#the most fascinating character of the show

[nukacoola]

Deacon's dislike and hate talks are my favorite of any companion in fo4 because they're so unique and it's such a great look into his character.

In his first talk he really tries to get through to you. He tries to explain in a non-aggressive, even complimentary, manner why he hasn't been liking what you've been doing lately. Depending on what you say he basically babies you.

In his second talk is when he shows a hint of anger which I find super interesting because Deacon rarely shows anger. Even when you do things he hates he either won't say anything or will make a sarcastic comment about how he disagrees with what you did. I can only think of three times genuine anger/frustration is shown from him: this talk, starting the kill-the-Railroad quest for the Brotherhood, and his talk for when you murder someone which was cut from the game. He only has anger in his voice at the very beginning of the 2nd talk. Then it fades, showing that he's suppressing it or calming himself down.

But the main reason I am so fascinated by this talk is because he is the only companion (besides Strong) who you can not convince to give you one last chance. There's no option, no orange or red skill check. If you ask him to stay he says, "Not gonna happen. Sorry."

Where most companions will leave on bad terms after their second (or third if you convince them to stay) talk, Deacon says "We'll be seeing each other a lot, and I'm not one to hold grudges. Just remember, we're trying to help people, not make the garbage dump stink even more." And then leaves on distant coworker terms. In both talks (at least to me) he feels notably distant in the way he speaks to you. He already has his walls up and he tries to explain to you what the problem is before realizing in his second talk it was a useless venture.

Throughout both talks he compares you to Glory which is a whole other interesting topic (especially taking into account a tense conversation you can hear between Desdemona and Glory if you hang around Railroad HQ long enough).

I just love him.

[year2000electronics]

Ford is such a fascinately flawed character, If he not keep in check he unintentionally brings ruin to everyone around him.

this is literally how i feel talking about ford. ^

because dont get me wrong at many times i am a ford defender when people slander him for the wrong reasons, but also a lot of the time i will be like "YOUR HONOUR HE DID THAT SHIT AND I THINK HE WAS HOT WHEN HE DID IT" and then at other times i will be like "YOUR HONOUR HE DID THAT SHIT AND ISNT IT AMAZING THAT SUCH A COMPLEX AND FLAWED CHARACTER IS NOT DEMONIZED AND VILLAINIZED BY THE NARRATIVE BUT INSTEAD GIVEN A CHANCE TO GROW". so a lot of the time i just end up walking in circles rotating him a lot because i end up wanting to play devils advocate from like literally every angle of "so how much harm did ford do Really"

but i think when you look at ford in the show, hes a very interesting character, specifically because he's this very "loadbearing" character. he's the author, so he has to be the driving force behind the mystery, but he also has to have met and have ended things badly with mcgucket, so we have their falling-out as a tease to the mystery. we need him to cause conflict in the show thanks to his arrival, so he'll do some unlikable things like punch stan and demand his house back and offer dipper the apprenticeship. but he cant be TOO unlikeable because this is a member of the family stan has fought for 30 years to get back, and he also needs to be integrated as Officially A Pines in the VERY limited time we have with him on screen. not only that, but you have to explain his entire backstory in one episode where he harms and is mean to a character who has had two seasons' worth of love behind him SEVERAL TIMES. but you also need to make us feel for him, and you have to make stan's part of the conflict sting too. and THEN! ON TOP! OF ALL! THAT! YOU ALSO NEED TO PAY-OFF THE SETUP YOU HAD OF BILL CIPHER AND THE AUTHOR'S MYSTERIOUS RELATIONSHIP!

and so a lot of the time what i end up thinking is yes, ford is flawed. yes, he can be really callous and unfeeling at times. but i think because he's constantly needing to carry like 10 different plot elements on his back at once, constantly needing to drive conflict along, he ends up being really divisive to people- especially since he has no time to just goof off like everyone else!

so i circle back to this idea of ford as the "ruin-bringer". i think about that wording most meticulously. because that walks this VERY delicate line between saying something about fords character, his flaws, his backstory, and dipping right into "omg lets blame ford for EVERYTHINGGG!" but you think a lot about ford and his self-isolation and his EGO and the way he lifts himself above others both out of pride and out of shame.

ford is almost doing that to himself, really. making himself this common denominator black hole that people keep getting sucked into. because he is of the opinion that there are Special People who need to rise above, he ends up either isolating himself or isolating others to Join Him on the Path. and obviously that in and of itself is a gesture of companionship, of reaching out, because he says "i see the same greatness in you that i do myself"! but of course there IS no secret hidden greatness! so its all inherently flawed! you cant be rising above simply because youre "special" and you "deserve it"! but "special" is the only thing ford knows how to be!

ford is deeply hurting i guess. he seems deeply hurt the way that stan does to me, where everything he does just BLEEDS his trauma. you can see it staining everything. stan's need for companionship and ford's self-isolation. ford's hurting and he needs a healthy outlet but he has a path of destruction in his wake. and that just makes it so much crazier

[gerogerigaogaigar]

Phineas and Ferb fascinates me from a structural standpoint. I'll admit I haven't watched the show front to back, but I've caught the odd episode here and there and I certainly get the gist of it.

The first time I saw P&F it seemed charming but unremarkable, the second and probably third time it became obvious that it was a clever but formulaic show. At some point it clicked. Children's shows are usually formulaic, Dee Dee will destroy Dexter's invention, Elmer Fudd will fail to hunt the Wabbit, He-Man will defeat Skeletor, and Sisyphus will roll that boulder up that hill. Phineas and Ferb asks not just that we imagine Sisyphus happy, but that we imagine that he is ecstatic to see that boulder roll down the hill.

Where the status quo is an unspoken rule of older cartoons it is the explicit law of the P&F universe. There is a roadmap to every episode, you probably already know it but I will spell it out regardless. Phineas will say the phrase "I know what we're gonna do today" thus kicking off their project for the episode. Candace will try and fail to get them "busted". There will be a musical number. Meanwhile Doofenshmirtz will have made an -inator that Perry will be called upon to destroy. Perry will get caught, Doofenshmirtz will explain his plan, Perry will escape, destroy the -inator and the ensuing chaos will clean up Phineas and Ferb's backyard shenanigans just in time for their mom to get home. Ferb says something at the very end, often his only line in the whole episode. The end.

There are stock lines that must be said. "I know what we're gonna do today" "I wonder where Perry is" "Busted" "🎵Doofenshmirtz Evil Incorporated🎶". The show doesn't just have a cartoon status quo, the universe operates off of the laws of cartoon status quo to the extent that characters actively notice when the cycle doesn't complete correctly. The characters seemingly know that their world operates on cartoon physics, but to them it's just physics. In P&F a giant whirlwind carrying away a giant backyard amusement park is as natural as gravity.

Candace's place as the character who knows this is all insane must be a tortuous existence considering the whole world is conspired against her. Not out of a cosmic meanness but a deep thematic kindness. Candace is the only character whose intent is to cause purposeful harm and the universe will not let her get away with it.

Truly this is one of the most unerringly kind shows I've ever seen. It is unreal how much faith it puts into wordplay, running jokes, and raw absurdity to carry itself while never stepping into the realm of cartoon cruelty.

You know cartoon cruelty. It's why Tom gets punished for Jerry's actions and why the Trix rabbit can never eat his own damn cereal. At its best cartoon cruelty manifests as Ed, Edd n Eddy or the Looney Tunes short Duck Amok where there is catharsis in seeing the characters hoisted by their own petard. At its worst you get CatDog which is so intensely cruel to the character of Cat that I can't comprehend what the writers were going for.

The confident lack of irony is part of what makes Phineas And Ferb work. The show is a parade of cartoon cliches and dad jokes and it never it never winks at the viewer or lampshades how silly this is. It just has absolute faith that the corniest jokes ever really are that funny. And so they are. I actually laugh out loud every time they do the "Aren't you a little young for this?" "Yes, yes I am" bit. Maybe it's the delivery, maybe it's just the confidence in the bit. Probably a bit of both. I am smiling to myself just thinking of this dumb running joke.

But what this all amounts to is what every bit of fandom wankery amounts to. I am of course talking about shipping. For my money the best bit in the show is the romantic framing of Doofenshmirtz and Perry's rivalry. This is where the show's cartoon logic and unrepentant kindness synthesize perfectly. The homoerotic undertones of the spy/supervillain dynamic are an extremely tired observation and are usually only emphasized in an ironic sense to poke fun at pieces that never intended the gay subtext. P&F flips this joke by not being even a little bit ironic about it, but still adhering to the unspoken nature of the gag.

The end result is that Perry and Doofenshmirtz's status as a romantic couple is tacitly understood to be part of the shows status quo, but never commented on. The world of P&F is too inherently kind to be homophobic (homophobia being a key component of the joke) but it still has a joke shaped hole to fill. So it does the funniest possible thing and fills the hole with nothing. The joke is the lack of a joke. The expectation of a joke that is met with a shrug from the show's own internal logic. And that's really funny. An evil scientist and a platypus are in a loving relationship that happens to also be a hero/villain rivalry. Don't worry about it. It's not the weirdest thing happening in the tri state area I promise.

[raphaelesbian]

Day 24 - Favorite Villain (a Saki and Yoshi analysis)

Okay friends. Rubs my hands together evilly. I love 2012 Splinter and Shredder. Like, they are by FAR the most fascinating iteration of both characters—raised as brothers, both completely unaware that Saki is a member of an enemy clan, a clan that the Hamato categorically DESTROYED. It leaves Shredder with a very sympathetic story, and portrays the Hamato as, at BEST, incredibly morally grey. And I think that is so fun! It makes the Foot/Hamato conflict in the main story much richer to me, as it’s a very PERSONAL story. The Hamato and Foot have been in conflict for centuries, but it rarely feels like that is the catalyst for their interactions in present, y’know?

But so much of their story is left vague. Which I, perhaps in the minority, actually really like! I love having the puzzle of it all. It makes sense to me that Splinter doesn’t talk about the situation in much depth, despite his overall openness with his sons about his past as a human. I think the conflict with Saki hurts, and it’s just. More than they really need to know. As it becomes relevant, he explains, but he doesn’t sit them down and regale them with the story of Saki and Yoshi. The closest we get to that is in Vengeance is Mine (S2E22), where he sits with Karai and explains what happened between them. However, even then it is implied that he’s leaving a lot out I think. This is the transcript:

Splinter: The bitter feud between the Hamato and Foot clans lasted centuries. Oroku Saki was the son of the enemy, but he was just a child, so my father gave him shelter. We were raised as brothers and rivals in all things, as brothers are. But that rivalry soon turned bitter when we met Tang Shen, your mother. Jealousy became hatred when Saki learned of his true heritage. He swore vengeance and rebuilt the Foot clan. One night, Oroku Saki struck. The blow that was meant for me struck your mother instead. Shredder blamed me, and in his rage, he burned our home to the ground, leaving me to my fate. 

Very short and to-the-point. But something that stood out to me was what we see in the flashback while he’s talking. He says “The bitter feud lasted centuries,” and we see this:

He says “Oroku Saki was the son of the enemy, but he was just a child, so my father gave him shelter,” and we see this:

We, as viewers, can pretty easily infer that the Hamato attacked the Foot, very violently! He speaks about a long feud, but does not actually reference any specific incident. But the on-screen flashback does. Similarly, he says that Saki was “just a child,” but then shows Hamato Yuuta (their father) standing over him, surrounded by flames and bodies, with his swords drawn. The implication being that Yuuta made the choice, in that moment, to not kill him. Which is a far less passive action than what Splinter states. 

Shredder, of course, we know is pretty delusional, so he says very little of substance on the situation. The interesting part about him is what it says about his psyche and interpretation of it all, but I digress. 

Beyond flashbacks, we have Tale of the Yokai, where we actually get to SEE young Yoshi and Saki. One of my favorite episodes by far—seeing what they were like before everything got BAD bad is really fun, and also gives a lot of insight into their relationship. But the timeline of it was very intriguing to me. Because it is the day before and then the day of Saki’s revenge on the Hamato. Okay, cool. 

This is not where he learns of his heritage. He KNEW his true heritage already going into the episode. 

And he’s still living with them. 

Some nebulous amount of time passed between him learning he was an Oroku and him killing all of the Hamato, and during that time he continued to train with Yoshi, Yuuta continued to call them brothers and received no pushback, etc. That’s not what you would expect, right? And I don’t think Saki learned the truth and kept it a secret or anything. When this happens:

Yoshi: Take Miwa and go, Shen. Shen: [worriedly] But, Yoshi, Saki, please! You are brothers. Saki: [coldly] No, we were never blood. Yoshi: [to Shen; sternly, but calmly] Shen, go now.

Neither Yoshi nor Shen react with any confusion at Saki’s statement. They know that he isn’t related already.

(Also, sidebar, the line immediately after this: 

Saki: How can one love and hate someone so fiercely? [Raising his Tekko-kagi claws in a fighting stance.] Yoshi: If your desire is to fall by my hand, brother,[Putting his hands behind his back.] so be it.

He’s not talking about Shen here, change my mind)

Okay, but then, when DID he figure it all out? That has been my question, and I think I kind of pieced it together watching Vengeance is Mine. Timeline:

“Jealousy became hatred when Saki learned of his true heritage.” He learned the truth AFTER Shen left Saki for Yoshi. Here’s the relevant flashback image:

This is just a very interesting frame to me. Saki pointing at them, Yoshi glaring back at him, both with their fists clenched and their shoulders hiked. A very tense situation! What were they saying? Was Yoshi defending their dad’s choices? Was Saki lumping him in with their parents’ generation, and Yoshi was pushing back on it? Was Yoshi refusing to believe him at all? Shen looks shocked, while Yoshi looks more defensive than surprised; however, we also know that Yoshi is a hotheaded guy, so he could’ve been thrown by the situation and reacted with aggression. (These questions were the catalyst for my most recent fic lmao)

Which brings me to the one other real flashback/story we get from Splinter about them (that I can remember, please remind me if there’s more!), from Turtle Temper (S1E3). Splinter tells Raph a story about a time he lost his temper:

Splinter: Her name was Tang Shen, and I was not the only one who loved her. There was another man competing for her attention. Oroku Saki. Shredder. One day, he insulted me in front of her. He called me many things. I felt I could not let those insults go unanswered. I lost my temper. And over time, our rivalry festered into hatred, until Shredder sought to finish me, and I lost my beloved Tang Shen. Raph: But . . . but it wasn't your fault. Shredder insulted you. You had no choice. Splinter: No choice? I could have chosen to ignore him. I could have chosen to let his words wash over me like a river over stone. But I let him anger me. It was I who made his words into weapons. That's the choice I made. What choice will you make?

This is obviously super early in the series, so there’s some weirdness here. Referring to Saki as just “another man competing for her attention,” no mention of the Hamato/Foot rivalry, etc. But still, the flashback has this image:

Which, you may notice, is the EXACT same frame from Vengeance. Now, obviously, this could just be laziness, BUT. If you interpret them as having been the same incident, I think that’s very intriguing! Assuming Yoshi is telling the truth for both flashbacks, just with varying amounts of detail, Saki insulted him here, and that led to a physical altercation. Was the insult ABOUT the Hamato clan's past? Did Saki storm in and start yelling about the murder of the Oroku, and Yoshi reacted by losing his temper? Or was Yoshi perhaps trying to calm him down, Saki insulted him personally, and Yoshi attacked him in response? There’s a lot of different ways this could’ve gone, but I think looking at the two as the same thing is like. I Am Looking Intently. 

Which then leads me to the timeline. I think they look about the same age in that section of the flashback as they do later, where Saki takes the Hamato down, so my guess is he wasn’t rebuilding the Foot too awful long. But it also couldn’t have been too short—there was enough time for him to build the Foot up pretty strong, AND it seems that there isn’t much awkwardness or animosity between Saki and Yoshi/Shen/Yuuta. My guess is a few years have passed, long enough for everyone to THINK Saki got over it. 

Which??? Is that not INSANE to think about?? I mentioned it earlier but just. Again. Saki learned that he’s adopted, learned that his adoptive family killed his bio family, and then continued to live with them and go about his life. For potentially a few years!! Like it could’ve been less time, obviously, we have literally no idea. But I just feel like, for him to have a whole actual Foot clan ready-to-go to massacre the Hamato, that takes time. Plus, I assume for that fight that Shen and Yoshi weren’t already married + Miwa, just from the way Splinter talks about it (though that’s loose since, as mentioned earlier, he isn’t always the most upfront). Plus, for everyone to be so chill with Saki? Like I just don’t think it’s fresh. I think he played the long con here. With his family. And none of them had a clue. 

Anywayyyyy. I was mostly just very excited to have pieced those flashbacks together lmao, and I need more people thinking about the implications of what we know (and what we DON’T) about their backstory. 2012 Splinter and Shredder you are everything to me. 

[kiragecko]

Given Cass's dominance on the Batfam poll, do you have any comic recs centered on her? I mostly know her relationship with Tim from his Robin run, and I've been meaning to read Batgirls (2022) but wanted to see if you had other recs :)

Her Batgirl run (the series from 2000) is REALLY good. Very cartoony art, which not everyone might love, but you definitely learn quickly why Babs and Cass have done so well in this tournament. After issue 20, you also start learning why Steph and Cass are doing so well! (And there are several crossovers with Robin that start the delight that is Tim and Cass, too!)

Her first appearances, in No Man's Land, are also great. Get the collected volumes. It's a giant crossover and trying to read the individual series might drive you crazy. She shows up halfway through Volume 3, in Batman 567, which is the start of "Mark of Cain." It ... reads like you missed her first appearance, but you haven't. Other than crossover confusion, and a lot of stories that don't feature Cass, it's a really good intro to the character.

Even if you don't read the rest of No Man's Land, Batman 569, "I Cover The Waterfront", is ESSENTIAL Cass. So so good!

The audiobook of No Man's Land is available online, and has some things that never actually made it onto the comics page. (Like Babs figuring out Cass' name!) It was written by one of the crossover's writers. (Greg Rucka, who is great!) I can't listen to most audiobooks, but I've heard good things!

She's not in Red Robin a lot (only issues 17 and 25), but they ARE very good, as well.

Batman: Gotham Knights 35-36 and 45-49 are some WONDERFUL ensemble issues where you get to see a variety of Bat-characters hanging out together. Cass is there and VERY funny. (The first 50 issues of Gotham Knights are good, but it takes a while for it to realize that it wants to about characters interacting, rather than solo adventures. And Cass only shows up in some of them.)

I've heard good things about Batman: Gates Of Gotham's depiction of Cass. (This is right before the reboot, and has Cass and Damian's only preboot interaction. As well as her main non-Red Robin appearances as Black Bat.)

I can offer no help for the last dozen years of comics. I haven't read since the reboot ... actually, I HAVE looked at some of the most recent Birds of Prey series! The Cass there is well done, but she's not hanging out with her FAMILY. Still, if you want modern Cass, that's a solid choice.

-

Cass is a wonderful character who means a lot to me. I love her messy relationships with Babs and Bruce. I love the way she slowly learns that friendship is valuable. I love how she SLOOOOOWLY learns to value being a person, rather than a weapon.

I LOVE how the Batgirl writers actually depict her as disabled - her internal narration is one of the more unique ones I've seen. She's almost entirely in the moment, rarely thinks about the future or anything outside of her immediate context. Even in her head, her use of words is minimal. Her priorities are unique, and the ways she makes mistakes are FASCINATING. Just a brilliant and original character.

[tansu-bomb]

Musings on the most important and least explained pivotal conflict between Jin Seol-Ran & Choi mage + parallels 200 years ago vs now

1. A severe drought dried up Lake Gyeongcheondaeho.

2. Jin Seol-Ran performed a sacred dance & used her divine energy so the energy from the skies flows down to earth as rain; and with the rain came ice-stones (plural).

3. Choi mage extracts ice-stone(s) from the lake, and experiments with it - thus documenting the Alchemy of Souls book that much later, Shaman Choi (likely his grand-daughter), attempts to save during Jang Gang’s raid & gets burnt in the process.

4. All across Daeho, folks kill each other to obtain the ice-stone(s) and use it primarily for soul-shifting as they please, thereby creating the great chaos.

5. Jin Seol-Ran cannot end the chaos by herself so she chooses to partner with Seo Gyeong - the one with King’s Star energy - and puts an ice-stone into his body (just like she much later does with Jang Uk, the next King’s Star) thus turning him into the most powerful weapon.

6. Jin Seol-Ran and Seo Gyeong use their complementary powers to end the chaos — she by using her divine power to track down ice-stones and he by using his muscle power to single-handlely squash armies (like Cho Yeong & Jang Uk do towards the end).

7. Up until then, folks likely physically possessed the ice-stone but not anatomically like Seo Gyeong (courtesy: Seol-Ran), but Choi mage - the mastermind behind AOS - probably figured out a way to do so as well. (Even Shaman Choi and Jin Mu were unable to accomplish this)

8. As it would’ve been difficult to kill Choi mage who also possessed the ice-stone, Jin Seol-Ran must’ve trapped his soul in the Gwido barrier (along with others). Much later, when Seol-Ran/Cho Yeong enter Gwido again, all soul-wraiths fear her but one chases her with vengeance.

9. In one of the flashbacks, Jin Seol-Ran and Seo Gyeong are shown standing shoulder-to-shoulder and extracting the power of the ice-stone that Choi mage possessed. Seol-Ran most likely turned that ice-stone into one that seeks (not gives) energy and left him to die a painful death in Gwido (like Cho Yeong does Jin Mu).

10. In return, the Choi mage must’ve cursed Jin Seol-Ran and Seo Gyeong that they too will turn into soul-shifters - in this life or the next. This curse is most likely what plays out 200 years later for both Jang Uk & Cho Yeong both of whom are Seo Gyeong and Jin Seol-Ran’s supposed reincarnations.

11. Seo Gyeong falls in love with Jin Seol-Ran; but most likely Seol-Ran is already a married woman with a heir in tow (likely Jin HoGyeong’s mother) coz, by the time great chaos ends, Seol-Ran is injured and about to die — most likely due to overusing her divine powers that accelerated her aging —and we know the Jin family line continues. That makes theirs an impossible, forbidden romance on multiple fronts (which comes full circle with Jang Uk & Cho Yeong finally defying fate and falling in love twice)?

11. After the great chaos ended, Jin Seol-Ran likely removed the power of ice-stone from Seo Gyeong as well (but unlike Jang Uk who died and had his soul resurrected only due to the ice-stone), Seo Gyeong lives on even without it.

12. At this point, only one final ice-stone remains which Seo Gyeong wished to use to protect Seol-Ran but Seol Ran, who sees future, about the fire bird and the Choi mage’s curse, chooses to attach her soul to the ice-stone itself (which Jang Gang & Jin HoGyeong think resurrected a dead baby Jin BuYeon)

The Choi mage’s curse, I think, is critical for what follows.

13. When Jin Seol-Ran’s memories & divine powers start to come back (likely around ages 8-10) while she is resurrected in dead Jin BuYeon’s body, she likely figures out that A) Choi U-tak (the grand-son of Choi mage) is her father (the blasphemy this is; ties perfectly to Chois wanting revenge against Jins above all), B) Jang Uk, the King’s star, was born through AOS, and C) Jin Mu destroyed Cho Yeong’s family.

14. While Jin HoGyeong and Jang Gang engineered BuYeon’s birth star, Cho Yeong was likely naturally born under that same birth star - the one that’s destined to accompany the King’s star. The King’s Star and the accompanying star are likely binary stars — stars whose gravitational fields are interconnected (example: Alcor/Mizar or Vasishta/Arundathi binary stars in Ursa Major).

14. Seol-ran attempts to fight fate & masterminds the attempt to find the ice-stone with Jin Mu and Choi U-tak — to once and for all destroy the ice-stone and the greedy men — in one ago. Despite her supreme divine powers, she fails given how weak she physically is having been reincarnated in a baby who’s been dead in the womb for atleast few hours if not few days (plus she’s only 10 years old and has overestimated herself).

15. There is no way Seol-ran can now go back to Jinyowon coz she has gambled and revelaed her supreme divine powers — and if she goes back, she’ll certainly meet death at the hands of her own family (Jin Mu) and Choi family (Jin U-tak). So she bides time in Sari village to let future unfold so she can interject at a more optimal time. (Seol-Ran says this at the end; that seeing into the future, one can cleverly interject. While one may not change the pre-fated outcome as she painfully learns, she knows optimal points to interject at to tightly control the flow of events & minimize damage)

16. The Choi mage’s curse of her turning into a soul-shifter is also likely the biggest reason why Seol-Ran lures in and traps Cho Yeong’s soul in the first palce coz Yeong’s compatible and immense energy would be useful for their survival when they’d both run wild (at end of S1)

17. All along S1, Jin SeolRan keeps on protecting Jang Uk & Cho Yeong. She orchestrates it all — a) allowing Yeong her power back in the lake very early on so that these two don’t drift apart, b) the exposure of ice-stone so she can inject the ice-stone into Jang Uk knowing that he’ll be hunted for his King’s star fate (she probably also knows that his death would happen at Naksu’s hands), and c) she doesn’t stop Jin Mu from causing her to run wild coz she very likely calculates that she’d be saved by the King’s star or Jinyowon or both.

17. Ultimately, Choi mage’s curse comes true — both the King’s Star Jang Uk & Seol-Ran/Cho Yeong eventually become soul-shifters — the last two that will continue to live on.

18. Seol-Ran stayed true to her purpose for 200 years and must’ve been very happy to witness that the King’s Star and his accompanying star’s love saga. An unrequited love story finally becomes requited through their reincarnations.

19. Seol-Ran’s restorative justice was to leave everything to Cho Yeong — all of her divine powers, all of the burden of protecting Jinyowon, all of her blessings to protect & live happily with the King’s star, and the responsibility to carry on the lineage of girls with unparalleled divine powers. Of course, Cho Yeong, with all the choices she makes through S1 and S2 proves herself more than worthy of this role.

[poorly-drawn-mdzs]

Kiss Kiss Fallen Tree!

[First] Prev <–-> Next

[avelera]

Laois from Dungeon Meshi legit feels like someone said the generic blond main character guy in a fantasy story can never actually be an interesting character in his own right and Ryoko Kui went, “Oh, bet?”

[mostlyvoid-partiallyflowers]

The most recent episode of Interview with a Vampire let's us see Lestat's side of the story and see how it compares to Louis' accounting of their relationship. As a result, it reaffirms just how unreliable of a narrator Louis is, but it also further illuminates elements of his character that the director and writers have been playing with since the beginning of the show.

There's this part in the episode where Lestat turns to Louis and apologizes and it's framed with Lestat turned to Louis on one side and Claudia on his other side. They're the angel and devil on Louis' shoulders, but who is the angel and who is the devil? And as my friend said, Armand and Daniel are placed into that same dynamic with Louis later on. We are being asked to decide who to trust, who's telling the truth, who's the good guy, but the fact of unreliability robs us of that decision.

This whole story is about Louis, he's the protagonist, though not the narrator, and he is constantly being pulled in two directions, no matter when or where he is in his story. He's a mind split in two, divided by nature and circumstance. He's vampire and human, owner and owned, father and child, angel and devil. He's both telling the story and being told the story. His history is a story he tells himself, and as we've seen, sometimes that story is not whole.

Louis is the angel who saved Claudia from the fire but he's also the devil who sentenced her to an life of endless torment, the adult trapped in the body of a child. He's the angel who rescued Lestat from his grief and also the devil who abandoned him, who couldn't love him, could only kill and leave him.

He's pulled in two directions, internally and externally at all times and so it's no wonder that he feels the need to confess, first to the priest, then Daniel, and then Daniel again.

He's desperate to be heard, a Black man with power in Jim Crow America who's controlled by his position as someone with a seat at the table but one who will never be considered equal. He doesn't belong to the Black community or the white community, he can't. He acts as a go-between, a bridge, one who is pushed and pulled until he can't take it anymore. He's a fledgling child to an undead father, he's a young queer man discovering his sexual identity with an infinitely experienced partner. He's confessing because he wants to be absolved, that human part of him that was raised Catholic, that child who believed, he wants to be saved. He wants to be seen.

Louis wants to attain a forever life that is morally pure, but he can't. He's been soiled by sin, by "the devil," as he calls Lestat, and he can never be clean again. Deep down, I think he knows this, but he can't stop trying to repent. He tries to self-flagellate by staying with Lestat and then tries to repent by killing him, but can't actually follow through. He follows Claudia to Europe to try and assuage his guilt. He sets himself on fire, attempts to burn himself at the stake, to purify his body, rid himself of the dark gift.

Louis is a man endlessly trying to account for the pain he has caused and he ultimately fails, over and over again, because he can't get rid of what he is. A monster. He's an endlessly hungry monster. He's hungry for love, for respect, for power, for forgiveness, for death. He's a hole that can never be filled. He can never truly acquire any of those things because he will always be punishing himself for wanting and needing them in the first place. He will never truly believe he deserves them and as a result, can't accept them if they are ever offered. He can never be absolved for he has damned himself by accepting the dark gift and thus has tainted himself past the point of saving.

[jayktoralldaylong]

Jon: If you need a vessel so bad why don't you just become-

Elias: Because I'm not scared of them.

Jon: ......

Elias: I don't need your body, Jon. I need your fear. 😈

Meanwhile, Elias the Gaslight King in earlier seasons: Jon you know I'd never let anything bad happen to you, I'm only trying to help. We need to save the world together, isn't that what we're trying to achieve? Oh Jon, Jon, Jon, bad things are only happening because you do not trust me. Trust me, and we can save everyone. Don't you believe me?

Then it went the exact opposite with Peter and Martin.💀😂💔

Peter: I've got the perfect plan to beat Elias. Can you do what it takes to become the hero?

Martin: I'm going to save the world?

Peter: Yes, and it will be you and you alone. Do you trust me?

Martin: I trust you.

That same season 💀

Peter: You played me! 😳😭 You've been lying to me this entire time.

Martin: You lied first 🙄 and I knew it the instant you told me I'd save the world. I can't save the world. I've never saved anything in my entire life. I'm not important enough to be the hero.

[mbat]

i literally read the book of bill days ago but its only now kinda hitting me how fucked ford and bills whole thing was though cause ford literally talks about being so unable to sleep (to try to keep bill away), and when sleep inevitably caught up to him, he would wake up to his body abused and things messed with and he just couldnt seem to find an escape (and he literally didnt get to truly escape until 30 years later)

(also keeping people awake for unhealthily long periods of time is another tactic used to mess with and control people because of how it impairs brain function)

listing off the things we see in those few pages in the book of bill:

i mean, punching and scratching at a steel door for hours would be so damaging to your hands and probably hurt like hell for at least 2 days after. then bill says he was hitting fords head against a wall, though its said in a post-it as if its a joke, but he also isnt exactly above doing that, and honestly he says most things like its a joke.

i also dont need to say 'bill really doesnt know how to take no for an answer' because he makes that very clear in literally any interaction we see with him.

bill literally puts a venomous snake near ford while fords asleep, which could have killed him if he wasnt lucky+skilled enough to deal with it.

he nearly gives ford hypothermia, and in the same action actively threatens ford with the idea of making him jump off of a high spot, and like ford says, doesnt do it just so he can send a message to ford about how hes the one in control.

he gets ford in trouble with not only the law, but also with other people that are probably not very happy with him after. he mutilates fords body in several ways, and i dont think i need to go into detail on them because theyre... so ew. and he even exposes part of fords body to the world. like, its just taking his shirt off, but thats still showing off his body in a way that he didnt agree to or want

and then he attempts to (or purposefully fails to) call stan, using fords voice to threaten suicide and tell stan that ford never loved him.

and he punctuates it with a final power move, in a hallucination that he creates, hes messing with stans memories and making him feel like his body was basically about to implode

and like. okay, we all joke about toxic old man yaoi, and its a good joke and toxic old man yaoi is great and its an interesting ship, but holy fuck.

like. to say the absolute least, that had to be so, so deeply violating. its no wonder that when we see ford in the past, when he finally contacts stan, he looks like hes on the verge of shattering into a million pieces. he just went through, and still wasnt yet out of, some deeply abusive shit.

like... everything coming out lately both in this book and what ive heard is on the website, mixed with what we already knew from the show itself... the stans are both so, so fucking tragic dude. their whole lives were thrown away over things that really didnt even need to be the way they were, and then they both get into situations that are pretty damn screwed, and those situations follow them for the rest of their lives. its basically a miracle that things worked out in the end for them.

i dont really have a point, i just had to talk about all that. i read almost all of the book of bill in one sitting, and while i was really enjoying it, i was also getting kind of tired of sitting in one spot only doing this one thing for several hours straight. i still felt a lot of the emotional bits of it of course, but man this part specifically just really didnt hit me until now.

i mean, to say the absolute least, i know what its like to feel violated in a similar way, though not anywhere near to the extent of what he went through at all. someone get that man some therapy got damn

[patchworkgargoyle]

JUST BINGE-WATCHED SCAVENGERS REIGN

HOLY SHIT WHAT A SHOW

HOLY SHIT???

if you can stand body horror and live in the US PLEASE WATCH THIS SHOW ON NETFLIX IT IS AMAZING

[br1ghtestlight]

Airy doesn't even feel guilty though bcuz he doesnt really understand how he's hurt the contestants. he DOES visably feel guilty about causing the deaths of the season one contestants (probably because he can empathize with dying in an accident out of your control) bcuz he didn't know how to bring them back, but now that death is temporary and he has every intention of sending everybody back when he's done with season two he doesnt seem to understand that Kidnapping them is wrong. he doesnt feel guilty because in his mind they're just all playing a fun game together and then they'll go back home ^_^ which yknow doesnt make it right but..... he doesnt seem to be afraid or avoiding the s2 contestants because as far as he's concerned he hasn't done anything wrong. he Knows liam is angry at him but he doesnt understand why

[greenaswildfire]

Ok, enough, that's enough. I'm gonna commission my friend to draw my maid OC in this universe, I'm tired of tragedy after tragedy after tragedy for Aegon and no catharsis, how long will I have to wait, or what? :/

And Alicent, I luv her, I really do because I know writers write her this way on purpose, but Aemond was right: she simps for Rhaenyra so much that her advices aren't safe in terms of war (Sept scene as example, you could have ended the war with a single scream that Rhaenyra was there, you don't care for your family or what!!!!!!), she's like S7-S8 Tyrion when Daenerys said he was working for the Lannisters. If she can't give non-biased advices, don't be part of the Council. Let's remember, again, that things could have been really different if Rhaenyra were deleted during the Sept scene.

And Aemond, I like his vibe, I like his strategic mind, his father-son bond with Cole, his bond with grandma Vhagar, but I like him only when I don't have to compare him with Aegon. If I have to choose, I'll always like Aegon more. Aemond's attempts to get attention are not helping at all, he'll always be the second :/

[safirescribbls]

This fandom fucking got me

[anonymouscatloaf]

"You know, he's the yin to my yang. He completes me."

So the funny part about Dan repeatedly calling Perry the yin to Doof's yang (besides the fact that he can just freestyle some Greek tragedy level bullshit about Doof & Perry's relationship on the fly for Radio Disney or an episode commentary track) is that at face value you might also be like, okay but why is Doof the "yang" (light) and Perry the "yin" (dark)?

I didn't say good vs evil because that's not what yin and yang are about. As a concept it's one of those terms from another language that have variable meanings in English depending on who's using it and why, but its most enduring interpretation - with the disclaimer that I am not a philosopher, just someone who is far too invested in overthinking relationships in a kid's cartoon - is the idea that they are opposing but complementary forces of the energy that the universe operates on.

It's a balance. According to Lao-Tzu, "everything is embedded in yin and embraces yang; through [vital energy] it reaches [harmony]". Two sides of the same coin, sun and moon, my other half - you get the idea. It's not hard to see why Perry and Doof are complementary but opposite; one can't exist without the other: Perry all but gives up evil when Doof has that brief dalliance with Peter; Perry has exactly two POV songs in the entire show and both of them relate to Doof, one of which explicitly states "[his] life, it seems, is empty" without Doof's scheming and he "gave [Perry's] life heroic cause"; and he straight up has no idea what to do with his life and makes the saddest platypus sound ever when Doof bans thwarting as Tri-Governor in LDOS.

On the other hand, Doof is a lot easier to see - partly because he actually talks (though Perry is actually one of the most facially expressive characters in the show - by necessity - though I digress). He's overt about his affections and very clingy (a result of childhood trauma and abuse/neglect by his parents) because Perry's his only real friend. He all but begs Perry to thwart him in that whale episode, he became really upset when Perry seemed to be helping him in the episode with the Dull-and-Boring-inator but was just using him to fix the problem with Phineas and Ferb, and he can't bear to leave Perry behind in Road to Danville, just to list a few sillier examples off the top of my head. Really, the entire B plot could be used as evidence.

(There's also the fun dynamic of Perry being an animal that has human-level sentience, and Doof being a human that was raised by animals - ocelots - during some of his formative years.)

So they're irrevocably intertwined. One of the most important characters in each other's life, according to Dan from SDCC 2015. The LDOS ending song even puts Perry smack dab in the middle of the Doofenshmirtz family with Heinz, Vanessa, and Norm - two other characters deeply wrapped up with Perry as a result of Doof himself. I mean, look at them:

Yeah, this was an excuse to make you look at one of my favorite scenes and witness Perry's hopelessly fond smile, not sorry.

Anyway, back to yin-yang. They were originally ascribed to just "day" and "night", and eventually came to also mean "movement" (because you work during the day), and "rest" (because you sleep at night). In terms of qi, they embody heaven and earth, and in the collection of essays of the Huainanzi, "yang is generated from yin and yin is generated from yang [...] sometimes there is life, sometimes there is death, that brings the myriad things to completion". Technical details of Chinese philosophy aside (which I'm sure exactly nobody is considering when they call someone the yin to their yang - it's really just the "you complete me" part), the words themselves also have various opposing definitions: positive/negative, active/passive, sun/moon, overt/covert, etc etc etc you get the idea.

In terms of their relationship, Doof has the more active role. He's one who makes the crazy inators and plots elaborate traps and monologues everyday; Perry usually just reacts to that accordingly. Doof play-acts at a lofty, larger-than-life "evil", while Perry keeps him grounded ("you are my rock" and "having you around just makes me feel, you know, safer"). Perry isn't necessarily a wholly passive character, but also, like, a lot of his plot is just Shit Happens and Perry Has to Deal With It. Doof is overt about his "evil" schemes and can't stand even white lies. Perry spends his entire life hiding aspects of himself and keeping secrets from his loved ones, and he has a whole song in CATU about being an unrecognized hero. One of these characters is living in the "dark" more than the other...

Doof is overflowing with emotions - most of them negative, but also love: so much so that his daughter feels smothered, because a lot of that love (while borne of good intentions) is misguided, and Doof fails to actually listen to her; it takes a few rocky starts (helped along by Perry himself) before they get to the point where Vanessa considers her dad a "misunderstood genius" and convinces him to give up evil. On the other hand, Perry keeps his cards close to his chest - it's not that he doesn't know how to emote (he clearly adores his boys in ATSD and he apparently is happy to hang out with Doof as a friend outside of his job enough that he has a whole wallet of photos of them just goofing off together), he doesn't because of necessity. He's better than anyone at separating his work life (fighting evil) from his pet life (pretending to be a mindless animal) from his personal life (how much he loves his family, watching his silly dramatic soaps, having a petty streak and sassing Monogram a bit, is genuine friends with Doof).

As a result, he is full of emotions he rarely gets to express - around the Flynn-Fletchers specifically, because Doof does know he's sentient, which is another reason I think they click. Doof gets the single-minded attention he never had; Perry gets the treatment as an equal he never had. They both gain a friendship, and a new sort of family. There's a part of their life imbalanced when the other isn't present.

The yin and the yang. They complete each other.