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As a small-time Stellan Skarsgard's Acting enjoyer and big-time Morally Compromised Old Man enjoyer I was inevitably going to fall down a Luthen Rael rabbit hole at least once so forgive me for being fully on my bullshit. But I can't explain my read on this guy without talking about That Speech, and I can't talk about that speech without dumping a bunch of thoughts about dialogue.
Because in my own writing the thing I get most obsessive about is character voice, and the thing about character voice is that not everyone is a poet. Sometimes the craft of writing is about euphony pure and simple. But sometimes (revealing my biases) I think the craft of writing is being able to ask yourself - sure it's good, but is it true? Can you find the poetry in the everyday? Can you express something sharp and compelling and resonant and stay faithful to the perspective of a character who isn't consciously honing their words in that way? All fictional dialogue is constructed. But there does come a point on the spectrum of naturalistic to constructed dialogue - it's partly a matter of taste - where you see more of the writer patting themselves on the back for writing a banger of a line than you see of the character, and personally I often find this off-putting.
Which doesn't mean you never get to let the poetry off the leash (God, that would be joyless). It just means there's a time and a place.
Andor's writers are dropping a lot of bangers and they absolutely know it but largely it works for me, because they're smart about the time and place. Cassian gets to be a guy who's resourceful with his words when the chips are down - that's a big part of his characterization. Maarva and Nemik get to break out the poetry when giving a speech or writing a political manifesto; those words are crafted in-universe as well as out. And Luthen - a performer, a salesman, a man with constructed identities - he gets to use a lot of constructed speech even when he isn't in full-throttle soliloquy mode. I've said before that a lot of stories about espionage are also stories about storytelling: people who create characters, fictions, who tell lies in an attempt to get at truths. In this story Luthen is that guy. Wouldn't you rather give it all at once to something real than carve off useless pieces till there's nothing left - it doesn't matter how constructed that sounds if it's a sales pitch he's rehearsed. It doesn't matter if you see a little bit of the author or the actor peek through when he says things like I know the outside; I imagine the rest, because it functions as characterization when in some sense he is both those things.
All of which is to say That Speech works for me because it tells you something about Luthen beyond the face value of what he says. It tells you this is something he's THOUGHT about, at length. If he hasn't delivered those lines to a mirror, he has absolutely worked through some version of them in his head more than once. And that tells you something just slightly to the left of who Luthen objectively is - it tells you how he constructs and sees himself. I fully believe that Luthen believes what he's saying there.
I also fully believe that this is a man who self-admittedly has an ego and a desire for recognition, who says he's given that up but evidently hasn't let go of some measure of resentment about it. That here's a guy who put on a billowing black cloak, pulled out all the spy theatrics for the express purpose of unsettling his informant, and then gave his best space King Lear audition. That here's a guy with a soliloquy about his sacrifices locked and loaded. On some level Luthen is a little bit into being a martyr for the cause. He's a little bit into the dark glamor of being a lone wolf operator pulling morally tarnished strings. He's a little bit into frightening and manipulating his informant! For all the cynicism of what he's saying, he's a little bit enamored with his own self-image as the sort of man who says it, in a way that suggests an inner romantic more than an inner pragmatist. He says he's damned for what he does but there's more furious pride underlying it than self-loathing; in the same breath he's admitting that a tiny piece of him wants a parade.
Which is fascinating and a little unflattering and way more interesting than just a badass character delivering a badass monologue. The characterization here is partly that Luthen is the kind of guy who monologues.
And to give him his due - I also fully believe that he's a very driven and committed man who has sacrificed a lot. Seen in that light, in fact, I think some of his character flaws come into focus in highly sympathetic ways. Ultimately this is a guy with a deep sense of urgency - "terrified the Empire's power will grow beyond the point where we can do anything to stop it," as he says. And sometimes there can be a lot of ego in urgency. It is a special kind of crazy-making to feel you are taking a problem far more seriously than almost everyone around you. It is a weight of responsibility to believe it's on you to fix that problem before it becomes too big to solve. Under those circumstances it's very understandable that Luthen has big responsible student leading the group project energy and a touch of main character syndrome (which is interesting and sort funny, contrasted with Cassian spending much of the story desperately trying to avoid becoming a main character). It takes a certain kind of drive and audacity-verging-on-arrogance to accomplish what Luthen has accomplished. But character flaws are often the flip side of character strengths, and I think a lot of his are tied up here. Sometimes he's a little enamored with his own isolation (he could choose to be more open with fellow rebel leaders like Saw imo). Sometimes he's awfully comfortable instrumentalizing others while insulating himself. He says Imperial arrogance is remarkable, but sometimes he's blind in similar ways - Luthen is almost as surprised as the Imperials by the funeral riot in the final episode. He's spent so much time stage-managing his would-be rebellion from Coruscant that an organic uprising startles him. In his self-appointed position as the lonely string-puller at the top, he maybe has a bit too much fondness for control and not quite enough regard for community (imo it's also kind of telling that there are no actual Aldhanis involved in the heist on Aldhani). As Clem says - sometimes people don't look down the way they should.
All of which are very interesting and human flaws for him to have! And which I do think the show subtly gestures at in the sort of contemplative way he reacts to that riot, and which I'd love to see come into focus more in S2.
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there are many fics out there with the plot of "character finds written documentation of the Truth behind uchiha massacre," but i've never read one where it.... made sense why records were kept? or documentation was even made at all?? this is something you would never, ever want anyone to find. why have anything to find at all?
like i can see a scenario where detailed documentation on intel of the planned coup and subsequent moves by konoha to mitigate the situation exist. you'd want that to keep track of yourself, and to pass on in the case of change of command or looping in new people, and it might suddenly become relevant again years down the line even if you solve it. so i can see that sitting in a sealed box somewhere, or if it was destroyed, maybe something was missed somewhere
but i don't see why you'd have a piece of paper just like GUESS WHAT ITACHI WAS ACTING ON ORDERS sitting in the archives or in danzo's desk or something??? you don't write down secrets that bad
ways someone could solve the mystery via snooping in paperwork (non-exhaustive, obviously):
danzo DID keep documentation out of some weird arrogance about the matter, or because he personally wanted to make the coup public. i don't spend a lot of time thinking about danzo so i can't decide if this is IC or not, but at least it's a reason
hiruzen keeps documentation, either out of guilt/regret or because he knows he's getting replaced soon and he thinks his successor should know (or, fuck, he thinks future generations should know)
there's no documentation about the massacre itself, but someone gets their hands on that misplaced file about the coup and Makes Connections, or there's a little annotation about someone suggesting extreme force
there's FAKE documentation of itachi's mental health or something along those lines to help conceptualize the massacre with the cover story, and someone recognizes forgeries/why details don't add up
the complete lack of documentation is ITSELF the clue. like please give me a scene of a character finally breaking into the hokage's personal archives and all the files labeled for the uchiha massacre are literally filled with blank paper
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Huai dao chapter 25: so im only in the beginning portion. But id say a big difference between huai dao and modu is that in huai dao police (at least so far) have been portrayed only positively. Modu, while having luo wenzhous team be u know about as glorified in wanting to be good/do right by people as most of these types of main characters in murder mystery novels... theres also a much larger focus on corruption. Modu spends a lot of time on corrupt police working with their team, undermining their efforts to do good, their boss and bosses above that being corrupt, their fellow employees killing innocent people and people who do commit crimes being in danger they do Not deserve. How the poor, immigrants, drug users, are used by the police as scapegoats and their rights are not respected, the tragedy that is. And then outside the police, how corruption runs through corporations, through the rich, through politicans, through authority figures in groups who give them the kind of power able to be abused. Modu still ultimately has police as its heroes, like huai dao (and similar novels). But i think it does aim to do a more nuanced evaluation of what is justice, what do individuals have to do and consider daily to contribute to helping individuals/society, what corruption exists and its various forms of structural power that harm people. Huai dao maybe... maybe is trying, so far, to look into human nature a bit (im only 1/4 through tho). Modu was a lot more certain of what about human nature it wanted to touch - what corruption exists, who does it hurt, how do you help people in this world that has corruption in the justice system and in power, how many kinds of people are victims to it, how far does it reach. Modus even a bit conservative in looking at this (as i imagine the plot couldve spiraled out to encompass the whole country or whole World) since it tries to contain this examination to 1 fictional city, using the city as a stand in for the bigger world.
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