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centaurianthropology · 26 days ago

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Thoughts and Probably Overly-Thorough Analysis on Adaptation in ‘Murderbot’ Episodes 1 and 2

After discussing adapting a very internal book series to the screen in this post, I was excited to actually get to watch how the show tackled visually trying to tell the story, especially given that the episodes are only approximately 30 minutes long. That is TIGHT, and requires some tight scripting to establish the world, the characters, and the stakes.

So, non-spoiler thoughts above the cut: I liked it! I feel like the vibe is right, while changing some necessary things to better establish the world and several important concepts for non-readers. The first scene felt a little clunky as far as pacing/info-dumping/character intro went, but after that I do feel like the pace evened out into something I genuinely found enjoyable. There is a lot of effort to start defining cultures, concepts, and characters, and by and large I think it succeeded. I have a few changes I might question, but we’re way too early in the season for me to feel comfortable judging them. So overall, as someone who has read the books and enjoys seeing how things have to change to adapt to a different storytelling medium? I think it’s overall successful, particularly as the first two episodes are clearly the setup episodes (almost always the hardest episodes to really nail during adaptation).

If you’re looking for a 1:1 translation of the books, and if you’re really sensitive to changing the original, this is probably not going to be the show for you. Luckily, there are great books and audiobooks still there for you! But if you’re open to the changes, if your vision of these books and these character is flexible and you might even be excited to see a different version than the one already told, you will hopefully find it as fun a ride as I did.

By the end of episode two, particularly after some really great scenes featuring Alexander Skarsgard (whose portrayal of Murderbot completely won me over) and David Dastmalchian (Gurathin was always one of my favorites, and he is doing such interesting things to deepen the character), I am hooked.

More spoilery thoughts on the episodes below!

So, what do you have to do in intro episodes? You have to introduce characters, situation and, in speculative fiction, also concepts and setting. And for half-hour sci-fi episodes you’re almost certainly requiring a lot of shorthand, a lot of quick ways to get information across, a lot of info in as little time as possible. Both of the first episodes dropped at once, and that’s honestly good, because they more or less function as the introductory two-parter before the action kicks off.

The pacing is fairly leisurely, focused on introducing us to the world, the characters, and how they got to the place they are for the story. And even after the intros, I do feel like we will probably be devoting more time to giving some of the more underserved characters more expansive moments. But for having to do a lot in about an hour’s worth of television, I think they accomplished what they set out to do with fairly minimal clunkiness.

S1E1: ‘FreeCommerce’

That said the initial scene is a bit clunky. I get why it was necessary. We have to establish several big concepts in a hurry: what a SecUnit is, what they are generally used for, a sense of the Corporation Rim, and the hacked governor module that lies as the basis of the whole story going forward. Those are big sci-fi concepts to front-load, and I do think the scene could have maybe taken one more pass through editing to not make it feel quite so rushed (a few pauses and beats here and there would have been appreciated), but I also understand that the sense was likely to get the information dump over quickly to get on with the story. So, less elegant than one might hope, but not a deal-breaker by any means. Information conveyed, moving on.

The introduction to the PresAux team, in my opinion, goes a lot better. Largely because the writers play it out over multiple scenes and scenarios, giving us perspectives on these characters in three very different situations (at Port FreeCommerce, setting up their base, and facing their first real threat in the story). I think hard-cutting to the actual beginning of ‘All Systems Red’ briefly, before flashing back to show the team having to rent Murderbot is a great choice. We get the nod to the book-readers for the in medias res cold open of ‘All Systems Red’, while still going back to help the non-readers really understand who these people are and how they got here.

Playing up the hippie vibes of the team is smart visual and storytelling shorthand. We immediately get a good sense that they don’t quite fit in with the Corporation Rim. I love that it’s pointed out that their clothing is hand made, that there are patterns and textures, that there is jewelry and accessories and fun bags. Put that against the Company’s sales reps’ tech-bro synthetic aesthetics, and it works! My one wish would have been that the sales reps were all a little more artificially hot, to really drive home how unmakeuped and natural the PresAux team looks. But still, a solid contrast to let us know that these are not your usual group of spacefarers.

And it continues throughout negotiations, leading up to the humming consesus circle. Again, I think this is a great choice, because it serves multiple purposes all at once. We can feel how different their society is to the one that Murderbot understands, and even sets them apart from our culture, which unfortunately is a lot more like Corporation Rim culture than Preservation.

And this, I think, is why amplifying the hippie commune vibes of these characters is such a great choice: we as the audience are mostly in Murderbot’s head, so PresAux comes off the way that it initially sees them. They seem weird, quirky, naive. And yet, I believe that throughout the series both Murderbot and we will have our expectations challenged. Why can’t people be emotionally open, trusting, and kind, even be fairly far-out and kooky, and still be highly competent, intelligent individuals who manage to hold their own under difficult circumstances. In our own particular cultural moment, earnestness and emotional openness and the general hopeful and sweet vibes of the Preservation team is viewed as “cringe”. I think there are probably going to be some viewers who look at them and want them to be some cool, cynical rebel college communists rather than drum-circle having hippies who love decorating their surroundings, embroidering, and jewelry making. But I am very hopeful that, over the course of the season, we are shown how much their culture of openness, trust, and kindness can be a strength. We might be asked to confront our own biases against earnestness and ‘quirkiness’, which could blind us to how competent these people are, much as Murderbot itself was initially blinded.

The scene on Port FreeCommerce serves as our introduction to the vibes of at least some of the individual members of PresAux as well. Pin-Lee is running point in negotiations, so we know they’re someone who either has negotiating, business, or legal expertise (something that is difficult to establish through the rest of the story). Dr. Mensah is clearly in charge, but has no desire to make unilateral decisions. She takes other opinions into account (even if she ultimately disagrees with them), states her philosophical and moral objections to SecUnits clearly, but still acts as a realist: if they are going to do this survey, they have to cooperate with the Company. The hellish compromise.

But because the whole team essentially has to compromise their morals and ethics to do this survey the way that the Company is insisting it get done (renting what is essentially mandatory slave labor), she makes sure that her entire team agrees with her before signing their contact. We see that the team is very cooperative, but Gurathin is a bit of an awkward outsider (though immediately invited to be an insider by Ratthi, so we also get a sense of his open and warm nature), although at this point in the episode we don’t know why he doesn’t seem to fit as seamlessly as the others.

Moving to the survey planet and the team’s habitat is also a scene that pulls a lot of multilayered weight. It establishes all the important components of the habitat, it establishes Murderbot’s disgust of human bodily functions, and further expands on the team and how Muderbot responds to them. These are important moments because these are the initial impressions that will go on to be confirmed or subverted throughout the season. While it’s a bit on the nose to just do a verbal intro of everyone, it’s also a good use of time in a 30-minute episode to just get everyone’s names out there, base-level relationships, jobs, and at least one individual facet of them (Mensah has 80 million seven children, Arada and Pin-Lee are married but might be going through a bit of a rough patch, Ratthi flirts with All The Things, Gurathin is an augmented human, and Bharadwaj is hoarding soap for unknown reasons). We see them decorating their habitat, growing plants inside, playing music (again, more cultural establishment and ways of making both Murderbot and the audience initially confused by this bunch), and being … really sweet with one another, honestly. I felt immediately endeared to them and wanted to know more (why are you hoarding soap, Bharadwaj??). We get tiny character beats like Arada running up the stairs to call dibs on rooms, followed by Ratthi and Pin-Lee, and we get a moment of Pin-Lee pausing as they run past SecUnit to smile at it and seem to try to engage with it, if only briefly. We get Ratthi painting the habitat, and Gurathin fretting over if the paint washes off (they’re never getting their deposit back …).

We also get that Murderbot Does Not Want to Be Here, and see it grappling with humanity as a whole. It seems to find actual human relationships offputting and confusing, but loves the melodramatic interpretations of relationships on ‘Sanctuary Moon’. Reality makes it deeply uncomfortable, but unreality has become its comfort and what it mostly spends its time focused on. Through its avoidance of them and their oddities, we get a sense both of its fear of being found out, and we get a Chekhov’s gun of emotional attachment. It doesn’t want it, but it’s also deeply fascinated by its facsimile. And given how open and loving this group seems to be in general (with one notable and delightfully bitchy exception, love you Gurathin), we can already see how it’s going to be loved whether it wants to be or not.

The final establishment of character, situation, and place, occurs with the return to the cold open of ‘All Systems Red’, now armed with enough information to actually care at least somewhat when Bharadwaj gets attacked by the worm, as well as somewhat understanding why she and Arada might initially not listen to the SecUnit (they know it’s refurbished and all the rest of their Company equipment is a bit shit, they’re scientists excited about their work, the planet was rated safe).

The worm attack works fairly well. The CG of Murderbot jumping down feels a bit floaty, but as soon as it closes in for combat the visual effects are on point, and the pacing of the scene is frantic and fun. The use of the ‘Sanctuary Moon’ clip to give Murderbot a means of trying to comfort Arada to get her walking was great, and it was really this scene that sold me on Alexander Skarsgard as Murderbot. After hearing its snarky internal monologue, hearing the awkwardness of its actual attempts at a social interaction is delightful! Internal-Monologue!Murderbot is quippy and witty and sarcastic. Outside!SecUnit is awkwardness and social anxiety personified. And I feel like this disconnect can really hit home for a lot of people with bad social anxiety.

This is also important to establish the initial character reactions to a majorly tramatic and shocking moment for them. Arada goes into shock, but after that gets forceful and defensive of both SecUnit and her field of study (her lines about animals were actually great, and really set her apart in her own unique way).

Pin-Lee demands action. They can get loud and abrasive, and they clearly need to have control over their circumstances or they start to get very twitchy, but they are also caring, careful to correct themself when they say something that could be genuinely insulting.

Ratthi is concerned for everyone, but also has a base-level chill nature that means he can’t stay worked up to the intensity that others can. It makes him a sweet and leveling presence in tense scenes.

Gurathin has to be useful. He preps the medbay. He stays with Bharadwaj until she wakes up, monitoring her vitals and the equipment, even though there isn’t much he can do. But the equipment is his thing. The tech is his thing, and he’s going to make it work. Which is why, of course, he’s also the first to notice something is off with their SecUnit. Not only is he focused on the equipment (and at this point viewing SecUnit more as faulty equipment than a person), but we find out that he’s the only one of the team who might have actually had prior experience with SecUnits, and whatever it was, it wasn’t good.

Mensah stays cool under fire, staying at the heart of the discussion while taking everyone’s thoughts and feelings into account. She keeps everyone directed, focused, and calm. And then, when she is alone, she falls apart, slipping into a full-blown panic attack over almost losing Bharadwaj. And honestly? I love them giving her a panic disorder. Giving a character a panic disorder while still showing that she is competent, a respected leader, and tries her damndest to push through the panic to reassure and care for her people is a lovely touch.

With these three data points we actually get a good baseline for these characters in their element, out of their element, and in danger. They already feel human and flawed, despite not knowing any of them deeply yet. It also means that we’re already able to read more into their interactions than Murderbot is grasping quite yet. After all, it’s not great at this social thing, and it REALLY doesn’t get them and their culture.

This gets highlighted when it has to come out and talk to the team out of its armor. Again, Alexander Skarsgard does a fantastic job of radiating the incredible social anxiety of a being that would vastly prefer to only ever have to interact with other people safely behind a helmet. Being so exposed, with its feet and its face and its hands all on gangly display in one of the crew jumpsuits, is so clearly an existential nightmare to it. And the more most of the team try to thank it, welcome it, treat it like a person, the more uncomfortable it becomes. The speech is hilarious, but also a great bit of disconnect between its social comfort zone and that of the Preservation team. And in that moment, we realize that, even if some of them are trying to embrace it, to invite it to be more integrated with them, to give it a chance, they understand Muderbot as little as Murderbot understands them.

I have seen some people not liking part of this scene because Arada misgenders Murderbot by calling it ‘he’, but I think this is actually an important part of character building for her, Murderbot, and the story. My guess is that the writers are going to Rule Of Threes Murderbot’s pronouns, as many viewers have likely never encountered someone who uses it/its pronouns. This scene serves as the Introduction: Arada is well-meaning, but accidentally misgenders it because she is reacting to the face she saw (as many well-meaning people can do). Gurathin immediately and vehemently corrects her … for the wrong reasons. He’s thinking of their SecUnit as a malfunctioning piece of equipment, while Arada is thinking of it as a human, so he is dehumanizing it. They are both wrong, but also both a bit right. Arada is right that Murderbot is a person, but she is wrong in immediately defaulting to Human Male when she thinks of it. Gurathin is right in that it has no interest in being human and is, in fact, quite attached to being a construct and having no gender, but he’s wrong in treating it as equipment. I imagine that, per the Rule of Threes, this topic will be Reinforced later, and then Confirmed in a final scene so the audience learns its pronouns properly, even audience members who might initially struggle to use the right pronouns or do the same as Arada by seeing Alexander Skarsgard and making assumptions.

And speaking of assumptions, the audience also gets its first hint that perhaps ‘Murderbot’ wasn’t simply a cool name it plucked out of the aether, but ties much more intensely into the fragments of memories it has. We find out that SecUnits are routinely memory wiped, but a few seconds of something awful have leaked through. It sees people screaming, running, and dying, and it has the feeling it might be responsible. And despite its general misanthrope, it doesn’t seem at all pleased by this memory. If anything, it seems horrified. It’s one thing to idly speculate about killing humans, but another to realize it might well have already done precisely what all the SecUnits on the entertainment feeds do: go crazy and kill all its clients.

Introducing that memory and then having a one-on-one with Mensah is an interesting choice, because it adds layers to the scene. She is clearly trying to thank it again, maybe reach out, but she’s also trying to figure out what’s happening with her clearly incredibly anxious SecUnit. It’s terrified she suspects it’s hacked its governor module, but it’s also afraid she’s getting attached, which could be worse. After all, if it’s done something awful once, there’s nothing stopping it from doing so again.

The memories keep playing even after she leaves, and it says the same line it lifted from ‘Sanctuary Moon’ to itself: “Stay calm; it’ll be okay. You have my word.” It’s honestly creepy, and it’s clearly meant for the audience to read this initially as a threat to the scientists. But looking at it again, considering how traumatized it seems to be by this fragmented memory, the line takes on an almost self-soothing quality. Is it speaking to the people in its memory? The PresAux team? Itself?

The first episode does a workmanlike and occasionally inspired job of introducing us to all the things it needed to. And for all that this first episode is fairly direct in its storytelling, I feel like there are layers that will feel deeper on future viewing after the whole season is out.

S1E2: ‘Eye Contact’

The second half of our introduction to this show had two major jobs: reinforce themes from the first episode, deepen character beats, and get us to the point where the plot kicks off. The show does this by splitting the episode into two subplots that both kick off with the opening scene.

We open in the hopper, and it’s clear from the first scene that this episode will, at least in part, focus on better establishing and characterizing Gurathin. I’m hoping each of the characters gets this treatment going forward, because I really have to commend the episode for how much we learn about him throughout. There are a lot of layers at play, both in the writing of his character and in David Dastmalchian’s performance. This is a guy with anxiety to rival Murderbot’s, even if he can cover it better. He’s trying to keep their conversation out of its purview, because he doesn’t trust it. He doesn’t trust anyone outside of this small friend group he’s got, and he especially doesn’t trust anything coming from the Company. And even though the group thinks he’s being overly paranoid, it’s really nice to see how immediately they confirm that he has good reasons for not trusting the Company, and they all love him (and Ratthi calls him “Gugu”, which … chef’s kiss). We now get our first big hint of what makes him the outsider of the group: he’s not originally from Preservation. As we learn later, he’s almost certainly originally from the Corporation Rim, and whatever happened to him there has fucked him up badly.

Mensah once again comes in as the tempering force. She mentions her conversation with SecUnit. She wanted to see if she could trust it, and she FEELS like she can, but THINKS they should be cautious. I like this slight change from the books, as all the Preservation natives feel the immediate desire to trust and befriend SecUnit, but in this they are a bit more cautious because they aren’t certain if they can trust anything supplied by the Company.

I think this is the benefit of the visual medium expanding out the story. After all, while the audience is able to hear all of Murderbot’s internal snark, they only get the anxiety-ridden, clearly atypical external SecUnit. And even if some of them are now seeing it as a person, they are also seeing that it works for a deeply untrustworthy company that may or may not be deceiving them. So with the information and experiences they currently have, Gurathin is making a reasonable argument for leaving the SecUnit behind.

And from a storytelling perspective, it makes sense to leave it behind. It would be easy for this episode to feel like it was retreading the worm incident from the first episode, but having Mensah and Bharadwaj decide to go alone to survey the blacked out area in the map makes the stakes very different.

And speaking of, though we don’t get a lot of time with her, I am LOVING Bharadwaj. The actress is hilarious, particularly when the character is clearly high as balls on stimulants and pain meds is just fantastic. I also love her little moment later of academic one-upsmanship. Having known so many academics in my life, that was the most real moment of academic bullshit so far. I cackled!

Their plot is primarily used to reestablish Bharadwaj, and to get Mensah into a dangerous situation (and honestly, I don’t think she should have gone alone trying to climb a fucking mountain, but whatever). She ends up having another panic attack, and it’s a good beat to see her trying to force her way through it. She doesn’t want to let the team down. Even while she’s spiraling she’s trying to be so supportive and encouraging to her team. I like that she doesn’t handle this situation perfectly. I like that she struggles and sort of fails, and still keeps pushing. One of the things the show has been consistently good at is giving the characters very relatable flaws. She takes her role so seriously she’s going to put herself through hell to see it done, all while trying to mask how bad it’s getting in front of the people she cares about. This is a good way of reinforcing what we learned about her in the last episode, and setting up an emotional arc for her.

And speaking of setting up emotional arcs, let’s talk about Murderbot and Gurathin, or what I like to call The Best Scenes in the Show So Far Holy Shit.

The scenes between them function on so many levels: comedy, drama, character development, worldbuilding. We have it all right here! Major concepts that will be important later (ComfortUnits, Corporation Rim vs Preservation culture) are established quickly and with deliberate discomfort for both characters. Gurathin weaponizes Murderbot’s deep discomfort with eye contact and social interaction to try to interrogate it and figure out what’s gone wrong, but it doesn’t really go the way either of them wants it to go, because both of them are socially awkward disasters; both of them have conflicting motivations and desires; both of them don’t understand one another and understand one another way, WAY too well.

This leads to scenes that can be interpreted on multiple levels, all while setting up some meaty stakes. Both characters are trying to do multiple things at once, and it’s really fun to see how well or poorly they succeed. Gurathin definitely set up the scene to be at least a bit intimidating … and promptly fumbles it when he realizes that his chair isn’t a swivel chair and he can’t turn and do a cool reveal, but instead drags it around, scraping along the floor. And honestly, part of him not only can’t be intimidating, but doesn’t want to be. Part of him wants to understand this incredibly awkward being he’s now sharing space with. There is a weird earnestness, almost a stream-of-consciousness strangeness to the way Gurathin is written in this scene that I adore, and that David Dastmalchian absolutely nails. He seems even weirder than Murderbot in his own way.

They’re both such messes, and both ready to needle the shit out of one another. Gurathin, especially, is clearly trying to provoke reactions, to test boundaries. It’s almost like he’s conducting a stress test on a computer system, but with a sentient being instead, and his life potentially on the line. He questions Murderbot about its capacity for emotion, for connection, by comparing it to ComfortUnits, but because, again, this is an interrogation conducted by and to the two most cripplingly awkward beings on the hab, it half comes off like he’s hitting on it.

And then there’s the reason for the episode title, and something that is both a deeply dirty trick on Gurathin’s part, and an absolute red flag waved in front of a bull. He orders (likely suspecting that this SecUnit might be capable of disobeying orders) that they maintain eye contact throughout this interaction.

And I think that red flag in front of a bull is the other level he’s trying to work at in this scene. This is a systems stress test, trying to tease out what is happening and where what he sees as a malfunction lies. But he’s also painting himself as a target. He’s pulling out every nasty trick in the book to make sure that, if this SecUnit really is rogue and really is going to go on a killing spree, it doesn’t go after anyone but him. Because as was established in the opening scene: Gurathin may be a paranoid dick, but he loves his weird extrovert friends so, so deeply, and he would absolutely die to protect them.

Because Gurathin, above all things, needs to feel useful.

Murderbot is trying to dodge questions, trying not to give anything away. It’s trying to bear up under the sheer painful amount of eye contact required, and it’s trying to get Gurathin back (you make me look you in the eye? I’ll make you see your friends making out with one another!). And the funniest thing is that they’re basically just inflicting on the other what they already find uncomfortable. Again and again, they parallel one another. It was established twice last episode and hammered home now.

And at the same time, there is a weirdly heart-to-heart quality to this interaction. Because as much as Gurathin is trying to be a hardass, and as much as Murderbot is trying to shut this interaction down as quickly as possible, Gurathin is also just trying to understand, and Murderbot can’t help but explain itself a bit. It’s the awful moment of sympathy with someone you loath because they’re far too much like you, but you just keep reaching out. And that layer of earnestness, of accidental vulnerability on both of their parts, adds such a lovely, bizarre tinge of sweetness to what is otherwise a fairly brutal encounter for both of them.

The choices in this scene are what sold me on the show, from the storytelling to the writing to the performances. The actors fucking kill this scene. Alexander Skarsgard gets to do a lot of subtle facial expressions as the internal snarky narration struggles to emerge under its facade of calm, and its deep levels of social anxiety keep kneecapping it from fully extracting itself from the conversation or getting the upper hand. And David Dastmalchian brings all the conflicting motivations, all the half-aborted gestures of hostility and kindness and awkwardness and paranoia through to make Gurathin feel desperately, earnestly human. I really can’t say enough about their performances; they bounce off one another fantastically.

And of course, these two storylines dovetail at the end of the episode as Mensah finds the Alien Remnant (really cool use of visual effects there!), almost gets eaten by a worm, and everyone realizes that either the maps are glitching out due to the Remnants’ influence, or someone is deliberately hiding them. They try to confer with the other survey team currently on the planet, a small group from a company called DeltFall, but something is wrong. And as the episode closes with bodies strewn over the darkened DeltFall habitat, I think we’re about to see the plot kick into gear.

Conclusions

So, what did I think about the first two episodes overall? They were solid. I want more establishing time with quite a few of the characters (Bharadwaj, Ratthi, Pin-Lee, and Arada especially), but episode two in particular made me confident this show is going fun places. Because the scenes between Murderbot and Gurathin were added for the show; this is new material, and it’s exactly the sort of thing I was hoping we would get from an adaptation. Those scenes struck the perfect blend of humor and danger and sincerity and anger that I read in the books. That was what convinced me that the show really could pull off something new and fun and fresh both as an adaptation of a series of books I enjoy, and as a piece of science fiction media that feels defiantly hopeful and colorful and weird in the face of a fairly bleak and depressing sci-fi television landscape.

Like I said before, doing set-up episodes is incredibly hard to do gracefully in television, and doing sci-fi setup where you’re having to explain places, politics, and concepts as well as characters and situations, is even more challenging. And you’ve got two half-hour time slots to do it in. And with those limitations in mind, I feel like the show currently ranges from Gets-the-Job-Done-Inelegantly-but-Fine to Holy-Shit-I-Want-to-See-More-of-That-Right-Now.

I want to get to know all these weirdos on the same intense level I now feel we know Murderbot and Gurathin, and I feel like we will. Will it be the perfect show? No. It will not. Have I still watched both of these episodes multiple times, and am I super excited to see DeltFall and how much things are about to go to shit? Oh hell yes. I am so excited!

So, yes. There are my scattered thought about this adaptation, where it mostly succeeds and occasionally feels clunky. The cast is charming and occasionally electric, and I am eager to see more.

#murderbot #muderbot tv #thoughts and analysis of the first two episodes #short version: I really enjoyed this #particularly parts of the second episode #and I can’t wait to see where the show goes from here

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artifacts-and-arthropods · 5 months ago

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48,000-Year-Old Cave Painting from Indonesia: this painting shows several animals being hunted by tiny figures that are part-human and part-animal (known as therianthropes); researchers believe that this may be the earliest known depiction of mythical beings

This painting was found at Leang Bulu' Sipong 4, which is a limestone cave located on the island of Sulawesi, in Indonesia.

The panel shown here is just one part of a much larger painting that measures nearly 4.5 meters (about 15 feet) long, and it decorates the wall of a hidden chamber that was discovered back in 2017. The full-length painting portrays six animals, including two wild pigs and four anoas (which are small, buffalo-like creatures that are endemic to Indonesia). All of the animals are shown being captured, hunted, and/or pursued by tiny figures that appear to be part-human and part-animal; their vaguely human-like bodies are depicted with animalistic features such as tails, beaks, muzzles/snouts, lizard-like torsos, and horns.

Above: a digital tracing of the full-sized painting, with one of the anoas and several human-like figures magnified

It's possible that some of these animal-like traits represent masks, headdresses, or costumes, but several of the figures also exhibit more extreme features that cannot be produced by simple costumes. Researchers argue that the animal-like costumes would also be useless and impractical as hunting props, given that they mostly seem to mimic small animals like birds and lizards.

Above: two of the figures that are described as therianthropes, both of which seem to be using spears or ropes to subdue the much larger anoa

The original analysis of this painting in 2019 indicated that it was created over 43,900 years ago, but further testing in 2024 revealed that it was created even earlier, dating back to at least 48,000 years ago -- which makes this the world's second-oldest example of figurative art (i.e. artwork that depicts real or recognizable subjects, such as humans or animals).

It's unclear whether or not the animal-like figures actually represent therianthropes, but if they are therianthropic, as archaeologists speculate, then this painting would be the world's oldest known depiction of mythical beings, and it would constitute the earliest known evidence of spiritual or supernatural thinking. It is more than 8,000 years older than the famous Löwenmensch ("lion-man") carving from Germany, which has long been recognized as the world's oldest depiction of a therianthrope.

According to this article:

For whoever painted these figures, they represented much more than ordinary human hunters. One appears to have a large beak while another has an appendage resembling a tail. In the language of archaeology, these are therianthropes, or characters that embody a mix of human and animal characteristics.

"The images of therianthropes may also represent the earliest evidence for our capacity to conceive of things that do not exist in the natural world, a basic concept that underpins modern religion,” said Adam Brumm, study co-author and associate professor at the Australian Research Centre for Human Evolution. “Therianthropes occur in the folklore or narrative fiction of almost every modern society, and they are perceived as gods, spirits or ancestral beings in many religions worldwide.”

These interpretations are speculative, however, and the inspiration for the painting, as well as its significance to the humans who created it, is likely to remain a mystery.

Archaeologists have been aware of Sulawesi's abundant cave art since the 1950's, but dating techniques were not used on the paintings until 2014. For decades, it was assumed that the artwork was less than 10,000 years old, but when animal paintings and hand stencils from seven different caves were finally analyzed in 2014, researchers were shocked to discover that some of the artwork was created more than 39,900 years ago -- predating most of the world's earliest known cave paintings. Since then, archaeologists have discovered and/or dated many other cave paintings from Sulawesi that date back to more than 40,000 to 51,200 years ago.

These discoveries firmly contradict the traditional (and deeply eurocentric) assumptions that had previously been made about the origins of artistic expression, as this article explains:

Previously, the oldest known cave art was thought to have first appeared in Europe 40,000 years ago, showcasing abstract symbols. By 35,000 years ago, the art became more sophisticated, showing horses and other animals.

These latest finds in Indonesia have challenged a long-standing belief that artistic expression – and the cognitive leap that may have accompanied it – began in Europe.

It’s now thought that the capability to create figurative art either emerged before Homo sapiens migrated out of Africa and headed for Europe and Asia more than 60,000 years ago, or that it emerged more than once as humans spread around the globe.

Unfortunately, many of the cave paintings in Sulawesi and other parts of Indonesia are now rapidly crumbling away as a result of climate change. The limestone surfaces of the cave walls are peeling away at an alarming rate, erasing large sections of the paintings in the process; in some caves, patches of artwork measuring 2-3cm wide are vanishing every few months.

Sources & More Info:

The Guardian: Earliest Known Cave Art by Modern Humans Found in Indonesia

Scientific American: Is This Indonesian Cave Painting the Earliest Portrayal of a Mythical Story?

National Geographic: Ancient Cave Art May Depict the World's Oldest Hunting Scene

The Leakey Foundation: Indonesian Cave Paintings Show the Dawn of Imaginative Art

Nature: Earliest Hunting Scene in Prehistoric Art

Nature: Narrative Cave Art in Indonesia by 51,200 Years Ago

The New York Times: Mythical Beings May be Earliest Imaginative Cave Art by Humans

Science: World's Oldest Hunting Scene Shows Half-Human, Half-Animal Figures -- and a Sophisticated Imagination

Smithsonian Magazine: A Journey to the Oldest Cave Paintings in the World

Art Net: Some of the Oldest and Most Revered Cave Paintings in the World Are Under Extreme Threat Due to Climate Change

Nature: Humanity's Oldest Art is Flaking Away

#archaeology #artifact #history #anthropology #cave painting #prehistoric art #sulawesi #indonesia #leang bulu sipong #art #painting #therianthropes #mythology #spirituality #folklore #humanity #mythical figures #or just weird looking art #probably a little bit of both

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thewertsearch · 5 months ago

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Anonymous asked: just read through your entire liveblog and wow. what a place to catch up. do you have any predictions about what the postscratch versions of the guardians will be? what about the guardian versions of the kids?

So.

Mom Lalonde, Grandpa Harley, Nanna Egbert, and Bro Strider, reborn as the story's protagonists, and thrust into a Playerdom I never expected them to bear. The consequences of this reveal are likely to kick in on the very next page - and since that's a page I'm clicking on tonight, this is my last chance for some blind speculation.

There are an absolute mountain of angles I could potentially cover here, and it's impossible to address all the implications of this twist, so I'm just going to touch on a few key questions that Act 6 will need to answer sooner rather than later.

Without further ado, let's dive into our first question.

Who, exactly, is raising these kids?

The simplest solution, of course, would be a one-to-one exchange between each Player and their Guardian. That certainly seems to be the case for Jade and Grandpa, who have been directly swapped. This would imply that Rose raised Mom, Dave raised Bro, and John might have raised Nanna. (More on that later.)

Still, that's not the only possibility. There's no reason why Dave couldn't raise the adolescent Mom instead, for example, with Rose adopting the younger Bro in his stead. That particular configuration has a lot of character potential, actually, because Bro Lalonde would undoubtedly be an unholy terror, and Mom Strider might just be one of the coolest characters I've ever conceived of.

This aesthetic, with those shades? Come on.

...all that said, though, I'm fairly sure we are just getting a one-to-one swap. That's how it appears to have worked for the trolls, and the one post-Scratch Player with a confirmed Guardian already matches this pattern.

Plus, swapping the kids with their own parents is just so interesting, on a character level, as it'd add a whole new dimension of analysis to the fucked-up relationships between Bro & Dave, Mom & Rose, and Grandpa & Jade.

Seeing how they all treat each other, now that the roles have been reversed, would be incredibly illuminating, and might shed some light on the thought processes of the pre-Scratched Guardians, as they were raising their own respective charges.

Anyway - now that we've got that out of the way, let's talk about each individual family.

The Egberts

Astute readers will notice that I only mentioned the Guardian-Player parallels for three of our Players above - and that's because when it comes to the fourth, there's a slight complication.

Namely, Dad Egbert no longer exists.

This means that Nanna's home life can't parallel John's, because the man who raised John was never even born. It's possible, then, that John will simply raise Nanna himself, as her grandfather.

Honestly, that's the scenario I'm hoping for, here. Out of our four original Players, I think that John would be the best parent by far - he's sweet, resilient, and has a natural talent for nurturing the positive qualities of the people he loves. If a baby lands in his backyard, he's going to rise to the challenge, octogenarianism be damned.

...now, here's where I'd speculate a little about Nanna's personality, but she's the one post-Scratch Player I can't really get a bead on. We only ever interacted with her Spritesona, whose personality was obviously corrupted by the presence of the jester doll.

As a result, I don't really have a clue what Nanna will be like. The only thing I'm sure about, if John's the one raising her, is that she'll be loved.

The Striders

First of all, I have faith in Dave.

I think he's more or less guaranteed to be a better Guardian than his brother ever was. Granted, I don't think Dave would be particularly paternal, but I also think he'll be able to refrain from beating Bro's ass with a puppet, which is progress.

I think Dave would be a laissez-faire type of guardian, who allows the younger Bro a lot more agency and autonomy than other kids his age, but also struggles to be the adult in the room when his kid needs guidance. He's not going to be as traumatized as his younger self, but I bet it's still borderline impossible to have a serious conversation with him. In fact, I wouldn't be surprised if Kid Bro turned out to be the more mature of the pair.

In a nutshell, Dave was born to be a cool uncle, but was forced unwittingly into a parental role instead. He's doing his best.

Quite frankly, I'm very worried about Kid Bro.

If we assume that every Paradox Clone keeps the same Veil item as last time - and there's no reason why they wouldn't - then Bro will be coming down with Lil' Cal, the cursed puppet created by Gamzee's Chucklevoodoos.

I'm still convinced that long-term exposure to this abomination was the main reason Bro was so batshit insane, and while the younger Bro won't have been around it for quite as long, he'll still have thirteen years of an evil Juggalo's Rage miasma being beamed into his brain.

I think Kid Bro will be a little batshit, but not completely batshit. We'll see a child with the potential to become the deranged ventriloquist who tormented Dave, but one who can still be saved, if we can just get that hell puppet away from him.

Separated from Cal, I still think Bro will be a memelord, and I'm sure not all his interests came from the puppet. I think this guy was always destined to be a pretty bizarre dude - but with luck, this iteration of him will be a little more pleasant to be around.

The Lalondes

Rose... could go either way, honestly.

Just like Dave, I don't think she's the type who'd willingly choose to be a parent. Rose doesn't want a baby, she wants a library full of cursed tomes, a coven of witches to scheme with, and to live in an enormous gothic castle with her wife, Kanaya Maryam. Her ideal lifestyle couldn't handle a kid, and I think she's self-aware enough to know that, and adopt a hundred mutant kittens instead.

That said... if she had to raise a daughter, I think she'd try her best to do right by the girl. I think some part of her would absolutely resent the fact that she's a background character in someone else's life - especially if, like the Sufferer, she remembers being a Player - but she'd do everything she could to keep that resentment to herself.

Rose would be an alright mother. A little cold, maybe, and more than a little distant, but she'd still love her Roxy.

As for Roxy, I can only assume she's a gigantic fucking badass. Even among the Guardians, her barehanded combat feats were always astounding, and I think she and Kid Bro will be the primary combatants of their session.

I also think she'll be one of the most analytical, scientifically-minded Players we've ever seen. Her adult self was experimenting with Ectobiology even outside of Sburb, which suggests to me an intense curiosity about how all this shit works, which isn't present in most of our other heroes. Like Rose, she'll be a researcher, and maybe even a Seer - but while Rose searched for the truth via magic and mysticism, Roxy's research will be entirely scientific.

Honestly, the most exciting thing about finally meeting Roxy is the milestone it'll represent. I'll finally, finally have encountered every character I knew about prior to starting the comic.

The Harleys

Grandma Jade was still the Witch of Space, and was clearly aware of that fact.

This tells us that:

John, Rose and Dave also retained their Titles, even if they don't know it.

Grandma Jade was probably aware of Sburb and its secrets, especially if she was living near the Frog Temple.

Grandma Jade was the Witch of Space. She's gone.

...and I have a theory about what happened to her.

I think that when Grandpa was a baby, Jade travelled to Anachronism Island, just like her predecessor did - but this time around, it wasn't Bec who greeted her at the Temple.

No, I think Jade had a fatal encounter with the new First Guardian of Earth - a corrupted First Guardian, spliced with the same HONK code that created Scratch. Kid Grandpa clearly survived whatever happened next, and I think it's horribly plausible that the new First Guardian is a pseudo-Guardian to him, the same way Becquerel was to Jade.

In other words, this kid might be completely compromised, manipulated by English's servant since infancy. Let's not forget that he's the one who suggested making the bunny to Jade, which is the reason Jack was able to ascend in the first place...

...but someone suggested it to him, first.

Anyway, those are my high-level thoughts about the new timeline's key players. We'll be starting Act 6 in an hour or so, and I've got a feeling that we're about to see Nanna standing in a very familiar room.

After all, it just so happens that today...

#homestuck liveblog #full liveblog #act 5.2 #asks #theories

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starcurtain · 24 days ago

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I know you touched on this a little bit but you have some of the best analysis for Aventurine around and I was hoping you might go a little deeper on Ratio and Aventurine’s relationship pre-penacony. Like they obviously knew each other and their relationship is better than what the game shows because of the plan, but it is difficult to tell just how well they knew each other and how close they actually were. What is your reading or even just head canons on them before penacony?

Two asks together, since they're mostly on the same topic:

Regarding Ratio and Aventurine's partnership, although they obviously knew each other before Penacony, there are some conflicting points that make it difficult to tell how long they might have known each other.

On the one hand, we've never been given confirmation, either through flavor text, items, readables, or marketing material, that Ratio and Aventurine have been on any noteworthy, named missions together before Penacony. When Ratio is included with the IPC crew, it's always marketed as "The Penacony Special Ops Team" or something like that, indicating that--so far as the devs want us to know right now--Aventurine and Ratio's first big mission together was Penacony.

There's also the fact that Ratio seems genuinely concerned for Aventurine's safety. Although it's possible that Penacony was just the highest the stakes have ever been, I feel like someone who has a long history of working with Aventurine would be more exasperated and less genuinely fearful of the outcome. Compare Topaz's reactions to Aventurine, like "Ugh your tricks are annoying, but fine, I'll work with you because I know you always get the job done" to Ratio's reactions in Penacony--the "Doctor's Advice" message seems to be seriously concerned that Aventurine would not win his gamble without assistance. To me, it seems that someone with a long history of working with Aventurine would be a little more used to his methods of operating.

However, there are some weird moments that seem to indicate a little more personal of a connection, or a little longer of a history--particularly the moment where Ratio talks about joining the Genius Society and Aventurine claps back with "Wait, I thought you gave up on that a long time ago?" We're told from Ratio's character stories that he never directly told anyone about his dreams of joining the Genius Society, although people speculate on it. Therefore, the only ways that Aventurine could know Ratio "gave up on that dream" would be if Ratio told him (something extremely personal, which we've never seen him share with others before) or if Aventurine was so nosy and diligent that he hunted down that information (read the "personal" biography of Ratio mentioned in Ratio's character stories) before joining up with the doctor for their mission.

We know from Ratio's comments on the Radiant Feldspar that the Intelligentsia Guild considers his work with Aventurine to be a "strategic partnership" and that Ratio agreed to the mission after being asked to do so, that he didn't seek it out (at least as far as he claims to the Trailblazer). Coupling this with the fact that Ratio was the IPC's liaison sent to the Herta Space Station, and I get the impression that Ratio is just somewhat the go-to "go-between" for the IPC and the Intelligentsia Guild; he's more likely to do IPC jobs than other Intelligentsia Guild members, and not all of it is connected to Aventurine.

Overall, although I would love them having a whole long history, my thought is that they likely knew of each other before Penacony, but hadn't actually partnered on anything major. Aventurine probably knew that Ratio was a reliable member of the Intelligentsia Guild who was willing to do IPC work, and knew that he would need someone smart in that position to be his "man on the inside" during the Cornerstone switcheroo in Penacony, so he likely put in the request to the Intelligentsia Guild to have Ratio assigned as his partner for Penacony. If not a direct request for Ratio personally, than at least a request for their smartest/most effective asset.

If he did ask for Ratio personally, then likely before he even asked, Aventurine had probably done a deep dive into Ratio's history to make sure he knew everything there was to know about his possible new partner (at the very least, he read Ratio's biography). Then he ended up "testing" Ratio's mettle in the Final Victor lightcone scenario--checking whether Ratio could actually handle the brand of crazy that was going to go down in Penacony.

I think Aventurine expected that his new partner would be able to play the part, but I don't think he anticipated how personal their connection would become...

Also regarding Aventurine having a "strategic partner" when none of the other Stonehearts seem to--I think that's just deliberate, to show the difference in the strategy each Stoneheart employs. Topaz is always accompanied by her squad of underlings because she's the workaholic-super-manager type. Jade is all about the art of the one-on-one deal. Aventurine is the schemer who comes up with crazy plans and uses every tool at his disposal--including partnerships with other people--to achieve that goal. He's the only one with a partner from the Intelligentsia Guild because, so far at least, he's the only one whose mission plans required that kind of partnership.

Aventurine is literally that "I know a guy" guy. 😂

#honkai star rail #aventurine #dr. ratio #ratiorine #ten stonehearts #intelligentsia guild #star answers

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taro-bae · 7 months ago

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TWST Rant (!Spoilers!)

I was wondering about the cast of twisted wonderland in regards to their wealth and status. The majority of the twst boys are well off and of high status, but the whole wealth system of twst varies. I was trying to place the cast in order of who might actually be the wealthiest, so this is a little analysis rant!

Wealth and status obviously vary, Royal wealth would obviously be considered more valuable, so I would say Malleus and Leona would be presumably the richest since they are direct decendants of royal families. Malleus considerably ranking 1st, in my opinion, since he is to inherit the throne as first prince, while Leona is the second prince and holds just slightly less power in terms of a hypothetical hierarchy.

We all know from book 6 that Idia (and ortho) is from the Shroud family and will inherit the household and STYX. His grandmother was the original director of STYX that was later passed down to Idia's father. The organisation is highly influential and it is speculated for the Shroud family to be as rich if not more than the Asim family.

After Idia, I would put Kalim. We aren't exactly sure who is actually wealthier between the two but I would say the Shroud family directing STYX would be more influential on a larger scale. Kalim is born to a merchant family, I feel like some of the fandom collectively considers him a prince, but that is simply not true. Kalim is from a very wealthy family of merchants with some royal relatives, but he himself, if not royal in any ways. Kalim himself states "the Asims aren’t royalty, and I’m not a prince. I’ve got some relatives in the royal family, though.” The Asims are clearly very well off with many connections (even how kalim was accepted in NRC through his place being payed for presumably, most likely for connection since the family are merchants).

The following is more tricky for me to place. Vil is a different kind of rich, scaling more of fame and popularity. He's a world-known model with a famous actor father. He is from a privileged status in the show bizz and made a name for himself. We know that he's well travelled and known, from a young age his father always took him all over the world to establish connections and so on. However, I also see Rook being not that far off him in terms of wealth. Rook doesn't exactly have the same level of fame as the other characters, but the Hunt family has Villas in EVERY country within TWST. In Book 6, Rook suggested to MC and Epel to use warp pads or transporters from one of the villas to a closer destination. The transporter situation, according to Epel, is a big deal that requires permission to even have, let alone in every country. So Rook is of very high wealth and has direct ties to the government but is less talked about in that regard compared to other characters. So I don't know if he would be higher than Vil? It's possible.

Riddle is from a noble family with parents who are doctors. I would say they are rich. It is speculated by some that Riddle could somehow be tied to the Queen of Hearts, but it's not specified that he's royalty anywhere. Azul, in my opinion, would follow after. His family does make money, his mother owning a restaurant and stepfather being a lawyer. Azul himself runs Montre Lounge on campus as well as his shady deals. Azul is more bussiness wealthy out of the boys. I would asign Floyd and Jade alongside him. Even running of the fact that Floyd legit has top branded shoes in his vignette. I speculate that Floyd and Jade might actually be wealthier than that (I love the Mafia headcanons), and Jade is able to get expensive gifts and stuff. I wouldn't go as far to say that the Leech family is totally loaded, but they are definelty powerful within the Coral Sea.

The rest of the list is hard to place and up for debate.

Lilia has the advantage of being the oldest of the cast living for over 700 years and being a general to the royals. He has direct ties to Malleus, but I can't exactly place where he would be. In terms of hierarchy, he's a bat type of fae, which we're considered lower class in the fae community at the time, so he would have been seen as less by other members of his society. But he most likely has connections and ties. Dare I say if he wanted to sell his artifacts, he'll definelty be hella rich, lmao.

Clover family, I think they are a typical working class family. They have their own bakery bussiness but work constantly according to Trey, so that must mean they have income but one that you have to keep working for. Trey talks about that when they were busy, he would cook or get his younger brother tickets to spelldrive on allowance money and that parents would stock up on ingredients. Based on that, I would say Trey is off on a more "enough" to live a sustained lifestyle type of money. Like a more casual type of family with a few children (again, children need more money to be sustained)

Next, I would place all the connected working characters like Sebek, Silver, and Jamil. This seems considerably low, but hear me out. They are not exactly poor characters. They are very directly connected to noble people, though. Sebek has a military connected family right under Draconias' command as well puts both silver and him fairly high up. They are not independently wealthy but can experience more luxury lifestyles because of who they serve. Their status consists of being guards of a royal persona. Therefore, they hold a portion of recognition. Jamils case is complicated. The Viper family is born into servitude and are highly dependent on them in that manner. In a way, they could be counted as "working class," but I beg to differ in a way. Working for the Asim does benefit living standards and experiences, for example, even with being able to access better quality foods, living style, etc. It obviously comes with the downside like jamil risking his life for kalims safety (e.g., being a posion tester and constantly doing labour). In a way, despite not having personal property like Kalim, Jamil is still exposed to more luxurious items, products, etc. And it's hard to judge where he is on the richest ranking because he's directly bound to Kalim, almost like a hypothetical "contract" he's born into. More of being born into a rich environment but not being wealthy himself.

Lastly, poor baby Ruggie. Ruggie, being born in poverty, in the slums is the only character in NRC who is specified to be poor. Being born in poverty with his parents both dying early on, he was surrounded by other slum children who he considers siblings and often had to fight for food.He survived through hustling different jobs later on to work his way up. We know he hustles at Montre Lounge and for Leona to make any money and does try to make a bargain for any opportunity. Out of the entire cast, Ruggie is canonically poor.

Epel,Jack, Ace, Cater, and Deuce are ones who are a bit more confusing because they have less information on them. I've been thinking about Jack. His status is not exactly clear, and I can't find any evidence to pinpoint his social standing much. I would place him above Ace. In my analysis, I considered that Jack met vil when they were children, and i think Jack could even be higher on the list. i just can't find anything to clarify that. I would assume vil would have lived in a fairly well-off environment since he was a kid, so the neighbourhood must have been at least middle class or something. Just running off that, I would say Jack might be more middle class to average. He does have multiple siblings that need money to sustain. Ace states before to azul in a luxe couture vingette that he can't "afford the high-brand clothes." So I would say he's off a more average family type of income. With in this rank, I would also place Epel. He did mislead his dormates into believing that he's a noble and Vil suggesting epel to not use his dialect to not give away his actual position. His family aren't mages, which maybe within twisted wonderland would be lower class. But they are farmers from Harveston. Harveston isn't well known but does produce apples that does provide them with some form of trade and income for sure. Cater talks of not having enough money sometimes, but he's a very dual type of character that tends to mask things a lot. I think he's maybe just above average, actually. He claims to occasionally not have money. Someone let me know his father is a banker, but it's unclear how much the Diamond family actually owns or makes, but I think he hides his true position. We know Deuce has a mother who works with the White Rabbit logo trade chain. There's no indication to pinpoint where the Spade family is at, so I would also say around average. We know Deuces father walked out on them so Dylla is the working mother, I'm assuming the family is also a type to have enough money to live but no extra to spend (on stuff like luxury items). Deuce definitely got his wallet up after fixing Malleus's tamagochi and getting some pricey gems from him.

──── ⋆⋅☆⋅⋆ ────

If you know any information on some characters, feel free to share!

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innaillus · 1 year ago

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Drawing Ryōmen Sukuna

Development notes

This post has been in the making since last year, before the manga has reached its current arc. My aim was to respond to comments that pointed out that my version of that time didn't look like the one in the anime. I calculate everything I do and the way I do it. My current goal is to share my thoughts on the development of my take on him - simply because I'm a nerd when it comes to anatomy and I love figuring things out. It involves a lot of thinking, questioning, analysis, dissecting information and building theories. So I totally understand if it's not anyone's cup of tea.

MANGA SPOILER WARNING

The very beginning

I used to have a serious case of lack of self-confidence. My earliest art of Sukuna dates back to 2021, but it always felt like my skills are not worthy of this particular character. I never shared my art. I was also struggling to find my artistic voice. I was obsessed with the idea of semi-realism, but even if I managed to pull it off after weeks of stylisation practices, I didn't like the results.

Due to personal reasons, I stopped trying to draw him for a long time.

The development of "my" version

It was an entirely conscious decision to draw him differently.

The top reasons for the change was that I didn't want to sexualise him in his host, Yuuji, who is a minor. Back then I thought he inflicted the deformation on himself (extra limbs, eyes, etc), for the sake of efficiency, and I was curious what he looked like before that - or what he would look like in a civilised environment.

During the process, I considered a number of factors:

the beauty standard of the other JJK men - I wanted him to fit the lineup - his original appearance made him stand out quite much

in a setting where he adheres to the rules of society, more or less, I believe his MBTI personality type (ENTJ) would dictate a lot of his choices when it comes to appearance, at least to a certain extent. I thought he would choose to have an appearance that fits the beauty standards of the era

I kept his tattoos because it's a very distinguishing feature of him, but I also exercise freedom in the way I draw them, to make them as stylish as possible

Reincarnation

I used to believe once he reincarnates, his proportions would be closer to that of a "normal" human, even if he has some extra limbs. However, his size and features are above and beyond of what we are used to, and even the story emphasises their malformed appearance. So a a whole new era of Sukuna started in my art. I chose my favourite manga panels of him and mix-and-matched the most attractive features into a figure that I consider on the fine edge of monstrosity and unconventional handsomeness.

Even when I draw him with a regular number of limbs, I keep his usual mass and proportions. I dubbed this form "true gains" form.

I also realised that some of the tattoos Yuuji's body displayed was a product of the partial reincarnation stage, like we see it on Tsumiki's forehead.

NOTE: Did anyone notice that Sukuna is getting progressively more and more human/handsome in the manga? When he took over Megumi's body, I also noticed that as the story progressed, he started to look older and more mature. I'm curious of it was a conscious decision.

Twin dilemma and speculations

According to the Japanese wikipedia page, the mythical figure Sukuna could have been a conjoined twin. Despite my extensive digging in the matter, I was shocked by the recent lore drop.

My question: what does Sukuna look like in a universe where he did not absorb his twin in the womb during development?

It hasn't been confirmed, but I find it very possible now that he was born with his extra limbs, eyes and mouth, as well as the deformed, wide features. (...as opposed to my first theory about him altering his own body for the sake of efficiency)

This, however, would mean that in a universe where both him and his brother are born healthily, he would look different. There is the obvious lack of extra arms, eyes and mouth - but I believe he would also be closer to the JJK beauty standard of men, as far as proportions go (eg. more narrow face, anime-esque nose, larger eyes).

At first I was hesitant to accept this idea, as I'm very attached to the 4-arm hulk / "true gains" form now, but then I realised: this would mean that "my"version of him actually has logically explainable place in at least an alternate universe.

Thank you if you got this far.

I may edit this post later. Let's see where the story takes us.

#ryomen sukuna #jjk art #jujutsu kaisen

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juststandingthere · 8 months ago

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ISTG this game is making me insane, brainrot strong enough for me to make my first analysis post

One thing i love about the narrative is how distorted the characters, relationships and events are from jimmy's pov. Most posts discussing this focus on Anya, and it makes sense bc she's probably the biggest victim of this. She's seen as less than a person, she's an incompetent nurse, she has a meek personality, she'll let anyone(jimmy) step over her and she still follows his orders, despite everything he has done to her. We obviously see, from curly's pov, that she's simply too terrified of her abuser to act any other way, and when she's not with him she's way more confident and competent.

I haven't seen as many people talking about how this "distortion" affects Swansea and Daisuke as well, including the relationship they have with each other.

We see, in the first Curly section, that Swansea is a great mentor to Daisuke (one might even say they have a father-son/uncle-nephew relationship). He takes his time to teach him not just the basics, but also how to do his job as safely as possible. He lets him take notes, he himself writes stuff down for him to remember and even lets him doodle on those notes! Sure he is harsh with him, but he clearly cares about him and wants him to be safe.

And in return Daisuke looks up to him and has great respect for him, as both a mechanic and a man, while he also makes some jokingly offensive comments towards the older man, showing the close bond they have formed.

But that's not what we see when we play as Jimmy.

In his pov we don't see them interacting much, when they do we either see Swansea insulting Daisuke for no apparent reason or, in one occasion, we see him leading the kid down a "bad path" wanting to teach him how to "drink like a man".

When they aren't interacting tho, we do see hints of their actual relationship: Swansea asking where the kid is when he is "partying" in the lounge, confirming that he does not, in fact, hate spending time with him; him looking desperately for something, *anything*, that could help Daisuke with his suffering after he's injured; how whenever Jimmy tries to bring up to Daisuke how "badly" Swansea treats him, or how he "lied" to them about the utility room, Daisuke immediately shuts him down, because he knows what he's saying is completely wrong (i'm pretty sure those are the only times he doubts something Jimmy says), showing once again the trust and respect he has for his mentor.

(this part is kinda speculative but i think it makes sense)

There are two other times where we see them interacting, where we actually see how much Swansea cares for the kid, and coincidentally, neither of them is seen through Jimmy's eyes, but from a third person pov: what Swansea says right before they knock him out with the drink, about how he resents the people that let Daisuke, someone with his whole life ahead of him, with so much optimism and joy, board the ship for a job that would inevitably leave him "mangled" and "smarter in a worse way" (i could make a whole other essay on this part but i won't), and what he says right before mercy killing him. In that scene specifically, as the camera pans out in the corridor as Swansea raises his axe, ready to take the final swing, Jimmy doesn't see the hesitation in his body language, the way his body tenses, the way he comforts the kid, telling him to close his eyes, the heavy breaths (crying?maybe?) right after the act. He only sees the older man as a monster that would take away an innocent life that jimmy would have been able to fix had he been given the time to fucking think.

Hell, now that i think about it, Swansea's final monologue, where we find out that he is in fact a good man who tried his best to better himself, who simply wanted to protect the kid and give him "a chance off this goddamn rock"(implying that the Cryopod was meant for Daisuke all along) is also shown in third person!

A few other things i found interesting:

1-The missing pieces between what happened to Daisuke in the vent and when Swansea started attacking Jimmy. There's a cut from when Daisuke screams to when he's laying on (Swansea's) bed, bloody and in pain; from when Jimmy uses the mouthwash to disinfect him (which only causes him to suffer more) and two hours later; from after the talk the two men have and the moment Jimmy decides to go find the gun, the axe gone from Daisuke's face. What happened in those missing scenes? Was Swansea the one who helped the kid onto his bed, trying to make him as comfortable as possible? Did he try to comfort him, to distract him, and ease his pain as well as he could? What was his reaction when he had to take back the axe off the face of the young man he had started seeing as his own kid, whose life he had hoped he could save but that he ultimately had to take with his own hands?

I personally think those parts are blocked out of Jimmy's mind, as he couldn't fit them in his own narrative, where he was the hero, Swansea the villain and Daisuke the innocent, young man whose life he tried his best to protect from this "monster" that was now going to come after him.

2-Swansea attacking Jimmy with the axe, especially the cemetery scene, and how it can be interpreted in different ways.

We, the viewers, knowing everything that happened, will see it as a desperate man, Swansea, trying to avenge the lives that had been lost on that ship because of Jimmy (wether directly or not), with Daisuke's death being the last straw. But i don't think that's how Jimmy saw it. He saw swansea as a crazed, mad man, a ruthless killer, coming for him after taking an innocent life, Daisuke's photo and mausoleum as a reminder for Jimmy of what the older man had done, and a justification for what he was about to do.

(not to talk about the implication that the fight against swansea was not as intense as we saw it, only confirming the idea that jimmy was looking for a justification for shooting him)

#anyways most off this is probably me overthinking stuff that was probably not intended #but i have been hyperfixated on this for the whole day #so i needed to write this down #mouthwashing #jimmy mouthwashing #daisuke mouthwashing #swansea mouthwashing #jimmy when i catch you jimmy #also there are things to be said about how jimmy sees Curly as well but i'm nnot brainrotted on him enough to actually analyze that #anyways: daisuke is infantilized by jimmy and seen as someone to be protected #swansea is seen as the one he needs to protect the kid from #not realizing he was the monster all along #(or most likely realizing it but not accepting it)

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loreic · 7 days ago

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The True Face: In-depth analysis

Okay now that I had a few hours to process all... that, I think I can analyze this objectively without crashing tf out

Heavy, heavy analysis, speculation & theories ahead

[Spoilers for the insane new Mizi comic obviously]

So the comic opens exactly where we left off after Weige right after Round 7 (the fact that Round 7, Weige, Arise and Walk, and now this happens in like the span of a few minutes is absolutely diabolical btw). Mizi is crashing tf out and just staring at Till’s blood literally on her hands, which immediately just shouts GUILT in all caps.

We are then immediately jump scared by this.

Which is gonna give me nightmares for a whole week (thanks for that Vivinos), and sets the tone of this whole situation, giving us a glimpse at Mizi’s incredibly fragile mental state. Keep in mind that she had just had her life completely thrown upside down, witnessed Till get shot, then Hyuna two seconds later, all while still coming to terms with the fact Sua is gone.

Girl is literally two seconds away from cracking.

We then cut to a flashback set during their ANAKT Garden days. Considering how old they look and Sua later mentioning that they were running out of time and will have to take the stage soon, I’m suspecting this probably happened fairly recently, possibly within the year and not long before their graduation.

The following sequence starts off tame enough, starting with this Luka-knockoff-looking ex-classmate cornering Mizi about her relationship with Till, which Mizi mistakenly assumed that he was asking about Sua.

We come to find out Sua hasn’t been around much (god is anyone else kinda extremely creeped out by Neigh?), and that they have apparently been fighting. Which is rather interesting to me considering that mizisua has so far been portrayed like the perfect yuri couple doomed by the narrative (or at least slightly less convoluted and toxic when compared to ivantill and hyuluka anyway, ain’t nothing healthy in alnst). I do wonder what they were fighting about.

Then we get the whole heteronormality spiel from the Luka knockoff (which damn I could totally do a whole nother post on with how much lore that gave on life in general in the ANAKT Garden). Dude tries to confess, gets cut off, and things just immediately escalate from 1 to 10000. Like fking hell just look at this image:

Luka knockoff goes on to accuse Mizi of being willingly oblivious to how half the boys have been crushing on her (keep in mind these kids raised by aliens with zero functional social cues or an accurate concept of how relationships are supposed to work), and Mizi absolutely loses it.

I mean look at this face.

Girl is Hyuna-grade levels of mentally unwell (I like how this seems to be a trend with vivinos, feeding us information about a character, lulling us into a false sense of security and then doing a complete 180 in their comics and giving them twenty different dimensions we never considered). She is literally having a mental breakdown and still trying to keep the friendly, innocent mask and smiling through it all, which just ends up coming off as slightly deranged.

Mizi ends up running to Sua (cue obvious unhealthy coping mechanism and codependency), and then she makes the mistake of using the exact same words Luka knockoff did

It must be nice.

Nice to remain willingly oblivious to it all, nice to be pretty enough to make others love you, nice to be loved by so many. That obviously wasn’t what Sua meant in her own context (it was also interesting to learn that Sua does envy Mizi to some degree, which I I think is a nice add that just makes her more human on a whole), and Mizi just reacts.

Considering how she immediately catches herself, I genuinely don’t think she meant it, but holy shit was that fked up.

We’ve seen IvanTill fighting as kids and the whole thing with Luka and Hyunwoo that ended in tragedy but considering this and what the Luka knockoff did earlier, I’m getting the vibe that physical violence in the ANAKT Garden may be way more common than what we initially thought (or it could be that these poor kids have just never really properly grew out of that play-fighting-as-a-child phase, and it just escalated as they grew into young adults since corporal punishment from the aliens is normal and their humanity’s all kinds of screwed up)

We then cut back to the present where we have apparition Sua accusing Mizi of being cunning, and ditching all of them. Now this took me a hot second to understand, because as far as we are concerned Sua was the one who left. She chose to die to save Mizi (and probably so that she didn’t have to deal with the pain of being the one left behind if we’re really going for that toxic angle). But then I realized I’m an idiot and that this was being written in Mizi’s pov and this version of Sua is literally a figment of her imagination and a personification of her guilt.

Mizi still thinks she is responsible for Sua’s death. In that sense she did discard her for her own survival (unintentional or no) and on top of that she did leave the others. She did let herself be reduced by the rebels, she left Till and Ivan, all while knowing that they would most likely die. Is it her fault for being rescued? Hell no. But she definitely still feels guilty for leaving them. You could argue that she also, quite literally, ditched Hyuna in order to rush of to rescue Till, which indirectly ended up causing her death (It was Hyuna’s choice but Mizi sure as hell didn’t know that).

We then cut to a flashback with Till (TILL IS ALIVE TRUST) and Mizi ends up confronting him, telling him that she loves Sua and asking if it is that hard to not like her. She asks him why he like her and Till (bro why) ends up responding with

I mean, valid, but I think this properly confirms just how shallow Till’s love for Mizi is. He likes the idea of her, and though it doesn’t mean his feelings aren’t pure or true, it’s more of a crush really. Cute but almost entirely superficial, and just look how Mizi reacts:

Her collar is RED. She knows people care and are attracted to her on a superficial level, that the Luka knockoff was right, but seems to decide to just ultimately let it be, to remain purposely oblivious.

We cut back to the present and there we see apparition Sua has now become Mizi, the version of her from Round 1, the version of her that ‘killed’ Sua, which really just solidifies the fact that all that blue dialog is literally just her guilt taking.

This entire comic is basically centered around Mizi battling her survivor’s guilt, but honestly, as much as I hate to admit I think the Luka knockoff/evil Mizi were also right about her being purposely oblivious (to both her classmate’s affections and their situation on a whole). All the facts point to the fact that she was much more aware about everything than we were initially led to believe. I think she did have a vague inkling of what was going to happen, but ultimately decided to look away/remain in denial (I mean in hindsight how tf does one live 15-ish years in the Garden and not eventually find out the truth even by accident?).

Evidence 1:

First we have this with the Luka knockoff.

What a shame.

Shame she had to kill him? (lmao no, but am really frikin hoping she didn’t Hyunwoo him with how this guy pops up again with the back of his head broken in the subsequent art lol)

Not sure if I’m interpreting this one right, but I do think what she meant by it being a shame was the fact that he had to see her broken down this way. I do think this is the first time anyone actually noticed and called her out for her habit of remaining purposefully ignorant, hence the mental breakdown (also cause she got, you know, slapped in the face while she was at it).

Also with how her collar light was green when talking about Sua but immediately turns red when Till is mentioned... yeah she's definitely not clueless about any of it.

Evidence 2:

And then of course we have this whole sequence with Till. Hardly any explanation needed.

Basically both flashbacks imply that she is not nearly as ignorant and naive as she lets on (and what we as the audience were led to believe), but she puts on a harmless, innocent front.

As for why she does it is pretty debatable, but I suspect that it was simply easier to remain blissfully ignorant, and it was just her way of coping with their less than ideal reality. I highly doubt she spent all that time taking advantage of being likable and playing dumb just so she could survive (again the one praising her for it is literally her guilt personified). Maybe a tiny part of her did subconsciously want to survive and decided to roll with it, but I think it’s pretty obvious she does genuinely care about the rest of her classmates and wasn’t actively trying to get them killed (unlike say Luka).

What happened to Sua, Ivan, Till, and Hyuna definitely wasn’t her fault, but she isn’t entirely guiltless either.

Honestly, I’m not too sure what to make of it, considering on one hand we have been led to believe that Mizi was this sole innocent girl who knew nothing about truth behind Alien Stage until Sua literally died in front of her, but on the other hand man do I love how we are getting more of layers to her character.

#Goddamn alnst characters are complex as hell #alien stage #alnst #alnst mizi #alnst sua #alnst till #alnst hyuna #mizisua #ivantill #hyuluka #loreic posts #vivinos #vivinos why #please don't kill luka in the next ep #i can see it but i don't wanna

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houseki-no-suffering · 1 year ago

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Hey! I found a post of yours (specifically a phos analysis) from a looong while ago. Just curious to hear what your thoughts on the last chapters and the conclusion of the story are!

I recently finished the manga after putting it off for 4 years, and it was an incredible but such a bittersweet read. Maybe it's just me being a sucker for happy endings, but man, it really did not get happier </3

And you probably already know this, but did you know that Ichikawa released the last chapter the same day a comet flew by that looked exactly like the comet from the last chapter? Really cool stuff but I am emotionally destroyed haha

I suppose it was the only kind of happy ending HnK could have, and I don't think I mind it as much as other things that have happened in the last few chapters. It reads more HnK than anything that has happened in the past 1-2 years of serialization.

I appreciate the bittersweet notes (always have) and Ichikawa's words that this is how she wanted the story to end, it doesn't happen to every mangaka. Also, the comet bit is such a nice touch.

As for Phos (I suppose this is the post you meant?), I do believe that they got a happy ending.

If you think about it, instead of becoming a lunarian and being prayed away like the others, Phos' journey gave them the power and knowledge to rise above them. Thanks to their flaws (being brittle, having special inclusions, maybe being the most human of all the gems) they became human, the most flawed of creatures, and basically reverted to the purity of a child, a god, sin-less (even if this is a Buddhist story, so idk if I can actually speak of sin) and therefore free of everything that made humanity always dissatisfied, dangerous and unhappy. The others renounced existence, Phos found a way to reach paradise.

Humanity doesn't come out of this looking like a nice bunch of people to hang out with, and neither do the lunarians (gems included at this point). And yet, there's so much compassion in everything Phos does: a kind child, up until the very end.

I always speculated (and was not alone in this) that Phos' job would become to pray the lunarians/everyone away, find Cinnabar the job to kill them, become a Bodhisattva... in this, I believe, the story remained true to itself. What I believe no one saw coming was how shallow(?) it all seemed in the end.

Everyone came back, making Phos' sacrifices and suffering basically meaningless, everyone started getting along and solving centuries-old problems in seconds. Then, Ichikawa introduced so many new changes abruptly... It felt rushed, lazy and overly simple, when most of us loved HnK for its complexity and depth.

Maybe it was because Ichikawa wanted (or needed to) end the series with ch 108. Usually, when mangaka put a limit to the chapters they want to write, it really damages the story and I wasn't a fan of this even in this situation.

Aside from these issues, I appreciate how Ichikawa seemed to care about the character of Phos.

Maybe this all happened so that Phos could be happy, maybe this was the only possible way for Phos to be happy? It would be a little bit like in Devilman, where the world basically ends only so that Satan can understand love. Idk, little old Phos didn't seem that desperate a case, they just wanted truth, yes, this did cause some... issues, but other than that they're a sweetheart.

This is the leitmotif of the series, after all: Phos is a kind, selfless gem who cultivates a deep sense of self-hatred.

They internalize a pressure and a need to feel useful (coming from gem society) and turn them into a necessity for change (unlike in gem society). Initially, they want to find a job. Then, they want to help Cinnabar find a job, then they want to help Ventricosus, then then want to become a fighter, then they want to help sensei, then the gems, then the lunarians...

Contrary to most of the other gems, Phos loves and loves openly and unconditionally. They start off as a self-less creature who believes that their life isn't worth anything. Therefore, they put it on the line time and time again and, eventually, lose it time and time again as they change form.

It's their journey towards truth and happiness: they change and lose pieces of themselves, forget things, renounce gem-ness in favor of humanity and then humanity for god-hood.

Phos changes until they find the form that makes them happy. Their purest, happiest form. They change so much that they come back to square one almost: they become pure Phosphophyllite, with no inclusions at all. Still fragile, still small, but selfless and cheerful. Carefree.

In a sense, HnK ends with Phos becoming Phos.

#houseki no kuni #hnk #land of the lustrous #hnk spoilers #apologies ive only become wordier with the years #i think our mistake was to think that this story would deconstruct buddhist narratives while it catually did the opposite #ichikawa fooled us #also i would love to update that post about the timeline of the manga #i have a couple billion years to catch up with

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lawties96s · 21 days ago

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its hilarious to me when people that are against certain lottie ships ask shippers "do you even like lottie?" as a way to accuse said ship of being toxic to her. And that's the thing!!! YESSS WE DO. WE LOVE LOTTIE....

....But not as a real person who we are concerned about her well-being. Because she's not a real person, even though she can resonate with us more or less. We love lottie as a character. We love to discuss her characterization and the possibilities that come with it. We are interested in speculating about her. We like to read and write analysis, to think about how her relationships/dynamics are constructed and how they contribute to understand her and the story further. We love to talk about her development, contradictions, about symbolism, text, context and things in between.

She's a rich, complex character that brings so much to the table. There's so much to discuss about her regardless of ships and through them. Trying to reason about this thinking about her relationships solely from the viewpoint of "what would be better/healthy" for her is so safe and reductive and it's throwing out the central part of yellowjackets as a show (a narrative that explores the horrors & beauty, violence & love, restrains & transgressions, competition & collaboration present in women/teenager girls experiences).

The complexity, nuance, conflicts and messiness of it all: that's what we welcome and expect from her as a character. And the fact Lottie Matthews has so much to give in that sense it's why we love her.

#lottie matthews #lottie yellowjackets #lottieshauna #yellowjackets #lottielee #lottienat

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nynyhaha · 9 months ago

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Spider Themes: Phantom Troupe and fate (plus Chrollo character song analysis)

THIS is the moment that lead tons of fans to believe that Chrollo is a determinist,or at least a fatalist,believing that certain things cannot be avoided and that people lack the free will to act otherwise.

I haven’t seen any other proof of Chrollo being a determinist and I think it’s not that relevant to his character so this idea being so popular annoys me,and yet,there are lots of time where Chrollo is confronted with the idea of fate.

Why doesn’t he blame Judas?

There are multiple ideas

-his betrayal was bound to happen and he had no free will

-regardless of will,his actions were justified because it resulted in the greater goal being achieved(and Chrollo sees Jesus’ death as as important as his own death in a scenario where the Spiders have to chose.Chrollo would want them to sacrifice him for the Spider,and this scene hints at that)

-anyone willing to betray the organisation for money or fame was never a true member

-Chrollo doesn’t take anything personally and he doesn’t judge other people for their actions because he expects very little of them (we know this isn’t true for his Spiders,but it seems to be that way with Hisoka. He doesn’t blame Hisoka for being what he is)

This point is also illustrated in the flashback chapters where young Chrollo doesn’t get angry at his bullies even once. He’s not mad at Uvo,Phinks or Feitan,he outsmarts them or outruns them,but still sees them as part of his circle and never acts aggressively.

He doesn’t even appear to hate Kurapika or care much for his motives,since he accepted the fact that people will come after him for a multitude of reasons. He doesn’t care how good those reasons are.

The prophecy

Neon’s prophetic ability is meant to help people see the potential future,it’s not presented as being self fulfilling,in which case it would be a scam. The idea is that you can gain knowledge of your potential fate,and chose the course of action accordingly.

Chrollo trusts the ability since he uses it to make important decisions,like whether to stay in yorknew.

If he can use it to his advantage and cheat fate,how could he be a fatalist??

Our will above all else

The phantom troupe is incredibly strong as a group,yet they retain qualities of underdogs. They were born in the most marginalised community possible,in a place that doesn’t officially exist,and yet they’re now feared and infamous.

They won’t allow the world to take from them

They will impose their will on others.

Uvo’s requiem

I will never shut up about it.

It perfectly represents the nature of the Phantom Troupe and Chrollo’s philosophy.

We know Chrollo believes in souls,but does a man who sits in a broken Church and wears upside down crosses believe in any just god? There’s no way Chrollo isn’t a nihilist when it comes to ultimate justice. He expressed those doubts even as a child,and it seems that while he now thinks souls exist,he doesn’t rely on any afterlife.

He never relied on justice from above,he always took matters in his own hands. Believing in souls may mean that he sees death as a change of state,and sees murder as more forgivable since “everyone ends up in the same place anyways”but this is just speculation.

Only he can improve Uvo’s situation.

Uvogin’s soul soon will be gone,who knows where. Chrollo can’t change that,he doesn’t even know if Uvo hears him. But he will fulfil his wish. He will send other souls off in Uvo’s honour. He will show that his life and death mattered. It’s an attempt to reclaim agency,however futile it may be,it seems Chrollo wants to prove something to the universe.

People are the ones who sever ties

Doesn’t this run contrary to his ideas about traitors? It sounds here like he expects loyalty from those close to him. Or does he mean that he himself won’t forget things unless he cuts them off?

He can’t feel less responsible for the deaths of his friends and he can’t forget his place in the world,can’t detach himself from it.

Hi identity is still tied to external things. And it means all of the things he has lost,all of the humanity he has shed were deliberate sacrifices. Like he resigned himself to give up his life for his goals.

It’s very much a show of will.

The coin

It’s a practical way to resolve conflicts. While it’s thrown by a person,and the outcome can be random, therefore unbiased,it could also be them calling to fate to decide who gets his way.

“May happen what is meant to happen”

This leads to no conclusion,but it’s absolutely related to fate so I’ll mention it here.

1/13 analysis

I have no idea how canon this song is,but it’s a great interpretation of the information we have in canon. It touches on many themes crucial to Chrollo and his Troupe. I’m using the translation from the wiki,I don’t know Japanese and honestly I prefer the translation from the YouTube lyric video

youtube

This song mentions almost everything I’ve talked about in this post,and even more.

“..From the beginning”

They were doomed from the beginning. Even if they wanted something innocent and simple as dubbing anime,finding purpose in entertaining the masses.

First Chrollo rejects the notion of life,then he goes on to deny fate.

But he also approves them. “As if” The Troupe doesn’t act in accordance with reality and what it has in store for them,they act as if none of those things were real.

Life not existing means it’s meaningless and because of the horrible conditions Chrollo grew up in,he and the others were never given a chance of any life worth living. Life is real,but not for them. It’s something they deny themselves,something they abandon in favour of their duty and goal.

Fate might refer to both,inaction,staying anonymous nobodies,and doing something,surpassing themselves,and then dying a horrible death.

If there is a fate,can they know what it is?

Is Chrollo following his destiny,or acting in spite of it? If only he knew,haha. Maybe it’s not his choice to become a murder,maybe it was meant to be from the beginning. Or maybe he was meant to do nothing and be nothing,yet he refused.

”When we’ve obtained everything,we will disappear without a trace”

Went from actors to phantoms,got it? ;) This line brings in a sense of finality,of inevitability. So he knows they won’t live forever,that there is a limit. Sure,it could be referring to them being impossible to track,but I chose to believe there is more,since Chrollo touches on the possibility of them actually dying.

In that case,should they “separate and face eternity” the Spider’s Soul will live on. Or it must live on! Pretty spiritual, huh.

I love that while everything hints at his views being nihilistic,Chrollo’s spirituality is almost hopeful.

So is his song.It talks both to the enemy (you can’t run from us) and his fellow Spiders. He tells them to just steal,to consult the coin if needed,to trust that the Spider will live on and everything will be fine.

“What is there to fear?” I’m gonna cry,I swear.

This song also has this notion that whatever happens,happens.

“Que sera,sera” and shit. It shows acceptance of things that shouldn’t be accepted. Even his own feelings at the loss of his friends Chrollo acknowledges,and then ignores.

“Can’t be blamed.” He can’t blame himself for still feeling those things,but he just dismisses them. “You will want to sneeze at dust,it’s normal,but hold it in.” = “You will cry at deaths,feel grief and anger. Those reactions are normal,but don’t let it affect you”🗿🧍

What has pride to do with this? I’m genuinely confused. If this mf telling us to be humble? Is it prideful to expect no one to die? Or is this the typical “detach yourself from your feelings”?

Conclusion: Chrollo is seen as a fatalist because of his stoic attitude. The only way (according to HxH fans) to deal with what he goes through,is to tell himself it’s meant to be. I propose that no,he doesn’t think so. He thinks that regardless of fate,he can outsmart it and come out on top. Even if he loses people in the process,in the end it will be worth it. And even if he feels grief at their deaths,that’s just what happens. It didn’t stop him until now. All that just to steal? No,Ofc not. He just doesn’t know how to express his motives.

DO YOU EVEN HAVE CLEAR MOTIVES,CHROLLO? Your journey leads you to nowhere,and we don’t even know where it all went wrong

#chrollo lucilfer #phantom troupe #hxh #hxh headcanons #meteor city #chrollo #character analysis

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fan-goddess · 1 year ago

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MY ANALYSIS OF THE SCENE BELOW

Gif and photo credit goes to @barbieaemond

A/N: First of all! I want to say these are personal opinions and ideas I have come up with and discussed further on! None of the things I will say are confirmed! I am merely speculating and debating theories! The start is less on topic but it gets more focused the more I talk.

I didn’t want to bother users by directly tagging but there users are there and in some cases links to their posts are added in bold. I also bolded certain quotes.

Okay, first of all I want to discuss the words they had playing when they showed this scene before we look into the scene itself. When listening to the voiceover I couldn't tell who it was who was saying the quote, but after putting on the captions I found its Larys Strong which is interesting given his character is pretty much the master of whispers. He's the man who knows everything on everyone the man behind the curtains as shown in season 1 when he manipulated Alicent to make her believe she was responsible for Harrenhals fire and therefore make her guilty enough for her to feel the need to keep Larys in kingslanding where hes at his most powerful. Why go back to Harrenhal and trust his birdies to bring him the information while he sits back when he can do the dirty work himself? That is a key aspect of his character which is why it makes the quote so noteworthy.

The quote itself though is this: The enemy without may be fought with swords. The enemy within is more insidious. Even the use of camera shots which are placed while he's saying that have meaning, as when he says the enemy without its showing Rhaenyra who has lost her daughter, her son, her crown and her throne. And when he says may be fought with swords Aegon shows to be possibly mourning the loss of Jaehaerys, and it's known that after finding out about blood and cheese Aegon went on a rampage killing all ratcatchers in the city. This is showing the shots they’re showing in this line have meaning, meaning we need to take into consideration the scenes/words they show next.

The shot saying The enemy within shows Daemon walking down in a dimly torch lit tunnel somewhere underground with no real indication of where he is. Perhaps they'll play around with blood and cheese by having Daemon come with them to show them the tunnels needed to get to Helaenas chambers, but that would not make sense as it's been highly discussed how Dyana (A maid shown in season 1 who had been a victim of Aegon) would be a part of season 2 for a few episodes, so its much more likely she'll be the one guiding blood and cheese to Helaenas chambers. Though I must say I feel Dyana will most likely be punished and killed for this as she has affectively been part of a plot to kill the innocent son of Helaena. I suspect her guilt will show, and maybe Alicent or maybe even Aegon himself can see that she knows something and questions her, leading to Dyanas confession and death.

Though the scene with Aemond as Larys says is more insidious, that is what caught my eye and no doubt brought you here. We can still that the whole line as part of the reasoning for the use of that scene, as I have discussed with @/anjelicawrites and we have thought of the possibility on this being Aemond crumbling down from his usual, "Tis I the younger brother who studies history and philosophy, it is I who trains with the sword, who rides the largest dragon in the world. It is I who should be-" This is a new side of Aemond. A version of him which we beleive is him finally directly suffering for his actions in the war, AKA killing Luke and indirectly causing the death of Jaehaerys. He looks as though he is becoming something that even he said he would never become as he even says to Criston, as Anjelica mentioned to me, that the two of them were people with morals. It's honestly quite an interesting take as by having the usually stoic Aemond break down in front of this woman, the identity of whom I will talk further on later, shows even he is not safe and that no one is truly immune to the grief of war and that sacrifices must be made by all.

Now we do not know the setting in where the photo takes place but if this truly is a brothel then maybe Aemond went back to the place which truly psychologically hurt him in order to enact punishment on himself, as what punishment can really be done after what Aemond has had to go through. Torture is not an option especially since he's already had to suffer through the major damages of loosing an eye which has already permanently damaged not only Aemonds vision but his whole nervous system. There is a post where a lovely individual goes through the medical side of Aemonds injury which I shall link here for those who would like to take a further look. Going to the brothels as well could be a sign of him becoming what he hates most of all. Aegon. Aegon has always been Aemonds biggest jealousy as he has everything Aemond wants. Aegon has the title of first born son, two eyes, a valyrian wife, heirs, even an actual inheritance and yet he throws it all alway and very easily wanted to when Aegon tried to convince Aemond to allow him to board that boat to wherever he was planning to run off too (Probably Lys when you think about all the people there who have silver hair and the violet eyes.) To see Aemond slowly develop into Aegon would be almost strangely poetic to see as he becomes the epitome of what he hates and wanted most, especially when its just the worst side of Aegon he becomes and not the good parts.

Now onto the context of the scene! The way Aemond is laid on the women suggests intimacy, as he has his hair put down naturally, has his sapphire eye on pure display, and most noticeably of all is naked as the day he was born. He also has his back to the person, which to him especially given his lack of vision on his left side, means he trusts them enough to be vulnerable. People are heavily implying that Aemond is in a brothel, but when you think about how Aemond reacted to the brothel owner in the first season, who it turned out to be the woman who SA'd 10 year old him, I do not believe he would go back there willingly with that much sense of vulnerability around those sort of people. But when you think about the idea of him going back there to punish himself for his misdeeds then it cannot be ruled out as a possibility. Though someone mentioned it didn't seem right how Aemond was the one in the nude while the woman he is laying his head on is still fully dressed, which is certainly odd especially when you remember that when we got a first glimpse of the whores they pretty much walked around the room stark naked with very little clothing. Perhaps Aemond walked in with her naked and demanded she dress in clothing that was either laying about or even brought her clothes for her to wear (possibly Helaenas or even his mothers) we will not know until we watch the scene on screen.

When discussing the position Aemond is in with the woman too like I said earlier defenitely gives an idea on intimacy, possibly bordering on motherly. We know that when Aemond returns from storms end and tells his family of what he had done, 'Queen alicent went pale when she heard what he had done, crying "mother have mercy on us all." nor was ser otto pleased. "you only lost one eye" he is reported to have said. "how could you be so blind?" In the books it is said that since Aemond did kill Luke with intention to kill, he was expecting to revieve pretty much a heroes welcome. But since they changed that and make Lukes death accidently Aemond will no doubt go back to kingslanding feeling grief and regret, with maybe some happiness that he finally in his own way got revenge back for Luke taking his eye. Going back to the almost motherly seeming position he is in, I suggested that perhaps Aemond went to the brothel for a sort of motherly comfort for what he has done as Alicent almost certainly will not be giving it to him for what he has done. Perhaps he went there to get comfort from women but not in a sexual way but in an emotional way so he can feel less at fault for what he has done, even when the physical reminder haunts him daily.

Some people have suggested this to be Alicent who he is with, and whilst that makes sense given the intimacy of the position he's in it does not make much sense to me as why would he be naked with his mother. That to me is more of an Aegon move than an Aemond move. Though it was also brought up how she possibly came into his chambers at night whilst he sleeps nudes which very well could be a possibility so I've decided not to rule out that idea.

Another possible idea on who the woman is is the brothel lady from season 1 who I talked about earlier as being the one who SA’d Aemond when he was 10 years old. When looking at how other people have viewed the picture and came across a user named @/scaly-freaks who gave great insight on this topic which I shall leave a link for here. Firstly they mention how of course CSA is a sensitive topic, I want to mention that first. Though what they further talked about what how in some cases a victim can subconsciously find traits of their abusers in romantic partners (which thinking about it may be why he went for Alys given that she was a much older woman similarly to the brothel worker) or they can return to their abuser even at an older age. I won’t discuss these two points further as consideration for those who may feel triggered with this topic and so I will just say to click on the link for the post and read the rest there. Like I said about Alicent, I will not rule out this brothel woman as a possibility especially as it’s supposedly been confirm that she has filmed some nude scenes for season two. We do not know if she will be the woman in the scene, especially since in the picture the woman is seen wearing clothing, she may have filmed some general brothel scenes involving Aegon. I read another user @/lovelykhaleesiii theory about who the woman was and she said it was the brothel women and that it was her, as possibly Aegon may have taken him to the brothel to celebrate Luke’s death as we’re apparently getting scenes of Aegon at the whore house. This would make a lot of sense given the evidence shown and makes it a lot more believable as to why Aemond is in a brothel in the first place as like I had mentioned earlier it’s a more Aegon thing to do not really an Aemond act. Also a user named @/magnificentdelusionr has spoken out about how apparently the woman Aemond is with and the brothel lady share the same scar, so my belief in this being the woman has increased I’ll tell you that now. Though like I said, I will not rule her out as a possibility. The evidence for the brothel is bellow. I think this may be the most likely theory honestly given all the evidence that has been shown for her to be the one Aemond is with.

Now, this third possibility for who the woman is technically unknown as we do not know who she is. The actress from the scenes shown appears to be a dancer and the theory as it shows in the photo shown bellow is that she may have been sent by Mysaria as a distraction for Aemond. But looking at the scenes (pictures of which are shown in the twitter post down bellow) I don’t believe the scene in the top right is of Aemond and her, purely from the fact Aemond does not wear rings and the fact it looks very similar to Daemons ring. Furthermore the woman looks as though to be a younger Aemma purely from her face shape so that is why I’ve decided to rule out this theory. I will admit that it’s a high possibility that Aemond would be seduced by a dragonseed, as in my mind Aemond wants tradition of his culture. If he could’ve he would’ve married Helaena, as those are the ways of his people and the culture he cares for. He also, as was shown in the scene where Driftmarks inheritance was called into question, is seen to have a great admiration for Daemon who has married two women of Valyrian blood and has fathered technically 6 children (two of which did not survive past the womb). Aemond in my mind if the war never happened would’ve 100% been a sort of student under Daemons wing so in my mind it is not hard to imagine Aemond as wanting to mimic Daemon in his own way, that way being bedding a Valyrian woman. Yet even so when looking at the dragonseed people believe to be the woman Aemond was with I believe she plays a different part of season 2, my belief is that her role of season 2 is to be one of the dragonseeds team black or team green hunt down to try and recruit, as it was said team black went around Westeros finding anyone of dragon blood and offering them a chance of a dragon. So I do not think she is who Aemond is with.

Now the final idea on who the woman is is Alys Rivers. I have seen people freaking out over the idea of Alys changing her looks to seduce Daemon, and that is who we see in the scene shown at the top left of the twitter post screenshotted above. But that is not Alys style as there is honestly less of a chance she could get shit done with Daemon. What there is though is a chance she could use Aemond given he was younger, more naive and ultimately more emotional and needing an outlet she is happy to become to ensure her freedom. Though in context with the scene, when discussing the idea about Alys with @/anjelicawrites, she brought up the idea about Alys possibly visiting Aemond in a dream. This lead me to think about her doing this which would ultimately force Aemond to come to Harrenhal and fulfil his ‘duty’ of coming to Alys and giving her a son of pale hair. I spoke to her saying how I like the idea of Alys visiting Aemond in his dreams, as this would further the witch allegations. With the context of the scene though I believe she could put this image of a finally calm Aemond who is finally at peace with himself in his mind and make him crave that part of himself. This would ultimately force him to come to Harrenhal in the future. One thing I do want to bring up is this connection that was brought to my attention by user @/boundlessfantasy. They made the connection about Alys possibility being the woman holding Aemond in a dream since Ewan said in the interview with TGC where they discussed three scenes from season 1, that the process of killing Luke haunts his dreams possibly hinting at a dream aspect of the season. This may end up being just a sarcastic comment, but if this actually a hidden Easter egg then I must applaud Ewan for being so sneaky. There is a screenshot of the interview down bellow with the line also a link to the interview here.

We cannot see the woman’s face therefore we cannot be sure on this woman’s identity, but out of these four main theories on the woman’s identity I think this is most strongest in my opinion. Though us could very well be some random women we’ve never seen in the series before so I very much am not exoecting my theories or anyone else’s to be particularly right. I accept them all (pretty much) but am expecting pretty much for the unexpected.

Some other theories though I would like to take into consideration is the idea it’s Helaena in the picture. I do like that idea as it brings further this idea of Helaemond, a ship I do enjoy personally, especially as they hinted at the idea that Aemond was the father of Helaenas children. The clothing the woman is wearing by the looks of it does seem to be a similar shade of blue that Helaena is usually seen wearing, and there are seem similarities in the hands (this idea was brought to my attention by @/lady-phasma who has talked on this idea on their account) Though I do suggest you click on the photos bellow to see them much more up close as then it’ll be a clearer image. Helaena and Aemond have been shown to be close together so it’s no surprise if he’d want to break down and show weakness with her. It’s a very intimate position as his back is to her showing he in his own way trusts the woman, making it believable this woman could be Helaena. I haven’t made this a main theory as there are some more compelling evidence for the other cases but still I will say this theory is quite strong especially when looking at other theories like the idea the woman is Alicent.

And the final theory on who the person is which I would like to take into consideration is that the person Aemond is with is Aegon. Now I’m sorry to have to break it to the Aegmond shippers but I do believe out of all these 6 theories I’ve talked about this one is least likely. For one it’s clearly a woman who Aemond is with, given the way the body is shaped, even when we cannot see her breasts. I will admit I have seen people though speculating it’s Aegon which is why I’ve decided to mention it and discuss it. One user named @/cyeco13 has done some incredible art of what it would look like if Aegon was the person Aemond was with and I shall link it here for those who wish to go see it (I do recommend it!)

Okay, out of the six Ive decided to rank those that I believe are most believable to be the woman!

1) The brothel madam

2) Helaena + Alys (as I’m tied with these theories not gonna lie)

3) Alicent

4) The unnamed dancing dragonseed woman in the trailer

5) Aegon

This is all I really can say on the matter as there are constant new theories daily and sad to say I cannot directly talk about them all. Still send me your favourite theories I am interested in hearing and if people would like debating them with me.

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evangelifloss · 5 months ago

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Hey, I just red your amazing fight analysis and I want to know what you think about the scene where the bartender at the continental bar in the first movie says to John that he looks „vulnerable“. Do you think it’s the look in his eyes or the way he acts or moves ? (Which in my opinion look pretty normal) and how do you think John was before he left the business? Was he more cruel with his kills ?

I'm guessing you mean this scene, right? I hope so because I made this gif JUST for this ask since I LOVE what you've sent in. Thank you @persephone411 💖💖

To answer why the bartender picks up on John's vulnerability without him seemingly displaying any signals, I'll first and foremost use what I know of the later instalments regarding John's behaviour. And that is how much he speaks. Between movies 1 and 2, there's only a 15 word difference in regards to how many lines of dialogue he has (1st movie has 484, 2nd has 499) and for a movie that has a run time of 1 hour and 40-ish minutes, that's not alot of dialogue to begin with.

Take for example, Jack Sparrow from the 1st Pirates of the Caribbean movie. Reading through the script, I counted roughly 490 lines of dialogue from him and that movie has a runtime of 20 minutes LESS than John Wick 1!

So we know that John isn't a talker. Yet, when he finds himself back at the Continental bar, and reunites with the bartender who knows him very well, and given how familiar they are (her excitement at seeing him, a brief hug/cheek kiss) it becomes apparent that John is more... open. He doesn't just order a drink and say nothing else. He engages with her, and expresses, "She (helen) was more than I deserved." Which by all accounts expresses a softer side to John, an admission that he is not impervious to grief. Assassins don't do that. Retired he may still technically be, he is still in a room full of people who are NOT retired, who could overhear and see the man behind Baba Yaga. That sentimentality can get you killed in the Assassin world.

Secondly, his face is sporting a few rough marks, and I very much doubt John the Baba Yaga would show himself at the Continental bar sporting proof he can be injured.

As my final thought, for me personally, it's his tone and his eyes that give away his grief. His inner turmoil that will eventually overflow into a bloody tsunami. The micro-movements of his face as he pauses, when he looks away, and even when he greets her, the man is Tired. The man is not at this point in time, the Baba Yaga.

The second part of your ask is very interesting because we have almost next to nothing to go off of! No prequels (thank god) and barely any direct Lore other than what others speak about John which ironically, is missing direct context which leaves us viewers to speculate.

The John we know is the old John. The grieving John. The Man. We get glimpses of what he used to be, and how characters react upon hearing his name but we never get the Baba Yaga. Not entirely.

Continuing off this, my personal speculation is that John wasn't a vicious killer. He was an incredibly efficient one. You can buy time with a sadist if you are able to withstand them long enough for help to arrive but you cannot do the same towards someone whose only goal is to kill you on sight. As quickly as possible. And that someone also happens to be the best of the best. Combine those two skills and I think that is what makes Baba Yaga so terrifying to those in the underworld. It was enough for Viggo, head of a massive Russian syndicate, to go silent upon hearing the name despite knowing John had been retired for 5 years!!

On another note, and this barely gets touched upon but throughout the movie you come to know that for such a silent and deadly killer, John has a weird amount of people willing to die for him.

The High Table actively discourages and creates a continually hostile environment amongst assassins so that bonds and genuine alliances/friendships can't begin nor be maintained and yet... look how many people are willing to so far for John.

This speaks to the level of respect and integrity John must have to simultaneously be a deadly killer AND to not be hated by everyone.

He does his job well but he is not cruel. He will not endanger unrelated persons if he can help it, he is sincere and loyal.

It's why the High Table fuckin hates him.

#its 4am and i wrote this up for like the past hour and a half #sorry if its jumbled #thank you for thr ask omg #john wick #wickblr #keanuverse #keanu reeves #viggo tarasov #jw #chad stahelski #winston #john wick winston #ian mcshane #the continental #the high table

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tokiro07 · 4 months ago

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Ichi the Witch ch.20 thoughts

[And the World Will Turn to Ichi]

(Topics: character analysis - Jikishirone/Ichi/Desscaras, narrative analysis - prophecy/speculation)

AwooGA!!!

God damn, that's a hell of a design Jikishirone's got! And her expressions are so fun, I'm such a sucker for that style of toothy grin, especially on girl characters

It's just such a shame that she's clearly only meant to be an occasional cameo at best if not a simple one-off at worst. Her design is just too busy to be a consistently recurring character, and being an oracle doesn't offer a lot of utility outside of being a plot device, as prophecies don't serve a story very well if they're being thrown around left and right

Not that she would do that, though. Jiki's clearly pretty fickle, only sharing an extremely important prophecy mere minutes before it came to pass so no one could do anything meaningful about it, so while she's not a Human Hater, she isn't necessarily a Human Lover either

Desscaras mentioned in ch.2 that there are Magiks that work alongside humanity, and clearly Jiki is one such Magik, but the fact that she's not going out of her way to make her prophecies as useful as possible suggests that she isn't actually interested in helping humanity. It may be that she's just looking to be entertained, or that since she knows the entire world is at stake, this is all just for self-preservation

Or she just has a nasty personality and she really is doing everything she can. She said she "received" her prophecies, suggesting that she doesn't have the power to look though the future on a whim. While she may be capable of withholding information, we don't have any proof yet that the 15-minute prophecy was available any earlier than that

Ooor it did exist earlier, buuut Jiki knew that if she shared the prophecy, Ichi wouldn't meet World Hater, and the dominos wouldn't fall the way they needed to afterward. Jiki may be playing 4D chess, and she knows exactly when a pawn needs to be where in order to set up a checkmate a thousand moves down the line

We simply don't know enough about Jikishirone's motivations or abilities to say how her personality informs her actions, but at the very least she's made it clear that she can't be relied on as a perfect preventative measure

Like I said, her prophecies are more of a plot device, giving us and the cast a sense of direction for where the story is meant to go next rather than serving as a comprehensive strategy guide

Time is Like a River

Now, I'm personally not a fan of prophecies that are so...blatant. "No Witch will ever acquire the World Hater Magik" is fine, because like Lord of the Rings' "no man can slay me," the original Japanese specifies that no "Magic Woman" will acquire the World Hater, leaving it open-ended that anyone who isn't a Magic Woman (like a Magic Man or a somehow non-Magic Woman) feasibly could

However, when the clause that "hope lies within the one who acquires the Uroro Magik" is introduced, that takes any and all ambiguity out of the equation: only one person can acquire a Magik at a time, so unless Ichi dies and another Madan comes along, the prophecy can only be referring to him

Vague prophecies give a lot of wiggle room and allow for narrative deception, giving the audience the opportunity to figure out for themselves what the author's true intentions are without it being spelled out for them. A specific prophecy like this becomes a question of "will it really happen or won't it" rather than "how will it happen." which I simply find less interesting

Of course, we've already established that Jiki can't really be trusted

As she's presented herself, she seems to be willing to hide information until the last minute, and even if her prophecies are perfectly accurate, they clearly don't inherently tell the whole story. As Jiki says, the part where "the Light goes out" was a recent addition to a previously existing prophecy, and one that already had an escape clause built-in with the Light existing at all to avert the destruction of the world. In other words, who's to say that Jiki doesn't already know the way to save Ichi that she just isn't sharing? Or that she won't find one down the line?

This uncertainty doesn't go unnoticed in-universe, either, as Ichi immediately agrees to throwing his life away for the sake of defeating the World Hater

Here For a Good Time, not a Long Time

Ever the optimist, Ichi looks at the prophecy as a win-win situation - either it's true and he dies doing what he loves (hunting and killing a strong opponent) or it's false and he gets to keep living to do what he loves. Either way, Ichi has always accepted the possibility of his own death during a hunt, so he takes the prophecy as more of a comfort that, even if he's fighting something strong enough to kill him, at least he'll take it down in the process

What's especially interesting though is that there's a little bit of a contradiction between this scene and when Ichi first killed the wolf in ch.1. Back then, Ichi thought there was no value in his life, and yet in order to survive, he found the strength of will to kill something else. This gives the impression that Ichi is the type who will do anything to survive, and yet here he's perfectly willing to die for the sake of the hunt, implying that he still doesn't value his life

This is probably something that will be touched on more next week, but I think it's less that he's willing to die and more that he's not bothered by death so long as he lives without regret. If he were to die of old age on a deathbed, I think he'd be pretty disappointed that he's not doing something fun with his last moments, but dying while taking down something stronger than him would be a hell of a story to tell in the afterlife (not that he believes in one)

The question isn't so much what Ichi thinks about death, though; the real question is if he's right to think that way about death, and it looks like Desscaras is going to be the one to answer that for us

It Should've Been Me

As Ichi emphatically agrees to Jikishirone's command that he heroically martyr himself, Desscaras can only stare in silence, her fist clenched in apprehension

There are a few ways to read into this. Since Desscaras was the one who was supposed to acquire Uroro, she may be upset that her failure means that someone else has to die fighting World Hater in her place. She may feel regret that she failed to acquire Uroro, she may feel responsible for getting Ichi killed, she might even feel jealous that she won't be the one to avenge her fallen home. It could even be a combination of all of them and any number of other emotions

It may also be that she's grown attached to Ichi and doesn't want to lose him. Seeing him be so glib with his life, especially since he's giving the same response that he gave when she invited him to join Mantinel in the first place, may well be heartbreaking for her, and again may make her feel like she's the one who got him killed. She may be reading into it the same way I am, surprised that he doesn't value himself as much as she expected

Whatever she's feeling though, her reaction next week will likely lead into a major thesis statement for the series - either she will say what Ichi needs to hear for him to understand just how valuable his life is, or Ichi will reveal a personal truth to Desscaras that makes it clear that while he does value his life, living it in a way that isn't true to himself isn't living at all

Basically, what it comes down to is whether or not Ichi is meant to have a positive character arc or a flat character arc. Is Ichi meant to learn a lesson, or is he meant to teach a lesson? The way this interaction goes will dictate the course of the narrative going forward, though certainly not immutably. It may turn out to be a misdirect, and whatever we're shown may end up reversed further down the line

Either way, I'm excited to see how Ichi and Desscaras' relationship develops from here. Desscaras having an actual emotional response to Ichi's attitude and fate already puts her on a different level than most shonen mentor figures, and I think that will only serve to make her vastly more interesting than the majority of her archetypical cohort

Until next time, let's enjoy life!

#ichi the witch #madan no ichi #fouryearsandananime #4y1a reviews

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