escape room. This ability of his is shown throughout the arc, but it is especially visible in Moon Rising, where his presence in a scene often makes Moon stronger, or more adept at solving problems, because his mind is breaking down the situation for her in a way she would be unable to see on her own.

The twist then comes in when you take Qibli out of that limited framework, by giving him power. His pronounced intellect is very peculiar; it needs limitation to be brilliant. When he has unhindered access to all-powerful magic (i.e. doesn’t have to clear his ideas with another person), he turns into a colossal idiot who buries cities in sand and almost blows up inhabited mountains.

It only follows that, if you were to give Qibli what he wants and make him an animus, it would absolutely ruin him. The great intellect he cultivated would wither and, unshackled from the limitations that forced him to think critically and be his most excellent self, he would end up destroying himself, and likely others too.

Another interesting facet of Qibli is how he works as a parallel to Winter and Turtle (and Peril to an extent). All of these characters come from broken homes and have suffered under abusive parental figures. Qibli’s case in particular is interesting because it showcases how your circumstances can make a difference in how well you handle that issue. Qibli suffered under a tyrannical mother and a pair of cruel siblings, but in contrast to his peers, someone from the outside noticed his suffering was able to intervene—Thorn saved him from his hell and became his rescue parent, restoring his confidence and sense of self-worth.

Because of this, when his turn comes to confront his demons, while it is still difficult and painful (because trauma always is), he is able to navigate the confrontation with comparatively more grace and control than the others. The contrast really shows how difficult it is to escape a toxic relationship if you are still mired deeply within it, and how you need to put some distance between yourself and it before you can see where you are and what needs to be done with improved clarity. That is the path to healing.

I could probably keep talking about Qibli for 15 more paragraphs, but I’ll spare you.

Kinkajou

Every protagonist (and a good deal of side characters) in Wings of Fire is broken, usually has some kind of gut-wrenching past (often due to terrible parents), and struggles to find their place in the world. Luckily here is a pink-and-yellow Rainwing who is just happy and everything is fantastic and wholesome, right?

CW: Forced starvation

Nah, Kinkajou had it pretty rough too. The story plays it like it’s a humorous quip when she finds out Moonwatcher is her roommate and bemoans that nobody is taking her “trauma” seriously, but... yeah, it actually is legitimate trauma. She was captured, bound, and trapped on a hell island without sunlight for several weeks. While there, she was not fed, and she helplessly watched people whom she knew from early childhood starve and die. Death by starvation is not pretty, she likely had to witness her friends slowly being driven mad by hunger until they withered away, and couldn’t do anything about it. Then she was rescued and returned to a home that didn’t believe her pain was real, that claimed she made it up for attention, and that some people who she thought of as friends didn’t even notice she was gone. The only one who believed her was a stranger whom she had met maybe a few hours ago.

Personally, if that happened to me and I came home to that, I’d likely have pulled a Chameleon and said “Screw the Rainwings, I’m moving to the desert.”

That Kinkajou is still able to be positive and full of energy after that is a testament to her immense mental fortitude. She might actually be one of the most stable and resilient characters in the story. Some things shake her up for a bit, but nothing can crush her.

Still, I imagine there are some times, after a really bad day maybe, where she wakes up in the middle of the night. And there, for just a moment, she is scared to open her eyes... because she might be back on the Nightwing island and has to watch someone else die.

Peril

Peril is a bit of an odd case in arc 2. She gets grouped with the protagonists of that arc and the ending implies she is integrated into the Jade Winglet as their new Skywing. I have no real problem with that, in fact it’s good on her that she’s made a little less isolated. But to me, Peril always felt like an awkward appendix to that group. Her only real friend in there is Turtle; for the rest of them they feel more like vague acquaintances, like she's tolerated for being Turtle's friend.

To be fair though, that friendship with Turtle is really strong; it’s an exciting and deep character dynamic. But if I was forced to tie Peril to a group of protagonists, my first instinct would be to associate her with the first arc protagonists instead.

This poor girl has been through it. Everyone seems to hate her and wants her to leave, sometimes for understandable reasons and sometimes it just seems bizarre. I already went into Tsunami’s disdain for her in an earlier post, but I also vaguely remember a point in Escaping Peril where she meets Qibli and he gives her a withering glare for some reason. That confused me, to be honest. I thought “What’s YOUR problem with her? Have you ever even met??” Like, I guess the Outclaws were in direct conflict with Burn since they lived in the same country, and Peril was an infamous elite combatant under the command of one of Burn’s allies, so maybe Peril killed people he knew? But then he gets over his disdain really quickly and with no comment, so whatever happened can’t have been a big deal after all.

My favorite part in her book is when everyone--after having learned about Turtle’s powers--chews him out for not having helped his country during the war, and Peril cuts through the tripe by saying something along the lines of “So if he uses the power he was born with to serve his Queen it is honorable, but when I do the same for my Queen I’m a murderer and deserve to have things thrown at me?” I love all of these guys, but they really deserved to be called out for their double standard and feel stupid for a bit.

But yeah, I really enjoy her friendship with Turtle in the end. And since he accidentally made himself virtually indestructible, it means Peril can now get all the friendly hugs she craves.

Umber

Umber is cool. He has a potentially interesting relationship with Turtle, which is implied in the latter’s book when it is mentioned that they sleep with their backs touching to comfort each other about their respective siblings not being there.

Unfortunately he gets written out of the story arc very quickly. I wish I knew more about him.

Carnelian

I like Carnelian. I feel like she had a lot of potential that gets wasted by her death, for not much gain. It is used to give Queen Ruby a reason to come to Jade Mountain and kickstart the events of Peril’s book, but the same could have been accomplished by having her learn that the Academy is housing Peril and going there to demand the extradition of a (in her eyes) dangerous and murderous fugitive.

Same as with Umber, really, I wish I knew more about her. I already said this during my Smaugust drawing session, but I like to pretend that she and Bigtail didn’t die, and instead had a mini arc about recovering from their injuries. It also has the side effect of averting some very unfortunate implications that come with Bigtail’s death.

~~~

I think that’s all of them. Good lord I talk too much. Please don’t throw crocodiles at my face for it. Tumblr is my queen, and--much like the Queen's former champion--I was made to do it.

#wings of fire #dragon #wof #digital art #wof art #flawseer scribble #flawseer talk #character analysis #wof turtle #wof moonwatcher #wof winter #wof qibli #wof kinkajou #wof peril #wof umber #wof carnelian #flawseer reply #long winded #long post

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anghraine · 16 days

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sea-salted-wolverine replied to this post:

Wdym Anakin mind tricking padme isn't real? You could chalk it up to bad writing from Lucas who isn't quite sure that women are people, but its pretty clear that by ep III that her grip on reality is toast. Whether or not it is a conscious effect on Anakins part is up for debate, but it is definitely a thing that happened

Not really the main point of my post, but no, that fan theory is not "real" in the sense of being remotely canonical for the films. It's nothing more than a popular headcanon nowhere even slightly stated to be happening in the actual films as written and produced. There's no reason in Lucas's films to suppose that the Anakin/Padmé relationship was coerced through a mind trick, that Padmé specifically would be susceptible to a mind trick, that she does not genuinely love Anakin or have any insight into his character, that her grip on reality is ever "toast," or that the mind trick (previously depicted as temporary and resistible) would work that way at all. Padmé is underwritten in ROTS in the way that cool girl heroines invented by men are often underwritten as grown adult women and especially as mothers, but that is not attributable to any character in the story.

Yes, Padmé is tired in ROTS and misses a lot of what's going on psychologically with her young secret husband who is in a cloistered order of warrior monks fighting a long-term war far away from her, but she sees the threat of Palpatine and recognizes exactly what his accession as emperor means. Her mind is fine. And in Lucas's films, also, Anakin is never shown using the mind trick on anyone. It's not really his style—it's a sneaky short-term solution whereas he's smart and resourceful enough most of the time, but mainly reliant on overwhelming power and skill. His signature "trick" is the Force-choke, not the mind trick, and it's the Force-choke that he ultimately uses against her—not because he's been using his powers against her the whole time (including when he's not even there, I guess?), but as a mark of how far he has fallen by that point. That's lost if it's not a drastic change from their previous relationship. Padmé's own choices also lose all meaning if she was mind-controlled by Anakin the whole time, and her arc becomes deeply boring.

Tl;dr - it is very far from "definitely a thing that happened." It is a headcanon that doesn't reflect anything the movies are trying to do (whether they fail or succeed at doing those things!) and is, IMO, a pretty terrible headcanon as well in terms of the overall coherence of the story and characters and how their world is shown to work.

#sorry if this is harsh but. no. it's a fanon meme that would make the already flawed story worse on every level #and which i find deeply unfunny in addition which is why i mentioned it - in passing - in my other post #respuestas #sw fanwank #long post #anghraine rants #star wars #anakin skywalker #padmé amidala #pt critical

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tevanbegins · 2 months

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My beloved Bucktommies, hear me out for I have rambled about some important stuff ahead related to Tommy's comeback situation for S8:

Let's not forget that the Access Hollywood interview with Lou Ferrigno Jr. and Oliver Stark would never have been arranged if Buck and Tommy's love story wasn't meant to be long-term, or continue developing further into the next season. It was a small but still a very crucial piece of press.

Why? Because it's not like it was done right after 7x04 when the hype around bi-Buck was at its peak. Instead, it was done during the second-half of the season, that too when the Bobby-focused episodes were airing. Plus, it was a major TV network interview, not some random podcast/youtube interview!

Also, they could have only had Oliver out there if the showrunner or PR team thought Lou as Tommy was inconsequential to this storyline. They evidently wanted to create buzz not only around Buck's bisexual arc but around his romance with Tommy as well, with this press. Why do all of that if the character was going to disappear shortly?

I am not clear about how it all works but I am sure Tim and his team must have discussed Tommy's future when they decided to extend Lou's contract beyond the pre-decided 4 episode appearances last season. Because why even bother showing that tiny dinner scene with Tevan in the finale if they didn't want to show us where the relationship stood?

And don't let the naysayers get into your head and compare this with the happy Buck-Natalia scene from the season 6 finale and how she was written off after that. Remember that the writers supposedly wrote that episode as a possible series finale given the uncertainty around the show's future after Fox cancelled it. But then ABC picked it up and the writers had to resume the storylines from where they had left them off.

The actress playing Natalia refused to come back, probably because I am assuming she thought her part was done and the show was supposed to end and so she took up other work. Plus there was the whole strike thing too in between. She was just a supporting character and her contract extension may not have been under consideration while they were filming season 6, because they didn't know for sure at the time if another network would renew them for a new season. And because of her refusal they had to scrap that storyline later.

The situation is quite different with Lou. The season 8 renewal announcement came early when the first-half of season 7 was on air. Therefore, Tim and the writers have had the luxury to put some plans in place for the upcoming season in advance because the renewal was official. And this must include whether or not they wanted to keep Tommy around post season 7!

And if Lou agreed to do 2 more episodes last season, I believe he must have agreed to be there for season 8 too — because if the last two episodes of S7 have served any purpose, it has been to tell us that Buck and Tommy are going strong and even the firefam approves of their relationship, deliberately cementing their relationship status as they move forward into the upcoming season.

So this can't have been all for nothing. The only reason Tommy wouldn't be in S8 is if Lou himself declined or if the filming dates were clashing with his other projects, none of which seems to be likely given the points I have discussed above. Besides, we all know how deeply invested Lou is in playing Tommy and passionate about his storyline with Buck. He wouldn't quit a role that's clearly so important and dear to him just because of the BoBs' stupid vendetta against him; he has big dreams for his career to let this childish hate towards him get in the way of a good opportunity. And he knows and sees how much we as his fans love, support, and appreciate him!

So to conclude, I have faith Tommy will be back! He has to be!!! 💫

___

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stagefoureddiediaz · 6 months

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Costume Meta 7x01

Aaaaaaannnnd we're back!!

OMG I cannot tell you how good it feels to be back writing costume meta - I have missed it so very much and this first episode has given me lots and lots to talk about so lets crack on with it shall we!

Where to start?! Firstly - Its amazing to have Alayna Bell-Price back in the driving seat and she is a genius because she knows the characters better than anyone and I have to say from my perspective there is a pretty clear difference between this episodes costumes and the ones from season 6 - not that s6's costumes were bad, just that you could see the shift of having a designer who didn't know the characters to the same level. I’m going to go in order of character appearance in a non uniform capacity for this one I think so we’re going to jump around from character to character a bit. There is no Maddie or Hen this week, as we don't see them out of uniform, but every one else is accounted for and I've included Norman and Lola as they've got a multi episode arc and their costumes are interesting and playing into a colour theme!

putting it below the cut as its a long post and I on't want to overtake everyones dashes! Enjoy!

We start off with Athena in this pale pink high neck ribbed sweater with large bell sleeves. I've spoken a fair amount about pale pink over the last couple of seasons of costume metas and how, in clothes its representative of childish and immature behaviours or thoughts. That holds true here - the pale pink is playing into Athena's childhood - when she developed her fear of cruise ships - its creating a connection between her childhood experiences and the woman sitting in Franks office.

We get a flashback that shows her in yellow and orange - the yellow for communication and the orange for transformation. A literal moment where we see Athena transform from the innocence of youth to her developing anxiety and fear around cruise ships. Its really clever visual storytelling connecting adult with child and shows us her fear is genuine and founded in something that she may not have been able to articualte fully as a child, but she can as an adult, even if she doesn't actually articulate it to Bobby.

Our next non uniform costume is Chimney. The lighting is really low in this scene, so it's kind of hard to be 100% sure of the colouring, but he seems to be wearing either a dark navy or black button up shirt under a dark green and black bomber jacket. The use of really dark green in combination with black, Back is a colour that can be about hiding ones vulnerabilities - concealment and masking, but it is also a colour associated with magic (generally dark magic) as well as pessimism. The green is growth and renewal, and the hope for a better future. to use them in combination i this way is playing on Chimneys insecurites and fears, his desire to keep the 'magic' alive in his relationship with Maddie, but it also speaks to his growth, that he goes home and talks to her about it (even if he does come up with an insane plan to 'date forever').

Eddie in the locker room - aside from being shirtless for much of it and pulling some epically good faces - was a super interesting costume choice. Especially the use of his watch! first though - Denim shirt time! We don't actually see Eddie in a denim shirt all that often and we've seen him in the super washed out one far more than dark denim shirts. I've been laughing a little bit at a few people (on twitter mostly) claiming its the same shirt he was wearing at the hospital during and after Bucks coma and it being a play on bringing Buck back to life. While I like the theory, its actually a very different shirt - the one in the hospital was black with a grey wash out and was made of velveteen - so different colour and fabric.

This shirt, is however one we have actually seen Eddie wear before and its far more telling than if it were the hospital shirt. You need to bear in mind that this scene is about Buck and Eddies respective girlfriends (or lack there of) and the fact that Christopher has a girlfriend now as well. This shirt is the same shirt Edie was wearing when he (re)introduced Ana to Chris in 4x08 (breaking point my beloved! the gift that keeps on giving!) and this puts a conversation about Marisol and things going well with her into the same category as Ana - suggesting she is ultimately destined for the same fate as Ana. the other thing that plays into this narrative is the use of the watch.

Eddie does not put the Christopher watch on until after he has found out that Buck has broken up with Natalia - so during the entire conversation about their respective girlfriends, he is only holding the Christopher watch, rather than wearing it.

In the picture below from 4x08 you can see that Eddie is wearing his black 'work' watch rather than the brown strapped 'Christopher' watch. Remember that the first time we see the Christopher watch is when he goes for his first date with Ana in Jinx, so he already has this watch and in theory should be wearing it in this scene. The fact he isn't is pretty telling and I'll go into that a bit more later when we get to Chris's (and Eddies) date scene.

Then we have Buck in his outfit of many colours! The white trainers, continue to play into my theory of Buck wearing them when he is in key points on his journey to discover his self - her it is about showing his growth - that he ended the relationship with Natalia - this is a massive thing when we saw how long it took for him to end things with Taylor - The man who clings is growing and getting out before it drags him down!

The jacket is similar in style to many of the ones we've seen him wearing in season 5 and 6, but this one is much brighter and more colourful. I know I go on about white meaning bad things for Buck, but that isn't relevant here - the white bad things happen to Buck theory is much more about t-shirts, jumpers and shirts rather than jackets - its an under-layer rather than a top layer that = danger. So i'm not thinking of its relevance here for this scene. What I am going to say is that this (according to my spreadsheet!) is the first time we've seen Buck in a white jacket of any description. To me, it's playing into the idea of purity and rebirth which is what white is often associated with. This plays into the comment Eddie makes welcoming Buck back to 'the land of the living' but also implies that Buck is starting a new chapter and making a fresh start - the check patterning suggests it might not all be plain sailing though.

The check pattern is an interesting one, obviously check pattern theory comes into play here, but whether its only in relation to the reveal that he split with Natalia, or if its also foreshadowing Buck getting himself into danger/trouble down the line, remains to be seen.

I'm going to quote myself again because I did predict that this scene may be about his relationship with Natalia when we got the stills dropped - the costume department never let us down!

The only thing I can do is scream into the void about check theory because check does't bode well for people - they always end up in the middle of the drama (see my check theory posts linked on my pinned post for more) and while they come out the other side (99% of the time) Buck in check for that scene in 6x18 pretty much doomed his relationship with Natalia (its specific to her and not C&K's baby as Buck wasn't wearing it when he delivered it!) and as that shirt in the still is very un Buck like, has not only yellow ochre in it, but also its a white base (and we all know buck in white is a bad sign!!) and its check patterned - my theory is that this scene is connected to Natalia in some way - either Buck is not being true to him self in more than one way - that things are going to/have come to a head for their relationship (my kingdom for a reverse of Buck to Eddie about Ana in 5x03!!!) and lead to a pretty big change in some way (fingers crossed for Buck to end it and then finally break down and deal with his trauma!!!) Some other things about that shirt - the colour combination - the green blue and yellow ochre are giving me call backs to coma Buck (another reason I think it might be connected to Bucks unresolved trauma around his death and Eddies absense in his dream)

In the quote above, I was also referring to the blue and white check pattern shirt he was wearing when he and Natalia got together, but there was also the fact that in the balcony scene at the end of 6x18, we also saw her in one of Bucks white shirts. I wrote in my 6x18 meta about how those two things combined didn't bode well for that relationship going forward, and thats what leaves me unsure about the check pattern on this white jacket being purely about something that has already happened. If I put my Buddie goggles on, I would perhaps suggest that the troubled times ahead may be more connected to Buck and Eddies relationship, and this would fit in with a couple of the things Oliver and Ryan have said. The thing with check theory though, is that generally speaking if it's on one of the mains, they come out the other side of the dram/trauma stronger than before. So if it is connected to Buck and Eddies relationship, then we can expect it to be in an even stronger position on the other side of whatever goes down (and at this point you can't strengthen their relationship any further and keep them as just friends imo!)

Chimneys forever dating proposal to Maddie, connects with his outfit when he's talking to Hen - it's the same jeans and black shirt, so the meanings of black, can be continued on into this scene - the idea of magic and hiding his vulnerabilities. The addition of the jacket with this brickwork pattern in its weave is a fun choice, it's playing into the idea of building something, but also plays into the idea that Chimney has his walls up - again fitting in with the black meaning of hiding his vulnerabilities - because instead of expressing his fears to Maddie ad then them talking it thorough, he comes up with his insane forever dating concept. the fact that much of this scene is a contrasting parallel with the scene from season 1 when he is pretending to be someone else entirely for Tatiana all ties in perfectly with this costume. The fact that he reverts to wearing blue (ran out of picture spaces so I couldn't include one) later on - when he's realised his plan isn't realistic, talks to Maddie and they end up back on the same page is really good to see - the blue being a signature Chimney colour and is indicative of him being true to himself.

Bobbys blue suit and blue check patterned shirt. The brightness of the blue is a really important choice - it's the only time we see him this brightly coloured on the cruise until he ends up in the bright red at the end. This is important because this is the moment when he's still all excited and hopeful for his honeymoon cruise - everything is good in Bobby's world at this moment in time - the check pattern is telling us that it's not going to stay that way for long. From her on out we see the colours of Bobby's costumes slowly beginning to dull and take on a washed out tone, but here in this moment all is good.

Athena's bright yellow dress is all about making her stand out - communicating with the audience, she is the brightest person in the room (in more ways than one!!). The thing with yellow, apart from the communication aspect, is that it can also be a symbol of anxiety and fear, so this dress plays rather nicely into the theme of Athenas fear of being on that ship.

The colour does have other good traits too - its fresh and bright and is a colour of happiness in its more jewel like tones and I think we can see all of these meanings in these scenes - Athena might be anxious about being on the ship, but she is also happy and enjoying herself with Bobby in that moment.

Lola and Norman. Lola is the one we need to focus on in her very bright very check patterned Victoria Beckham dress. Obviously the check pattern plays into check pattern theory, but the red also acts like a neon sign to the audience - highlighting that Lola is in danger - the ga won't pick up on check theory, although they might connect the dots about the fact this check patterning looks very like a cage - foreshadowing her being held captive later on, but also as a nod to the fact she was incarcerated previously.

The red is also a nod towards romance and love - playing into the rekindling of their relationship and romance in the aftermath of the freeway 'see me Norman' incident.

Ok so Christophers date night and by extension Eddies date night! This is where this meta is goingto get a bit messy and I'm goingto jump around a bit becasue I need to talk about the way colour theory is at play in all the scenes in Christophers bedroom, so we're going to talk about Christophers bedroom as one big thing rather than the two separate scenes that it actually is. They are extensions of one another and build on so much of the groundwork we've already seen in previous seasons.

Chris in plaid check yellow and red check plays perfectly into check pattern theory - it’s a signifier that something is about to go down with him - namely that the fact he’s dating multiple girls at the same time.

He’s also wearing a white shirt which is not a colour we see on him all that often - in fact, the only times we’ve seen him in a completely white shirt is with his suit in 5x01 when suit shopping and again in 6x08 for his school dance. He did wear a white vest when dressed as wolverine for halloween So as you can see its not a common colour for him, but the times have seen him wear it as a solid colour have been connected to school/girls and dating (i’m including the suit shopping in this because Ana was there and it was kind of a Eddie and Ana date of sorts - in that it was suppose to be for this Christening - meet the family - date type thing).

The most interesting thing is the plaid hooded shirt though. It was such an interesting choice to go with for a couple of reasons. the colour way is especially loud - we tend to see Chris wearing greens and blues and greys, with the odd other colour thrown in occasionally. So red and yellow are not common colours for him to be wearing.

On the red front we see him in it a couple of times - the adapted skateboarding scene and the scene in 4x10 when he joins Eddie and Ana on the sofa - getting in the way of their date night. We do also see him wear red in Christmas related episodes (so I don’t tend to count them in the same way as the Christmas colour theming will nearly always override any other colour theming intention - the use of stripes or check or other patterning is more important in those episodes!).

On the yellow front things are even more clear cut - the Tsunami arc, the aftermath of him falling off the skateboard, Mays graduation party and 5x03’s Eddie Ana break up! These (apart from the tsunami shirt) were all bright almost neon yellow.

This new plaid shirt is more into the yellow ochre part of the yellow spectrum, therefore tying much more to the tsunami arc, which is actually really fitting if you think about it in a little more detail - its a connection, not only to Buck, but also to loss and grief. Eddie might have been using his secret weapon (Chris) to get Buck out of his moping (read mourning) over not being able to go back to work, but Christopher is also still grieving the loss of his mother at that point as well, so its not just about cheering Buck up, its also about giving Chris a chance to do something fun and distract him from his own grief. That is why the use of yellow then ties in so nicely with its use on Chris now.

The other thing that really grabbed my attention about this shirt though is the fact that the two times we’ve seen Buck have a conversation with Chris in his bedroom, he has sat in the same spot and has been wearing one of those two colours - post shooting in maroon and this episode in the yellow ochre - if you watch those two scenes side by side, you see that they’ve used almost identical camera angles as well to film Buck.

I've spoken a lot about the use of maroon as a colour connected to parenthood - especially fatherhood , which is how its intended to be read on Buck - connecting to Eddie and his being shot, pushing Buck into a parental role in Eddies absence.

That alone is a pretty loud reference to Christophers connection and relationship to Buck, but then we have the yellow ochre of it all.

I feel a little bit insane about how close my prediction was on what the Buck Christopher scene was going to be about - this is from the meta I wrote when t he stills dropped;

Whatever this scene transpires being about, based on what we've seen with Buck wearing yellow ochre, we can assume its going to continue to play into this idea of Buck not being fully truthful with people and fitting into the role he thinks people want him to pay rather than being true to himself. I do want to add to this theory by looking at Christophers shirt as well. The grey/ yellow combination is a bit reminiscent of Breaking point (the episode that really is the gift that keeps on giving) because we get Chris in grey and Eddie in tan - that is yellowish toned whilst not actually being yellow There isn't a good screenshot of them together, but the placing of Chris and Buck in the new one has echoes of Eddie and Chris in that scene (one that is interestingly enough playing into the idea of changing family dynamics, but also the moment before and the one that happens afterwards at Bucks loft, directly placing Buck into a parental role (as an aside the idea of Buck being a miracle worker plays into the theme of Eddie looking for magic, just saying!))

Indirectly this scene was about Buck not being true to himself with people and fitting into whatever role he thinks people want him to fit into, only this wasn't an active situation - this was a scene where Buck could draw on his experience of having done that in the past to help Christopher - the line from Eddie 'you didn't end up being like you' is such a call to this and actually shows how valuable Bucks own experiences and learnings are in helping Chris (we've all been joking about Eddie choosing Buck to help him with this Chris's issue, but in actual fact he was the perfect person for the job - not just because of his being a 'reformed player', but also because of his relationship with death and the death of a loved one where you are reliant on others for their memories of a person rather than having your own)

The thing with the Yellow ochre (this meta here that i've already quoted from above is the place to go if you'd like more detail on its use on Buck more widely) isn't just its about it's connection to Buck, his place in Christopher's life and more loosely to the will of it all, (the fact that Buck and Eddie are both wearing the same colour ways as in the hospital bed will reveal scene and are both on the same sides of the screen in both scenes is a stroke of genius and is meant to connect these two scenes together) its also its connection to Shannon.

The first time we meet Shannon, she sits on Christophers bed in more or less the same position as we see Buck and Eddie sit, and looks at where Christopher has been positioned in all these conversations, and she is wearing a burnt orange top thats pretty close to the dark yellow ochre we see Buck wearing. Shannon wears a lot of yellow - as in it there are only a couple of times we don't see her wearing something yellow or with yellow in it and those are key scenes (which I will talk about later on).

Shannons appearance in Christophers room to read the letter she wrote him had her in this black top with a floral patterning on it. She was also wearing green trousers (which can be seen in the still below but aren't actually seen during the scene.

I actually really loved the green trousers and black top as a choice because the top is very Shannon - it sits perfectly with the floral patterns we saw her wearing when she was still alive. The green trousers are a bit of a departure for her, but I think its very intentional for two reasons .

The first is that they are very much in the Eddie trousers wheelhouse, especially in combination with black - he wears green khaki trousers a lot. The inference being that the black and green combination is an echo of Eddie.

The second ties to Christopher. Green is also a colour we've seen on Christopher a lot, it's probably the colour we see him in most. It's being used as a reflection of the fact he is growing and transitioning from child to teenager. But having it here in this scene - on Shannon connects a Christopher growing up without his mom.

Both of these combined really connect into Shannon in this scene, tying the three of them together and on Eddies efforts to keep her alive for Christopher - the underlying implication that his growth into who he is so far is as much to do with Shannon as it is to do with Eddie.

Her necklaces were not identical to the ones we saw her in in season 2, but that's most likely because they don't have them any longer, so they've replicated them as best as they can. The other little nod that I enjoyed is the brown bracelets on her right wrist - the same place Eddie wears his brown strapped Christopher watch!

But the top they have her in plays into a couple of other things - the prominent yellow flowers make an obvious connection to Buck from the previous scene, but they also tie into the 'I want a divorce' scene from 2x17 where she is wearing a dark blue dress with bright yellow ochre flowers all over it. the dress is not especially close to the top in the wider sense - blue dress with white squares v black top with florals in a variety of colours, but the yellow flowers are the prominent aspect of both items of clothing and play into the yellow theme connected to Shannon and then to Buck.

This is espeically relevant when you remember that Eddie is in a black suit in that scene and he's wearing black when he gives the letter to Christopher.

The black for this sequence of scenes is such a poignant choice - its Eddie mourning all over again, not for his loss, but for Christophers loss. I did find it telling that again in this scene, we have the absence of the Christopher watch. Eddie has very rarely not been wearing a watch in his scenes, so the times when we don't see him wearing one are very telling.

For me, in this sequence of scenes, it's about the fact that they are not about Eddies relationship with Christopher, but about Shannons relationship with Christopher. The watch is much more about Eddie and Christopher, so to have it absent from this story arc makes total sense and is symbolic of Eddie being a good father

Then we have Christophers grey shirt - I said when we first got the stills from that scene, how it was likely to be connected to complex family relationships - a la when we’ve seen Buck wearing his grey shirt. And what do you know - the scene was about complex family dynamics/ relationships.

It wasn’t perhaps in the manner I was expecting, but that series of scenes played with the full scope of Chris’s complex family relationships - from the relationship he has with Buck -not only as Christophers friend, but also as more or less Eddies co-parent (the way Eddie asked for Bucks help screamed co-parent rather than friend imo - that whole burnt out car scene was two co-parents discussing their child!) to the relationship he has with his dad - which is a pretty great relationship, but it is a complex one.

The relationship he has with his mom - or the fact he feels he doesn’t have a relationship with her despite Eddies best efforts, because as he grows up she feels further and further away.

Eddies 'date' night with Marisol. Again I ran out of pictures (30 is not enough!) so you're going to have to use your imagination or go back and rewatch the scene for yourselves, but trust me when I say that Eddie is wearing the same shirt he was wearing for this date night as he was in 4x10 - when Christopher interrupts because he can't sleep!

It's also a similar tee to the one Eddie wears when he has his breakdown and trashes his room (that one was more green when this one is much browner). Its slouchy and has cut and stretched raw edges at the sleeves and on the pocket - in the same way his breakdown shirt did. there is an element of being in familiar surroundings and being comfortable at home, but stretched out raw edges and Eddie generally tend to mean not so great things.

Of course there is the element of his parenting skills being tested by Christophers having more than one girlfriend, but if that where the only reason, then it would've made more sense to have him in that shirt when he's listening in to Chris talking to Buck, rather than when he's on a date with a new girlfriend.

This is especially true as the screen time for that tee has more connection with Marisol than it does with Chris. Combined with the fact that once again, like in the locker room scene, he is not wearing his Christopher watch in this scene and that speaks volumes.

If we are to read the scene as being about Christopher soley, he should be wearing his watch because that watch is a physical embodiment of the importance of Christopher in Eddies life - that he puts Christopher first in all things.

Got to say I was a bit shocked to see Marisol in his bright magenta silk spaghetti strap top when you consider the costumes we saw her in last season - mostly dressed down, t-shirts, jumpers and dungarees so this is a complete 180 for her character.

There are a few interesting things connected to her outfit, firstly it low key ties into Natalia - we saw Natalia in a red version of this top for her first proper onscreen date with Buck (when they go to the badge and ladder joint) so there is an interesting low key parallel to draw there. There is also the fact that her bracelet is a chain one - much like we've seen on all of Buck and Eddies previous girlfriends - although those have been necklaces, so I'm undecided if this chain bracelet is paying into the same trope as those.

Then there is the pink of it all.

You see Eddie and Pink on his girlfriends doesn't bode well for Marisol.

Both Shannon and Ana wore pink. Ana wore it a lot - there are two examples below, but generally speaking its her most commonly worn colour - including on her first date with Eddie in Jinx.

The first example below is from the first time we see her in the Diaz house. the shades are different, but the fact that the first time we see both characters in the Diaz house they're both wearing pink, speaks volumes.

The other key use of Pink is when Shannon is at the beach with Eddie and Christopher and she tells Eddie she's pregnant - Eddie takes it as the sign he has been looking for - the chance to effectively start over with their marriage, but this is the beginning of the end for their relationship, even if she hadn't died a short while later. She is wearing pale pink in that scene and it's the only time we see her wear the colour in the show.

The fact we can also contrast the use of pink with when Buck wears it is telling in its own right - we see the relationship between Buck and Eddie strengthening when Buck wears pink - May's graduation party, the tsunami, the Hildy coffee machine - all moments (big and small) that show the development of various aspects of their relationship and its ability to endure.

Essentially all this use of pink on the women he has had previous relationships with, doesn't bode well for Marisol and the longevity of her relationship with Eddie. How quickly it will end I can't say, just that it will end.

I spoke earlier in this post about colour theming for the episode and this is where I talk about it!

Pink - and in particular the very bright pinks we saw scattered across the episode. Marisol above wearing it, isn't just about connecting her to Ana in costume terms (especially as at this point that costume is a departure of her costumes from s6) it also connects her to the other characters we see wearing bright pink in this episode - Lola and Norman.

At this point in time I'm not sure if we're going to see it play out as a theme across the season, but its use in this episode was very loud on characters that are going to be around for more than 1 episode. It suggests that there is some underlying theme that connects them (by this I don't mean that they're gonna meet and hang out I mean that personality traits are going to be similar)

Magenta and bright pink in colour theory means a few different things, and like with all colours, has positive and negative traits. Generally speaking its a loud and brash colour thats designed to stand out and draw attention to it's wearer.

Things that are considered positive traits for this shade of pink are; intensity, acceptance, kindness and it's supportive and uplifting nature. It's connected to naive love (as in lust rather than the passionate and enduring love of red) can also be considered a nurturing colour.

Negative traits are; intensity, volatility, arrogant and impatient, irritability and irritating and frustration. it is also said to be a stress inducing colour and is said to be overly emotional.

Theres a clear and fairly loud connection between Lola and Norman getting into danger - Lola is in magenta trousers when she is kidnaped. Norman also has bright magenta flowers on his shirt at this point as well. My guess at this point is that we're supposed to lean into the stress inducing element, and also the irritating nature of the colour (On Athenas part at the very least!) and we'll see if those are the themes that play out for Marisol as well down the line.

Norman is in bright pink when he's lying and claiming she's unwell from being outside or too long. We also see that he is wearing pink in the ditsy print shirt later on (again I ran out of picture spaces!)

Athena's black top in this scene is much like the use of Chimney in black in his scenes. It's all about power and authority but it's also about her hiding her vulnerabilities. The other thing it does is creates a huge contrast with Bobby and all of the other passengers - she is the only one in black in the scene and it contrasts her with the underlying white of Bobbys shirt - juxtaposing them and visually putting them at odd with one another.

Like I said above about him becoming increasingly pale - here we see Bobby in a sea-foam green shirt - its the palest and washed out colour we've seen him in on this cruise (grey pyjama shirt not being included as its blink and you miss it and a pyjama tee!!!). Sea-foam green doesn't really play into the traditional meanings of green - there is still the element of renewal about it (the sea washes the sand etc)but its mostly a self-conscious and uncertain colour - both things that perfectly sum up how Bobby is feeling in this moment.

The other fun thing about this outfit is the palm tree shorts the patterns Bobby has worn in relation to this cruise, up to this point (and that includes the shirts from season 6) have all been tropical themed but on his shirts, the fact that they've now slipped down onto his shorts is a visual representation of him becoming increasingly dissatisfied with the way his honeymoon is going - that the tropical vacation vibes are slipping away.

Athenas red and white shirt, in my opinion is showing her cross purposes - its the duality of investigating and being on a cruise in a shirt. The bright red ties into the red and blue first responder colour way the show uses (for obvious reasons) while the white and the palm fronds, the lei flowers and the watery theming of the pattern fit into the troipical cruise they're on.

Bobbys red shirt contrasts with the lavender that we see on Athena - its not a colour we see on Bobby all that often and that makes its use all the more important. Especially considering the entire cruise thus far we've seen him in blues and greens - especially pale closer to pastel tones.

This red is bright snd bold and unlike his usual choices. Red is a colour of cross meaning - there is obviously the connection with love and the heart, which is absolutely at play her - his love for Athena is spurring him on and is part of what is pushing him in to investigator Bobby mode - and its representation of love is what is going to be the key player in the up coming episodes on the ship - when he is looking for Athena during the evacuation etc. But the other meaning of red is war, courage and anger and that is very much present here in this episode, and will (i'm assuming) be later on in 7x02 and 3.

The other thing I think its worth pointing out at this point (which is pure conjecture on my part at this moment in time but that I think will become relevant in the next two episodes rather than this one) is the foreshadowed parallel with Buck in season 5 when he broke down Eddies door. The bright red we saw him wearing then was an uncommon colour for him, in the same way it is for Bobby here. It's paralleling the way Buck was prepared to go into battle for Eddie, with the way Bobby is prepared to do so for Athena - going to war for your closest person, your loved one and doing what you need to do to save them.

Putting Athena in lavender the moment she gets to go into cop mode was a choice that had me giggling! Lavender is a colour of relaxation and order so for her to start wearing it the moment she gets to start being a cop again - speaks volumes for her state of being - it shows that her fear of being on the cruise ship and of being alone with bobby, has been overridden by her need to do her job and start investigating things. Its the perfect colour for this moment and for the impeding trouble brewing on the ship - Athena will bring order to things as order has been restored to her inner world.

Hopefully you've enjoyed this little canter through the costumes of 7x01 we're back in business and I can't wait to read your comments in the tags and comments 🥰

Tagging for those who've asked to be tagged - drop me a comment on this post if you'd like to be added to the list for the next meta 😎

@theladyyavilee @mistmarauder @xxfiction-is-my-realityxx @mandzuking17 @spotsandsocks @loveyou2thecore @wanderingwomanwondering @oneawkwardcookie @leothil @copyninjabuckley @nathleigh @shammers86 @crazyfangirlallert @missmagooglie @inandoutoffocus @katyobsesses @radiation-run @gayandbifiremenofmine @lemotmo @bi-moonlight @satvojihusana @crazyaboutotps @princesschez75 @mongreloer @alliaskisthepossibilityoflove @sherlocking-out-loud

#911 abc #I hope you enjoy!#its good to be back #I can't remember my costume tags 😂#911 costume meta #season 7 #s7 costumes #7x01 #Kym costume meta #Kym colour theory #911 costumes #long post #the costume department never fails #still feeling feral about so much of the stuff I got right and the new stufff I've spotted

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twentyfivemiceinatrenchcoat · 4 days

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jjk chapter 270 spoilers under the cut !!

GODDDDDDDDD I LOVED THIS CHAPTER. I LOVED IT SO SO MUCH . i feel so high rn you guys don’t UNDERSTAND 😭😭😭 it gave me literally everything i wanted (minus gojo stuff but we’ll get to that) AND I’M JUST !!!!!!!!!!!! i feel so satisfied . all is right with the world . i am a happy mouse

i love love loveeeee the fact that akutami finally decided to pick up (most) of the loose ends — at least the ones from the culling game !!!!!! it’s my favorite arc and i really adore all the side characters, so getting to see them all again was so nice 🥹 and my biggest criticism for akutami’s writing in general has been how he leaves these loose threads behind him, so i’m glad this chapter went back to piece them together. there’s still obviously a lot i would’ve liked to see before the finale, but this chapter finally made me feel somewhat satisfied with it all …..

buuuuut okok!!! let me get through some stuff <3

^^^^ THIS . THANK YOUUUUUUUUU GOD 😭😭😭😭😭😭😭😭😭😭😭😭 ALL I WANTED WAS SOME FINAL SHOKO CRUMBS . THAT’S LITERALLY ALL. i love her so much chat …………. THE BUN :((((((( i wonder if she’s paying tribute to suguru, in a way. since she can’t make his grave all nice like she did with tsumiki’s. <- WHICH IS ALSO . so heartbreaking :((((( shoko has been the closest to death and corpses out of everyone.

’that moron should’ve let me handle geto’s body, too’……… gojo thought he was doing her a favour by not forcing her to dispose of him, but i wonder if his decision only caused her more suffering? :’) either way i loveeee shoko and i think her character is so wonderful. her not believing in an afterlife is also so in character LMAO, my little cynicist <3333

^^^^^ AND THEN THIS . PEEEEEERFECT. SO PERFECT. shoko and her cigarette motif :’)))))))) SHE FINALLY QUIT AGAIN . SHE IS AT PEACE . also need to mention how fucking cute she looks ……. i neeeed to squish her cheeks !!!!! she’s my baby !!!!!!!!!!

i will say that . obviously . i would’ve loved for her to get a more concrete final moment with stsg :’) like her being at the airport, or something. overall i’m satisfied with this being her ending of sorts (though if gojo is alive i’d obviously like to see them talk)…… she hasn’t gotten as much spotlight in this manga as she’s rightfully deserved, but i do think her character writing has been lovely and consistent throughout everything, and she remains one of my ult favorites <3333333 i LOVE my wife. love all her little quirks . i hope she quits smoking forever and ever!!!!!!!

ahh, it was also nice to see them mention tengen!!!! and how the barrier techniques worked. again, i’m just really happy that we’re not letting plotpoints go unfinished 😭😭 i also think it’s . a little romantic. that tengen’s barriers will exist as long as sukuna’s remnants remain . the tengen / sukuna / kenny trio is very interesting to me (MORE ON THAT . LATER.)

THEN WE ALSO HAVE THIS !!!!!!!!!

^ this moment means . soooo much to me. will try to get my thoughts out coherently but this theme really resonates with me so deeply :’) since the beginning of the manga, jujutsu society has been built on the foundation that is the suffering of youth — adults casting blame and burdens on children. like the higher ups who hide up at the top and force the children to work themselves to the bone. we saw this so clearly in hidden inventory most of all. and gojo is the anti thesis of that society — he wants to preserve youth !!!!!! even nanami, who didn’t really have any clear desires to change the fundamentals of their society, did his best to protect children as an adult.

so to see gakuganji refer to utahime and nitta as young (even though they’re both grown adults)….. and say that ’they needn’t worry over this just yet’…… i think. it shows how much the society is already improving. with someone like gakuganji in charge. and also kusakabe, who basically told the trio to just be kids last chapter, and leave the hard stuff to the adults (can’t remember his exact wording lmao but he said it so perfectly)…… it just warms my heart. jujutsu sorcery is still a shitshow but as least the children won’t be as exploited anymore (or at the very least, there are good adults around them, who will bear most of the burden on their own backs). idk. i just loved this moment sm :’))))))

ahhhhh, and and and !!!!!! mr katana and mr sumo 🥺 IT WAS SM FUN SEEING EVERYONE AGAINNNN and it was so sweet seeing maki try to look out for them a little after they helped her ……..

^ maki and her middle aged man besties …… :3

AND THEN CHARLES !!!!! MY BOY !!!!!!!!!!! just needed to mention him lmao. i love him T_T happy that he’s working on his trashy little manga. keep up the good work king <3333333 SAME WITH THE FORMER BULLY . sorry can’t be bothered to remember his name ….. the pudding guy. you know who i mean. seeing him apologize and try to make amends was rlly heartwarming …….. i really am so happy to see all culling game characters happy and alive . WHERE IS REMI THOUGH . 🤨

…… but okay . okay. okayyy.

actually yk what we’re saving the best for last ^^ ONTO HANA AND MEGUMIIIIIII WHAT A CUTE MOMENT . SOOOO CUTE . i don’t ship them at all i think they’re adorable though …… AND HANA IS SOOOOOOO GODDAMN CUTE I CAN’T EVEN EXPLAIN IT ????? :((( I NEED TO SQUISH HERRR

^ LOVE this line . my brother pointed this out but isn’t it like …. eerily similar to that akiangel scene 😭 lmao. i just really love this. megumi offering to be her right hand because ’he’ was the one who took it from her ……. he’s such a good boy :< also instantly pictured him being her scary knight/guard dog and yk what maybe this ship could sail after all…..

^ THEN THISSSSS 😭 THEY’RE SO CUTE. MEGUMI IS SO FUCKING AWKWARD HANG IN THERE BUDDY ………….

ah i forgot to mention higuruma …… i love him!!!!!!!!! i love him a ton!!!!!!!!!!!! :’3 i think seeing his junior demand a retrial for the sake of justice meant a lot to him. i could go deeper into it because higu’s character is so dense but yeah !!! very fitting ending for him …… i’m kinda sad that he’s cursed to be an overworked sorcerer though 💀 hang in there king…

AND THENNN WE HAVE :333c A NEW MISSION… feels kinda nice to go back to our roots. i have literally NO idea what’s gonna happen though 😭 hopefully tied to gojo….??? for the record i obviously want him to live and will have Many things to say if it turns out he’s really been dead this whole time, but. we’ll save that for the next chapter <3 for now i’m just happy to see the babies back together….

^ noba being gay ……. all is right with the world 🥹

BUT OKAY . ENOUGH. ENOUGH ABOUT THATTTT ENOUGH ABOUT EVERYTHING ONLY ONE THING REMAINS AND IT’S THE ONLY THING THAT MATTERS. akutami loves me and only me and this chapter finally confirmed that once and for all…..

I FUCKING . SCREAMED. YOU HAVE TO UNDERSTAND.

TAKABAAAAAAAAAAAAAA FIRST OF ALL? I MISSED HIM . I MISSED MY BABY 🥺🥺🥺 BUT SECOND OF ALL WHAT THE FUCKKKKK WHAT THE FUCK ALL MY PRAYERS HAVE BEEN ANSWERED???? THIS IS ALL IVE EVER WANTED????????? i’ve been telling my brother that if i could manifest one thing i’d want jjk to end with takaba on stage with kenjaku without it ever been elaborated on AND MY PRAYERS HAVE BEEN ANSWERED . I’M SO HAPPY YOU DON’T GET ITTT

there’s so much to say ……… truly ………. these two make me insane ………… will start with: they’re so funny. they’re so gay. kenny wanting to make sex jokes like the freak he is. THEY’RE TOGETHER GUYS 🥹 THE KENKABA SPINOFF MANGA I WANTED IS RIGHT IN FRONT OF MY EYES .

….. but also !!!!! truly truly trulyyyyy — i love this. i love how akutami did this. this is kenjaku’s final scene, and it’s perfect for them!! it’s so chaotic…. they left sorcery behind for a life of stand up comedy 😭 AND IT’S SOOO IN CHARACTER . IT REALLY IS. what kenjaku wants, what they’ve claimed to want since shibuya, is to create chaos that not even they will be able to control, using cursed energy. and takaba is exactly that. kenny created takaba’s cursed technique using the culling game, and takaba is chaos personified!!! a chaos kenjaku can’t control!!!!!! as dissatisfied as i was with yuuta just swooping in and cutting their head off i did think that the takaba fight was a really clever and perfect end to kenjaku :3

soooo — it makes sense that kenjaku would go back to takaba. they had fun with him!!!! he matches their energy!!!!!! and takaba could easily have saved his life using his ct, which i think is the implication here. i love that kenny’s face is obscured, it just feels like such a fun little thing to throw in at the end 😭 but i doooo genuinely think this is akutami’s way of implying that kenny is alive and living the happy yaoi life with takaba . as they fucking should.

i also wanna say !!!!! that i think it’s so thematically fitting that kenjaku’s ending is soooo different from tengen’s and sukuna’s . i LOVE this aspect of it so much; kenjaku is the most morally corrupt of the three, and also the most human. sukuna is a human turned calamity, who slumbered for centuries, and tengen is a shut-in who ended up mimicking sukuna’s appearance while only maintaining human contact through a barrier. kenjaku laughs at them for it. he hates them for being so passive, because kenny is the opposite of that — he’s lived through it all!!!!!! changed with the centuries!!!!!!! so i think it’s just ….. soooo perfect and tasty that sukuna and tengen now only exist as remnants, as barriers, just like they did before — while kenjaku chooses to live, and takes an entirely different approach. they’re so fucking chaotic and i adore them. i can’t explain how much i love their character …… i really can’t ……… :’3

i’m just . still so happy . i really thought it was kenover…… i didn’t think they’d get an ending so perfect………………. i really, really hope akutami comes in clutch and gives gojo the same treatment :’) even if the chances are slim. i thought this chapter was absolutely lovely and i hope with allllll my heart that i end up enjoying the final chapter too.

……….. i think ……. that’s all 😭 (if you’ve read this far i’m kissing you with tongue btw). THANK YOU FOR BEARING WITH ME !!!!!! this chapter made me feel so genuinely satisfied and giddy and i’m super sleepy and tired but i just needed to rant :’3 i love kenjaku. they’re so silly . such a brat. i wanna kiss them. takaba too actually. we are in a happy polycule

#PHEWWWWWWW #LONG rant this week folks ……#i <3 this chapter #need to say it again just so everyone knows #i love youuuu akutami <33333 #ari noises ✩#jjk 270 #jjk leaks #jjk manga leaks

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pruneunfair · 2 months

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The internalized sexism in remarried empress, (for an ask)

*this is going to be a long one so hold on tight*

It's no question that remarried empress is one of the most popular manhwas on webtoon and being so popular it holds a lot of influence, unfortunately, that influence promoted the internalized misogyny in not just the readers but in other works as well.

In the first chapter, Navier is presented as this baddass perfect woman, during her divorce trial she brings in a hot rebound who also happens to be another Emperor so she wont have to give up her life as empress, sounds pretty feminist right? Unfortunately that's only one of the few times we see anything related to feminism at all.

We are soon sent back a few months before the trial and right away, Naviers ladies in waiting are tearing another woman down and already believe this new woman is a threat to Navier because the Emperor Sovieshu is attracted to this newbie

We are shown the basic concept of how the narrative wants us to view these two characters. Navier is perfect empress who is being wronged by her husband and this unnamed woman who's only crime so far was existing is a wench and a homewreaker, the ladies imply it as some sort of extreme act of disrespect for having to bathe what they believe to be a slave, proceeding with sucking up to the lead by saying they only wash their hands to bathe her as they don't even wash themselves and even when they admit this mystery woman to be beautiful they backtrack to making sure Navier is supported. You might think that this is just friends supporting friends but it goes beyond on that later on.

Later on we are introduced to this mystery woman, Rashta, a former slave found by Sovieshu in the woods who is immediately portrayed as rude, stupid, and a crybaby

The reason she cries is because she was struck and referred to as "the slave" while she wasn't very polite it's clear Rashta isn't doing this on purpose, rather it is sheer ignorance and an unusually large optimism

now, a lot of people like to say that Rashta must've done something on purpose to get Laura imprisoned and that she knew what she was doing, therfore justifying the hatred for her existence. However, Laura hit Rashta for reaching out to Navier and calls her a wench in the process

Some fans use the excuse that she smirked after Laura got sentenced to 3 days imprisonment and yes while that is excessive for Laura, Rashta was a slave only a few days ago and she's been mistreated by nobles her entire life plus I don't think she's smart enough to pull off Hannibal levels of planning like that, I personally think her smirk here is meant to be more of a "that's what she gets for treating me like that." Then a "hee hee my evil plan worked!"

the rest of the comic goes the same way, Rashta is continuously portrayed as a whore who ruined Naviers life by turning her husband against her, and she's written to be hated as a pick me who won't know her place. Rashtas pretty much every part of those "other girls" in those not like other girls templates. She's girly, loves the attention, emotional, dainty, overly sweet but secretly only has ulterior motives, and in the novel, she acts extremely childish even referring to herself in 3rd person, even when she makes good points it's all intended for the reader to laugh and jeer at her.

Shes practically designed to be the pick me archetype for baddass mary sue fans to despise and she sadly only gets worse as time goes on, not just in morals and personality but also in her writting

And how is Navier perceived?

Shes endlessly perfect, everyone loves her including several different powerful men from all different countries. Even her cheating ass husband is given the cheapest redemption arc in the end just for being sorry that he cheated and realizing how much he wants her. All the characters your meant to view as good adore her and anyone who doesn't is written as the meanest bad guy on the planet worthy of death. While she isn't the worst character I've seen, the narrative tries so hard to make her more amazing that Navier looks worse as a result, such as not caring about slavery despite being described as kind and devoted to all her subjects. Ergi even says it straight to us that there will always be that invisible wall between her and the poor.

The characters we're supposed to see as good are:

Heinrey: A king who planned on going to war with Naviers country and only stopped when he fell in love with her at first sight, who also tortures and threatens anyone who even so much as inconveniences or talks shit about her all while he puts up an innocent front to appear non threatening (wonder who that sounds like)

Kaufman: A grand Duke who drugs other people with love potions which are essentially date-rape drugs and gets away with it once another woman takes the blame

Kosair: Naviers brother who violates Rashtas autonomy by slipping abortion drugs in her food and it's never talked about again.

Lebetti: One of Rashtas slave owners who still continues to harass Rashta and views anyone lower than her with contempt including her own nephew and so on

And who are the characters we are supposed to hate?

Besides Rashta and Sovieshu, the only other characters so far are Krista, the former queen of the west and her father

Ironically Krista is hated for the same reason readers supported Navier for: not wanting to replaced as queen, which isn't helped by Heinrey asserting that Navier is the one and only queen and anyone who objects will face serious consequences but they fix that by dumbing her down and blaming her for Kaufman drugging Heinrey. As for her dad, the old Duke. While he is the only man actively against Navier so far the only ways he has been punished is being told that Krista killed herself. (In the novel the old Duke does face serious consequences which involved him being murdered along with innocent people after his son attempted a hit on Navier)

But overall you get the message, most of the characters you are supposed to love are men and ladies with no personality, men who do atrocious shit yet we're supposed to look past it and conveniently the only man who is punished is an ugly bastard.

The ladies in waiting are the biggest contributors to the internalized misogyny, often they support it by insisting any new woman who shows up must be an evil whore, even Krista's ladies in waiting do this

Not like it matters though anyway since Navier basically wins most of those girls over on her side and they're never seen again

You see what I mean? Every other woman in this story has little to no character, they exist solely to push the FL up and punch down at any woman they don't like which usually consists of women that either dainty "other girls" or ironically women in a situation similar to Naviers and any woman who opposes Navier is affectly an idiot who gets girlbossed back into place. Meanwhile almost all of the men who commit absolutely horrible acts get away with it since they all essentially go awooga for Navier, with the only exception being less than conventionally attractive dudes like Krista's dad.

for fucks sake even Alan, one of Rashtas other masters who 🍇ed her, got her pregnant and participated in keeping her child away from her until she got successful is viewed as this sorrowful wittle baby who got taken advantage of by the evil Rashta and was "wrongfully" told to screw off by her. It took an episode where Alan was so unfathomably stupid to get readers to realize they shouldn't side with a rapist, and yes, while the narrative will try to push the idea that Rashta took advantage of him to raise her status and that she consented. News flash: a slave cannot consent to someone who owns them, it's like a student-teacher relationship.

Now the hypocrisy. Navier can do one thing and it's viewed as such a girlboss power move but when someone else like Rashta does something similar, it's embarrassing and pathetic. For example, Rashta is mocked by nobles mind you, for wearing an expensive and flashy wedding dress. Meanwhile Naviers wedding dress is literally weaved with thousand of gemstones

Hey, it's their words not mine.

Or how Rashta was considered evil for stealing Naviers spot as empress (even though Rashta didn't even want to be empress at first and Sovieshu gave her the offer, it's not like she held a gun to his head) but when Krista shows distress over being replaced as queen, the comments basically tell Krista to suck it up because Navier deserves it more. Everytime a man does something wrong in this story, the characters and even the readers trace it back to somehow being a woman's fault.

Readers are even encouraged to laugh at Rashta for not being able to learn as fast and eventually having a breakdown from the stress (not to mention she's also pregnant here so those hormones must be going wild)

yeah let's just blame a pregnant woman who wasn't educated in reading until a few months ago for not being able to be as smart or stoic as Navier and then crying from the stress.

finally, how this promotion of internalized misogyny affected other works. The Trashta nickname has become so popular that it is used everytime a woman who doesn't support the MC or even just inconveniences her is introduced, constantly the comments never shut up about the "new trashta." Even women who don't mean harm like Helena from kill the villainess was treated horribly because she's the "other woman" it erases any attempt at creativity in these stories and dumbs down any other woman who isn't constantly worshipping the FL as an evil bitch who needs to go.

Conclusion:The Remarried empress isn't the feminist power book with complex characters, maybe in season 1 but not anymore. Women who even think about being rude to Navier are punched down and killed if they don't change their mind while almost all the men are excused for their cruel actions because their hot guys with abs who only wanted to protect the one and only goddess Navier.

#the remarried empress #the remarried empress critical #rashta #webtoon #anti heinrey #empress navier #anti kaufman #Dear God this took forever.

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meimi-haneoka · 5 months

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Clear Card Trivia 3 ~ Sakura's journey of growth and self-understanding throughout Cardcaptor Sakura Clear Card

Hello and welcome back to my "Clear Card Trivia" series, a collection of informative posts where I delve into certain aspects of the story of Cardcaptor Sakura Clear Card! ✨

The topic I will talk about today has been on my "to-do list" for long time. It's something I felt the need to talk about, and I won't hide the reason why: the desire to fully eviscerate this topic grew particularly after reading around certain criticism of Clear Card Arc. But also after listening to CLAMP's Twitter Spaces, particularly the ones towards the end of the story.

It's something that, setting aside my obvious love for the new characters, will always make me think that Clear Card Arc has been a very welcome addition to the series.

This post will delve into Sakura's growth throughout Clear Card Arc.

Sakura grew up considerably during the story, and had a character development that sadly not many people truly realized.

I'm not talking about an evolution of the character design which, despite changing and evolving throughout the story (as it's expected for a long-running serialization), kept depicting Sakura consistently with quite young looks...no, I'm talking about her mental growth, in relation to her self-knowledge and her relationship with her magic powers.

A journey that might almost feel "frustrating", because it is full of "up and downs", and Sakura sometimes seems to be taking one step forward and two back. Aside from the obvious practical reasons (the plot had to develop several other storylines simultaneously), it very much reflects the realistic growth of a pre-teen, which is never a straight line but is made of improvements and relapses.

Along the journey, I couldn't really avoid mentioning some bits of the development of Sakura's relationship with Syaoran, which will get its own deep and detailed post another day.

There's also an extra about the significance of the Clear Cards in the story, at the end.

I have to be honest, the post is very long, but I tried to insert visual elements to make it easier on the eye. If you're curious to know how the hell I found so much to talk about for this specific topic, follow me under the cut and dive into Sakura's journey throughout Clear Card (it's also a good way to review the story)! ✨

A Disconnected Beginning

Clear Card Arc starts in a very "festive" and happy way: everything is peaceful, a new exciting chapter of Sakura's educational life is starting with the beginning of middle school, Syaoran is back to Tomoeda, this time to stay forever with his beloved girl...everything seems so perfect. And precisely in chapter 1, before everything takes an unexpected turn, we have this scene here, which I consider the "true" beginning of everything:

Sakura says "I haven't been using this lately...well, that's for the better".

At the beginning of Clear Card Arc, Sakura seems to be feeling disconnected from her natural gift.

Despite she had to go on a quest to collect all the Clow Cards, which later she gave a new life to by changing them into Sakura Cards, we have to remember that Sakura was born with magic powers. They weren't bestowed on her by Kero-chan, nor by the contract with the Clow Book: she always had magic in her blood, and it apparently "woke up" on that fateful day she found the Clow Book in the library of her father.

At the beginning of this arc, Sakura seems to think that the purpose, the meaning of this natural gift which is literally part of herself, has been fulfilled by transforming all the Cards, and splitting Eriol's power as he had requested. Her words here seem to be suggesting a general idea of "if I have to use this key (therefore, my magic powers), it means something troublesome is happening, so it's better if I'm not using it because it means everything is okay".

And although we can't really deny that what happened afterwards is far from being able to be considered "peaceful", this scene here always left a bad taste in my mouth because there's almost a negative vibe attached to the idea of her magic, transpiring from Sakura's words. It's almost as if she's politely rejecting it.

Precisely after she places her Star Key in her jewelry box, probably hoping to never have to use it again, she has her first premonitory dream of the events that will shake her life afterwards. Almost as if her powers were trying to tell her "no my dear, this is you and you'd better come to terms with it as soon as possible".

Then, as we all know, the Cards turn blank. Sakura produces a new key while having another dream and a quest to fight and "secure" some strange phenomena happening around her begins, leaving her in a state of increasing confusion.

This is the beginning of the part of the story that I quite literally call "Sakura loses sight of herself".

At this very early stage of the story, she still doesn't know that she started losing control over her increasing magical power, and it is definitely not a coincidence that all of this began when she thought of shutting her main magic tool away in a box, hoping to ignore it forever. For plot reasons, this also happens simultaneously to Syaoran taking the spirits of the Sakura Cards away from her (because in the beginning, you had to be tricked into thinking he was up to something shady and was the real mastermind behind all the incidents).

Syaoran expected for Sakura to lose control over her powers, as his mother predicted a general period of trouble for her that could lead her to unhappiness, albeit without any clear indication of what could happen: Syaoran came to Japan knowing something was bound to happen to his girl and her powers, and that something was going to lead her to grief, but he had no idea about all the rest. So his uncertain and reckless approach, which ended up in some cases worsening the situation, is also somewhat understandable. He was acting like a worried, overprotective boyfriend at his wit's end.

The strange events, which Sakura materializes into a new set of Cards, surely leave her distraught and confused, not to mention the situation with the Sakura Cards and Eriol's missing replies, but I feel that what really destabilizes her core are the constant dreams she gets, sometimes even in the middle of her waking hours, making her faint on the spot wherever she is.

Premonitory dreams are a part of her natural gift that she began to express ever since the OG manga, but she never seemed to really understand them or take them seriously.

This time around, she keeps seeing this cloaked figure and this terrifying dragon, no one speaks a word despite her relentless questions and the cloaked figure seems to be wanting to take her newly made key away (Lilie!!! what were you trying to do!! *facepalm* she probably tried to pull her closer so she could talk to her), so it's just normal that all of that leaves her increasingly stressed and anxious, even though initially you never see her openly and verbally stating that, due to her overall positive nature ("I'll manage it, somehow" is part of her "everything will be alright" invincible spell, and this is indeed what she keeps telling herself in the beginning of the arc, even though in some occasions it turned out to be a double-edged sword, as sometimes it looked more like sweeping her fears under the carpet, to me).

"Something Is Not Right"

Dream after dream, Card after Card, Sakura begins to have these general feelings of discomfort and of "something is not right, here", as she openly states to Syaoran in this scene of volume 4, chapter 14. There's something about this situation that is pricking her sixth sense, and makes her uneasy, but she can't quite put her finger on it yet. All she can do is to keep "fighting" these phenomena happening around her, hoping to find out more along the way. She reiterates the same feeling of uneasiness at the end of chapter 15, after what I consider one of the most concerning side-effects of her poor control over her powers: Sakura seems almost "in trance" while she leads her guardians to the exit of the maze, and acts in a very uncharacteristic, cold way by shoving her bag in front of Yue to make him hold it for her. It's almost as if her magical sixth sense worked too strongly and warped her personality in that moment: an effect that has been mentioned several times in relation to powerful magicians like Clow, Eriol and later Kaito too, so it's not farfetched at all to attribute this one-off occurrence to her loss of control over her strong powers, which ended up affecting her personality too. Luckily, it didn't happen again in the rest of the story and the capture of this Card was completely changed in the anime (a wise decision imho, since the JP fandom is particularly fussy about the integrity of Sakura's character, and she needed to stay "Sakura" in order to do what she did at the end).

At the culmination of a "mini arc" (the visit to great-grandpa Masaki) characterized by uncontrolled visions of Nadeshiko, another frightening dream (one that ended up dragging even Akiho in, due to the synchronization) and Sakura for the first time ever confronting Syaoran about the things he's been hiding from her, we reach the following scene of volume 5, chapter 23.

"I Wish I Had A Mirror"

I always considered this scene extremely important, because for the first time Sakura spells out clearly the inner turmoil that's been gnawing at her soul ever since this ordeal with the new Cards started.

"The truth is...I'm the worst at understanding myself. And that is probably causing lots of concern to everyone." "I wish I had a mirror. A mirror that could reflect the real me. Then, I would probably understand how to not make everyone worry"

Here, Sakura clearly spells out the frustration of knowing, feeling in her bones that there's something wrong with her, something that she's not understanding about herself, and that something is causing problems, but most importantly, is causing her loved ones to worry about her. Let's not forget that not only Syaoran, but also Yukito, Touya, Fujitaka, Tomoyo, Eriol & his family have all been watching her situation in apprehension, each of them making decisions and moving discretely in a direction they felt was right (and admittedly, not all instances were so).

Sakura can somehow feel all of that, she can feel that it's related to something she still hasn't realized about herself. This tends to be forgotten because it happens in a relatively early part of the plot, but notice how this is the same problem Kaito suffers from. A quite stunted ability to understand oneself. Sakura and Kaito definitely have lots in common, when it comes to this specific part of themselves. Keep this in mind, because it'll be relevant later.

And then, the situation worsens.

Sakura's dreams start to terrify her, because they begin to show Syaoran's face under the cloak of the mysterious figure who's scaring her in her dreams. An apparent truth she cannot accept, she won't accept, even though she's still unsure about what exactly these dreams she's having are. Despite her boyfriend has been acting shady for long time, she decides to trust him and wait for him to talk to her about all the stuff he's holding inside, instead of putting him through the wringer. This also means, though, that Sakura will keep all her fears to herself, eventually bottling up.

Furthermore, Kaito starts to rewind time to fix a situation without a way out (in chapter 28, Akiho was on the verge of going berserk completely and unleash the artifact), creating an additional sense of confusion when Sakura can feel that her finger is numb due to strain, but she can't understand why (she had fought Kaito's time magic unconsciously). Whenever Kaito will rewind time, even later on, Sakura's magical sixth sense will try to wake her consciousness up more and more, giving her these vibes of "deja vu" or making her act in an apparently inexplicable way.

In the first part of Clear Card, Sakura sometimes literally looks like a soul wandering about in confusion, dragged by the events.

I wish to point out that this is not a flaw in the characterization, it is a precise design by CLAMP. Sakura IS, in this part of the story, confused and lost, overwhelmed by the events. She has no idea how to approach this matter other than "treating the symptoms" as they come. This happens because she's still, surprisingly, quite reluctant to embrace a fundamental part of herself: her innate magic power, which expresses itself mainly through her intuition. But we'll gradually get there.

Around chapter 30, before the big realization, Sakura's situation reached a point where:

- her Sakura Cards unexpectedly became blank; - almost everyday (sometimes multiple times a day) there's a new incident that she secures into new transparent Cards; - she constantly sees ominous dreams (in scattered order) with a cloaked figure acting in a questionable way and a scary dragon, and at some point she starts seeing her boyfriend under that cloak; - her boyfriend acts shady, Eriol doesn't reply to her messages; - there's a general feeling of "something is not right" with her magic and some stuff starts to not make sense to her (because Kaito rewinds time)

It is at this point that Sakura finally moves one (giant) step forward and connects all the "puzzle pieces" she collected (particularly, how much more "obvious" the creation of a Card became) and understands that she's been the one causing subconsciously each and every single incident that lead to the creation of a new transparent Card.

"I'm Angry At Myself"

And with Syaoran finally coming clean with her (because at that point he had no reason to keep things hidden anymore, as the thing he was trying to delay ultimately happened - and believe me, I'm sure he partly felt relieved to not need to lie anymore, as that took quite a toll on him too), Sakura can at last give an explanation to at least a part of the things that are happening. And she finally realizes that the doubt that was tormenting her was true: she DID, in fact, not understand something very important about herself, she didn't realize that it was her own power going out of control and that all the incidents that happened bore "her magic signature", so to speak. She failed to "tune in" with her magic.

For the first time ever, Sakura expresses anger at herself.

She will direct that anger (to a lesser extent) to Syaoran too, but I'll tackle that in a separate post.

This is a moment of deep reflection and regrets for Sakura: the poor understanding of herself, the poor "communication" between her heart and her magic powers brought to a situation where her most beloved person was putting himself in danger in order to protect her, while trying to not make things escalate. This is a very sensitive, beautiful and important moment, steeped in conflicting and complex feelings (and remember, Sakura is just a pre-teen. It is normal for a pre-teen like her to not understand herself, but there's just one tiny detail: she's not a common pre-teen, due to her natural gift, and she needs to take that into account). Eventually Sakura calms down, and after creating Rewind, her resolute face while hugging tightly Syaoran suggests that from now on she'll face this matter from another, more courageous and determined perspective.

Or at least, these were her good intentions. Because unfortunately, insecurities are hard to eradicate and in the central part of the story it's shocking to realize how far longer Sakura will insist in shutting away her emotions and refusing to listen to her heart (and intuition) fully.

"It's Just My Imagination"

Part of Sakura's anxiety might have been sedated with the revelation that the Clear Cards are produced by the girl herself, but unfortunately the true core of her problems was not solved at all and will only surface more clearly in the next 20 chapters.

Sakura actively starts having "premonitory bad feelings" when she sees Akiho in volume 7 chapter 34, a bad feeling that she does check with Syaoran, but quickly dismisses as "well, it's just my imagination". This will basically be one of the major problems preventing her from reaching the complete control of her magic. Sakura, knowing her magic potential, should've given way more credit to her sixth sense, but her anxiety, her insecurity and her crippled connection to her innate gift still pushes her to dismiss these "signs" as nothing really important or true. Timely as hell, a few hours later something bad will indeed happen to Akiho, where she completely loses consciousness for the first time and the clan/Association actively starts to absorb Sakura's power through the artifact implanted in Akiho. All of this was caused by the high concentration of magic that "triggered" Akiho's artifact (and here I have to sarcastically "applaud" Kaito, just like Syaoran he's another one who does stuff before thinking through, ultimately worsening the problem).

Once trapped in Akiho's artifact, thanks to her power Sakura can see the most horrifying glimpse of Akiho's past, when she was turned into a magic artifact, by living it on her own skin. And even though Kaito is forced to rewind time once again to save the situation, erasing these memories from Sakura's head, her heart (which is tightly connected to her magical sixth sense - I'd daresay her heart is straight up the source of her magic) DOES REMEMBER, pushing Sakura to act in an apparently irrational way, crying and hugging Akiho tight in empathy. Sakura is particularly shaken by this feeling, still in pain even hours later, but once again she doesn't understand where it comes from. However, she does express with Syaoran an intention to talk to him about it once she's able to put it into words, and in the meantime do her best with all the rest. At least, there's an intention to understand better this part of herself, but it's still soon to see actual results.

Aaand CLAMP really seem to be wanting to test Sakura in this arc, because at this point of the plot, they add the electrocution spell. 😅 No one seems to understand who caused it (it's not Sakura, nor Kaito, but now we know it was none other than Yelan!!) and Sakura's anxiety increases once again. The fact only Syaoran gets affected by it inevitably reignites the doubts in her mind, unwittingly reminded of that terrifying dream of Cloaked Syaoran she keeps seeing...but she stubbornly keeps telling herself "no, it's not like that, it's just a dream". It's undeniable that this situation where she cannot understand her foretelling dreams yet, and the way they show her scattered hints because her power is out of control, has surely contributed to Sakura's insecurity when it comes to trust her own intuition.

Her power is so out of control at this point, that even when Kaito shrinks her and throws her in a hole carved into a tree (landing in a "world" created with magic where he hopes she'll create the right Card) her dreams take over again (it's apparent by the "shaaan" sound and how everything turns suddenly pitch black, a common background of her dreams), showing her Akiho in the dress she was wearing when she was turned into an artifact and, inevitably, Sakura's biggest fear, "Cloaked Syaoran". Pay attention because these visions she's getting here thanks to her power match what will happen later on: what the talking flowers tell her here will turn out to be the beginning of the lyrics of the main theme of the "Alice in Clockland" play. This vision of Cloaked Syaoran seemingly "about to do something" to Akiho horrifies Sakura to the point of screaming in terror and creating one of the most unsettling Cards, "Break". It is after this very scary moment that Sakura starts to wonder very specifically for what purpose she is creating all these Cards. The purpose is actually more than one, but she definitely posed herself THE RIGHT question, as this brings her one step closer to the core of the problem and eventually embracing her own magic abilities.

Then, between chapters 43 and 45 we finally start to see some changes in Sakura: surprisingly, she begins to listen more to her sixth sense, first catching Yukito red-handed while activating a newly acquired magic, and then wondering about a strange painful feeling in her chest when her father tells her that lately she and Akiho became even more similar. We were all lead to believe that this was the foreshadowing of Akiho taking her place (cause everything in the plot at this point deceivingly hints at Kaito wanting to switch them), but she actually was getting foreshadowings of the "rewritten world", where Sakura would genuinely feel wrecked to know that someone important to Akiho was missing, precisely when Akiho would've become part of her family as her twin. In fact, in chapter 45, before falling completely asleep, she hears again the ominous "you won't be able to come back" (the Association's threat to Kaito), wondering WHO wouldn't be able to come back - somehow, Sakura knows that it's not directed at her.

"Just Tell me Honestly How You Feel"

And then, we reach another moment that I consider pivotal for Sakura's growth during this Clear Card Arc. The moment when she's on the verge of breaking down and finally lets all her feelings out.

Her anxiety over the dream with the Cloaked Figure reached the highest peak, so much that she finally manifests a Card, Mirage, that challenges her precisely with that appearance. While Sakura battles that Card (which at the moment she still believes it's an actual person), she seems resoluted to get to the bottom of this story, and to pull down that hood to know the truth. You can really feel that she's so done with all this psychological torture. The fact the real Syaoran appears right at that moment and she finds out the person she saw was just a Card is partly a relief for her, but also throws Sakura again in despair because who the hell is that person in the dream, then??

Syaoran, as the good and attentive boyfriend he is, can just feel that Sakura is stressing over something, so he brings her to his home to help her calming down. And to her umpteenth attempt at sweeping her negative emotions under the carpet, beating around the bush commenting over the tea with a fake smile, he cuts immediately her bullshit and just tells her : "You don't need to force yourself. Just tell me how you feel right now". When she hears that she's allowed to speak out her emotions with honesty, Sakura wears on her face one of the most heartbreaking expressions of the entire manga. She's literally about to break down in tears of exhaustion, as you can see it above. ☝️ Listening to her, gradually, Syaoran encourages Sakura to get out all that's been torturing her lately, particularly about the dream with the Cloaked Figure. It is a very difficult moment for her, because she has to relive the dream, and expose in front of him all the fears and doubts that were trying to tamper with her trust in him. Courageously, she goes through with it, even though her denial ("it's just a dream!") is so strong that she ends up creating another Card: "Dreaming". Sakura at first seems relieved to see the Card, in the hope that everything she saw was indeed a mere messed up dream and nothing else (see? she's again self-sabotaging her relationship with her magic) but Syaoran with his frankness is quick to bring her feet on the ground: the kanji on the Card show "yumemi", and the word can also indicate a "foretelling dream".

Although Sakura seems disheartened at first, her next dream with the Cloaked Figure is much more relaxed, so much that even the dragon doesn't particularly scare her anymore: our girl's intuition makes her correctly feel a sense of loneliness in this dream, which she attributes to the hooded figure, not realizing that it was more likely coming from the dragon itself (aka, Kaito). After all, in chapter 72, Lilie will confirm that her presence ended up distracting her from the one "character" she should've paid all of her attention to. Her intuition, despite being misattributed, ended up having a positive effect through the synchronization with Akiho: the girl will wake up with the same feeling of discomfort of her friend, and as if guided by hitsuzen, she will head to the garden where she'll find a sickly Kaito staring at the moon - most likely feeling the loneliness Sakura perceived in her dream. I like to think that in this scene of chapter 48, Sakura subconsciously helped Akiho comforting Kaito, by waking her up with the unresting feeling, precisely when Kaito needed it the most. Still not completely embraced her magical sixth sense yet, but a significant improvement.

The road between chapter 48 and chapter 52 is paved with lots of struggles, as the Mirror Sakura Card gets stolen by Kaito, Sakura runs the risk of being absorbed into Akiho's artifact again, she meets Momo for the first time and she's even given a hint about Kaito's plan (or what Momo thought was his plan, as he had benignly lied to her about that), but almost all of that gets rewound and erased when Kaito intervenes. Moreover, despite not remembering anything consciously, Sakura is left with a sense of unhappiness when she looks at her home, a remnant of her brief journey in the world of Momo's book which straight up threw her into despair, showing her what her life would be if everyone forgot about her. She also finds once again a Card produced out of nowhere, "Time": I'm convinced she produced this Card because her conscience was awake while Momo and Kaito talked in stopped time, and their conversation triggered her sixth sense to produce Time as a result. Needless to say, all of this worsens her state of mind once again, which leads to the other pivotal, and finally resolutive, scene of chapter 52.

Never Avert Your Eyes From Your Heart

We finally get to what I consider THE scene, the one that will definitively shake Sakura from her deadlock, from the anxiety that stunted her connection with her innate gift and her deepest emotions. And the one who helps her overcoming all her fears is, of course, the love of her life - with a honorable mention for none other than his mother Yelan!!

Chapter 52 got a very, very special place in my heart, because it's basically one giant parallel between SyaoSaku and YunaAki. The two pairings experience similar situations, but the response from one side of each pairing is quite different. Let's remind you for a moment of the part earlier in this post when I told you that Kaito and Sakura, for most of Clear Card, surprisingly have one thing in common: they don't seem to understand themselves well enough, and both have a tendency to look away from feelings that cause unrest to their hearts - anxiety for Sakura, love for Kaito.

Syaoran, always attentive and observant towards his girlfriend, notices immediately that Sakura is suffering, as soon as he sees her at school. Despite being unable to touch her to comfort her, he offers all of himself to support and listen to her concerns. Sakura is visibly and pleasantly surprised of how the boy could read behind her mask, that usual contrived smile with which she tries to dissimulate her emotions and not make him worry. A bad habit she's consolidated lately, but that Syaoran is gently determined to dismantle. After opening up with him (and this is where Sakura differs from Kaito - by having an established relationship made of love and trust with Syaoran, Sakura lowers her walls with him), she falls once again into the usual trap of "but maybe it's just my imagination" and I love to see how Syaoran is her anchor to the ground, making her see the concreteness of this situation: he straight up tells her "you produced a Card out of it, it cannot be 'just your imagination'. " And then, like a precious family gift, he passes on to her the priceless words of wisdom of his mother Yelan, an advice that not only Sakura, but also the other "lost soul" of the other paralleling pairing should listen to:

"People with magical power should never ignore the turmoil and stirring in their hearts, the so-called 'intuition'. And it’s not limited to people with magical powers. People should never avert their eyes from the changes in their heart."

This is a turning point for Sakura. These words seem to positively "break" something inside of her, showing her the correct path to follow. CLAMP beautifully portray this process of "embracing and assimilating" the words she's just heard, by making her place her hand over her heart. I love when they do that (they used the same visual when Akiho heard Kaito's true name, and 'wrote it' on the most important page of the book of her life). Sakura is truly grateful for the words Syaoran relayed to her, precisely what she needed to get out of her impasse with her feelings and magic. She knows she can always count on the support of her soulmate even in the darkest moments, and she's thankful for having him in her life.

From this moment onwards, Sakura will experience several instances where her magical premonitory senses give her signals through the "stirring" of her heart. Contrarily to before, she starts to actively take them seriously, listening, without dismissing them as the delirium of an anxious little girl. This allows her to activate the Siege Card in the fraction of a second, successfully shielding herself from Kaito's time magic, making her the first person ever who achieved that. This also leads her to effectively remember that she saw Kaito using magic, even when time was rewound by him, and contact immediately Syaoran to talk about it, planning how to move from that moment onwards. A little relapse on her bad habit is immediately dispelled by Syaoran, and our girl even goes as far as saying "there's something inside Akiho", even though she's not sure exactly why she's feeling that way. But it's an intuition she's having and she decides to not dismiss it anymore, with everyone trusting and supporting her in that direction. By listening more and better to what her heart tells her, Sakura also decides to not confront Akiho about Kaito and his magic, because she's well aware of the feelings Akiho got for Kaito and she doesn't want to potentially disrupt their relationship. So, she decides to wait for her friend to talk about it first.

Thanks to this better understanding of her own intuition, she also says in chapter 57 that she wants to meet the guardian of the book "Alice in Clockland" once more, despite not remembering if and when she's met her before. This also ultimately leads her to accept the role of Alice in the upcoming play scripted by her friend Naoko, because her sixth sense tells her that it's inevitable for her to do so. It's important to emphasize how the other characters support and encourage her to listen to her innate gift, at this point, without trampling over her self-determination like they did before.

It is a moment of big growth and character development for everyone.

The Ultimate Growth: Finding a Meaning and a Purpose

What happens afterwards is history: the fateful "Alice in Clockland" play unfolds, and Kaito completes his plan to push Sakura to create the Card he needs, exchanging his magic artifact (the watch) with Akiho's one (the book), in addition to activating the forbidden magic to rewrite the memories of everyone, to fit Akiho as part of Sakura's family.

Sakura's intuition will be crucial to wake her true self up while in Clockland, succeeding in beating Kaito's magic multiple times, till Syaoran comes in and gives the "final blow", cutting off the spell definitively.

And even when everything seems lost because Kaito successfully activated the fobidden magic, changing their memories and erasing himself from their existence, Sakura's magic and sixth sense keep making her say things she either already said or heard before in the "unrewritten world". Not only that, but even after meeting Lilie in a dream and forgetting her face (due to the strong influence of the forbidden spell), bit and pieces of that conversation keep coming back to her, and she listens dutifully to every single one of these "feelings". Kaito might have overridden part of their memories (only the ones concerning him, Akiho and the events connected to the creation of the Cards), but the experience, feelings and personal growth of each character were left untouched, that's why the chemistry between Sakura and Syaoran is the same as before the play started, but also Sakura's personal relationship with her magic is far better than before (an information that might have seemed random and unimportant is that now Sakura summons Mirror even just to chat, an indication of her completely changed perspective on her magic).

Now that Sakura finally embraced her magical power, all that's left for her is to find a true purpose for it.

A question echoes in my mind, "What am I creating these Cards for?". Sakura poses herself this question halfway through the story, and she finds the answer to it precisely at the end of the journey.

Her powerful magic intuition, combined with her immense empathy, leads her to realize that somebody is missing from their reality, and that person is the one Akiho loves. At this point Sakura is unstoppable: she wants to listen to the voice in her heart that's screaming "Go and help them!! Give the true happiness back to Akiho!", and everyone can only follow her lead as she assertively puts into practice what her heart is telling her to do.

Sakura in this final part of the story shines brighter than ever. She's more assertive and self-confident than ever. All of this is because there's something she strongly wants to do with her innate gift, as Eriol unequivocally says in chapter 75: her power grows exponentially again, but this time it's not out of her control - it is Sakura herself who's voluntarily boosting it, thanks to her strong wish. And that allows her to control it and use it exactly as she wants.

In chapter 79 her growth reaches the highest peak, by handling the resolution of Akiho and Kaito's personal problems in an admirable way (she steps aside for a moment to give Akiho all the agency she needed), but also finding herself in front of an uncomfortable dilemma, which leads her to an unavoidable reality: Sakura quickly understands that she cannot be on everyone's side and there are lines to be drawn at some point. She can't be a pure and oblivious girl forever. She needs to grow up. There are choices to be made, especially when dealing with real evil people.

And Sakura choses to go on with the people she loves, even if that means she has to "stain" her "moral record" a little bit.

Empowered by this strong wish to fix the situation, she literally gives life to a miracle, protecting her dear friend and her beloved from the grasp of their abusers, simultanously giving everyone their true memories back. The effort exerts her greatly, but what she achieved is by far the most important thing she's ever done with her magic power till now: she helped two dear people lost in a life-and-death situation. Her magical growth went along with her personal, mental one.

This is also the reason why the accusations of "the other magicians should've trained her" end up being in vain: Sakura's problem with her powers was mainly on a personal level, not on a technical one. This was a journey she had to mainly walk by herself, finding the right balance and confidence in her abilities, deep down in her heart.

No one could've done that for her.

Merely training the practical aspect of it would've just worsened the situation, because Sakura wouldn't have been truly "in it" with her heart and mind. She needed to go through this process of growth, before reaching this stage of self-awareness in relation to her magic powers. I truly feel this is the reason why CLAMP made certain choices inside this story. Again, as I always say, a good part of Cardcaptor Sakura does revolve around magic, but the main focus and linchpin of this story is and always will be the main character's heart, her growth and the interpersonal relationships with her loved ones.

This makes Clear Card Arc, in my opinion, a worthy sequel and a full-fledged part of the Cardcaptor Sakura series. I think those who decide to skip it or read it with a superficial approach miss a journey of tremendous growth for our beloved protagonist.

So much for those who kept saying "This is not Sakura's story".

How can all that ☝️ NOT be Sakura's story?

I'll let you judge. 😊

Extra: The Significance of the Clear Cards

I want to digress for a moment about a thorny topic: the significance of the Clear Cards in this story.

Sakura isn't always completely passive towards the events happening around her, but wonders several times during the story why all those Cards are manifesting like that. While the first and easiest answer is of course "because her powers are going out of control" (and this is something Momo herself questions Sakura about in chapter 50), it becomes apparent at some point that the more the story goes on, the more the Cards that are created by her are particularly relevant and connected to the events that will happen in the final part of the story.

I know this is a sore spot for many who complain about not understanding the purpose of the Clear cards. It's because people tend to compare this set of Cards with the ones Sakura captured previously. That's not the right way to look at them, because their origin and purpose are different and change throughout the story. Forget about the Sakura Cards, even though so many of these "Clear Cards" (which are never called so, not even once, in the story itself, but just "new cards" or "transparent cards") might look so similar in purpose to the previous ones.

First of all, the Clear Cards are an outlet for Sakura to vent in a healthy way her power in excess. Power that if kept inside, untapped and confined in her body, might have unpredictable harmful effects on her (<- probably the grief Yelan foresaw). God bless the Clear Cards for existing and allowing Sakura to vent out these bouts of uncontrolled power in a relatively safe way.

The Cards that Sakura produces in the beginning are sometimes reminiscing of the Sakura Cards, because her power manifests itself basing on Sakura's experiences, feelings, thoughts and wishes. The Sakura Cards are an important part of her life (before Syaoran took them, she literally acted like their "mom", keeping them alive with her power) so it's only normal that the first base for some of these new Cards would be a magic tool that she already knows. In this sense, it becomes easier to understand why many of the "captures" seem so easy, way too easy compared to what a reader would expect from a sequel: the goal of the capture here isn't to make her power and experience in capturing cards grow. She already had 2 arcs to do all of that. The capture of the Cards in this third arc becomes something new and unexpected: a "damage control" of a regrettable situation with Sakura's powers, while she learns to dominate them and enter into harmony with her supernatural abilities. The growth Sakura needs here is mainly a mental one. Performing her magical power aimlessly without having a true connection with it and a true understanding will only exacerbate the problem. This is the reason why, despite having a "capture" element, Clear Card derails from the previous arcs in the purpose of the capture. It's a pity that an element that should've brought freshness to the plot was in many cases received as an actual flaw.

In the beginning, as Sakura's power is completely out of her control, some Cards might look completely random too - they don't look based on Cards, thoughts or wishes (like Appear, Reflect, Action, etc.). But pay attention, because the more the story goes on, the more the Cards begin to become particularly specific to something that shook Sakura's heart in that moment, or referencing events/feelings that will become pivotal to the events Sakura will experience later. Especially regarding Kaito's plan. Many of the later Cards Sakura produces are a direct reflection of the feelings and wishes that Kaito infused in the activation of the forbidden magic, with the creation of "the story for Akiho", the one he wanted to absolutely have a happy ending for. Cards like Repair, Promise, Choice, Kindness, True and False, Synchronization, Rewind....many of them didn't even get to express their magical abilities in a "conventional way" (everyone expected to see Sakura literally activating them like she does with all the others), but it's just because at that point the Cards Sakura is producing are born following her premonitory intuition: thanks to the hints/speeches that those Cards give her in Clockland, Sakura little by little regains consciousness of her true self (it's a pity that many English readers will never realize all the times Sakura was about to "wake up" in Clockland, because the translation didn't respect the change in fonts of the JP text). Sakura wasn't supposed to "use" them in a conventional way (how do you "use" Kindness? You force people to be "kind"? 🤨 and what about Choice??), she was supposed to listen to them and let them guide her towards the truth. This is also the reason why all of these Cards bear the face of her loved ones. Think of them as tarots. Which is, incidentally, another use of the original Clow/Sakura Cards. I am basically sure of this interpretation because the kanji of some of those Cards I mentioned above are brought up during the climax: particularly when Akiho talks to Kaito in chapter 78, she uses two specific verbs, referring to Kindness (慈愛 - a kind of gentle and tender love) when she describes the love and support her family gives her in this rewritten world, and to Choice (選択) when she questions Kaito about his choice to disappear completely from her life. So to summarize, the last Cards Sakura produced "accidentally" weren't accidental at all, but were actually specifically produced by her power in reference to Kaito's plan, to help her finding the way out to a dire situation. This represents a very important indicator in the plot: at that stage of the story, Sakura started to listen more and more to her intuition and her sixth sense, finally quitting her bad habit of downplaying it ("maybe it's just me") but actually giving it credit and taking it seriously, trusting her instinct to lead her in the right direction. And this was, of course, all thanks to the speech Syaoran gave her back in chapter 52. It is also the case of the Rewind Card, which Sakura will ultimately understand the purpose of on her own, at the very end of the series. That's the moment where everything will become clear and make sense to her: "This Card, too...I created it precisely for this moment". The Clear Cards ultimately became the embodiment of her foretelling powers. Which then led to the birth of the first two consciously created Cards, Blank & Remind, which will become so important in the climax.

If we ever get a new arc in the next years, we'll certainly deal with a more mature Sakura, who's more in sync with her magical powers 🩷.

#card captor sakura #cardcaptor sakura #clear card arc #ccsakura #sakura card captor #clamp #sakura kinomoto #syaosaku #clear card trivia #I hope this post will make you look at Clear Card from another perspective #I'm sorry for the length but I really wanted to make a deep dive

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baldursyourgate · 9 months

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Transcript of "Baldur's Gate 3 Interview [Emma Gregory] Minthara Voice Actress" by Skycaptin5 on YouTube

What I did: cleaned up filler words (um and ah), repeated words due to automated captioning, and added punctuation.

Purpose: providing an easier point of reference.

Q: A staple I do in all interviews in order to start things off, is to ask that you elaborate a bit about your work, and this particular role for those not familiar with it.

A: Hi, my name is Emma Gregory and I play Minthara in Baldur's Gate 3. I've been an actor for a long time: I come from very much a theatre background, I've done a lot of theatre and a bit 'telly, and a lot of voice work. I do lots of audio books, for example and games and lots and lots of things but I've done a lot of big theatre like Shakespeare for the Royal Shakespeare company and West End theatre, and all that sort of thing. I absolutely love it and I love playing Minthara too. She was a great challenge, Minthara's situation in Baldur's Gate 3.

Q: In Baldur's Gate 3, you provide the performance for Minthara. Could you tell us a bit about the character and the situation she finds herself in?

A: Well it depends on which path you go down. There are millions of paths in Baldur's Gate 3. Minthara is a drow from Menzoberranzan comes from the sort of leading family of house Baenre in Menzoberranzan. She finds herself in a situation in Baldur's Gate 3 where she has been lured into the cult of the Absolute by Orin, who she has quite a backstory with. She has been brainwashed and in the game you can choose to recruit her and rescue her from the Cult of the Absolute. (...)

She is a very paranoid character, very set in her ways and finds it extremely difficult to trust people; but through the course of the game, she comes from sort of quite a chaotic background of not knowing what she was doing because she was brainwashed into then being... hopefully if you guys recruit her, being part of the party and companions, that she learns to discover she needs in many ways, because she is an exile from Menzoberranzan and having given up the worship of Lolth who is the god of where she comes from. So she finds herself an outcast, once she's not part of the absolute so she finds that she needs the companions in many respects, but of course what she would like them to do is to take over the world you know and have her rule it in many respects, possibly.

I don't want to spoil it for people who haven't played yet but I guess she's one of those characters that people might come to a little later. She is... she has a sort of reputation of being quite brutal, and she is a brutal character. One of the amazing things about her is that if you rescue her, she sorts of... once she's in the party sort of says, well you know? "Why would you do that why would you leave your enemy alive why would you not kill them?" because for her, things are very linear you know? You get rid of enemies and that's it. So she's quite interested in the fact that they've and challenges them to say well you kill when I kill it's for a purpose why are you killing? I know why I kill and I have a very clear purpose about it and I kill my enemies and that's it. They're eradicated but why, why are you doing it? So she questions the party and makes them think which I think is rather good and then also...

I'm giving you a very long-winded answer Jason, but this is her. This is the complexity of Minthara which is wonderful to play, and I hope that people really enjoy discovering her that she's not just a killing machine... she is that but there is much more to her, many more layers I think and reasons for why she is who she is.

Considering where she comes from and her upbringing which any DnD fans can read around, her background is quite brutal, so yeah.

So in the course of the game, it's interesting to see how she learns to trust people, always for a purpose and what she wants of course but there is an arc, a journey for her.

Q: When preparing to perform as Minthara, were you given any initial direction in regard to the character, just in terms of an example of prep work to get into the mindset of this particular performance?

A: No. I mean obviously it was given a little bit of background about the story, but not too much. I was told of qualities of the character by the studio, and the sort of type of voice and things that they were looking for and then the rest of it, I pretty much got from the lines I was given.

I mean I'm guided by a director obviously who I've been living with Minthara for four years so uh that's a long time to make her grow and create her; and I also had the benefit of having the most wonderful writer in Adam Smith, who's the lead writer at Larian Studios and he created between us...

We'd never met and it was quite interesting. Over the four years we'd never met at all, but we did this sort of sort of dance, where you know, I would give him an interpretation of his lines and he would take that and go "oh wow okay let's go down this path with her", you know and so between us we developed someone who we feel is very complex and layered, which is great.

We were given wonderful free reign with them as well as keeping within the storyline and what needed to be achieved, but we were very much given as actors which Larian is so wonderful at doing... They trust their actors, and you know, you're given the role for a reason, which is your ability to play it and they trust you in that. And that means as an actor you're very free, because you can bring ideas to the table as well, and for the character and that's a beautiful thing so as Minthara.

Q: You've mentioned your character goes through a bit of a positional shift as the narrative progresses you know, obviously for running the goblins to then stuff happens. Did that adjustment in your character's role impact how you approach the voice performance for the character?

A: Yes, very much so, and because it was also Al motion capture where you're, you know, you're literally in a bodysuit. And you got sensors all over you, and you're so you're able to really fully physically explore the character as well. Which I believe, you should do anyway in all voice work because it's not just acting from the throat upwards.

It's like any acting, you get into the character that you're playing, and you feel that physically because then that determines your breath and how you live and breathe the character, and that's got to come from your whole body, your whole soul.

You know with Minthara I very much felt there was a journey with her vocally. I made a decision, I suppose which... I guess everyone backed because nobody told me not to do it, but she's quite staccato in her vocal delivery and I think that very much emphasizes and shows her lack of emotional centeredness if you like.

She's not someone who delves into emotions very often, and yet, she's a very emotional character. She keeps it like a pressure cooker I guess... but I discovered as well that along with that staccato kind of delivery, there was a sort of shift we found in in movement and voice between when she's under the influence of the absolute and when she's then freed from that, and I think it's interesting for her to explore how that freezes up vocally a little bit.

Maybe not quite so tight in the throat once she was freed, you know, learning to relax a little bit, as much as Minthara can. So yeah there was a nice shifting slightly of Minthara, just slightly. I hesitate to use the word softening, but yes, softening a little bit, softening the edges a little bit vocally and physically once she's gone through that journey of being not brainwashed and discovering who she is again.

You know yeah, I thought that was actually really interesting in the game because she comes off as very... You know dark, intense, and then immediately once that's gone, I was kind of like okay there's a lot more under the surface.

Yeah I mean she'll always be dark and intense, she is, in inverted commas, an "evil character", she's not to sit and you know talk about fluffy kittens.

You know but actually she might! She quite likes animals. But she does definitely go on a journey of finding out that she needs allies. Because certainly by the end of the game, I think she's got quite a soft spot for many of the companions as much as she can have, she has had quite a few of them you know, like Lae'zel for example, and Shadowheart and Jaheira.

Yeah, so that was interesting to explore physically how she can soften, and in intimate scenes or romance scenes with her, she can play the part of being soft and intimate. Whether she's really feeling that inside is another matter, depends on who it's with, I guess. But yeah, that was interesting to explore vocally, from being less sort of rigid and staccato like during the absolute brainwashing, and then finding she's always staccato but whether there's more sort of range and colour in how she speaks once she's freed of the tadpole swirling in the mind swirling in the mind when performing the role.

Q: Were there any particular lines or moments that really stuck out to you whether that's a behind the scenes moment or something from the dialogue?

A: I gosh I love all our lines. Well I love the obvious jokes that lots of people love like that "it was a beautiful webbing", that sort of thing. I love the lines that she's given when she's explaining, you know, when she's grateful to having been rescued and explaining that, no one would know about her and all the vulnerable moments that she has when she's talking about how she feels, about... I think she's quite shocked, you know, having had the brainwashing happen to her, having been so deceived. And so, the dialogue that happens once she's rescued, and she's sort of discussing that with the player are beautiful lines, of sort of realizing my God you know I trusted this person and Orin, and I can't believe that's happened to me and also that she misses her home you know.

I think she really loves Menzoberranzan and her upbringing too but also recognizing how brutal that was too and so all of the that sort of dialogue, cut scene dialogues I think, are beautiful really lovely. And I love it when she challenges if the player decide... I think there's one scene where the player decides to go with Minthara I think it is and then Minthara challenges that yeah. Lots of different lines that I love be hard to pick one but that sort of thing and...

Actually, oh I don't want to do any spoilers but if Minthara is Romancing Karlach, there's some beautiful dialogue in that which was really moving to play, and particularly around Karlach possibly dying that's all I'll say for anybody who has not played it yet. That's certainly a player driven decisions, deeper level of role playing and choice behind Baldur's Gate 3.

Q: What are your thoughts of the mini layers to what choices players could pick and the response you would be performing in reaction to player-driven decisions?

A: Oh my gosh repeat that last bit Jason

Q: Essentially there's many choices people can make, what are your thoughts on the branching choices that could pop up? You know, this decision here this decision there and how you would have to respond to that?

A: I love the huge range and option and diversity in the game. I think that's what people are really responding to. You can be anything, do anything you want to do in the game, and I believe that's quite revolutionary in this game, quite unique. I think that's why everybody's getting such a kick out of the game because there's so many options you know. Just Minthara for example, I know I'm very aware that people are going to very often not choose her to begin with, and then they can go back you know.

My nephew for example's played the game three times you know and each time he's chosen many different paths including Minthara now and so I think that's fantastic for people to have that option that it's not rigid. It's really fluid in terms of you know race, colour, creed gender options, dark, light whatever you know, whatever path you want to go down, there's a million options for you to choose. Is that what you meant by the question? Relatively specific then give me something more specific if you want me to further answer that.

Q: No, I think it about covers it and I think we covered this next one a little bit, but let's dive into it a little further.

So Minthara has a rather enchanting romance option with the character. What was it like to bring that connection to the player to life?

A: Beautiful, really amazing certainly for Minthara who you know because that's part of her journey of discovering who she is and what she needs, and how she feels about people, and discovering relationships. I don't think she's someone who you know she's had partnerships before, but I don't think it's someone that...

She's always used them for a purpose. And I think exploring being hurt if the player makes a decision to go with someone else or the player rejects her. It's really interesting to play those sorts of vulnerabilities and colours, really. I enjoyed that, because that was part of exploring her softer side… or brutal side, depending on what the reaction is from the player because she can be quite… you know, she can dump you.

She can challenge you as well. I like the fact that the characters challenge the player you know Minthara does Minthara says well you've rescued me why, why did you do that surely it would be better for you not to have an enemy in your party you know and so I think that's one of the great things about the game is, the game makes the player think and that's you know rather than just shoot it up or kill.

If you kill for no reason, you have characters like Minthara asking you why and I think that's really interesting.

Q: Some other performers from the game have been playing the game and attempting to romance themselves, have you given the game a whirl and have you or would you try to romance yourself?

A: I've seen some of the others doing that, it's really interesting, it's very funny. I've watched some of their live streams.

fun fact: there were screenshots of her commenting in Lae'zel's VA Devora Wilde's livestream where Devora was trying to and eventually getting Minthara's romance scene.

I haven't yet played it, I'm very much excited to do so which I will be doing in this new year. I don't know about... I've been asked whether I'll do it live, quite a lot of people want me to do that. I don't know yet, don't know whether I've got the confidence to do that, because everyone just seems so brilliant at it. And I probably really wouldn't be, but I've looked at a lot of the game, obviously, and I just think it looks so incredible, so I'm very, very excited to play it.

I think I would play myself yeah, I don't know if I'd romance myself, that would be weird, but I've seen a lot of the romance scenes anyway, so I'm not sure about that, but I would love... I'd definitely play, I'd definitely recruit Minthara yeah for sure and that would probably be my first playthrough actually going down the "bad route" in inverted commas.

So yeah, I'm definitely going to play it and I will play me, but I don't know if I would romance myself yes.

Q: We had an interview there with Lae'zel's performer Devora and she's like oh yeah, I romanced myself. She was very, very into it.

Q: What's it like to see your voice and movement attached to a game character?

A: Oh, it's amazing it's just amazing because obviously, we don't look anything like our characters it's really, I remember being so bold over when I first saw what Minthara looked like and in any of characters I've played in other games. But that's the wonderful thing about voice acting is, you know you can do it forever there's no time set on it is a real freedom as an actor.

You can play a million parts that you'd never play maybe on TV or film or theatre and yeah, seeing your voice attached to something very otherworldly is amazing.

I love how my voice works with Minthara and also our movement and our expressions and what Larian have taken, and the animators have taken the visual artists have taken from how they've seen us. Because when you're in the studio, they can see what you're doing obviously, your morph suit and it's funny to see some of our expressions or you know obviously as well as the map come into the character and how that affects the voice, and how they've put that onto the game.

Yeah, it's lovely, it's amazing to see. It's very exciting.

Q: Is this a character you'd like, Minthara, sequel, prequel; to return to down the road if possible?

A: Oh my gosh yeah definitely very, very much so. I adore her, and I adore her because I've been allowed with Adam and Sven and Larian to explore so many different layers of her as well as keeping within her aim, her goal which is ambition and revenge and all those things.

I think her story and the Menzoberranzan story, the Underdark all of that is extremely interesting so it would be amazing wouldn't it, Jason? Let's have Baldur's Gate 4 where we explore the Underdark. Yeah, I'd live with her forever if I could, you can almost do a Minthara prequel. For sure that would be amazing, yes. Explore her childhood all the way up and how she's got to where she is now, and then also be interesting to see what happens to her after Baldur's Gate 3, where she ends up. Does she survive or you know, who does she ally with and does she go back to Menzoberranzan and take over the Baenre because there's a lot of stuff there that's unresolved.

Q: Where do you stand on the whole evil aspect of "Is Minthara Evil ?"

A: Minthara... Well, she is an evil character. I mean there's just, you know, she's not going to, there's no, there's no redemption there, I don't think, although there is... because in the long run it's going to always be for her about ambition and drive and getting what she wants: power, being in control in her in her way...

Whatever that is, eventually, but along the way with that there are people that she will gather, and trust I think, and learn to trust more, but in terms of Baldur's Gate 3 the game there are lots of other characters who do lots of really nasty horrible things, so I feel sometimes... since the game was released and I've been sort of in all of this and watching everybody's response I also feel that...

You know the tiefling bit is not the only bad bit in the game.

There's lots of other stuff going down and lot of other people making big decisions about stuff, so I think, she's not the only bad character in it. You know I sometimes find it hard to sort of understand the difference in the game between you know good killing and bad killing. You know she she's very much in the bad killing bit, it's like, well killing is bad, so you know you got to have a bloody good reason for doing it oh sorry I swore Jason sorry.

I don't know, it's hard for me Jason, because I'm inside her as it were as the actor, so I don't see her as evil necessarily, but I understand that she is labelled that, yes. Because obviously what she does is brutal, and her background is brutal and she's not going to change.

So yeah, she is evil but one of the great things about the game is that it's not just black and white, that it's, you know there are layers. There are grey areas, there are reasons for things, and you're allowed to explore that in the game. And that's what makes the game so interesting.

Q: What are your thoughts on DnD and or other role-playing games in Thoughts on D&D & Roleplaying Games Genre general?

A: I love the world of DnD and I mean my only other, a long time ago, I used to sit around with friends of a weekend if we had nothing else to do, and we would spend an entire weekend playing Call of Cthulhu. I really loved call of Cthulhu very, very much and I loved that whole experience because it for me as an actor obviously, allowed me to just sit with some characters and get into taking them anywhere I wanted to, take them obviously with whatever the games master would allow obviously, but it just fires up your imagination. You could see the worlds blah blah blah what they're wearing where they're going how they look so I really, really love roleplaying I don't do enough of it, and I should do more... And Dungeons and Dragons is an extraordinary world and I see that too in in in other worlds.

I do a lot for Warhammer and the Warhammer worlds. When I go to do recordings for them at their base in Nottingham for Games Workshop, and I pass by the area where people are going to play the actual games on tables and stuff: the kingdoms and the characters and the and the models, and the things that people are creating and the love and devotion for that, is just beautiful because it is escapism, isn't it? It allows you to leave your own troubles behind for a bit and get into a world where you can do anything you want, and be anything you want, and do things that you wouldn't do in this world, you know and that's really interesting to me or be a god or be a wizard or be a saint, or Minthara or you know. It's beautiful I love it!

I love the imaginative escapism of it and the confidence that it gives people actually, Jason, because we've had... a lot of us actors have had a lot of fabulous response from people who've got so much out of Baldur's Gate 3, where it's allowed them to express who they are to maybe in this world express who they are. It's given them a confidence to do so to be who they really are in real life and be okay with it. And that's beautiful that they identify with our characters to give them confidence.

Q: And that leads very well to my next question because I was going to ask what are other characters of viewers might know you from, and with that as you just mentioned, I understand you're fairly well-known Warhammer wise would you care to give us a taste of that in action?

A: What do you mean you mean...

Q: Perform a bit of it just a little line or something?

A: No, no there's enough out there for people to go and explore no I love I love all of those all of those characters all of those worlds and I love all the characters I've played I appreciate the fact that I've been involved with Larian before in Divinity: Original Sin one and two.

So, I've played everything for them from Minthara to talking chickens to Bears to wizards to all sorts of different to princesses or whatever to, you know, yeah that's great and Harry Potter and Star Wars and all those wonderful games that I've been involved in. I'm just really, I really love it I just love the imaginative creativity of it and yeah Warhammer! Very fortunate to be a battle sister or Celestine the living Saint, yes all of those big characters that I've played which people can go and explore in their own time, don't need me to do any of that right now.

Q: I guess that doesn't farewell for my next note where I'm like "would you mind giving the audience a brief line or "Taste of Minthara", taste of Minthara in action?"

A: [Using her Minthara voice] Jason why are you asking me to do lines there is enough in the game, Jason. You don't need me to sit here and recite more. [/end]

There you go, that took you by surprise!

Jason: Perfect, yeah you got me there. You really did.

Q: Okay and for my final question. I always like to leave a spot for you to say anything or go over anything I might have missed during the interview anything you want to pitch or whatnot, that you're working on?

A: Don't need to pitch anything, working on a lot of things but can't say what they are. This is often the way with things, but I'd just like to thank everybody again for the amazing response to this to this game and to Minthara, and to ask personally, as actors it's been extraordinary. The support has been extraordinary and I'm really, really grateful. I'm really grateful and also everybody supporting all of our other work that we've done in the past, you know before Baldur's Gate 3 and obviously in the future and yeah keep listening keep playing, and we'll hopefully, we'll and also all the people I've met at conventions and stuff like that just fantastic really beautiful the love that people are showing so yeah let's keep on doing that been really great thank you./.

Note: Gods. This took longer than I expected it to. Btw every time she said Jason (the interviewer's name) my mind just autocompletes to Jason Derulo.

#this was so much work lmfao #it'll only take 30 mins at best I say #[extremely loud incorrect buzzer]#minthara #minthara baenre #emma gregory #interview

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basu-shokikita · 11 months

Text

Thinking about Toki's character arc in Metalocalypse...

Now that Metalocalypse is officially over, or so it seems, I wanted to go over what Army of the Doomstar means for Toki's growth.

Warnings for spoilers for, well, the entirety of Metalocalypse.

So, over the course of the show, we see Toki repeatedly trying (and failing) to form a meaningful bond with several living beings, people and animals included.

Analysis under the cut ⬇️

Season 1

It starts with a dying little girl called Juliette Sarmangsadandle in Dethkids (S1E16). Toki is upset over being misunderstood aka his public image being associated with kids and vehemently fights the idea by adopting an edgy personality.

When he watches Juliette's video, about being a child that longs for violence, it speaks to him and his childhood. Toki feels seen by this little girl and imagines his child self singing with her.

Sadly, when he goes out to meet her, she's already dead. Here goes Toki's first attempt at connection, utterly butchered.

In the following episode, we're introduced to Rockzo in Dethclown (S1E17). Toki brings his clown friend over and everyone pretty much almost instantly dislikes him. Not to mention Rockzo tries to betray Dethklok for drugs. Still, he sticks around for the remainder of the show as Toki's friend.

Though it's important to mention how much of that friendship involves Rockzo abusing Toki's kindness and generally being a shitty person. He's not exactly someone Toki can rely on.

It is not that significant but I'd also like to give a shout out to Dethwater (S1E02), where Toki is locked in an oxygen chamber and sings to the fishes and creatures in the sea. It's an early episode, but already portrays Toki's friendly nature and colorful life outlook.

Season 2

In season 2, we have Dethlessons (S2E02). After having a disagreement with Skwisgaar's teaching method, Toki meets Dimneld Selftcark. Though initially wanting him as guitar teacher, it's clear Toki doesn't actually intend to perfect his craft and more than anything appreciates his company. Toki even refers to him as 'a father friend'.

However, as luck would have it, Selftcark is ill and dies in Toki's arms after Toki gave his first recital.

Then there's Dethdad (S2E15), where Toki learns that his dad is dying of cancer. Toki is very much visibly affected by his parents' abuse towards him, though he still decides to pay his father a visit. When Toki finally gains the courage to see him and bond one last time, his father requests to see the cottage he was born at before dying.

Unfortunately, Toki steps and slips on his way there, dropping his father into the ice. Toki watches his father die and is unable to do anything about it.

This boy is really just collecting traumas all the way, huh?

Season 3

Dethhealth (S3E03) has Toki adopting a cat he found at a concert. Although he is not the best caretaker of the animal, Toki is very obviously fond of his new pet.

But, of course, the cat was dying, solving the mystery of who was the person dying within Dethklok. Toki is so devastated that he faints and then proceeds to have an elaborate dream sequence for closure.

Fertilityklok comes three episodes later (S3E06) and we find a Toki jaded with casual sex encounters. He decides he wants to meet a partner whom he can have children with. Though initially facing Dethklok's indignation, Toki goes forward with the idea and lands in a dating agency.

They find the perfect partner for Toki but nothing ever goes well with this guy and the lady in question disappoints Toki both in looks and personality. To make things worse, the agency wants to force him in a relationship with her and for Toki to impregnate her, even.

Toki manages to escape the whole charade and decides he's better off with sluts. This one is not so tragic as much as it's just another total failure at forming the connection Toki so desperately craves.

Season 4

Diversityklok (S4E04) and Bookklok (S4E05) feature Toki's interpersonal problems within the band so I figured they were mentioning as well.

In Diversityklok, Toki complains about feeling constantly left out by the band, so he forms a 'special persons invite club' to gain agency over his friends. He still ends up being forgotten by them at the end of the episode.

In Bookklok, Toki has a fallout with Skwisgaar after being denied a solo and writes a book denouncing his behavior towards him. In modern lingo, he essentially cancelled Skwisgaar. He fails to consistently maintain the fans' approval as he flunks the solo he so desperately wanted. His fight with Skwisgaar is not resolved (at least, not on screen).

Finally we get to Dethcamp (S4E07), where Toki's erratic behavior conflates with the mainline plot. In the search for friends, Toki goes to the Rock-a-Rooni Fantasy Camp, where he's almost killed by one of the campers. He's saved by Dethklok's former rhythm guitarist, Magnus Hammersmith and they subsequently become friends.

Good ending? No, Magnus stabs and kidnaps Toki over Roy Cornickleson's funeral, his fate being unknown as the season ends.

Doomstar Requiem

We finally learn how Toki joined the band. He showed up late to Dethklok's auditions and had a guitar duel with Skwisgaar, where he eventually lost. Defeated, he was abandoning the premises when Skwisgaar says that nobody made him play as well as Toki did, inviting him to join the band.

From then on, it's all rainbows and happiness for Toki as his life finally takes a turn for the better. He has found a family and a home. He loves his brothers and his life. Current Toki is on the brink of death and thinking about Dethklok is his only solace.

I might be biased in saying this but the sequence from 'I Believe' feels like the peak of the movie, and I don't think this is incidental.

While Toki is rescued at the end of the movie, we don't get to see a proper reunion.

Army of the Doomstar

Cut to 10 years later, Army of the Doomstar releases and while the plot is much about the end of the world, we get to see post-DSR Toki.

First of all, at the start of AOTD it is stated that Toki (as well as the rest of the band besides Nathan) has forgotten about what happened during Doomstar Requiem. However, his attitude towards the band is very loving, stating he's happy to be back with them.

He's especially fond towards Skwisgaar, attempting to hug him multiple times, worrying and being generally attentive of him. Toki shows both verbal and physical affection towards Skwisgaar over the course of the movie, finalizing in the bridal carry during the before last scene. Compared to the show, it's a huge contrast to their relationship, where Skwisgaar and Toki behaved as rivals, with Toki feeling simultaneously admiration and envy towards Skwisgaar.

But what are you trying to say with all of this, Basu? Well, essentially it's the following:

At some point, Toki started feeling neglected by the band and began seeking love from outside sources. The childhood companion he never had (Juliette), a father figure (Selftcark), his actual father, a pet, a girlfriend and finally...an actual friend he could rely on (Magnus). All of the aforementioned failed, eventually landing him in an even worst situation where he started.

However, being stuck there, wounded, malnourished and dying is what reminded him of the best time of his life. Of the people most important to him. And even if those memories were seemingly gone, the feeling prevailed.

Sure, Dethklok is massively flawed and there's lot of work they have to do with regards to interpersonal relationships, but they're his family and his life. Perhaps the lifestyle or his need for ego/power (Skwisgaar plays a big hand in this) made him forget about it for a second, but he knows it now. He doesn't need to look for love from strangers, he already has it in them. They're everything he's always wanted and he's going to cherish them for the rest of his life.

And if you're wondering why the special emphasis on Skwisgaar, my theory has to do with the age regressing that was confirmed in the movie. While it mostly happened over the Ishnifus funeral, I think Toki has generally gone back to the emotional state he was in when he joined Dethklok. A young, easily impressionable man happy to finally have found a family.

Which means he holds Skwisgaar in special regard, considering he is the guy that accepted him into the band. Not Nathan, Pickles or Murderface, it was Skwisgaar.

You could almost say that Toki might view Skwisgaar as his hero, given that he is the reason Toki has everything he has right now. So I think Toki's gratefulness is expressing in that almost overwhelming affection. Just like Toki's not going to let himself forget his feelings for the band, he's not going to let them forget about his feelings, either. It might not be easy, but Toki's priorities are clear now. His heart is with Dethklok.

In short, even if Army of the Doomstar didn't address Toki's issues the way we would've wanted, it's still a happy outcome for him and I fully believe he'll have more than enough to work on them. Metalocalypse is, at its core, a story about found family. This is specially true for Toki.

So, I really believe that Toki is eventually going to heal and be happy with the band. :)

#metalocalypse #toki wartooth #dethklok #doomstar requiem #army of the doomstar #basu post #analysis #sorry for the corniness at the end fdjhsdjkfdj #sometimes a bitch loves her blorbo too much #ive been wanting to write this for months i finally got my shit together and did it

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