#personally i think this is one of the most tragic arcs

[blueslight]

The single most tragic thing that happened in the mega man comics was during the mm3 arc right after Dr Light realized Wily betraayed him again and locked down the lab when protoman teleports to Wily and says he got in cuz everything but his personal teleport signal was blocked

[brionysea]

when it comes to the umbrella academy, a lot of people seem to think that the first half is great and the second half is terrible. personally, I think only the first *season* is great, or even good. here's why:

the mission statement at the end of season 1 is fixing viktor, but viktor isn't the only broken one, so you can infer that they're all going to have to fix *each other* - as a family, the one thing their abuser never let them be. and the world's burning down around them because of the most dramatic sibling confrontation to ever grace the earth, but they're holding hands and escaping together and surviving the impossible with the intent to move forward, even if that means momentarily moving backwards. it's a masterful allegory for finally growing up, accepting responsibility for your personal trauma and tragedy and how they shaped you, and the moment you take that power back by choosing to heal your inner child, only after being slapped in the face with the fact that if you don't, it *will* destroy everything you've ever built, ever cared about, and ever could.

and then the rest of the show forgets all of it. as it were, it goes in the *exact opposite direction.*

on the surface, the second season isn't *as* bad as the subsequent ones are. but season 3 and 4's faults can be traced back to season 2 by how it pivoted away from the serious subject matter that the story (not the plot - the *story*) was heavily baked in, leaning hard into the goofier elements instead, without ever understanding the contrast that those conflicting elements served to highlight. it made them both more powerful; the jokes were funnier because you were just devastated, and the trauma was more devastating because you were just in tears laughing. the emotional roller coaster is key to understanding these people, and you *have* to take the serious stuff seriously for it to work. at least half of the show doesn't, and as a result, the emotional moments feel hollow.

controversial opinion: as a character, luther is better in season 1 than he is anywhere else. he's more unlikable, but that's because he's implicitly there to show what *not* to do - even if he'd succeeded narratively by locking viktor up and saving the world, he still failed thematically by emulating their father and continuing the cycle of abuse - so luther's a character that's being very effectively used to add to the core theme of the story. he feels like a real, frustrating person, whose brain chemistry got messed up by years of abuse and isolation, all for the crime of thinking his father loved him and wanted the best for him. not like a made up guy on your screen doing silly stuff solely for your entertainment.

season 2 was also the start of the characters getting love interests instead of storylines, which season 1 never would have *dreamed* of; klaus and dave's tragic romance only served to further klaus's character arc, viktor's creepy boyfriend was actually manipulating him the whole time, five's fractured-psyche-mannequin was a narrative tool to let us see into the head of such an emotionally reticent character, and so on. the romance served the character, but fairly quickly into the show's progression, it felt like the character started serving the romance. five was immune to this curse for a long time due to aidan gallagher's age, which is why he's (for the most part) the best, most consistent character across the show, because they had to use their *imagination* for him and actually *write an arc* instead of falling back on tired romance tropes that any selection of characters could slot into to fill the dead space.

after season 1, the umbrella academy is entertaining, but it doesn't have anything to *say.* which is extremely disappointing when the show initially made such a strong case for what it wanted to be.

[hotvintagepoll]

Propaganda

Ava Gardner (The Killers, The Barefoot Contessa)— She's so goddamn hot. Her and Frank Sinatra could've sandwiched me and I would've thanked them for the privilege

Jean Seberg (Breathless, Saint Joan)— Some of us watched À bout de souffle as a lil French undergrad and had the trajectory of our lives changed by Jean Seberg. She IS French new wave!! She is the moment!! She sadly had to work with a lot of shitty directors in her career but even so, she has this magnetic energy whenever she’s on screen. In her personal life, she was also very supportive of civil rights causes, and was even targeted/harassed by the FBI for financially supporting the Black Panther Party.

This is round 2 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Ava Gardner:

Ava Gardner is one of my favorite actresses of all time. Although a lot of her roles in movies are about her being beautiful and nothing else, there are some films where her acting truly shines.

Gifset: https://www.tumblr.com/pelopides/721438308726603776/ava-gardner-as-pandora-reynolds-pandora-and-the

Gifset 2: https://www.tumblr.com/portraitoflestatonfire/731899355804598272/if-the-loustat-reunion-doesnt-look-like-this-then

HER FACE. LOOK AT IT. Also was a life long supporter of civil rights and a member of the NAACP, had lots of fun love affairs with other stars, bullfighters, married several times but was also happy in between to just have lovers and was unapologetically herself.

I literally gasp every time I see her.

Between 1942 and 1964, Ava Gardner was credited in no less 50 films, and is still considered by some to be the most beautiful actresses that ever graced the silver screen. Despite life-long insecurities regarding her talent as an actress, she weathered public scandal, industry hostility, and outright condemnation by the Catholic Church with fearless grace. She would later in life talk candidly about the reality and pain of living through two (studio approved!!) abortions during her short marriage to Frank Sinatra, and while the two of them could not make their relationship work, they remained in each other’s lives for nearly 30 years. She would forever describe herself as a small-town girl who just got lucky, but always felt like a beautiful outsider.

Really genuinely one of the most beautiful human beings I have ever seen. An autodidact. Had amazing chemistry with Gregory Peck to the point where I do think about watching On The Beach again sometimes because they're so good together even though that movie did destroy me. Was a great femme fatale in many movies.

Jean Seberg:

anyone who plays Joan of Arc is kind of hot by default tbh

she's gorgeous, she's cool, she has the original blond pixie cut

She donated a lot of her money to civil rights organizations such as the NAACP and the black panther party as well as Native American school groups, as a result of this the fbi ran a smear campaign against her and a surveillance campaign which is thought to have led to her suicide tragically.

idk if this is propaganda but the COINTELPRO and the FBI are widely blamed for her death. If the FBI was after her for supporting the Black Panther Party you know she was good

[glitteryinknotes]

There is a level of deep, bitterly poetic and cruel irony in Astarion's death and his eventual fate as a vampire spawn. Laughable, even. Lamentable.

Where do I even begin. I once posted here my thoughts on who Astarion was before Cazador took him; and all my thoughts were based on what we can assume to be canon from scraps on information in - game and interviews with Neil. That Astarion Ancunin who was laid into the ground at Baldur's Gate cementary was a corrupt magistrate, a shining example of power abuse, indulgence, hedony, existence in privilege without any service to the world around.

We also know for a fact that Astarion is not a good person in a moral sense. Again, Neil Newbon himself talked about it. He has capability to grow, mature, open himself up, soak in the positive influence and feel for others, but he never will be the default upstanding type. That is simply not at his core.

This is why (I am aware we're talking a fictional character, headcanon is free to all in whichever way they think it suits and pleases them) I cannot for the world believe in all the fanfiction based on the notion of the tragic, tortured soul unjustly attacked and turned into a vampire, because to me - it misses the entire depth and essence of Astarion's personality and arc. He was not a "worthy" persona before Cazador; in fact, the beating he got from the Gur was well - deserved and the near - death experience... Probably so as well. Maybe if anything, this would open his eyes and force him to reflect at least a bit on his choices in the position he was occupying. (But given that he mentions begging Cazador to turn him to be able to take revenge, I highly doubt that.) So yeah... The man got what was coming to him. He deserved it.

But what he got in the end once Cazador allowed him to drink his blood and had him in his hold? Two hundred years of misery and abuse beyond description, being completely stripped of any identity and personhood? No one deserves that. Such fate should not be thrust upon anyone. Ever.

It is the cruellest, most wicked twist of fate that it took that kind of ordeal to change a corrupt little elf's view of the world and force him to even acknowledge the existence of evil deeds and abuse of power - something I am quite sure he never gave any thought to before. It took being transformed into an utterly helpless victim to make him truly see that there is good and bad and perpetuating the bad leads to pain and misery for the innocents (and you can never be sure if not for you as well), and only then, at his most pathetic, most vulnerable, after centuries of torment, it took meeting, trusting, admiring, being grateful to, befriending / loving and being influenced by a genuinely good and kind person (probably the exact opposite of who he was before) to shake and cause some shift in his inner moral compass, or rather the way he was choosing to use it. The full circle, a poignant, unwilling journey from the one abusing power, to the enslaved puppet of someone with considerably more power abusing it in the most inhuman ways possible, and this time to his own woe, to the one person able to break the abusive cycle given the right influence.

Isn't that simply poetic in the most sickly sense? A tragicomedy, if you will.

Forget about Astarion Ancunin. The grave was good for lovemaking and sharing an important moment, but whoever was laid there was not anyone worthy of your time (just like "Ascended Astarion" )The one who stands by your side now is. Your Astarion. The new Astarion, the same "lovable rogue" with a taste for theatrics, drama, debauchery, beauty, murder mayhem and loose morality, but - a better person all the same.

[follow up post here

https://www.tumblr.com/glitteryinknotes/733162725841289216/a-little-follow-up-to-my-previous-post?source=share]

[pankiebogs]

ii16 spoilers under cut

(Analysis of what the episode implies/means for Fan more specifically)

HELLO. SO. I kind of predicted this.

These are specifically about Fan glitching in episode 14, and about PEOPLE OVERLOOKING IT!!! I always KNEW there was something more to it.

Fan glitching is both similar to Springy's glitching, but also the Shield and Tree Mephone made. So automatically I thought, Mephone generated Fan. He can generate things! But, I honestly did not expect this to be true. It felt too easy. (so i instead went with; when mephone regenerates the contestants they are "built" out of his code, so close at least....?) But. Well. You saw the episode. And I am a sucker for these tropes and I have been incredibly interested in what this means for Fan specifically, considering he was made SPECIFICALLY to be a fan of Inanimate Insanity.

Here's me talking about the idea about a month ago:

As we all know, Fan's entire character is that he's a fan. That's the number 1 obvious thing. He was another "stereotype" as labeled by Mephone along with the other season 2 newbies. For almost every character it has been repeated that they are "more than what they are", which makes even more sense with the reveal. However, with this knowledge... What the Flip does this mean for Fan.

His entire arc has always been about his identity problems, and his extreme attachment to his identity as the #1 fan, which he STILL latches onto and puts so much of his confidence in. Almost like that... IS his purpose. Is everything he's ever known. All he had. But that was not only an emotional thing, he was quite literally created just to be the biggest Inanimate Insanity fan. That's his ACTUAL purpose. WHICH IS NOW MAKING ME CRAZY.

With this in mind, you realize how Fan being created is actually hidden in his arc. The writing doesn't make you consider the possibility, because the arc and personality work so well to hide it. This is shown most well once the prime shimmer asks him what he is beyond the show, to which he hesitates to respond to, saying he doesn't know. This whole scene is now in a completely new perspective to me. He ACTUALLY doesn't know. His identity literally IS built around the show, that's what he was made to be. That's all he's ever been.

I had mentioned Fan having parallels to Bot.

Something along the lines of this. Your identity being One Thing but then realizing you can be more than that, that's the main parallel here. WHICH- IS EVEN MORE INSANE CONSIDERING THIS EPISODE NOW. Fan was ALSO made with a purpose to be ONE thing, Fan (and Test Tube) was quite literally repeating the same thing Mephone did- the same thing that happened to them, but even more so with Fan specifically.

The one thing I keep thinking about is how Inanimate Insanity is still a big part of Fan's life. That's still something he loves so much and ties to his identity even with his development of trying new things. How would he react when he realizes he's forever tied to the show he was made to love? That he's forever attached to Inanimate Insanity, no matter what?? HE WAS MADE BY MEPHONE, THE HOST OF HIS FAVOURITE SHOW THAT HIS ENTIRE EXISTANCE IS FOR?? THAT HIS LOVE IS GENERATED? Compared to other contestants, Fan is... even more stuck in the show. He literally surrounds himself with it even when outside of it. Honestly was Mephone projecting when he created Fan or something???

Fan describing him being eliminated as literally dying is kind of even more tragic now. sad!

His whole reality would be shattered if he found out. I don't think he'd have time to think: "wow I'm actually EXISTING for Inanimate Insanity and that actually IS my purpose? and I AM truly the number 1 fan because that's what my entire identity actually IS built on????" While that would validate him and help his insecurities, Fan would be. Well. When your entire person is created to be passionate and dedicated to the thing you were created FOR and you even made prior appearances JUST to serve as the fanbase and nothing more. I don't even know dude. He'd be in so much denial over it. He'd start to question the sincerity of his love, or, something. At least he's made with the things he loves: creative passion. Which he was also made to love . but whatever,

You'd probably think he'd at some point try to separate even more from Inanimate Insanity. Honestly I think the opposite. after his initial denial i believe he'd latch onto it even HARDER. I think he'd just start regressing to old coping mechanisms to deal with it.

The fact he was created FOR the purpose of being ONLY THE FAN Also makes me realize something about him and Test Tube. On one of his tumblr posts he mentions how Test Tube introduced him to so many new things and ideas he had no idea he could be so excited about, because he's always been just tied to Inanimate Insanity and nothing beyond that, as he felt there was nothing else to care about. Test Tube offers the support of opportunities, even as early as when they first met, and especially in Hatching the Plan once she made him realize there was more out there.

It just makes me go completely insane how most of Fan's arc is so built on the fact his entire existence is to serve as a fan, and that wasn't even just an emotional thing or whatever he quite literally felt like he was nothing but a fan. I need to sit down. or draw art inspired by this cause good god. Hey fan you're basically made from technology the thing you really love! haahaa... at least that love comes from a real place right? I mean. In short. Fan is just... made out of what he loves.

[iwritenarrativesandstuff]

I’m just going to throw down my thoughts now real quick. Someone is obviously going to get taken over by Fyodor. This takeover seems to require blood to activate. Here are the potential options, rated lowest to highest by my own personal interest.

Random character we’ve never met - the easy and boring answer. Fyodor will body snatch one of the vampire guards he was communicating with. Fair amount of likelihood since he could easily have made the transfer of blood at any point, though I’m not sure yet if it needs to be an instantaneous thing or if his blood can lie dormant. Either way I think it’s a bit of an ass-pull with no stakes on our cast so I’m hoping this isn’t the case.

A named character outside Meursault - Probably someone he’s had a lot of contact with, so Fukuchi. This depends on the blood having a latency period and is also insanely contrived. I actually hate it more than the random guard.

The Catgirl thief - I’m assuming this is extremely unlikely since the host needs to be alive. But anyways. Women lovers here’s how we lose even worse.

Having said this now, I think it’s fairly obvious it has to be one of the other Meursault four. This is appropriately thematic and tragic, given that all of them place a lot of value on free will and self-determination, which a takeover by Fyodor would rob them of.

Chuuya - He spent a lot of time around Chuuya to be sure but there’s no blood on him. If there’s a latency period though, it is possible. I’m not feeling this one though, to be honest. I don’t see what narrative purpose it serves - Chuuya hasn’t had enough of a role in the manga for this to mean much, other than royally pissing Dazai off (which to be fair is definitely in character for Fyodor). I think it far more likely that Chuuya is going to be a witness for whatever comes next.

Sigma - High likelihood. He did get stabbed and had the memory transfer. I can’t remember whether Fyodor touched him with his wounded hand. It would be brutal for this to happen to him after he’d just broken free from his manipulation. But honestly I don’t know that Sigma getting taken over is all that interesting. For one, they’re going to need his knowledge (though that may be a reason for Fyodor to off him truthfully), and for another, I just don’t think Sigma’s… done enough as a character. I feel it would kind of render his arc in Meursault pointless to end his story here.

Nikolai - The most likely possibility to me. He is holding Fyodor’s severed hand, which he touched to his face. Fyodor’s ability probably kickstarts after his death, and Nikolai was the first to get his blood on him. Sadly, I suspect that if this is the case, this will be the end for Nikolai. If he gets taken over, I can’t see a reason or method to restore him to himself. What a horribly tragic end this would be to our favourite clown, his freedom snatched away for good by the one person he couldn’t help but get attached to.

Dazai - I dismissed this off-hand at first. Of course I did, Dazai is immune to abilities. I also want to be clear that I seriously doubt Asagiri will off his favourite boy like this. But oh man. What if Fyodor’s ability isn’t an ability, much like in the first skk manga team up? What if them both being there is a call-back to Rimbaud who snatched corpses, and Lovecraft who could hurt Dazai? What if Fyodor really has become no longer human - and this is the proof? I was kind of hoping the Meursault arc would end with Dazai (temporarily!) out of the picture, and this would be a way to do it - Atsushi and Akutagawa would have to step up, Chuuya could be more relevant. We could even have more Kyouka if what I’m starting to wonder is true - that Fyodor was involved in the death of her parents. At the same time, Dazai’s special boy plot armour nullification and mysteriousness gives us a plausible reason to bring him back. And all the while maybe they could continue their mind games, with Dazai being an annoying little pest in the back of Fyodor’s mind.

[anistarrose]

the thing I keep coming back to about TAZ Balance, I think, is that there's heroes — lots of them, even — but there's not really a hero, not a singular one. when our characters try to save the world all on their own, and oh, do they try, their arcs — while eventually culminating in happy endings, for the most part — are, at the time, cast as tragedies. lone heroes, in TAZ Balance, are invariably tragic heroes.

Lucretia can't gather all the Grand Relics and defeat the Hunger on her own. Barry can't find Lup, much less sway Lucretia from her plan, on his own. Lup, crushed by guilt, sets off to neutralize her greatest mistake without even facing her family as she leaves, and that decision sets the story into motion in the first place. their intent to spare their family, to shoulder the burden alone so no one else will have to, fixes little and leaves them isolated. lonely. trapped.

even Magnus, rustic Folk Hero of Raven's Roost, fails to avenge the community that took him in. he sets off on a solitary mission to do so, never opening up about his pain to even his closest friends, but he never sees Kalen again. yet, maybe not too late, he learns, or rather, remembers — the strength to protect and avenge others comes from the strength to ask for help. the last thing helping anyone is trying to do this alone.

Lucretia assembles the Bureau, and as soon as she sees a way, brings Tres Horny Boys back under her wing. Barry, the very same day that Lucretia recruits them, sees the Phoenix Fire Gauntlet surface, and realizes it's time to put his trust in his family again — he shows himself to them soon after, and even with him putting up a facade, that's progress. and Lup, with endless time to reflect, is possibly the first of all of them to see where she went wrong. she won't be making that mistake again.

there's not a singular hero of the story, because taking on the burden of saving everyone is no task meant for one person. there's "our heroes," Tres Horny Boys, and there's the secondary, "secret," but no less important heroes who complete the ranks of the IPRE, but none can defeat the Hunger — nor reunite their family, nor vanquish an old foe — without leaning on each other, and on the new bonds they forged on this cycle. leaning on Johann, Kravitz, Team Sweet Flips, and the whole ensemble; every single connection that convinced them not to flee but to fight.

accepting that none of them can, that none of them should, be the hero alone — that's what averts the tragic end. the Hunger, terrible as it is, is wholly united, sharing and amplifying each other's despair. the only way to victory is to rely on each other, to care for each other, to learn how to be cared for, and to let your loved ones grant you hope.

[yumeka-sxf]

I've been waiting to see Yor's epiphany chapter in the anime and it did not disappoint! I felt like analyzing more than usual because I loved this episode so much~ 💖

I hope that any anime-only viewers who at this point still had the opinion that Yor's just ditzy/submissive, one-dimensional, or whatever negative traits associated with her, have changed their minds. Throughout the cruise arc we've seen so many sides of her character: how she's struggling to understand the exact reason why she's taking on these dangerous assignments when her original reason for doing it (supporting Yuri) no longer exists, how her internal desire to seek her own happiness - live a peaceful life like Olka - is at constant war with her diligence to complete her mission, her yearning to be with Loid and Anya and how sad she looks when she has to tell herself that they're just a cover-up family and she'll have to leave them without a word if anything drastic happens, and how much more confident she is when doing something she excels at - assassinating - yet still retaining her kind and polite demeanor (Unlike Twilight, who dons the mask of Loid Forger, Yor Forger is not a mask for Thorn Princess, at least not in terms of personality. So everything she says as Thorn Princess can be interpreted as her true feelings, including the now two times she's hesitated during fights because of the thought of having to leave the Forgers).

And, in the moment where she's facing death right in the eye, all the doubts she's had since getting this assignment culminate, not only causing the samurai assassin to get the upper hand, but causing her to take a deep, introspective look into her reason for fighting...if it's not for the same reason as the other assassins, what is it?

What's even more amazing is that these things about her character did not come out of nowhere just for the sake of a flashy climax. We saw in previous episodes that not only does she understands that being in the Forger family makes her happy, but most importantly, how she's lived her life only thinking of the happiness of others above her own. And what's most tragic is that, upon finally realizing that her original reason for being an assassin is gone (since Yuri no longer needs support) she's ready to die then and there...until she remembers Olka's words about wanting to live a peaceful life, which in turn makes her remember her core reason for becoming an assassin was to not only support Yuri, but to make the world he lives in all the more peaceful by eliminating the villains in it.

Despite how naive Yor is about many things (due to her upbringing), she's certainly not ignorant about the needless tragedies that exist in the world. And here is where she makes her decision to keep doing her assassinating, not because she enjoys killing people, but because the result of it will make the world a better place...because now, she has even more people whose happiness she desires to protect.

Even if she sacrifice her own happiness by leaving the Forgers, that's not as important to her as preventing tragedy from befalling her loved ones, or the world in general. And these thoughts are so similar to Twilight's reasons for becoming a spy! Coincidently, as Yor has these thoughts, she thinks of how Loid complimented this aspect of her personality way back when they first met...and the thought that the man who she trusts and respects so much would approve of her decision, gives her the final push to keep on going (I love that they reanimated this scene too and didn't just use the exact frames from episode 2).

So yeah, if anyone who wasn't sure of how much depth Yor's character has, I hope this episode shed a lot of light! This is the right way to make a character both cute/sweet but also a total badass who's strong on the outside as well as the inside.

(I will probably reword a lot of this for my upcoming Twiyor analysis posts but I couldn't wait until then, lol).

[birder-of-remnant]

A Story Done Right

Kill Bill, The Princess Bride, Blue-Eyed Samurai, Wrath of Khan. Our media is saturated with revenge stories. Even children's tales often have revenge as a sweeping premise (e.g., the countless Star Wars villains as a modern example, but older tales such as Cinderella were even more rife with vindictive messages). And to be honest, I have never cared for this plot type.

Revenge stories are usually violent, merciless, myopic, and pretty disregarding of 'collateral' losses. Not all, but most lack any type of interesting moral symbology and substitute dynamic storylines and complex character development in lieu of exciting action scenes and a prosaic fixation on bloodshed. There are certainly exceptions to this, many of the titles I listed above actually have a lot of great things going for them. But I would say that these qualities are in spite of their focus on revenge and not because of it.

And there are an endless number of animes, movies, books, and other stories based on revenge that simply do not appeal to me (not judging other people if they like violent action media, just not my personal taste). Most of the time, I am just left feeling empty at the end, like Neo after volume 9.

But there is one exception to this theme. One revenge story that leaves me feeling whole, not empty. From the banner image, I think it is pretty obvious which story it is. This is my own highly subjective opinion, but I truly believe that the fight with Adam represents the perfect revenge story. And here is my reasoning.

Revenge is Not The Hero's Purpose

In too many stories, the premise begins with douchebag 'X' killing damsel 'Y', leading to hero 'Z' killing a lot of henchmen and blowing up a lot of buildings all for the singular purpose of making Mr. X pay. Once they achieve this purpose, they look around aimlessly before wandering off to have a milkshake or play golf or something. Yeah well, this story does not do this. Killing Adam was never the objective for Blake and Yang, because they have actual goals that involve saving people and not just executing some vendetta.

Don't get me wrong. I love redemption stories, I find them so much more satisfying, especially when the character in question has to struggle to overcome the gravity of what they have done (note: a redemption arc does not mean instant forgiveness, it might never end with actual for absolution for what they have done). I love Emerald's story and think it has a lot of interesting twists that it can take. But there are some characters who are just too far gone to save. And Adam fits that perfectly.

He has a tragic backstory and I truly pity him. But he is also an abusive, murdering shitlord who manipulated and groomed Blake (I wouldn't be surprised if he physically or sexually abused her, which is somewhat implied by her frequently defensive body posture, but is not definite). He kills out of spite and represents Yang's demon, who she could have become. It was cathartic to watch him fall, but I am ever so grateful that his demise was not the purpose of Blake and Yang. Because killing him out of spite for what he did to them would not be much different than the way he lashed out at others for the traumas that he has endured. Some might call it justice, but justice and revenge are two sides of the same coin and the edges between them can be blurry.

The point is, Yang and Blake are so much more than Adam. They killed him out of necessity, not out of hate.

They Are Set on the Future

As I mentioned, I often feel empty at the end of a revenge story. When the villain lies dead within a pool of their own blood and the hero has achieved everything they sought to accomplish, what more is there really? Often, I feel like the story has reached its ending without really achieving anything of note. Often, without really making the world a better place. A plot about revenge is not the same as one about taking someone down to save other people. The former is what Adam wanted and it would have made the world a worse place. But Yang and Blake are protectors. The fight was exhilarating and satisfying, but it ultimately humanized these characters whereas most revenge stories do the opposite, treating human life as cheap entertainment to be killed in the most 'epic' way possible.

But more important, the fight left me feeling excited about the future, rather than feeling burn out from seeing the villain die. Adam was fixated on the past. He was a character of the past. He represented Blake and Yang's trauma, their old demons and fears. He had no further place in their character arcs, because they had evolved into something so much more. Killing Adam was not the end of their story as it is in so many revenge plots. It was simply a new beginning. It felt whole and wholesome. Past, present, and future.

Because it is the People Who Matter

Ultimately, the fight was never about killing Adam. It was about bringing Yang and Blake together. About having them overcome the demons of their past. About the importance of mental health. About their individual traumas (abandonment issues & PTSD for Yang and Blake's fear of hurting others). About the challenges that LGBTQ+ people face in finding security in a hostile world. It was about these two, fucking amazing characters and the ineffably wondrous relationship that forms between them. One based on actual fucking support, equality, and love.

That is all I have on this right now. Hopefully, I did not offend too many people by criticizing typical revenge stories. But I have been wanting to talk about my love and appreciation of this scene for years. I know there have been so many more people who have discussed these same themes and points before, probably more adroitly than my rambling mess, but this is my rambling mess. Thanks for reading!

Random side trivia 1: Mandy Patinkin, the actor who played Inigo Montoya in The Princess Bride, is famous for his iconic line, "Hello. My name is Inigo Montoya. You killed my father. Prepare to die." Mandy felt that the scene was symbolic of feelings towards the illness that took his father. But regarding revenge against people, he actually dislikes his iconic line and how it idolizes revenge.

Random side trivia 2: I love Jeff & Casey William songs and I just love BMBLY (except or that creepy line about the birds and butterflies knowing, wtf). But as an ecologist, I should note that bumblebees do not make honey. Jeff was thinking of European honey bees. Bumblees are cute, fuzzy, chunky super pollinators that live in the ground, in hollow plant stems, or other obscure spots and are either solitary or have very small hives. They virtually never bother people and are super pollinators, actually much better pollinators than honeybees (which are super awesome cool in their own right, but also highly invasive in the western hemisphere and hurt our native pollinators D: And yes, I cherry-picked the ugliest picture of one that I could find). Many bumblebees are endangered, just like our beloved Bumblebees. Save the bees! AND THE BEES!

[teambyler]

Will's anti-Vecna song should be David Bowie's "Heroes"

We know from the new BTS pic that he has headphones and a Walkman. Like Max, he might be fending off Vecna:

Max's anti-Vecna song was highly personal to her. It helped her through her guilt and depression and feeling like she deserved to die.

For Will, "Should I Stay or Should I Go" is cute, but it doesn't have emotional weight. It might have helped a child Will in the Upside Down in s1, when it made him think of home and Jonathan, but he's all grown up now. He's changed.

If Byler becomes realized, David Bowie's "Heroes" is the perfect song for Mike and Will's relationship that would help Will resist Vecna. It's canon that Will likes David Bowie: kid Mike prefers the androgynous rock star over Kenny Rogers (s2e1).

@surferbeto on YouTube comments:

This is a heroic love song. Bowie starts out crooning but pretty soon he ramps up and belts it out hard. This song is about risking getting shot by East German border police and dragged over barbed wire for love. This is about young love against impossible odds. It's about that gloriously tragic fantasy... of giving our life in some grandly romantic way to save the life of our beloved. Maybe by taking a bullet for them and dying in their arms in the shadow of the Berlin Wall.

Having David Bowie's "Heroes" in the show would call-back to Peter Gabriel's somber 2010 cover from s1, when Mike hugged his mom thinking Will was dead. But Bowie's original is defiant, triumphant, and bittersweet. (Seriously, if you haven't yet, listen to it before reading further. It's perfect.)

It would play when Mike and Will have their first kiss. Their song of losing each other is now of finding each other.

If Byler is realized, it could play as Mike and Will dare to hold hands in the school hall, as we fade out to the end credits.

Will would put it on his Walkman. If Will and Mike are bullied for their relationship, "Heroes" perfectly expresses their defiance and willingness to love each other despite the harm that might come to them.

It's the song that would most help Will in case he gets Vecna'd. It doesn't just remind him of Mike; it culminates his journey over the five seasons. As a kid he told Jonathan he's not a baby, not just a victim. Despite seeming shy and weak, he has a huge amount of quiet courage, but his struggle in s3 and s4 was largely internal. ("I'm not gonna fall in love.") Show creator Matt Duffer says about s5: "Will's going to be a big part and focus... We're starting to see his coming of age, really... You're starting to see him come into his own." If Byler becomes real, then his fight becomes external, confronting the homophobia in Hawkins and the literal hell threatening his friends. He will rise to the occasion.

"Will really takes center stage again in [season] 5," Ross Duffer told Variety. "This emotional arc for him is what we feel is going to hopefully tie the whole series together. Will is used to being the young one, the introverted one, the one that’s being protected. So part of his journey, it’s not just sexuality – it’s Will coming into his own as a young man."

In s2, Will only allowed Mike to protect him because he didn't feel pitied by Mike; Mike saw his strength. A stronger Will will pay him back and protect him from the twin dangers they face.

It's Will's turn to be the hero. His fight for others is his fight for himself. "Heroes" perfectly expresses his journey of defying all odds to fight for HIS RIGHT TO LOVE.

-teambyler

[thedaythatwas]

I’m just thinking long and hard about the way Akiren and Akechi are written as foils for each other. Because of course, the game drives it home for us that the two are narrative foils: Akiren is the champion of free will who finds power through his friendships, Akechi represents the ways society binds us. He is chained by his desire to be wanted (importantly, by the wrong people– I’ll get to that).

At first glance, Akiren and Akechi’s point of divergence has to do with their relationships– Akiren has confidants, Akechi doesn’t, and this is the deciding factor in Akiren’s victory over Akechi on November 20th and in the engine room. Still, while this is certainly part of what makes their relationship important as a narrative device, it’s not the full picture. That, I think, has more to do with the fact that they both desperately want the very relationships that are used to foil them. They have common ground, and that’s what makes the emotional beats of their differences hit as hard as they do.

Even though Akechi doesn’t have the close bonds that Akiren does with his friends, he is defined as a character by his desire to belong. He wants to be praised and given everything he feels he was denied by Shido’s callous disregard for his mother and society’s unjust treatment of him after her death. He was a self-proclaimed “undesirable child” who spent his young adult life doing everything in his power to never feel unwanted again. He literally spells it out in his engine room monologue– “I was extremely particular about my life, my grades, my public image, so someone would want me around!”

Akiren, like Akechi, begins his character arc as a social outcast. Unlike Akechi, who appeals to systemic power to claim social clout and chase his own sense of belonging (the Shido revenge plot, which would, uhm, theoretically end with Shido acknowledging his son’s worth), Akiren finds family with other outcasts. All of the Phantom Thieves understand his struggle, and because of this they foster a sense of understanding and community that Akechi never gets to experience.

It is important to note that these bonds are deepened when Akiren helps those around him. While there’s absolutely nothing bad about doing things for the people you care about– in fact, most would argue that this is what makes a friendship a good one– we can take a reasonable guess that Akiren craves the love of those around him just a bit more than is healthy for him. He plays therapist for half of Tokyo– he stretches himself absurdly thin for the sake of his friends. That’s a bit much to ask of one person, but Akiren seems to demand it of himself. This is the nature of confidant routes as a game mechanic, of course, but hey, reading into game mechanics is important to getting a solid reading of who Akiren is behind the mask!

The crux of it is, Akiren and Akechi are both lonely characters. Their desire to be loved quite literally drives the narrative of the game, both in terms of plot and gameplay. What makes their foiling so tragic is the fact that Akechi so obviously wants what he has himself determined he can’t have. He says as much in the engine room when he questions why Akiren has things that he doesn’t, despite being (as he says) criminal trash living in an attic.

And yet, Akechi’s isolation is frankly the result of his own decisions. He is the one who chooses to work for Shido. He is the one who acts on a worldview that requires he keep his cards close to his chest to win— against Shido and against the world that wronged him— and to be considered desirable (even despite the fact that this mindset obviously works against satiating his hunger to be loved. He really needs to go to therapy, but I digress).

I don’t think Akechi even knows how to go about claiming what Akiren managed to. Akechi has agency in the actions he takes, absolutely– he would be furious about any suggestion to the contrary– but in many ways, the choices he feels himself able to make are constrained by his circumstances and the lessons imparted to him by his past.

All this to say, Akechi and Akiren aren’t different because Akechi doesn’t want teammates, or even friends. He sincerely wants everything Akiren has. He tells us this in the engine room. He shoots himself in the foot by prioritizing approval from society and love from Shido above other relationships. But thinking from inside his shoes, what else was he going to do? Where else would he have thought to turn to find what he wanted? He was dealt a horrible hand and he played his cards according to the rule book he was given. If the world were just, Akiren and Akechi wouldn’t be foils. It’s the injustice implicit in that that really drives home the point I think P5 is trying to make when it foils Akiren and Akechi in the first place. It also, personally, has been making me want to scream all day.

On a related note, this is also the exact reason that Akechi being the one to bring up that things might have been different if only he met Akiren a few years sooner makes me want to throw things, but this post is long enough. I’ll save all that for later!

[wilcze-kudly]

The Gaang being 'bad parents' didn't ruin their characters.

I've seen this argument tossed around a couple times and it's honestly one of my least favourite criticisms of lok.

Katara (and Sokka but we have no confirmed kids for him, which seems unrealistic with how much game he had) lost their mother as children and their father was forced to abandon them when they were barely starting their teens. They were raised by their grandmother with little to no peers of their own age.

Aang did not know his parents and a huge chunk of his childhood was him being groomed into taking up the mantle of the avatar and mastering airbending. He also was isolated from other kids his age. His closest parental figure was Gyatso who was more of a teacher than a father. Also the Air Nomads were literally wiped out so that adds to the trauma pile.

I really don't think i have to talk about Zuko's family life here, but at least he had relatively positive parental figures in the form of Ursa (though i do have a burning personal dislike of ursa) and Iroh. Despite this his struggle around the subject of his family and his trauma relating to his upbringing was a focal point of his character arc.

Toph was raised in isolation by her asshole abelist parents who did not listen to her, sent people to capture and bring her back and then disowned her. (If my cursory understanding of 'the rift' is correct, I need to actually read it because i am unreasonably obsessed with the Beifong family.)

Where, pray tell, were they supposed to learn proper parenting skills? On their brief stint as child soldiers? While fighting a war as literal children?

There is the argument that they must've matured later in their lives, of course. But you can only recover so much from copious amounts of childhood trauma.

Being a bad parent doesn't necessarily make you a bad person. Sure it makes you a failure in an incredibly delicate and important aspect of human life but it doesn't make you a bad person. And saying that it does takes a lot of nuance out of the conversation.

Like, do you know how easy it is to fuck up a child?

Especially that the ways the members of the Gaang 'fucked up' as parents feel mostly in character.

Bumi was going to face some struggles with self worth due to being the firstborn child of the Avatar and arguably one of the most powerful waterbenders in history, while being a nonbender himself. That much was unavoidable, no matter how his parents approached the issue.

And Aang was obviously going to be over the moon when Tenzin was born. Think about it. He's literally the last of his people. He has no one else 'like him'. No one else to pass down the traditions, the teachings that Gyatso and everyone else he cared about and who were horrifically murdered to. Aang is getting older and he feels like his culture and history and his entire life before he got trapped in that damned iceberg will die along with him. And then Tenzin is born and Tenzin can take up the mantle that had been thrust upon Aang.

I'm going to withhold my judgement on Izumi and Zuko, since we barely know anything about them. She seems well adjusted but that's all i can say right now. But Zuko has also been shown to be extremely, painfully aware of how fucked up his family is and has clearly been putting in a lot of work to unscrew what his ancestors have screwed up.

Toph situation feels very tragic to me,because it's obvious that she thought she thought she was doing better than her parents. She gave her daughters the freedom to do what they want, to not feel opressed and trapped like she had. How was she supposed to know that she was making her girls feel like she didn't love them? (Here's another post of mine about the Beifong family and how they just feel like they're cursed or something at this point.)

TLDR; I get annoyed by people saying that the Gaang being 'bad parents' ruined their characters, because to me it felt like it actually enhanced them.

Neither Aang nor Toph acted out of malice or a lack of love. On the contrary, Toph was trying not to repeat her parents mistakes, accidentally committing a bunch of her own. While Aang probably didn't even realise that he was neglecting Kya and Bumi.

But just loving your children doesn't always make you a good parent.

I think these flaws only add to them as characters. It makes them feel more real.

It's unrealistic and, frankly, just plain boring to go 'oh the Gaang were all good people so they would be good parents too.'

The Gaang were a gaggle of traumatised children forced into saving the world, because the adults around them failed them, that then grew into traumatised adults who have no idea how to be good parents.

[arscorpii]

episode 12 / episode 34

episode 12 / episode 37

there were several similarities i noted between the two episodes (12 and 34):

within the specific scenes: both touga and akio reached out and touched utena's left hand with their left hands, but touga covered her hand with his, while akio took her hand into his. in episode 12, utena and touga were accompanied by anthy and wakaba (during the day, out in the open cafeteria), while in episode 34, utena and akio were alone in akio's room (during the night); anthy was aware of it, but she was in her and utena's room and couldn't do much about the matter. anthy also couldn't do much for utena in episode 12 due to the rules of the rose seal (she was engaged to touga). also, the two scenes in episodes 12 and 34 took place after very tragic incidents happened to utena: losing the duel to touga, and consequently, losing anthy as her rose bride versus akio raping her (unarguably even more tragic).

correlation with utena's sense of self: in episode 12, utena tried (and succeeded) to take back who she was via a rematch (losing to touga made her doubt who she was as a person). who utena was as a person at this point may be referring to the role of a prince that she was able to truly embody due to her engagement to the rose bride (e.g., utena saving anthy in episode 3 from anthy's dress incident and then dancing together, utena saving anthy who was trapped in a coffin in episode 9). or, more like how the engagement with the rose bride allowed utena to be more/most like herself, one of which would be largely comprised of the princely ideals she adopted/learned and idealised (as told in her monologue of meeting the prince; utena also said she wanted to be a noble prince who saves princesses in episode 1) (i'm not sure for this part).

in episode 34, we learned the real reason utena had the rose crest ring, the real reason utena wanted to become a prince: to save a little girl suffering a fate worse than death. ultimately, in both situations (episodes 12 and 34), anthy influenced utena's sense of self, to an extent. regarding the prince, taking into account the context of episode 11, i'm quite sure utena still believed that touga was her prince in episode 12. meanwhile, episode 34 gave us (more) indisputable confirmation that akio was the prince that utena met in her past (this fact was heavily hinted at since episode 25). however, i don't think utena made the connection yet at that point. nevertheless, as a whole, in both situations, touga and akio were framed as utena's prince (to utena [episode 12] versus to the audience [episode 34]).

a common conflict/theme underlying both scenes was the pressure of conforming to ideal gender identities and presentations. this was evident in the scene with touga (complimenting utena's girl uniform and asking her out). however, it's infinitely more severe with akio because he was actively grooming utena to that end; some events of this episode were just parts of the long process (in the specific scene: asking if they're friends, mentioning that she didn't take off her ring "that night," trying to kiss her). in addition, the visuals of both touga and akio somewhat covering utena's rose crest ring with their hand gestures could be seen as analogous to them trying to suppress/diminish her princely ideals/role (touga said that losing the duel gave utena a chance at being a normal girl; he then actively tried persuading utena to this end, i.e., the compliment on the uniform and the ask for a date. moreover, touga critised utena for not knowing about the true power of the rose bride when she "fancied herself as anthy's prince." also, to reiterate: akio brought up the fact that utena didn't take off her ring when he raped her while stroking the ring; he expected that that event would be sufficient for utena to take it off [give up the role of the prince]).

i think episode 12 is an interesting foreshadowing/parallelism of some kind for later events in the final arc, with regard to utena/touga/anthy and utena/akio/anthy dynamics.

[franzkafkagf]

How do you personally think they massacred his potential? I fully agree, by the way. He could have and should have been a fan favourite. He's one of the most tragic characters I've seen, honestly. He's interesting and definitely the most complex character of the season, but the lack of catharsis the writers gave him for his issues is anger inducing.

the concept is just so good to me. the prince with no sense for duty or responsibility, who did not want the throne but feels forced to take it anyways. he takes the throne to save his family and yet, he watches all of them die anyways.

At first, the prince refused to be a part of his mother’s plans. “My sister is the heir, not me,” he said. “What sort of brother steals his sister’s birthright?” Only when Ser Criston convinced him that the princess must surely execute him and his brothers should she don the crown did Aegon waver.

that's just amazing. i cannot stress this enough; it's so profoundly tragic and sad. i don't hate everything they did with him in the show; they have many good ideas actually. him rejecting his valyrian heritage, him being kind of a failure at everything, him being desperate to my accepted/loved... this is all profound and good stuff! but i feel like his tragedy has been squandered by how the writers decided to frame the story. i could go on about how rhaenyra and alicent are potrayed so blandly in this show in order to make their embarrassing gender essentialism theme going but this is about aegon so i won't go into that.

aegon reminds me so much of theon greyjoy. maybe it's just me, but in my head theon and aegon start the story in similar places. they're spoilt, vain and indulgent. then they get their "calling", for aegon it's the crown. it's the first time in his life that he has a reason to get out of bed, to actually do something good for once. also, him believing his father actually wanted him to take the crown and it hurting him when otto scoffed at him for believing it? AMAZING stuff. I love s02xe02 to bits.

because [my father] didn't like me

theon's calling is to finally get his father's approval. balon, obviously, has no fatherly affection towards him and theon kind of knows it, he still betrays the only person he ever truly loved. and what happens to theon? he loses everything, absolutely everything; he is stripped of his pride, his dignity, of his entire identity. i've never seen a character go through something theon went through.

and i see parallels to aegon here! aegon is quite literally made and broken by the weight of a crown he never wanted. his story is more tragic than theon actually; the thing that destroyed him was quite literally forced on him. it actually kills me to think about it. he rushes into rook's rest because he feels powerless; because everybody around him shows him not even one ounce of empathy. his baby is dead and no one seems to care!

and he fails; of course he does. he is BETRAYED by his own brother, the brother he thought was loyal to him. this is just such good stuff my head hurts. his arc after the fall of KL is so amazing too, i'm desperate to see him go on his adventure to dragonstone and actually grow into the type of man that can turn rhaenyra's own people against her.

now, what could've been done to make his arc better in the show? well. let's start with not making him a rapist. i cannot stress this enough. the single worst choice was to introduce him as a rapist. it's actually crazy to me. it's so easy too... just make him like theon; make him promiscuous, make him vain, make him spoilt! they should've introduce his adult version with a drunk sex scene actually. set the tone for his character from the beginning.

he is not suited for the throne; he seeks pleasures, doesn't care for his valyrian lessons (based!), he drinks all day... like, what was the POINT of making him a rapist? what was it? -> the answer is obvious.... they didn't want us sympathizing with him. they were scared of people liking the villain. why is this hbo show scared you might have people sympathizing and pitying the "villain"? are you okay? YOU HAD ONE JOB. DEAR GOD.....

so with that said; make his motivations clearer. have him scream at aemond after jaehaerys dies, change up the godawful brothel scene to actually drive the point home; he is still grieving and his way of grieving is lashing out and drinking himself half to death! focus on his alcoholism and his rashness. I actually rewrote the brothel scene here

make us understand him bettter; there are moments like the "do you love me?" or all of ep 1 and 2 of season 2, but it's too little, too late. the writers in general have such a hard time with writing characters with actual qualities. all of them are so empty and act like robots. only aegon, criston, daemon and rhaenyra (in episodes 1 and 2 at least... then we went right back to robot mode lmao) show moments of actually being a character with rich inner workings. i hate it so much.

[triptychgardener]

Hello sorry if this is a bother but I am asking in good faith where is the reading for transmasc nepeta. I’m asking this cuz of your last ask (the June one) and I see aradia Dirk and Jane. Thoes all I have seen post and analysis about. But I have not really seen anything about nepeta.

Okay so first thing you gotta understand is that gender in Homestuck, for lack of a better way to say it, can be understood in how characters reflect and relate to each other. That being said to understand Nepeta's gender, we gotta understand the gender of at the very least one other person.

Dave.

And more specifically.

Davepeta, Homestuck's very own first(ish) trans character.

Davepeta is noted to be a sort of platonic ideal of existence for both Dave and Nepeta. Somehow, through a strange series of cosmic coincidences, these two end up making an odd sort of parallel. Both having a strange relationship to a man who loves him some goddamn horses. The whole Akwete Purrmusk thing. I mean, Dave canonically engaged in semi-nonironic furry roleplay with Nepeta offscreen, and given what we know about what becoming a furry in Homestuck means, it's not a leap to describe this as their ideal form.

But, although we don't see a lot of Nepeta's character arc, we do see a lot of Dave's. He struggles his whole life under an incredibly oppressive masculine force (both of Bro and, indirectly, Lord English), and once the game is over ends up deconstructing and largely rejecting that.

So when Davesprite, who's also probably been thinking about this for even longer, bereft of purpose or identity, finds a kindred soul in a spunky catgirl... well the rest is Davepeta.

And similarly, there are points in the story where Nepeta acts kind of uncomfortable with how others see her as exclusively something to be protected. The whole "Dear, sweet, precious Nepeta" grates on her early on, as Equius uses it as an excuse to control her actions. The whole of moiraillegience as it is originally explained (i.e. one party helps to calm down an especially brutal and violent person from outbursts of anger, and in turn that person will protect the more docile, even-tempered soul from external harm) even kind of FEELS like the way heterosexual relationships are portrayed in a lot of conservative spaces, where women are nuturers and caretakers while men are protectors. And Nepeta is supposed to, in this situation, be the person who helps Equius manage his emotions, which she feels some consternation at!

Now, over the course of Hivebent, their relationship appears to evolve and get a bit more balanced, but it still carries these overtones of "I will protect you, and you will handle my outbursts." Notably, when Equius goes to seek the Highb100d, and leaves Nepeta behind.

And of course not after roleplaying as each other.

Which. I mean come on.

But notably, Nepeta doesn't just stay put! She doesn't really want to be protected all the time! And when push comes to shove, she leaps out to defend, or at the very least avenge, her best friend.

And then, we don't really see Nepeta for a while!

Until we get to the end of the comic.

During their whole "date", Nepeta seems a little uncomfortable with Jasprose's affections. She may be a bit flattered, but Jasprose also fully admits later that she was frankly looking for any girl she could fall in love with after the tragic death of her girlfriend and possible more tragic untimely resurrection.

But then the pivotal handshake happens, and we get to see who is perhaps the most happy being in all of Homestuck.

Then we get into some of the only actual discussion of gender in Homestuck. We don't get much besides that, for both of their lives, Dave and Nepeta both felt something was missing. Something felt wrong that they couldn't quite place that made them both miserable. I don't think it's a massive stretch to say this could be gender dysphoria.

And when they combine, they feel the fullness of the gendered experience they were missing, melded together like a two-piece puzzle.

Now while the abovementioned "strong identities as a boy and a girl" might throw you off, I would point to what Victoria Lacroix said about this passage: note the lack of the word "respectively." I rest my case.

Now full disclosure, my personal headcanon for Nepeta is genderfluid transmasc. The whole affinity for roleplaying lends itself to a more shifting identity and I just think Nepeta, given more time, would love exploring the little nooks and crannies of gender.

This isn't going into the more complicated shit with Gender when it comes to Equius and Dirk and all that other stuff. Here's a quick summary so you can see exactly how my brain is broken.

Anyways, thanks for the question! I hope I answered my thoughts on the topic adequately! If other people have more to say about this, please feel free to add on!

[opbackgrounds]

Out of curiosity what would you do with Kid? I know you said he’s similar to Luffy, but Blackbeard is his main foil

Well, firstly, Luffy has a lot of foils. I wrote a long meta on my main about it, but it’s one of Oda’s favorite things to do with important characters, especially villains, and different characters will highlight different parts of Luffy’s character or personality. So yeah, Blackbeard is one of Luffy’s foils, but so are Doffy and Kaido and Arlong and Krieg and Big Mom and a bunch of others. It’s a staple of Oda’s writing, some more obvious than others.

But since you asked, I think Kidd could benefit from featuring in a mini arc before Wano. One of my big criticisms of Wano is that it’s too long and has too many characters, and I think if you whack about 6 months off the arc and send some of the Supernovas and dinosaur minions to a precursor arc you could alleviate a lot of those problems. Kind of how Little Garden mops up several of the Baroque Works agents. Like, in all seriousness, what did Apoo accomplish on Wano? Why not have him and Hawkins, and maybe a dinosaur minion be the overseers of some minor Kaido colony or something. You can get in, beat them up, then head into Wano with a more streamlined villain roster.

As for Kidd himself, I think the most compelling contrast to Luffy that we haven’t seen in other characters is his impulsive brutality mixed with him also dreaming of the One Piece. Luffy at one point was equally hot headed, if less violent, but he learned from characters like Vivi and Iceburg how to be a more effective leader. Kidd either hasn’t had that, or has refused to listen to the people who tried to teach him, and that’s ultimately what causes his undoing against Shanks. It wouldn’t have to be all that different from the manga, but having his backstory and personality more fleshed out would go a long way in having his last scene feel more tragic and less ridiculous.