#this is such a perfect example of their canon relationship dynamic I'm

[raayllum]

Been also thinking about the line between "the text wasn't meant to be interpreted this way but it's a solid reading / line of critique (with caveats)" (#1) versus "the text wasn't meant to be interpreted this way and doing so actively worsens the story they're trying to tell" (#2).

Going to do some TDP specific examples.

But basically: When your in-depth reading takes away from the Surface Level reading rather than providing contribution, that's usually a good sign you're going into a story with 1) an expectation or reading that was never promised or 2) are weakening the story through a typically unfounded analysis.

A TDP specific example is the relationship between Viren and Harrow. Canonically, textually, they had a brotherly relationship, both in the dialogue that Viren conveys ("I think of you as my brother" / "You're my brother") and in their persistent parallel framing with Callum and Ezran.

However, that doesn't stop many fans (myself included) from reading a romantic and sexual attraction between Viren and Harrow, especially in their youth. Not only do they just have the vibes, parallels to other couples, and subtext, Viren very much places Harrow's importance in his life in a way that's usually reserved for lovers. Viren having been in love (or ongoing) just makes sense. That doesn't mean any of us are expecting TDP to ever make it Canon — like I said, it's canonically very much Not that — but it does add a layer to Viren always wanting to 1) matter to Harrow as much as he does, and 2) his frustration and severance with Harrow because he wasn't getting the acceptance and affection that he wanted.

This is what I would consider #1 avenue: it doesn't take away from their dynamic, and to me adds a layer, but it allows the text to stand as is. Viren wants Harrow's love and attention in the gradual and then sharp deterioration of their dynamic. All I'm changing is a little bit of the why per my personal reading.

Meanwhile, if I went the route of "Yeah I know canon shows Harrow appreciating, taking Viren into account, and smiling at / loving him, but I don't think Harrow cared at all and he was just a bad friend to Viren for years" then... Yeah I could read it that way — it's not as though Harrow or Viren were hardly perfect friends to each other, and Harrow's discard of Viren is harsh (even if it was a long time coming in a lot of ways) — but what does that leave me with? Frustration, maybe; a poor view of Harrow; immense sympathy towards Viren? At best, I'd maybe resent how Viren learns the lessons Harrow was trying to teach him by paying for it with his life; at worst, I'd think the narrative was being fundamentally unfair to Viren without recognizing that his previous modes of self sacrifice were always couched in ego, shirking the immediate consequences of being saved, or that he was routinely willing to sacrifice everyone around him first, including his own children.

This is where we get into area #2, and I see it happen all the time with TDP, whether it's from the series not portraying monarchies as a bad thing or the ever persistent "issue" of dark magic. Quite frankly, it's silly to walk into TDP post-S1 expecting dark magic to be anything beyond — given all the current textual evidence — "morally complicated" magic at best. Yes it can be used for good things, but that doesn't automatically make it good, and while we could spin logistical wheels for ages, the Point the story is Making with dark magic is about power, desperation, love, self-destruction, violation, and agency, and how all those things can overlap or counteract each other. Toting out "well I think dark magic is blanket statement Okay and Good actually" misses all of that, and actively makes your reading and experience with TDP worse. The surface level reading is important to take into account when examining a piece of media, otherwise it can lead to a very warped view and effect your ability to be well founded in your reading of the text.

That doesn't mean you can't desire a more morally neutral form of dark magic — plenty of fantasy series and stories have it, and some I adore (like "the legend of Zelda" — but it does mean accepting the story is never going to broadly speaking do that, and it's Okay that it won't. I'd be silly if I walked into LOZ expecting them to get into the ethics of its form of (non) dark magic of using monsters for spell parts because it's 1) a game mechanic and 2) it's not interested in the ethics of it, and no amount of me saying "well it should be" will change that, nor is it a Story Flaw that it doesn't.

This is all to say that I think asking "Why would the writers do this?" is one of the most useful, if basic, questions to ask when it comes to analysis and when figuring out whether your viewpoint is falling into avenue #1 of being grounded, or avenue #2 of veering towards warped territory.

For example, if I take Rayla not being by Callum's side when he's struggling over the pearl reveal in 6x06 as an indicator she doesn't care about him, I'm doing a deep dive that ignores all the very Surface Level emphasized scenes of Rayla caring about and supporting Callum a whole lot. I could make the claim she doesn't care based on that scene, but it wouldn't be well founded because it's ignoring miles of other much more prevalent, consistent scenes of her being there for him; it's not a well founded claim.

For something less obvious, let's look at 5x08. While Callum could've given Finnegrin the wrong spell on purpose, as some fans have thoughtfully proposed, as a sneaky wink for die hard fans... why would the authors do that? What does the story gain from that reading or intention? Well, it makes it seem like Callum was less desperate in his dealings with Finnegrin, which makes him doing dark magic afterwards come off worse. It also lessens the battle Callum has throughout that episode for feeling in control and recognizing that he can't always be. It's a reading that, in my opinion, not only strays away from the surface level reading, but is one removes elements from the text that the text would otherwise be stronger for having. In comparison, after all, if Callum gave his version of the right spell without thinking it through, he did so entirely out of desperation, which better affirms just how desperate and worn down he had to be to do dark magic, and is another instance in the episode of him feeling very much out of control (especially since we don't see the 3rd with dark magic on screen, so otherwise, we'd only have him punching Finnegrin as an example and nothing else).

Same thing with the old (now debunked) theory of Callum's bio dad being elven in nature. It's an interesting idea, exploring the implications and backstory and how'd grapple with it, but it'd weaken what canon is actively striving for, which is that Callum's magic use is special precisely because he's an ordinary human who's gained primal magic, and having elven ancestry would counteract that. It doesn't mean that the idea isn't a Good one or that it's not fun to explore in fanon, but there's a lot of reasons the story isn't (or decided not to) have it be canon, because it was stronger for the story they Wanted to tell for it not to be.

Sometimes, as fans this means acknowledging that what we want or prefer in a story is just blatantly not what's being set up, because the story is going to do things regardless of what we want or personally like. That doesn't mean those decisions are bad, and it also doesn't mean those elements or decisions or constructions are beyond critique, but it does mean to ask yourself some key questions:

Is there anything my reading is missing? (ie. if TDP shouldn't have monarchs and that's the critical focus, we lose the messages about leadership, family, and legacy that are engaged with through the vessel of hereditary monarchy)

Why might the story or scene go in certain directions? Are there story constraints (time, tone, etc) they have to abide by?

Am I expecting the story to ascribe to my worldview or preference, and am I open to things that don't do that? If yes, why? If no, why not?

Is my in-depth takeaway aligned with a surface level reading? Are both readings working together, or are they opposed? What other surface level readings might be plausible here for a casual viewer?

Even if this is not personally compelling and/or believable to me, does my personal takeaway match up with the characters' responses to it? Why or why not? (Think every Disney movie where they fall in love in 3 days. Realistic? No. Does it matter within the context of the story? Also no)

Again, this is not to say that 1) what the casual takeaway Is is an objective singular monolith (it isn't) or 2) if the casual takeaway and your interpretation is at odds that you're wrong. But through context clues, we can usually narrow it down as to what the story intends, and that if our interpretations do veer heavily to examine why and to manage expectations accordingly.

Anyways hopefully this all made sense Viren x Harrow forever

[popfizzles]

I’m sorry if this has been asked before but what do the card suits and numbers mean for each cuphead character?

Don't apologize, I'm ALWAYS down to talk about the cards when it comes to Cuphead characters!!!

When I write lore and character details for Cuphead characters (both ocs and canon characters), I like to attach a Minor Arcana tarot card to each character, but I use the French-suited version of the deck. You know these cards as the standard deck of 52 playing cards!

The four suits represent four different ideals:

Diamonds (Pentacles) represent Value.

Spades (Swords) represent Action.

Hearts (Cups) represent Emotion.

Clubs (Wands) represent Knowledge.

Attaching a suit to a character is easy; think about what they care most about in life. Are they worried about being able to provide for themselves and the people they care about? Are they a hard-worker who refuses to wait for change to happen? Do they let their heart guide them, whether for better or for worse? Are they striving to learn more and more about themselves and the world around them?

Ace cards are perfect paragons of their suit. Cuphead is the Ace of Diamonds, so every single decision he makes, he makes based on whether or not it would result in added VALUE for him. Usually, this results in greed, and a want for more. But "value" can mean many other things! The value of a home-cooked meal, or the value of a meaningful relationship. These are all very important to him!

Finding a more specific number for a character can be a bit more difficult. I like looking at the meaning behind each individual card, and finding one that helps drive a story for them.

For example, Mac is right next to Cuphead in the Arcana, the Two of Diamonds. The Two of Pentacles represents the idea of ebb and flow. Being adaptable, and flexible. But it can also represent chaos, finding difficulty in balancing responsibilities, even buckling under pressure and experiencing financial hardships. I think this describes the way I've characterized Mac very well!

Jacks are a fun one. Because where the normal Minor Arcana has two different cards to represent the learning and mastering of an ideal (shown in the Page and the Knight), the French-suited deck has combined them into a single card, the Jack.

So, it makes a fun dynamic, where Jacks (like Smith the Jack of Spades) are either slowly learning their ideal and finding their footing, or have already mastered it and are ready to teach others. And it can be fun to try and figure out which the character ACTUALLY is.

Like I said, I'm always down to talk more about the inherent cartomancy of Cuphead. It always intrigued me that Cuphead and Mugman's Super Meters were represented by playing cards. It really ties their whole gambling man motif together. :)

[laurellerual]

Gendry and Arya really fit for me for many reasons but also bc I can't really imagine her with another noble. Like, you see A LOT shipping with Arya and i swear most are nobles

Yes, there are many Arya ships, but I think the “big 3” of the fandom are essentially with Gendry, Jon Snow and Edric Dayne. This is not surprising because they are among the few young people who have meaningful interactions with her. But of this three only Lord Dayne is 100% regular noble highborn. I believe the preference depends a lot on what the reader is looking for when they thinks of a love story.

If you're the type of person who likes to read about a completely non-problematic relationship Edric x Arya is pretty much perfect. They are very close in age, seem to have compatible worldviews, and same social class so there is virtually no obstacle that can keep them apart. I can see it, but personally I think it's a somewhat boring dynamic to read in a story.

Instead Jon x Arya is more interesting as narrative material because it offers many dramatic ideas. It has all the charm of forbidden love, the tension between two souls with a deep and exclusive bond, “us against the world”. But there is the element of incest that may make some readers uncomfortable (even if these are fictional characters in an adult series with no moralizing intent). What doesn't make it my favorite is more the unequal power dynamic (that seems inevitable to me) between an older sibling and the younger sibling who adores them and sees them as an example.

And then there's Gendry x Arya, which I'm pretty sure is the most popular Arya ship. It's one of the ships with the most foreshadowing in the ASOIAF books, the only canon regarding the TV show and the one with the most fanfiction on AO3. I believe the reason for this popularity is that it is a great middle ground between the two we have seen previously. It still have the spiciness of forbidden love because of the class difference. But it's a more acceptable type of "forbidden" for many readers. It's one of the great clichés of the romance genre.

The class difference also brings in its problematic aspects, but in this ship the power dynamics appear balanced enough for me. For example: Gendry is a lowborn uneducated bastard, with no knowledge of fighting but he's also a boy in a misogynistic society, he's physically stronger and knows a useful and profitable trade. Sure Arya is an educated highborn with a rich family, and with some knowledge of self defence, but she is also a girl, tiny, an orphan alone in an environment she doesn't know. There are many ideas for writing an interesting conflict, but fewer taboos.

These are mostly my opinions on why some couples are more popular than others, but feel free to disagree and/or add your own.

[heartless-curr]

[disclaimer: this is not me complaining about sskk content that is overly romantic / sexual / non platonic etc. i love that shit i eat it up these bitches are gay i do not want less of that. keep up the good work. that's not what this post is about. 👍]

you know what's a type of sskk dynamic i'd like to see explored more in fan content? them being friends. when i say friends i don't necessarily mean a strictly platonic relationship though — this is NOT me going "erm why can't they just be friends" — being together romantically and being friends are not mutually exclusive!!! i'm in a qpr, and even if that person is my qpp (hi), that doesn't suddenly make us not friends anymore. we're still friends!!!

we see in a lot of the more au content like beast and wan, that given the right circumstances, sskk could be friends! they're similar enough to bond and get along well, and we have depictions of them chatting, getting one another food, ryuunosuke breaking in through the ada window to chat with atsushi, playing with odasaku's kids, etc. this doesn't immediately mean that there is nothing romantic going on between them!!!! but i think it would be really cute for sskk content to also delve into their relationship when it turns more amicable — i mean hell even in canon itself, their banter has been turning sillier and more friendly! they're rivals, they're mirrors of one another, they're homosexuals, and they can be friends!

it's simply another aspect or their relationship that i find to be super underutilized but is honestly peak. like as a perfect example of what i mean i never stop thinking of this 1 wan scene:

it's sweet and funny and one of the very many layers to their very complicated relationship :))

[o-uncle-newt]

We don't talk enough about the Petherbridge/Walter adaptations of the Wimsey/Vane novels.

(Well, we probably talk EXACTLY enough about Gaudy Night, which is really pretty bad, but besides for that...)

(Sorry, just a warning, Richard Morant as Bunter is fine but I won't have much to say about him here. I just really like this picture.)

The casting is basically perfect, especially Harriet Walter as Harriet Vane. I no longer see the book character in any other way- the only notable difference is that in the book she's noted as having a deep voice, but Walter's has a distinctive enough tone that I think it works regardless. She is just so, so, so good- captures the character beautifully, sells everything she does whether mundane or ridiculous (probably the best/most realistic reaction of someone finding a body I have EVER seen in Have His Carcase), makes the most of every limited minute she's on screen in Strong Poison and leaves her mark every minute that she isn't... and she looks AMAZING doing all of it. Just perfect, could not imagine better casting.

Edward Petherbridge I don't hold up to that level of perfection- I think that, try as he might, he's not really able to capture Wimsey's dynamism (possibly because he's a bit too old for the role) and is a bit overly caricatured in many of his mannerisms. But overall he does a pretty good job, in addition to looking quite a lot like how I'd imagined Wimsey- but in particular, I think he does a really lovely job of selling a lot of the emotion that he has to convey in some scenes that feel like they SHOULDN'T be adaptable from the book- specifically the scenes of him and Harriet. Him proposing to Harriet, him being disappointed when she (completely reasonably) turns him down... those shouldn't work on screen with real humans rather than in Sayers's calculated prose, but it DOES work and in no small part because he's great at selling Wimsey's feelings as being genuine even when his actions seem over the top. And, of course, Harriet Walter sells her end of the scenes right back. All in all, I think I have mixed feelings about Petherbridge as Lord Peter Wimsey the detective, but I'm a fan of him as Peter, the man who has feelings for Harriet.

Overall, though, both are, I think, very successful in capturing these characters- the fact that they take these people who even in the book can sometimes push the boundaries of likeability (which to be clear, is part of what I love about reading them) and make them eminently watchable is a great achievement. And also, in addition to their really looking like their characters individually, they're very well matched as a pair in the way that one pictures them from the book. They're even of very similar height and build, which we know is canonically true from Gaudy Night, and thus at least a somewhat relevant element of their dynamic.

Now, the adaptations are very uneven, and that's even without talking about Gaudy Night because, while it has about as good a rendition of the punting scene as I think we were ever going to get, most of the rest of it is crap and massively expands on what I think are serious problems to Peter and Harriet's relationship that the series as a whole had (not to mention cutting the character of St George, which is a travesty). None of the adaptations are perfect, and mess with aspects of their relationship in negative ways- for example, the ending of Strong Poison is exactly backward in a really awful way. I'll get back to this.

But when the show gets the two of them right, it gets them RIGHT, even when it's adapting Sayers's text/creating new dialogue. There are scenes in this one that I love almost as much as the canon text, like this one:

I don't think any of this is in the book, and there are things that happen here that I don't think Sayers would have ever written. But at the same time, a combination of the dialogue and the actors makes it COMPLETELY believable as these two people, and it captures a moment that is just really key for Peter as he faces his limitations and his feelings- something that in the book is conveyed through a lot of internal narrative on Peter's part that would be impossible to adapt as is, but that in the world of the show needed to happen in a much more visual and narrative way. Not all of the dialogue that this series chooses to fill in those gaps works, but even when it doesn't the actors do their best to sell the heck out of it, and when the dialogue DOES work it is seriously brilliant.

Probably my favorite of the adaptations is Have His Carcase, and scenes like this one are a big part of the reason why:

They change the location, but otherwise it's EXTRAORDINARILY faithful to the equivalent scene in the book, and honestly it shouldn't have worked with real people doing it and yet it does. It's just acted perfectly, given just enough arch and silly humor (particularly with the spinning door) that we don't attempt to take it too seriously, while also conveying the relevant emotions so well. The actors in the scene through only their faces and ways of speaking convey subtext that Sayers, in the book, conveyed a lot later on as actual text in the characters' thoughts, and there's something pretty great about that.

Other Have His Carcase scenes are less good (the dance scene is mediocre at best, I think), but if there's another Have His Carcase scene that I think illustrates how great Walter and Petherbridge are at selling the human sides of their characters, it's That Argument- seen here:

The Argument is a pale imitation of that in the book- the one in the book is, in fact, probably unadaptable as is- but it is still just so good because the actors are so good at selling it. Walter is just brilliant in the role and utterly inhabits it while also imbuing it with her own spin, and makes us feel Harriet's pain- and Petherbridge, through some relatively subtle facial expressions and reactions, is able just as well to make US understand what all of this means to him and how he feels. It's actually really remarkable that, just like how Sayers writes a relationship dynamic that only feels like it works because she's the one who wrote it that very specific way, this scene feels like it only works because these two actors play it in this specific way. Could two other actors do it? Very possibly, but it would feel super different and I wonder if it would feel this authentic. (I do want to note though that this scene made me really wish that we'd seen a Frasier-era David Hyde Pierce in the role of a younger and spryer, but equally posh, witty, and vulnerable, Wimsey. It just gave me vibes of something that he'd do beautifully.)

Now, as I said above, this doesn't get EVERYTHING right. In fact, quite a lot of their relationship ends up going pretty wrong- as I think a major mistake is their throughline which emphasizes Peter's continued pursuit of Harriet as not just reiterating his interest to make it clear that he hasn't changed his mind, but actively taking advantage of moments and situations in a romantic sense, taking a much more specific role in engaging with her physically, commenting on her appearance, saying how difficult it is for him to NOT pursue her more, etc. It makes the whole thing feel a lot more cat-and-mouse rather than a budding relationship of equals, and one where Peter acknowledges the whole time that they HAVE to be equals for a) Harriet to feel comfortable with him and b) them to be good together. In fact, however good the Argument above is, it's kind of undercut by this very pattern- he makes the book's point about him treating his feelings like something out of a comic opera, but he also at that point in the story has had a few much more oppressively serious scenes with her that clearly make her uncomfortable- nothing like anything in a comic opera. It's like the show misses the point a little.

I think the place where this really starts is at the end of Strong Poison. (I could see an argument to be made that it starts earlier, in a few smaller nuances of their jailhouse scenes, but I like those enough that I choose not to read into them too much lol.) After what I think is a great addition to the final jailhouse scene (one that I loved so much I repurposed it for a fic)- "it's supposed to be about love, isn't it" and some excellent reactions from Petherbridge- Harriet goes to court, her charges are dismissed, and unlike in the book, when it's Wimsey who leaves first (which Eiluned and Sylvia point out is a sign of his decency in not waiting for Harriet to thank him), here Wimsey is the one who watches as Harriet rejects him and walks away from him- the beginning of the chase. But nothing about their relationship is meant to be a chase! It's so frustrating to watch as that proceeds to be a continuing issue to a limited degree in Have His Carcase (where it's at least balanced by enough good moments that it doesn't matter so much) and to a MASSIVE, genuinely uncomfortable degree in Gaudy Night.

The only praise I will give it is that while the punt scene in the book is unfilmable, I think this adaptation did its best here and it's pretty good.

I'm not going to spend much time talking about Gaudy Night otherwise, because I'd need all day for it and also I'd probably need to rewatch it to make sure I get the details right and I have zero interest in doing that, but the way that it has Wimsey imposing himself and his feelings/hopes on Harriet to a really ridiculous degree, in a way that he never, ever does in the book, is just so so discomfiting and makes me feel terrible for Harriet. She doesn't deserve that. If I recall correctly, in that scene at the dance at the beginning, she's so happy just being with him and then he's all "oh so this means you want to marry me" and she just droops. He's so aggressive!

And that's what makes the worst part so bad, because not only does this miniseries not depict Wimsey's apology as the book does- one of the best scenes in a book full of brilliant scenes- it would actually be weird if it did, because this show doesn't imply that there's ANYTHING for Wimsey to be apologizing for! In fact, unlike in the books where we see Wimsey growing and deconstructing the parts of himself that had been demanding of Harriet, in the series we only see him get more demanding- until finally he wins. It's honestly infuriating and I hate it- the actors do their best to sell it (and apparently they were given bad enough material that they actually had to rewrite some of it themselves, though I have mixed feelings about the results) but it is just massively disappointing. Basically the whole emotional journey between the two of them is not just neutered but twisted.

For all of my criticisms of the adaptations' all around approach to their relationship, I do have to reiterate- Walter and Petherbridge do a wonderful, wonderful job. (Especially Walter.) When they're given good material to work with, and even often when they aren't, they are able to sell it so well- and particularly in the case of Walter, I genuinely can't think of the character as anyone but her rendition now. She IS Harriet Vane for me. And, for all the flaws that the series has, that's something pretty dang special.

Anyway, for anyone who read through this whole thing and hasn't seen these adaptations, I DO recommend Strong Poison and Have His Carcase- but not Gaudy Night unless you're either really curious or a glutton for punishment. The first two, though, have very good supporting casts, are quite faithful plot wise (sometimes to a fault- another flaw is that they are really devoted to conveying the whole mystery with all its clues sometimes to the point of dragginess, but will drop sideplots like, for example, Parker and Mary- which is totally reasonable, but still vaguely disappointing as those sideplots tend to add some levity/characterization), and just generally are an overall good time. (Some standout characters for me are Miss Climpson in Strong Poison and Mrs Lefranc in Have His Carcase.) And, of course, the best part is seeing the little snippets of Peter and Harriet that come through- less so their journey, vs in the book where that's central, but so many scenes where we just see the two of them together as they are in that moment and it's so satisfying.

[aceof-stars]

Manfred von Karma!

Thank you for the ask <3 (to every else who sent me a character ask, I'm working on it :)

First impression

I actually never hated him or had strong feelings about him. I was introduced to AA through narumitsu fanfic but I knew I wanted to play the games so I avoided everything with spoilers, including everything Manfred. I guess I just thought of him vaguely as a villain and Miles' mentor/father figure.

Impression now

He's one of my favorite Ace Attorney characters. I have him at 4th but honestly, maybe he's 3rd now?? I have developed an attachment to this ridiculous evil man. I love him so much. I wish there was more canon content of him, but I think he's an interesting character with a lot of room for nuance.

Favorite moment

He doesn't really have many canon moments (and I haven't played AAI). But probably when he gloated Phoenix into cross-examining Polly the parrot and it's implied that he witness-coached a parrot. Manfred, you are an insane person.

Idea for a story

I just want to see a story where Manfred is force-fed a redemption arc. Like for example a no DL-6 AU where Gregory manages to get a Manfred properly investigated for forging evidence. But to ensure he doesn't get another penalty, Manfred tries to frame another prosecutor to throw Gregory off his trail.

Only, Manfred finds out that the person he is framing is actually guilty of forging evidence. Manfred has to follow through with his plan and gets dragged into working with Gregory. Gregory is surprised but grateful that Manfred has been so helpful in weeding out corruption in the prosecutor's office, and wants to befriend/ally with Manfred. Manfred is seething with hatred. (Oh and eventual Shingou :)

Unpopular opinion

Manfred as a character deserves a lot more nuance. There's... a lot to talk about but these are the three main things I have a strong opinion on:

1) He was a flawed parent and I think it's more interesting to explore those flaws than to just label him abusive for the sake of villainizing him.

2) It does not makes sense for Manfred to be sexist/homophobic/etc. Simply because I don't think he cares enough to hate a group of people like that. He is very rational, efficient, and his perfectionism is focused on his prosecuting career. If anything, he discriminates against defense attorneys (lmao).

3) Manfred didn't brainwash or force Miles into becoming a prosecutor. I'm sure Manfred was influential but Miles had his own reason to be a prosecutor that stemmed from DL-6. Miles was also always a perfectionist (the paper cranes thing) and the von Karma family brand of perfectionism just amplified it.

Favorite relationship

Shingou!! <3 (Gregory Edgeworth/Manfred von Karma)

Defense attorney/prosecutor ship, toxic enemies to lovers, doomed romance, or super slowburn (if no DL-6 AU), bitter courtroom rivals turned bickering old married couple (who still duke it out in court), co-parenting Miles and Franziska (before officially getting together).

Favorite headcanon

Manfred did love Franziska and Miles (in his own way). Regarding Miles, Manfred saw him as a symbol of his failures (the penalty Gregory gave him and the shot in his shoulder). So Manfred struggled a lot when he began to actually care about Miles. When Miles's perfect record was broken, Manfred saw it as a threat to his own perfection. (I hope that makes sense. I do need to think about this more to solidify the headcanon. I just love complicated von Karma family dynamics)

[sinimake]

MK1 is such a bizarre experience bc on one hand some characters have benefited a lot from the "universe reset" (Baraka, Reptile, even arguably Shao who is less than a muahahaha conquer villain but someone who actually seems to care about his realm?). Others kind of raise interesting questions, like Shang Tsung : is he doomed to be bad or can he be good for a change? (In the story he choses to become a snake-oil salesman before joining the imperial family + there is an Union of Light Shang Tsung so him being good is a thing that could happen).

But then, instead of using that full reset NRS just leaves some things the same? Like. It's a reset. In 2023/2023. That was the perfect moment for implementing some (maybe not lots) changes. Perhaps starting making Johnny canonically bi? Just a small ripple towards a bigger change? Instead of getting stuck in same old ways?

YOW EXACTLY

Things i loved about Mk1 change:

Mileena and Kitana sibling relationship

Rain's character design

Tanya and Mileena!!!!

Sindel being badass empress and outworld thriving in peace under her reign

Baraka and Syzoth on the good side!!

Kenshi's yakuza past

Geras and Liu Kang's friendship! Liu Kang actually treating Geras as his equal 🥺 and Geras being so loyal to him 😫😭

Shang Tsung's zitsy behavior

Lin Kuei brothers 🥺

What i hate:

Hanzo being a kid and essentially everything about him being handed to Kuai Liang

Kung Lao being the second best again

Raiden and Kitana romance

Mileena and Tanya having the barest screen time

Controversial opinionated rant down below

I hated that they essentially just switched Liu Kang and Raiden's places. I started MK1 right after MK11 that i was furious to see Raiden chosen as the champion (IT SHOULD HAVE BEEN MY BOY KUNG LAO LET HIM SHINE ISTG) and then flirting with Kitana with Liu Kang's exact line (I hope we meet again under different circumstances)??? Tf??

I understand that some plot elements are too good to change but character romances? Don't replace one side of the pairing, then try to serve it to the audience again! Reboot should give us more variety of character designs, stories, dynamics, and relationships. Give us the genderbent, queer, poc characters BC YOU'RE NOT EVEN SACRIFICING ANYTHING when we literally have infinite alternative timelines you can recall classics from. For example, we have our human Raiden and old man titan Raiden. We can do variety. I wanna see female Fujin, i wanna see Scorpion Harumi and fighter Suchin, i want actual deserved queer representation in Kung Jin, and i. wanna. see. canon Johnshi!

My hypothesis is that NRS is gonna bring in mk children through dimensional travel so that they don't need to age up our current characters. I'm saying this to push my point further that we don't need to repeat romance plotlines (dont come at me. I have bais just as you have bais for ur fav old pairings)

Listen, i loved Sonya and Johnny in previous games, her and Cassie were a huge part of Johnny's character arc, but since Johnny is already maturing by the end of mk1, i don't see a point in Cageblade anymore (very controversial but it's my blog so i will yap as much as i want) We are not erasing anything by possibly making Johnny queer. Johnny and Sonya can be married in different timeline and Cassie is still their child. If anything, we are enriching the character, expanding the universe. Really, I don't wanna buy the exact same game story in different graphics. I don't want to see Suchin die again just to serve Kenshi and Takeda's dynamic.

And don't even get me started again on heteronormality of the game. We have 6 realms that have diverse variety of biological and sociological configurations AND YOU'RE TELLING ME THEY ARE ALL HETEROSEXUAL?? NRS is a fucking pussy for not having enough queer representation. They think they can give us vague "blink, you will miss it" moments and move on. There are so many high selling good games with good lgbtq characters. Literal 2023's the game of the year, BG3 is so fucking gay that it's off to space and you're telling me that NRS is just going 🥺👉👈 but our fans 🥺👉👈

Anyways, NRS can eat shit and Johnshi for the president 🤘

[zenkindoflove]

Elucien Parallels: Eddard and Catelyn Stark's Arranged Marriage/Marriage of Convenience Trope

I'm back again with more ACOTAR and ASOIAF/GOT parallels. You can go read this post where I breakdown my thoughts on comparing Elain Archeron and Sansa Stark as representing similar character archetypes in fantasy.

Today I want to talk about one of my favorite ASOIAF/GOT ships - Ned and Cat. What I want to do with this post is sort of breakdown the dynamics of their relationship and story arc and apply it to some common criticisms of Elucien and why in order to get the kind of tension Elucien have in canon, you need to have an understanding of how this particular trope works and the way these types of characters inhabit it.

So, a quick rundown on Ned and Cat and their relationship, just to get anyone reading this up to speed. Catelyn Tully was betrothed to Brandon Stark, Ned's older brother. Their betrothal represented a political alliance between the Starks of Winterfell and the Tullys of Riverrun - the liege lords of their respective regions. Despite being betrothed for political reasons, Catelyn fell deeply in love with Brandon anyways. And when he was tragically murdered by the Mad King, alongside his father, she was heart broken. Enters Ned, now the Lord of Winterfell, who has to secure this political alliance because he is about to wage a rebellion alongside his friend Robert Baratheon against the Targaryens. It makes perfect sense for him to marry his brother's betrothed. Ned and Cat get married quickly and off to war he went. When he returned a year later, he brought home his bastard, Jon Snow. He and Cat now have to figure out their marriage on top of not only being effectively strangers, but also with this betrayal looming over their relationship. When we enter the story of Game of Thrones, they have 5 children, the oldest Robb who was conceived just before Ned left for war, is 16. Cat and Ned are very much in love, showing open affection and devotion to each other. Cat is quoted later in the series telling her son Robb (show canon):

"Love didn't just happen to us. We built it slowly over the years, stone by stone, for you, for your brothers and sisters, for all of us. It's not as exciting as secret passion in the woods, but it is stronger."

Okay, so where does Elucien come into all of this and why should you care if you ship them?

Well, I think Cat and Ned's story illustrates a lot of things and disproves many doubts that are thrown at Elucien being endgame.

Betrayal

First is this issue of betrayal - that Lucien's involvement with Tamlin and his inevitable association with the situation in Hybern (though he did not know the extent of the deal with Hybern nor at all that Feyre's sisters had been kidnapped) will be such a huge breach of trust that Elain will never be able to get over it. That the relationship is dead before it even started.

Ned and Cat are a perfect example of how many anti-Eluciens are wrong when they think that Elucien are essentially dead before they start. By bringing home Jon Snow and raising him in his home amongst his trueborn children, Ned inflicted a huge betrayal onto his wife before they ever truly started their relationship. Although, at least in show canon, we know this ends up being quite a noble lie by Ned, this is never something that he reveals to Cat. So, Cat must swallow her pride and her jealousy and continue to be Ned's wife. This does not mean she has to fall in love with him, as it is not expected of her to, but she does all the same. Why? Because of Ned's inherent goodness and devotion to her. Cat sees that Ned is a good, honorable man - which is why she ultimately believes the rumors that Jon must be Ashara Dayne's son and that he is a love-child that Ned cannot bear to abandon. Because as she comes to know Ned, she sees his heart and his moral standing.

Which is all to say, that regardless of whether Elain begins her journey angry and blaming Lucien for association with her being Made and the end of her engagement, by getting to know him and spending time with him, she too will be able to see Lucien's inherent goodness. It is unavoidable and undeniable. Lucien, much like Ned, is honorable, loyal, and stands up to the face of evil, even if it will stupidly get him killed. He takes ownership over the people in the lands he runs and cares for that responsibility and their well being deeply. He commits violence when he must but he does not enjoy it. These are all traits that suited Cat well and why she ended up having such a loving marriage to Ned through many, many years. And likewise, suit Elain well and why she and Lucien will have a healthy and loving mating bond.

Reluctant Tension

Many anti-Eluciens do not understand the romantic tension presented in their situation. They see their distance, polite exchanges, and reactions as a sign of indifference or discomfort. It is a far cry from the explosive anger and deliberate pushing away that Nesta displayed with Cassian. Sometimes it's easier to understand Nessian's romantic tension because passion can exist both in anger and desire. But what about the stilted interactions of Elucien?

This is also where I will draw parallels to Ned and Cat. Ned and Cat did not go to the alter kicking and screaming. They were not political rivals or enemies. Catelyn did her duty with her head held high, living her house words (Family, Duty, Honor). Catelyn is often described as the picture of a noble lady - well-mannered, kind, diligent, dutiful, and respected. She held a high place of honor at Riverrun, effectively serving as Lady of the house after her mother's passing at a young age, and then taking over the role of Lady of Winterfell. She earned loyalty and respect amongst her subjects. We don't know much about the dynamic of Ned and Cat at the early days of their relationship. But what we can infer based on how Cat describes this time period, is that Cat hid her reluctance and anger behind silent pride. It was over time, as she grew to know Ned that this distrust and distance was thawed and she fell in love with him.

Similarly, Ned is not a hot head. He is grounded and stone-faced, a trait that Cat actually did not like initially because it was so different from his brother who she was in passionate love with. Brandon was a hot-head, charming, and funny. He was a showboat and is basically how he came to duel Petyr Baelish in the first place. But Catelyn eventually realizes the wisdom in loving a man like Ned, rather than the girlish love she had for Brandon.

Now Elain and Lucien are not mirror images of this. Lucien is certainly much more savvy and charming than Ned. And Elain is not forced into a romantic relationship with Lucien at all even with the mating bond. She has been given total freedom to choose, unlike Cat. But, my point here is that the presentation of their romantic tension, which is more quiet and understated and can confuse some readers who have a preference for the more passionate displays of tension, is very similar to Ned and Cat in the beginning of their relationship.

Now, as we learn both in the books and the show, Cat and Ned at the start of the series are well into their 16+ year marriage and are quite passionate now. They have many loving physical displays with one another, often passionately kissing or referencing passionate lovemaking they just had. They speak to each other with such warm affection others have to look away. It is clear they have deep love for each other that goes beyond duty. The passion certainly developed between them along the way. With Elucien I'm sure this will play out much differently given the presentation of the mating bond and how we know it affects people. It's very likely both of them are deeply desiring each other already, and very likely that they will have some dramatic rows between them, as it is likely Ned and Cat had as well, once they start really talking about the hard topics. But the point is that passion and the potential for passion does not have to be readily observable right from the start. If anything, there is something very delicious in the steady build-up to it through many of the tropes we see in historical romances where there are rules and etiquette to courtship (which many suspect Elucien will play with some regency era tropes).

Conclusion:

I really love finding parallels between ships of my favorite series, and there is of course a lot to draw from when its two fantasy series. In the end, my bigger point is that great love can come from Arranged Marriage/Marriage of Convenience Tropes which Elucien inhabit with the nature of their bond snapping right when they met. It's not for everyone, but for those of us who get it... we really get it. Fortunately for us, Elucien exist in a romance with HEAs and not the world of ASOIAF/GOT so they won't meet the same tragic fates as Ned and Cat *sobs*.

[shrimpalbuspotter]

I genuinely don't know how to control my emotions everytime I see someone compare two Harry Potter ships (mostly Drarry) with COMPLETELY DIFFERENT PERSONALITYS just because it's "the same dynamic" (like Gryffindor x Slytherin or enemies to lovers or secret relationships...)

FOR EXAMPLE. SCORBUS AND DRARRY... ARRRG!! I ranted about this to my friend today because they made a comparison and I freaked out...

See, Drarry has both the dynamics I mentioned above. In the version i have in my head (aka, as canon accurate as possible) they hated eachother, but there was something about the other they couldn't help find enticing. They wanted to a claw a space inside the other where they could fit, all nails and teeth and obsession. Neither of then admitted this, because they were too busy with their own missions, and wanted to defeat eachother. They probably confused those feelings for hatred anyway, Harry thinking he needs to always be looking at Draco incase he does something evil etc etc. And if they were to get together? It'd be in adulthood, or atleast after months of communication and friendship where they can realise their feelings. And after that, Draco would want everyone to know that he is so happy with his new boyfriend slash husband, making it as public as he can, before running off to live in a Manor hidden from everyone. This is one last rebellious move towards Lucius, which Harry is very glad to help with. (Similarly, I dislike when Draco is made into the sweet doting soft "wife material" husband. He will scratch Harry before touching a single dish. He is rather scowling or smiling smuggly. Their relationship is a competition)

SCORBUS? They are THE friends to lovers. Both of them adore the other so much and they aren't afraid to show it, they just don't know how. Albus would sacrifice the world for Scorpius and Scorpius would go through hell for Albus (COUGH.. ORPHEUS AND EURYDICE). And unlike Drarry, both are aware of their crushes on the other, they just don't want to ruin this perfect thing they have going on. The love they share is so deep and beautiful that it carrys its own magic, and when they do eventually get together (much earlier than Drarry would. Like 15) they won't make it a huge deal. Albus hates the attention he gets in Hogwarts already, and they are both so awkward around eachother in the oddest ways. It won't be a secret, they just won't actively tell people unless they ask. Also, unlike Drarry, Scorbus is gentle. They want to merge into eachother as much as they can, and become one person. They want to fuse, but obviously they can't, so they share sudden hugs and nervous smiles and the grazing of their hands while they walk so close to eachother they look attached by the shoulders. Both of them are so sweet and silly with the other, Albus specifically stepping out of his shell and letting himself be excited and touchy with Scorpius compared to being the quiet, angry "Squib".

Um... but yeah! They aren't the same... if you want me to make another one of these with a different couple I gladly will I'm passionate.

[saintsenara]

Heyy, just came back from reading your analysis for remadora and snupin, and I just wanted to say THANK YOU for speaking the truth no one else seems to aknowledge.

First of all, Tonks is a queen and neither Remus or Sirius held a candle against her. I agree that their relationship wasn't at all perfect, that there were many topics to be discussed and explored there, and let's be honest, Remus isn't exactly healthy boyfriend material, regardless of his age.

Which takes me to my point. I love some fluffy snupin fic with a sweet and regretful Remus as much as the next person, mostly because it feeds my joy on seeing him actually beating himself for his mistakes and how he was as much of a bully to Severus as the rest of them. I want Severus's pain and the role Remus played in it to be acknowledged in their relationship.

However, I also want to see some good canon compliant snupin fic where Remus Lupin is presented as the low-key cruel and dark asshole we know he is. I don't buy that he only remained with the marauders because he didn't want to be alone, hell nah, that was Peter. Remus enjoyed their shenanigans and the pranks just as much, and I bet he was the mastermind behind a lot of them. I believe he was the only one who had some guilty conscience afterwards, but it wasn't nearly enough to make him re-consider.

I want some snupin fic where their dynamic follows the one we see in canon. Severus being terrified of Lupin and traumatized after what happened in the Shack, I want Lupin to low-key get off his fear because it makes him feel superior to the usually composed and indiferent Snape. I want Lupin to have been weirdly fixated with Severus since their school years and that's why he never stopped the pranks, because he enjoyed seeing the other boy under their mercy. I want Lupin to "hunt" him as both a teenager and as they're both professors in Hogwarts. Back when i read the books, I always thought his behaviour with Severus, both when they interacted and when Lupin talked about him with others, was kinda fruity. Like, what's up with than enthusiasm to see him wearing woman's clothes? How come he's the only one who refers to him "Severus" when everyone else, except for Dumbledore, calls him Snape? Yeah, it always felt weird to me.

In short, I simply think their canon compliant dynamic would be much more interesting if taken in consideration for fanfics. I love the whole "prey/predator" dynamic they could have.

ahh, thank you so much, anon! i'm delighted that you enjoyed my thoughts on both snupin and remadora - there are dozens of us!

[and i'd like to also draw your attention to this excellent addendum to the remadora point by @evesaintyves - i think it's really important for all of us remadora fans to be vigilant about challenging a tone which is far too prevalent in our conversations that to think about tonks - and lupin - as queer devalues them and their relationship within a canon-coherent setting.]

and yes - absolutely - i love seeing the messiness and thorniness of lupin explored - in snupin or otherwise - by stories which engage with the ruthlessness which lurks beneath his mask of benign affability. bring me the story which really gets into lupin describing his midnight jaunts with the lads in full werewolf form as "the best times of my life" - and clearly never being anywhere near as sorry about the risk he was running as he makes out in prisoner of azkaban...

[and also the fact that it doesn't seem quite as clear to me as i once thought it did that he didn't know anything about the werewolf prank...]

and i think there's an enormous amount of potential in using the longstanding cruelty which is tangible in snape and lupin's dynamic as a vehicle to bring down the mask behind which he lives - and that his relationship with his own sexuality is a really interesting example of that.

there's a homophobic undercurrent to a lot of the marauders' bullying of snape - the nickname "snivellus", for example, is based in the idea of snape being improperly masculine - which endures into the adult lupin and sirius' relationship with him [sirius' comment about snape being lucius malfoy's "lapdog" is him insinuating a sexual relationship between them in which snape is implied to be the receptive partner; lupin obviously thinks that snape would regard being made to cross-dress as humiliating and emasculating].

and while i love the portrayal of the wizarding world in fics as some sort of queer utopia - because i love the escapism of it - the evidence we have from canon is that this is... a pretty far-fetched thing to say about a society which is so obsessed with blood and lineage and the continuation of both of these things.

someone like lupin, who already depends so much on maintaining a mask of "civility" and conformity because of the precarious status his lycanthropy confers upon him in the eyes of the state strikes me as someone who would really struggle to acknowledge himself as queer in any way without thinking of that queerness as deviant and as dangerous to him.

[which is such an underrated remadora premise - tonks is clearly much more comfortable with being experimental and explorative in how she engages with the world. you could have so much fun with the impact tonks' relationship to her own queerness would have on lupin's relationship to his.]

lupin discovering snape is queer - and the combined fear and desire this might inspire in him, and how this would be received by snape, who is still so hung up on being afraid of and humiliated by him - could be a really complex and tangled premise for a story.

which i think you may have just offered to write...

[mitskijamie]

*holding ur face gently* I'm listening to u. i see the roy/jamie/isaac vision. tell me more.

It's great because these three don't have a single scene together BUT it's a perfect triangle that consists of three two-way dynamics that I think are sooo compelling and might be even more compelling if they were all in tandem

Like obviously Roy and Jamie activate my prey drive and you all know that. Literally the same person but also sooooo fundamentally different. Mirrors. Direct parallels and perfect opposites. Etc

But Roy and Isaac's relationship is almost just as interesting to me!!! I think Roy really sees Isaac as a younger version of him in a way that he doesn't with Jamie (like he definitely sees parts of himself in Jamie, but not the way he does with Isaac - Isaac is his actual successor), which leads to a lot of really important moments of character development for Roy where he realizes that he's playing a role in perpetuating toxic cycles of behavior and corrects them. Roy's talk with Isaac about "I know that you're really angry about something else, and you need to sort that out or you're going to keep being angry" for example was such an important moment.

Isaac is also affected by Roy's mentorship in personal and professional ways. Best example off the top of my head is that he makes the decision to talk to Colin (his closest friend that he had fallen out with) because of what Roy had told him about addressing what's really making him angry, but Roy's tenure as captain also had major effects on the way Isaac captains in both positive and negative ways (like having secret handshakes with each of his players to hype them up on the pitch, or yelling at Jamie about how he "looks like a prick" and there's something the matter with him because he was drifting back for total football.)

There's also Jamie and Isaac, a relationship that is narratively irrelevant in canon but interesting in my mind palace. You might be thinking "they're literally just coworkers" but like. They didn't USED to be just coworkers. They were FRIENDS. They were pricks together. Jamie still thinks of Isaac's name first when he tries to name his BEST friend!!! That means something!!! Isaac used to be Jamie's lackey and is now his captain, and the tension and distance between them following that shift in power dynamics is pretty evident. And I want to see more of that!!

When you combine all 3 of these I think you would get an absolute mess of jealousy and competition and unhealthy power dynamics, and I love those things :) in my mind Jamie is Roy's clear favorite, but he respects Isaac more, and they're each jealous of the other. Isaac desperately wishes Roy cared for him the way he cares for Jamie, and Jamie desperately wishes Roy thought of him as equal or someone admirable the way he does Isaac. So they're both competing for Roy's affection in a way that they will never get it. Yum yum

(I also just think mentorship is extremely erotic and I have soooo many sexy ideas about them lol)

[cursedvibes]

I know you like tenken, takaken and sukume but what are some other relationships or dynamics do you like in jjk and why? Could be romantic, platonic, familial, antagonistic or just plain toxic and fucked up, anything.

Thanks for the interesting ask! These are my favourites at the moment.

Mahito & Yuuji

I think it's the best antagonistic relationship Yuuji has in the entire manga. I like them both as a ship and platonically for what we get in canon. Although considering the scene in the anime where Mahito tries to murder kiss Yuuji, you could say it's one-sidedly canon.

I miss Mahito a lot lately and come to only appreciate him more and more with time. He was very good at building up a sense of dread and he has a viciousness to him that's lacking in the current Shinjuku fight for me.

He mirrors Yuuji without literally being related to him (so far, who knows what else Gege will reveal to be in Yuuji's gene cocktail). Yuuji learns something from him, reflects upon himself, his actions, who he wants to be and why he fights. They are both still figuring each other and themselves out. Both of them grow during their fights and become more dangerous, desperate and feral any time they meet. I love how Mahito is not only able to break Yuuji, but also to break him. Yuuji's hatred for Sukuna is smouldering, while for Mahito it is a raging fire. Yuuji has nothing to learn from Sukuna and no interest to engage with him anymore, while for Mahito it was raw and personal and resulted in Yuuji embracing the disgusting and ruthless side of himself that makes him so cold against Sukuna.

It's been great to see how even now Mahito still influences Yuuji. He was the first one who really taught him about the soul and what it can be capable of. Any time the soul is brought up, Yuuji's first thought is how Mahito was able to manipulate and contort it. He is able to hurt Sukuna so much because of what he learned from Mahito. As much as I miss Mahito and his personality, it wouldn't make sense to bring him back now, so I'm glad to see his continued impact on Yuuji this way. Overall, what I like about the two is how "juvenile" their conflict is. Cruelty of a child and innocence of a child clashing and both of them improving, growing and maturing through it. I also think it's very fitting that Yuuji never got to exorcise Mahito because the message is that Mahito represents a different side of him and he shouldn't ignore or destroy that side, he has to embrace it to be able to stomach what lies ahead.

Maki & Mai

If done right, I'm always a sucker for twin relationships, especially the codependency in it. I wouldn't say Maki & Mai are my favourite example of them or the best written one, but I still like them for what they are, particularly everything in Perfect Preparation and the Sakurajima colony. It could've been better and more consistently set up, but the payoff is still emotional and impactful and that's what I like them for.

Both of them need each other, wanted to help each other in their own way, but they never saw eye-to-eye or managed to communicate properly until after Mai's death. They were holding each other back through more than just the jujutsu consequences of being born a twin. Mai wanted Maki to give up and live with her at the bottom and Maki thought she had to shoulder all responsibility and could only go on and pave a way for them alone. Even after the have "become one" in a jujutsu sense and Maki unlocked her Heavenly Restriction, they don't immediately work together and have to learn how to communicate with each other and lift each other up, make up for what the other can't do. And through understanding Mai better and learning to hold her and fight together with her, she also begins to understand herself better.

I wish we got a more in-depth look at them, their past and relationship while both were alive before the Perfect Preparation arc. I hope Maki's arc will have a satisfying end and she will find something meaningful to do with her life.

Hakari & Uraume

Every time the leaks come out, I'm hoping for at least a glimpse at these two. There's been setup for some really interesting exploration of the themes of humanity and strength here. They are also just such a funny duo and it gets more and more hilarious the more chapters pass by and we don't see them. While Sukuna plays whac-a-mole with the main group, Hakari and Uraume have been "fighting" for 20 chapters now without seemingly getting anywhere except gossiping about what happens over at the main source of action. Wouldn't be surprised if we skip back to them to see them eating ice cream while watching the others get beaten up.

On a more serious note, I really hope the little speech Uraume gave in ch 245 gets picked up again and explored upon because it was the most interesting commentary we got so far on the source of sorcerers power, what it means to be human when you are so strong and also Uraume's background. Uraume's view of humanity and strength seems to slightly differ from Sukuna's and they also seem to reflect upon it more. They say forming relationships and fear of losing said relationships is what makes you weak and yet they have no problem following Sukuna and worrying about him. They are even open to forming bonds with others like Kenjaku or even Hakari. Hakari is actually the person we have seen them be most relaxed and friendly with so far. With Sukuna there is always a remaining formality and Kenjaku annoys them, but with Hakari they chat like a normal person. They make fun of him, but it's very colloquial. It seems like they actually came to see him as a true equal. There is no binding vow or old history binding them together, they simply want to keep Hakari from interfering with the fight and through that they got to engage with him without any pretence.

I just wish we actually got to see how their relationship developed over that now pretty significant amount of time and to see more of Uraume's worldview and maybe Hakari's too. He broke away from Jujutsu Tech and was left to build up his own independent existence together with Kirara. Very similar to Uraume and Sukuna. Now if we could only explore that connection between them more. On page. Not off-screen. I would've taken that any time over the pointless intervention from Geto's cult members or Kusakabe sacrificing himself.

Kusakabe & Yaga

I think this is Kusakabe's most interesting relationship and what actually gives him some depth beyond Exposition Guy. It's also where we see Yaga's more overtly caring side beyond his interactions with Panda. Unfortunately, it gets overlooked a lot, in part because Gege doesn't linger much on it beyond one or two chapters and Kusakabe's last words before getting cut down. There is literally nothing about this ship in fandom spaces. Probably because for some reason people think Yaga isn't hot enough (he's the literal definition of a dilf what more do you want?)...

Chapter 147 is interesting because it shows us the closest relationships and most hidden secrets both Kusakabe and Yaga have. We learn that Yaga not only makes autonomous puppets, but he actually has a whole Hundred Acre Wood-type of retreat full of the souls of dead people, children in particular. They aren't weapons like Panda, they don't fight, they are just allowed to live there. Protected by Tengen interestingly enough. She probably just doesn't care what he does or thinks it mildly interesting/quirky. This is also where we find out that Kusakabe has a sister (Usami?), who has been severely traumatized to the point of being catatonic and lost her son, Kusakabe's nephew. Despite the taboo, both Kusakabe and Yaga are willing to raise the dead not only to help her, but also to give Kusakabe something of his family back. It's the most vulnerable moment we've gotten of him and it speaks of their deep bond that Yaga was willing to do this. Doubt he would do this for just any jujutsu teacher (who doesn't even work for him). Creating that kind of cursed corpse isn't easy after all. But nothing strengthens a bond like necromancy. Kusakabe's last words about Yaga in ch 254 are also interesting. He fights for Yaga, knowing he wouldn't force him to do this, but reflecting on how they used to be able to fight together. They must have known each other for a long time. Kusakabe tells himself multiple times to not linger on the dead, but any time he does, it's because of Yaga.

A very interesting relationship with much potential that goes underexplored. I would've much preferred for his relationship with Yaga to be highlighted more in his fight against Sukuna than that out of place "interview" where people who barely know Kusakabe explain his character to us. If they could bring Gojo and Nanami back from the dead, they could've shown Yaga too. If you really want me to believe that Kusakabe is a kind person, show me more of how he acts around the people he actually cares about, i.e. Yaga and Miwa. He's a very different person around them, particularly Yaga and that's when he allows himself to be vulnerable.

So yeah, I think they explored each other's bodies to help each other through their grief.

[aihoshiino]

I've just realised that the KamiAi relationship is a perfect example of the avoidant/anxious pattern and how it's extremely toxic. As well as codependency. Psychology really is at the heart of the manga.

Yes!! I don't have any of the posts handy, but something I've talked about before vis-a-vis hypothetical Ai ships is that I really like the idea of following her most major flaws through to their logical conclusion of leading her into unhealthy and toxic relationship dynamics. Ai is a desperately lonely person overflowing with compassionate curiosity about others, but she also has basically zero frame of reference for what a healthy relationship looks like, nor does she have the confidence or social skills to advocate for herself or protect herself from these types of harmful dynamics. Babygirl was brewed up in a lab to get put in a dog cage by a yandere boy in the bad end of an otome game route. who said that.

Seeing this idea come to fruition and get explored within the bounds of the HikaAi dynamic was really exciting for me, in that respect! Not only was it in line with how I'd really been hoping the r/s would've played out, but I was actually really surprised to see like... there's no way to say this w/o sounding like i'm jerking myself off lol but a lot of the ways I had previously written Ai handling (or ig failing to gracefully handle) this type of toxicity was exactly in line with how Akasaka canonically portrayed it. So it was exciting to see that on the page too.

Given that OnK is so close to the end and the mystery of wtfever even happened between her and Hikaru is essentially 'resolved' narratively speaking, I don't expect that we'll see much more of their relationship, but I'd love to have an idea of what their day to day dynamic was like... oh well, there's always @yuseirra's HikaAi comics.... [<- blatant and shameless plug on their behalf]

[nordickies]

I just love reading your (and all the asks) takes on Fin and his relationships it’s just !!!! this fandom has had such a romanticised idea about Fin for so long, I love these more angsty analysis about his character and I totally agree. I’m also so here for angsty SuFin. Because their history is actually super angsty and there’s so much potential there!

I personally like to imagine Fin and Sve happily married nowadays and very lowkey about it (I think they get each other better than anyone else because they have been together [either as a kingdom or a couple] for sooo long) but I deeply dislike how the earlier fandom reduced them to this perfect married couple with no problematic aspects whatsover. Whether one imagines Fin and Sve as a couple or not, their relationship is very complex. I also wish people portrayed them more like an old couple that know all about the other’s most annoying character traits. Domestic fluff is cute but I crave banter between them!

I think Fin being a bit of a troubled person also makes sense because Finnish identity is complicated. Fin probably has somewhat of an ongoing identity crisis about his history and who he is the most close to, or wants to be close to. Like you and the other anon said, he wants to belong but also doesn’t want to lose himself which leads him to be closed off from others.

I love to hear it! I agree, Finland has always been a very one-note type of character. A bit boring, in my opinion, basically just serving the domestic married couple role with Sweden.

I want to remind that exploring these angstier topics and characterisations is not in any way diss toward the canon or people who enjoy Fin and SuFin in their canon form! I'm purely talking through my own boredom with the dynamic. My takes are just my takes <3

I think what still makes exploring Swe and Fin's relationship fun, with the flaws and all, is that there's still so much potential for positive and wholesome moments too? I know I've been focusing a lot on the negative aspects, but I'd say there are still a lot of cute references and examples to apply to them, even from the actual countries' relations. Because they basically grew up together, they both have parts about themselves that they got from each other - and there's nothing they can do about it

The odd thing is I could see their relationship actually working in today's time? So I totally see your vision. And I agree, the old nagging couple's energy is way closer to how I would imagine them. I don't think Sweden should put up and suffer with their situation; he would get back at Fin at times! They banter but still obviously care for each other

Their relationship wouldn't be all negative by any means!! But not perfect either. I think you said it the best, whether one imagines Fin and Swe as a couple or not, their relationship is very complex! Another amazing take anon, you guys are on fire today!

[apatheticlexicographer]

i'm about to get mauled ALIVE for saying this but here goes:

i think m'leven's relationship should be based on a mutually requited crush. both the implications it would have on their personal development as characters and the message it would send to the audience would be substantially more impactful, healthy, and progressive than if they only dated out of obligation. in fact, the thematic message of their relationship SIMPLY DOESN'T MAKE SENSE without a foundation of genuine romantic attraction.

still with me??? okay, good.

when shows deal with romance they tend to fall into the categories of either having pretty much every character shipped with every other character at some point, or of having the endgame ships be the most obviously pushed from the start. byler has definitely been built up from the start, but the majority of the show's audience didn't consider it as an option for canon until s4, when they started making it blatant. hell, a lot of people didn't even realize WILL was queer until s3 (again, when the show started to place heavy emphasis on it), and even then a lot of people thought he might be ace rather than gay.

mike and el, on the other hand, were practically the show's flagship couple for the first 2 seasons at least. it wasn't until s3 that their popularity started to dip and their relationship began to receive a lot more criticism. which makes sense, considering they hadn't actually been IN said relationship in the previous seasons. they had a couple of romantic interactions, sure, but we didn't see how they would interact *as a couple*. people obviously couldn't predict how their dynamic would actually pan out!!! that isn't to say that the negative aspects of their relationship were a bait-and switch, though: red flags were visible since at least s2, but they were far from being the focal point and a lot of shippers interpreted them as being cute (like el's jealousy over max).

having a show acknowledge the fact that the first person you get a crush on (because correct me if i'm wrong, but i'm pretty sure they're canonically each other's first crush???) isn't necessarily your ~soulmate~ is a great thing. even better when they go a step further, and play with the concept!!! the text of stranger things doesn't actually push m'leven as a paragon of romantic love. if you listen to what the other characters say about their (romantic) relationship, their opinions are entirely neutral/negative???

lucas teases mike about his crush in s1, but calls him hopeless in s3. hopper is out of line with how agressively he acts about their relationship, but the resolution of that character arc for him is about him acknowledging that he's been overbearing and accepting that he needs to let el grow up, and NOT some hammy realization that "what they have is true love, i was wrong to interfere!!!" max thinks their clinginess is sweet at first in s3, but she isn't very close with either of them. once she and el start to bond AND SHE LEARNS THAT EL HAS NO EXPERIENCE WITH ROMANTIC ATTRACTION OUTSIDE OF MIKE she encourages el to assert her own self-worth and dump him. [which... actually mirrors the progression of opinions in a lot of audience members??? 🤔🤔]

and those are just a few examples!!! i won't go on an exhaustive list, because honestly we'd be here all day.

furthermore, m'leven's steady downward trajectory is not the only instance of the show basically dunking on the trite expectation that a character's first love interest is automatically their happily-ever-after, AND the recurring motif that any relationships a character explores before their endgame ship are wrong because the alternate love interest is Bad.

dustin has his first crush (onscreen, anyway) on max in s2, but ends the season happy despite his sadness over rejection and later gets together with a girl who's basically his perfect match. in s3, robin confides to steve about how she was so far gone for tammy that she would cry into her pillow. in s4 she's able to laugh over just how bad her singing is without denying it, and is tentatively flirting with vickie. joyce was genuinely really happy with bob, but after having time to heal from the tragedy of what happened to him she's ready to move on with hopper.

again, not an exhaustive list. why??? because outside of m'leven, the only relationships where the characters ARE each other's first love interest are: lumax, whose entire arc together is about growing up as a couple (you know, the exact arc m'leven shippers pin on mike and el, as if it would make sense for 2 couples to have the same format and message...); stancy, which is only one prong of Love Triangle Hell and the controversy around it speaks for itself; and TED AND KAREN. WHO ARE POINTED OUT EXPLICITLY BY THE TEXT OF THE SHOW IN S1 NO LESS, TO BE AN EXAMPLE OF A WORST TIMELINE FUTURE THAT CHARACTERS DO NOT WANT TO REPEAT.

but if you're reading this, you already know all of that.

the point i'm trying to make is that stranger things shows a consistent palette of themes across all the relationships it portrays. i've obviously been going over the romantic ones, but this applies at least as much to the plationic bonds as well. those themes are of GROWING AND MATURING, of SHIFTING DYNAMICS, and of BECOMING SECURE IN YOUR PERSONAL INDEPENDENCE.

i'm sorry but to present a pair of characters with apparent mutual feelings; to elaborate on how dysfunctional their relationship is; and to ultimately reveal to the audience that actually they were both just confused, they never had feelings for one another in the first place and that's why their relationship didn't work out; sends an extremely mediocre message, to put it nicely. all the characters learn from that lived experience is "don't date people you don't have feelings for, and if you were unsure about how real those feelings were... get good???" meanwhile, all the audience learns from that VIEWED experience is "if the relationship doesn't work, it's because the people involved don't like each other enough." if byler goes on to be canon and is immediately much healthier, that only enforces that shitty message. in that situation the only reason THEIR relationship works while mike and el's didn't is that they actually have feelings for one another!!!

from a show which has explored complex arcs and messages with *LITERALLY EVERY OTHER RELATIONSHIP* they touch on, this would be beyond disappointing. particularly as the central message for the arc of 2 of the mainest main characters in the whole show!!!

on the other hand, to present a pair of young characters at the start of the show and flag them as having an obvious mutual crush; to allow them to explore that crush as a serious prospect; to have them realize that their relationship is dysfunctional; and to have them move on as friends; sends???

a great???

fucking???

message???

they both get to progress and move on as more enriched people than they would have been without their time in a relationship, and that is fucking wonderful.

el has a deeper understanding of romantic interactions based on actual lived experience and not just TV shows. she's able to develop into her fledgeling sense of identity more securely with the knowledge that relationships can change, and that's okay. not everything has to be forever.

mike understands how to process and manage his own feelings much better, and is equipped with a firsthand understanding of how a relationship can become emotionally dysfunctional without proper communication, making him ready to enter a new, healthier relationship. he has displayed the same overprotective behaviours towards will as he has to el, but he's begun to learn how to manage them so that he doesn't stifle his partner. after previously failing to communicate his feelings to both el and will in s3 when he fought with them, he's been making a deliberate point of doing so in s4. this didn't work with el when he tried to open up about his own experience with bullying, but it DID work with will when he admitted to his failings in balancing relationships.

are either of them finished in their personal arcs??? no, of course not!!! they're not even fifteen!!! but they have both grown as people, not in spite of their romantic relationship, but BECAUSE of it. you don't change as you grow up, so much as you start to understand yourself better. but self-discovery and subsequent self-acceptance CANNOT come without self-explaration.

it's okay to try things out, and it's okay if they don't end up being right for you.

meanwhile, the broader message about relationships that this imparts on the audience is an extremely important one. one which gets overlooked continually by storytellers in every industry. one which the show itself has brushed on, but not explored in depth.

one which fandom, in particular, likes to ignore.

ATTRACTION ≠ COMPATIBILITY

(...and that's okay!!!)

[rebrandedbard]

hey srry if this question makes you uncomfy or anything, but what are your thoughts on geraskefer and the other ships between the three?

Oh it isn't uncomfortable at all! In fact, this is a perfect example of polite interest and ask etiquette. You're asking about a subject I've blogged about and shown interest in, and in a very polite manner. I'm over-explaining this so as to comfort you and encourage future asks, my dear good nonny.

Since TWN season 2, I've loved geraskefer. Season two shifted all their dynamics in very interesting ways. I will elaborate:

Yennskier

That scene in the pub and later in the boat between Jaskier and Yennefer converted me. I LOVED their vibe in season 2, and what little we had in season 3 with them was delightful. I love them having this banter-heavy dialogue, this playful "I tooootally find you annoying" best bitchy friends attitude (exaggerated, of course, for fun in fandom). They really do have each other's best interests at heart. They care. And to have them be together without the involvement of Geralt is very nice, even if he is a large part of why they would come together in any circumstance. But seeing the trust between them grow and to see how they need and rely on one another is so compelling. Drinking buddies <3 and I need them to kiss.

Yenralt

Canon and a power couple. Divorced parents trying to get back together. A good contrast. The tension of knowing your love may be influenced by magic has a kind of tragedy. However, I need them to interact more outside of sex and talking about the wish. The opening of season 3 where we saw them as a family made me actually like them as a couple. I need them to be friends before I can ship them, and season 3 went a LONG way to making that happen. They've slowed down enough to actually get to know one another, and I look forward to seeing more of it.

Geraskier

The OG. The OTP. The reason like 99% of you are likely on this blog. Besties with romantic tension. The bants. The sass. The friendship and deep understanding at the core of who they are and how they interact. The ride or die. The tragedy of having it all thrown in your face and made insignificant in a moment of weakness. The desperation to repair what was once taken for granted. The choice to put in the work to repair what was lost. The honesty that comes with it. The fact that I am a gay (technically bi, like 85% men 15% women-ish whatever I'm gay I don't do math). These are what I find so compelling about the two.

Geraskefer

All of the above with a healthy dose of tension, confusion, pining, despair, and an ending in which finally, just this once, everyone gets exactly what they want, and it's okay to have it. The healing. The appreciation for one another. All the fear gone and all the love spoken. The bisexual dream. Jaskier is the glue. And I want them to FIGHT over him before they all get together. THE ship that makes me actually think polyamory would be THE best conclusion. They're already family regardless and I will cling to that. It's a main FOUR. Those three are equals in this unit.

I hope that answers things for you! In conclusion, I love all the variations. Generally speaking, I rank them by favorite as geraskier, geraskefer, yennskier, yenralt. The more Jaskier in the relationship, the better.