#yes because i can and i know its a bad decision but also consider

[sucktacular]

I ordered chicken wings like two days ago and my "I need chicken wings or I'll tear myself asunder" meter is already peeking again 😫

[utilitycaster]

Wizard Breakdown Tracker: Downfall part 3

Ultimately, I associate the Wizard Breakdown Tracker with Aeor; I began it during the middle of the Nein's Aeor arc, and even bringing it back for the Nein reunions feels like it's missing something. That thing, it turns out, is a city of Wizard Hubris.

There are no wizard PCs so we can dispense with the formalities. For the purposes of this post, while The Raven Queen is an ex-wizard, Emhira isn't and is counted as a warlock, and The Raven Queen is counted as just a straight up god. As always, in no particular order, and if a wizard is not mentioned it's because I didn't have anything funny nor serious enough to say about them.

Calamity-era Wizards

Adamar: literally no idea. I think he was stressed but he got vaporized by Meteor Swarm (completely within the realm of mortal achievement btw; Imogen Temult could take it in 4 levels) before things really broke bad. Like 7/10; he was in pitched combat but he had 3 dragons and a bunch of demons on his side.

Primarch Selena: There are going to be a few wizards in this who truly do embody a more profound breakdown than anything we've seen before. Selena is one. What does it mean to be so good at creating a mortal-made form of life that the god of beauty chooses to reside in this when picking a vessel? What does it mean to realize in the same instant that your life's work is what doomed you and its target is standing in front of you and now holds your life in their hands? In the end, she doomed her city twice while also actively repenting; it's not just gods who contain multitudes and conflict. But also 10/10.

Arcadia Cerenvetorix: Well, she got tricked by Asmodeus and stuffed in a bottle. Asmodeus did a good job of imitating her too which, as a deity of truth and knowledge cannot feel great, to know that Guy Whose Thing Is Lying has your number even if he is technically lying and therefore in his wheelhouse in pretending to be you. Then she gets let out having been saved by SILAHA, who as a result of saving her, cannot stop Selena. I have to imagine this series of consequences drives some of her decision making in the very end, although at that point she is technically not a wizard and therefore out of the scope of this post. Anyway, 9/10; she did almost die.

Cassida Previn: There's no option for this other than 10/10. Her revelations were delivered with far less kindness than even Selena's; we see her break. She has time to consider that her good intentions have doomed Aeor as well as find the deity she's risked execution to serve is a more complicated being than what she expected and does not approve of her greatest act of service. And that's before we consider that the Society of Primes is implied to have not been successful (we don't know, since the Factorum Malleus is never fired, so it could be a bluff; but the Primes are heavily indicated to be in just as much danger) and that's also before her final moments are being presumably tortured by Asmodeus. I don't know if she really renounced The Everlight; Asmodeus lies, but it's not an unexpected consequence. As The Everlight says, it doesn't matter; she was well within her rights to feel however she felt in those last moments and it does not erase all that she did before. If she didn't it was a lie from Asmodeus, and if she did, she is forgiven entirely.

Those guys who were dragons for a hot second: Honestly? What a way to go. I wouldn't even be mad. 6/10.

The Wizards In The Cognouza Ward: THEY LEFT SO EARLY. AND FOR WHAT. Like, yes, yes, you want to show the moment so you have to do it pretty early on because you won't have the viewpoint of the divine entities later on since they'll be in the Genesis Ward, but COME ON MAN. It really is like...you could have been The Ring of Brass to Aeor. If you wanted to sound the early warning you could have done some strategic teleporting of as many people you could get onto Exandria, despite the storm, and hell, you could have taken a long rest and planeshifted the next fucking day if you had to go to the Astral Plane so badly but nooooo you had to fuck everyone else over. I mean does anyone deserve a millennium of madness and horror as Cognouza eventually became? no. But like, maybe a few years for this bullshit. 5/10 because it isn't bad yet because they jumped the fucking gun. and again. for what.

843 PD Wizards watching this or just hanging out elsewhere

Essek Thelyss: I imagine he is like those pictures of the math lady except he fully understands the math. Absolute mind blown. Trying to figure out the Luxon's relationship to Tengar if there is one. Wondering why Aeor was working on Cognouza and the Factorum Malleus and not their various Luxon experiments. Trying to figure out if the gods used the same principle as consecution. Trying to reconcile the image of Lolth as weirdly adorable with the horrors he knows his people escaped. Also he has been watching a movie for like 13-ish hours but I wonder if floating means his legs haven't fallen asleep. 6/10.

Allura Vyesoren: I really like to imagine she messaged one of Bells Hells and they were like "can I call you back later we're watching a movie" and she is just like I am getting too old for this shit. 4/10 in like, the relative sense of all wizards in this 843 PD narrative are dealing with an existential threat but like within that context, 4/10.

Caleb Widogast: I feel like the Nein would be best deployed to Ria'Doin but he might be on some other weird mission given that Essek was sent to Aeor in his place, and hopefully, we get a one-shot out of this. For me. Anyway though for practical reasons he did just hear from Essek recently and Trent seems gone for good so, within the broader "Ludinus Da'leth is fucking over existence" context, also like a 4/10.

Yussa Errenis: Really hard to tell! What unhinged fuckery that doesn't require physically leaving the house is this small bastard (affectionate) up to. Is he on the moon? Is Nicodranas on a nexus point thus sending him to some far-flung region of Exandria? Did he try to question Halas and get trapped in the gem? Is he just ignoring Iva Deshin? Anyway given his track record I am going to say 9/10 and he is in some kind of peril that is low-key his own fault, but it's anyone's guess.

Astrid Becke: Imagine being screwed over so hard you have to go undercover in retail. I think that fantasizing over who gets to land a killing blow in D&D Actual Play is not terribly interesting; what happens happens, and such fantasies are usually a dull slog of "who is wronged most" which is never good. With that said I don't think she is the most wronged, if that's even a metric one can know; and also I know this is not going to happen given her very tangential nature as a minor NPC in the story being told here; and I don't think I am speaking about a just or kind world in this fantasy; but in a world that aims for justice but lands in pettiness, she would get the final blow on Ludinus Da'leth. 7/10.

Ludinus Da'leth: There's a tumblr-famous post in which someone makes a lot of wild-ass claims about the status of, iirc, women who spun thread in medieval Europe and then when people were like "I don't think that's right" posted a fuckload of links and the phrase "*steeples fingers*" and then someone actually clicked on the links and was like "uh none of these back up your point, actually; most of them have little to do with it and what few do address it either contradict what you are saying, or are similarly unsourced from non-experts." Anyway I think we can all see the value in checking the citations and vetting your sources here, a lesson The Martinet seems to have failed to internalize. He is however either at a 3/10 or an 8/10 depending on precisely how up his own ass he is and whether he realizes he showed footage far too complicated to make but a single easy argument.

[hopefull-mindset]

A Much Needed Overview

I’ve been brought to a point of feeling the need to discuss the abuse depicted in Bungou Stray Dogs. This isn’t the brightest topic to speak about and I understand why people are reluctant to speak in detail about something as serious as this. It’s not easy, so I’ll be the brave face today because I feel disappointed about the lack of deep discussion beyond the popular topic of “The Abuse Cycle”.

I’m happy that it’s at least brought up amongst everyone as something that exists, I’m happy that people feel as though it’s something to talk about, but I don’t think most understand how to act about it. It’s never as cut and dry as how it’s depicted in most other pieces of media or how people speak about it in general. That is why I am thankful for its depiction here. Not saying that nobody speaks about it with clarity, but it’s not the majority, unfortunately.

I especially felt this was a good time to address this because of the reaction towards Asagiri’s thoughts on Dazai and Akutagawa’s relationship in the recent magazine interview. The outrage is not from nowhere, I was also taken aback at first, but to claim Asagiri “doesn’t even know his own story” is incredibly self-entitled considering the story isn’t done, nor are you the one writing this. If you read the story, no way is Asagiri justifying anything that happened. Please look at the question that is being asked, does it say “Do you think what Dazai did is morally right?” Of course, it isn’t.

Not to be rude but before you start questioning the writer himself if he’s read his own story, have you read it? Please keep in mind the fact this is only a magazine interview and doesn't reflect every nuance. Asagiri doesn't need to go “Oh yeah, this thing that’s bad is bad” every two seconds to explain himself. Asagiri’s writing decisions can be questionable and cannot be uncritiqued, but I’m going to have to defend him on this account.

I’m not sure if any warnings are needed concerning the subject matter considering most BSD fans know what I’m about to go over, but to be clear, please only read this when you’re in a well enough headspace for heavy matters such as this. I am not going to be talking lightly in any of this or dance around what’s happened between any of the characters, abuse is harder to talk about compared to other acts of violence that are objectively worse because it’s a more personal act that too many can find themselves in.

Finally, I do not want to speak about my own experiences online because I’ve only come to terms recently with it and they do not reflect everyone’s response to depictions of abuse in all media. Some things are very uncomfortable to admit about me that I haven’t told anyone, that no one would be able to take well even if they were my closest friend. This isn’t about me at all and there is no point in saying more about my reality, but I think my perspective might help people enlighten themselves on how truly complicated situations like this are.

What is Abuse?

Surprise, we need to go over this before any discussion about BSD happens because a lot misunderstand what abuse is. It's disheartening that the term has been so simplified that nobody knows what it means anymore. Don't substitute words for abuse or use abuse as a substitute for other terms. Abuse as a concept is quite hard to pin down with words and there are many ways to describe it, but by definition in the context that it’s directed to another person, abuse is:

To target and mistreat someone, causing them harm or distress in a repetitive manner

This by itself does not describe the grand scope of everything and probably might make you more confused, but it’s a great place to start and does describe what is directed to the victim. Many sources will use varied wording, but it’s the general knowledge that someone is being hurt to a fundamental level that makes it abuse.

Does the abuser need to intentionally hurt someone for it to be abused? Yes, but not in the way you think. Most abusers are not hurting their victims for the sake of just hurting them, that’s illogical, they’re doing it for something. Some examples include either for themselves in some way or what they think is for their victim’s “own benefit”. Even worse is when they genuinely believe it because they’ve also grown up in an environment that has that same mentality and reflects on themselves.

So yes, it’s intentional in that they’re doing it for a purpose. No matter their intention though, “selfless” or not, it’s still a selfish act in itself that they think that imposing their own will through harmful methods is what the victim needs. The abuse doesn’t need to be physically harming another for it to be abuse. As long as it’s harming you emotionally or otherwise and making you raise flags in your head, it’s abuse.

It sounds strange, but I'm saying it’s intentional because you’re still an intended target of their abuse whether they realize it themself or not. Abuse needs to repeat a form of distress in you to be abuse. For example, does one instance of physical violence against you count as abuse when it never happens again? Well, you need to think about the context. Usually, this would just be assault and that’s it, but is it left hanging in the air to happen again when you interact with them? Do you feel afraid for your well-being, even though it doesn’t happen again?

That’s still abuse, the psychological kind. Typically when abusers resort to physical means, it’s gonna happen again eventually. In this hypothetical instance, however, the point is that repeated distress does not mean repeated actions. It does not need to happen the same way for you to feel unsafe, it just needs to have power over you. Manipulation does not always equal abuse either. It’s a tactic used by abusers, but unless paired up with other actions, it doesn’t fit the criteria of abuse. Context matters when you examine what abuse is.

Here comes the tricky parts that are acknowledged less: When the abuser is someone you’ve relied on in your childhood, in a detrimental part of your life, or someone you care about that you put importance in, and it makes it hard to fully hate that person. What the abuser has done to the victim does not entirely reflect them as people, even if it’s still an important part of them that needs to be addressed.

Abusive people are not only defined by their awful actions, they’re not pure monsters like most love to pretend they are. It’s just easier to think that because accepting that they’re just a multifaceted human being hurts too much when you’re on the receiving end of their worse behavior. But what happens when you’re on the receiving end of both? You try to justify it the way the abuser is because you can’t accept that what’s happening is bad and not something everyone goes through. After all, they treat you decent enough sometimes.

Something so many people need to get into their heads already is that abusers can be victims and vice versa, but just because your abuser went through something themselves or is important to you, doesn’t mean you have to forgive them. Abuse is not forgivable just like that, you can rebuild a relationship beyond that if you’re able to, It’s not a “forgive-and-forget” thing.

Not everyone experiences and responds to abuse the same way, some hate their abusers fully, some can’t bring themselves to, and some don’t even know what to think, but there are so many who don’t feel one way that regarding all abusers as heartless monsters completely invalidates so many stories and their difficult experiences. I have a huge grudge against people like this who restrict abusive situations to just looking like one thing, this is why so many don’t even know that their situations are abusive.

Portrait of a Father

Chapter 39 reflects my points the most, and at the same time, it also turns out to be one of the most controversial chapters. It surprised me that it is, but maybe I shouldn’t be considering how most people on the internet act about abuse. It’s a lovely chapter to me personally and one of my favorites.

If you need a refresher, this is the chapter the Orphanage Director died in and leaves Atsushi in an emotional frenzy about what to think and believe. I know that the underlying message of this chapter is confusing to some, but it hit me in the face point blank on how this is about facing your abuser’s death without any personal conclusion with them.

Being sent on an investigation, Atsushi, after finding out the body was the Director, is stunned and scared because he knows nothing of the director other than his cruelty. He immediately assumes the worst and that he was coming after him again. Atsushi’s thoughts against him are entirely… on purpose in the director’s intentions because we find out that he has gone through so much violence and loss himself that he’s projecting his own will onto Atsushi and making sure he’d “survive in the real world”. So he became his first figure of hate and violence earlier in his life so he’d be “prepared for what comes next”.

I know so many take the backstory for the director as a way to justify what he did to Atsushi in the narrative, but it was just to put into context why he was so cruel. Abusers are never cruel for no reason, that never makes it right, but it’s reality. Atsushi was not the only one in the orphanage who was treated badly, he was singled out by the director most likely for an ability he couldn't control because the headmaster knew he’d get the most trouble for it, and unfortunately… he was right.

Akutagawa being his informant in this chapter makes perfect sense. He can see that what the director was for Atsushi is what Dazai is for him. No matter how terrible their actions were, it’s what kept them alive for so long. It’s not pleasant to confront, is it? Atsushi agrees because when he gets the information that the Director was going to congratulate him with the flowers he was going to buy by selling the gun he had on him, he freaks out. No way the guy he was raised so long to hate, the guy who put him through so much suffering, was going to congratulate him.

I know to some, Dazai’s talk with Atsushi sounded like he was justifying what happened because “it made him a good person in the end”, but that’s not what’s being said. This conclusion I’ve seen some people come to about this conversation confuses me. Dazai is just saying the obvious, you guys get all shocked and it weirds me out how easily it’s been glossed over that the reason Atsushi is so self-sacrificial and trying to do the good thing is because of the director. The reason he puts himself so much on the front lines is because he needs that worth in being good to live and prove the director wrong, he was raised to see that type of person is the most ideal person to live in this world.

After everything that’s been dumped onto him in such a short time, so much inner conflict of what to think of a dead man he no longer can have any personal closure with, he asks Dazai what face he should make, what he should think at this moment. Dazai tells him that they’re his emotions and he can think however he’d like, but commonly someone cries when their father dies. So he cries, because ultimately no matter his treatment, no matter the intent and its effects, it’s still the man who raised him. It’s flawed, but that’s what a father is stripped bare at its core definition and that won’t change no matter your feelings.

Now that I’m done summarizing this chapter and making sure you guys understood the point and how it spells out their relationship, I can finally talk freely about what was happening between them. When it comes to familial abuse, generational trauma is so prevalent it’s hard not to talk about. The director is quite reflective of so many parents who were raised to grow up too early in harsh environments, that they think they need to prepare their children for it too, even though it’s no longer needed.

You don’t need to like someone for them to be important to you, especially if it’s a parent in your life or someone close to that. That’s why Atsushi cries. He cries for the director, he cries for himself, he cries that it’s finally over, he cries for the kindness he could’ve gotten even if it wouldn’t have fixed anything, he cries for the father that never was, he cries because his father is dead. It’s perfectly normal to keep someone close in your heart that wasn’t perfect and to grieve their death.

Was the director successful in what he was aiming for? I want to say no, but he did. He succeeded in making Atsushi think of others in a good light and do good for them, making Atsushi resent him, and giving him the ability to keep going. Hell raised him right, but it was still hell. The problem is that his teachings were based on degrading Atsushi into being nothing but a life he should put aside in favor of others. Even if he continued hating the director like he wanted, he would still degrade himself for being a coward who didn’t hold himself to those standards. The result is not perfect because the director is not perfect, but in his position, this is a success.

The director for a while was his shadow of negative encouragement when he joined the agency, what kept him going in those moments, because he was what defined good, bad, and justice for him in his entire childhood. Even if he was dead, he’d still linger in his mind. I can’t parse out what to think about these hallucinations forming Akutagawa and Dazai to guide him later on, all it tells me is that he still can’t rely on or trust himself and he needs more development in his self-image issues.

I see why fans are confused, hell raising us right is a bizarre thing to say to a victim, so let me show you a perspective you're not seeing. Let's imagine you have an abusive mother who only wants you to be prepared for the things you're undoubtedly going to experience because of what you can't control. What she did does help you, but all that goes through your head is “Why couldn't she have done it differently without my own suffering?” The only thoughts that come rushing back when you think of those memories are the unnecessary pains. It takes a lot for a victim to acknowledge this on their own, they want to push back at the past so they don't have to see this plain reality.

Like anyone else that I’m going to bring up in this post, just because the abuse made them who they are or affected who they became, even when it keeps us going through life and benefits us in some way, does not make the abuse justified. Abuse is still abuse, I addressed this already and I hope not to address this again. I needed to detail an explanation because it’s quite easy to hate a man you know nothing about and has been painted in nothing but a bad light. The anger against the director is undebatable because abuse is not debatable, but to pretend the cruelty was nothing but for cruelty’s sake is mischaracterizing both him and Atsushi.

You can’t pick and choose what’s been told to you in the text just because you don’t like a character and lack the maturity for it. It gets quite hard to do that sort of thing when it’s a character you‘ve grown to care about, it’s no wonder Dazai is divided between so many. Speaking of Dazai, his involvement in this makes as much sense as Akutagawa’s. He’s currently in a mentor position for Atsushi, no matter what Akutagawa says, and shows interest in his development. So of course he’s going to purposely stick his head into something that would affect Atsushi greatly. Both Akutagawa and Dazai are viewing this through their lenses as people who grew up in the darkness of society, and it’s not that Dazai thinks what happened to him wasn’t terrible, you should have eyes to read the panels provided, but he’s generally unfazed and able to sound neutral because he’s used to that cruelty.

The Port Mafia’s Environment

(Aka: is it really “all Mori’s fault” or is it just the product of being literally in The Mafia™?)

I’ll go over the “Cycle of Abuse” in a second, but please keep in mind that you can’t just blame everything on Mori. Just like the Director, it’s so easy to pin the guy who’s just been the worst for every problem there, but it decimates the other characters involved as well and makes what they’ve gone through go flat because you’re restricting it to a misinformed presumption.

To make a bold statement, I need you to completely throw away your idea of what the abuse cycle is. The Mori to Kyouka pipeline being the singular “Abuse Cycle”? Garbage, needs to go away too. I've seen many fans use the term “Cycle of Abuse” too carelessly, and while from afar the way they're using it is not technically wrong, they have the wrong thought process behind it.

The Cycle of Abuse is simply the patterns of what keeps us in an abusive dynamic and negative mental state, either with an individual or environment, and makes it incredibly hard for anyone to leave. It’s not the actions you take that make it the Cycle of Abuse, and it's not just one straight line of people going through similar motions. You don’t have to be someone’s abuser to be the one who keeps them there, if you feed into it you’re still a problem. Even if you don't actively add to it yourself, just staying there as a bystander and not trying to do anything to change it or speak up for the victim when you clearly could also still make you responsible. Just with your presence, it validates what they've gone through as normal.

If you need more of an explanation, two opposite examples include Higuchi & Akutagawa and Beast Kyouka & Atsushi. Higuchi is a traditional example in that she stays in the mafia because of her relationship with Akutagawa, and stays by his side for reasons unknown. What we do know is that she’s incredibly indebted to him enough to care for him to an extreme extent, but their relationship is abusive all the same. Beast Atsushi and Kyouka sounds strange for me to bring up, but this is an example of a non-abusive person contributing to the Cycle of Abuse. Instead of taking her out of an abusive situation, he brings her back in.

Many characters are a part of this main narrative of abuse in BSD, so it's not inaccurate to say Mori, Dazai, Akutagawa, and Kyouka are a part of it as well using this definition as all of them are the reason or contributed to why someone was stuck in a negative, abusive situation or the victim themselves. I’m guessing none of you are genuinely referring to this though and are referring to intergenerational abuse, a repeating cycle of younger generations taking after their abusers when they're older, which is a completely different phenomenon. Both are referred to as cycles and have many commonalities, but it’s not the same. Not to sound like a total dick, but this barely even applies to them.

Not because the concept is based on familial relationships, it can happen with older figures in your life too, but because our oh-so-famous Abuse Cycle gang does not have that commonality to make that claim. They have narrative parallels, but that’s pretty much it. I will save what I have to say in their sections, but Mori and Akutagawa did not abuse Dazai and Kyouka respectively for this type of claim to have any legitimacy. Kyouka certainly broke a cycle, but not that kind since that would need her to continue it in the first place and then prevent her own experiences from even affecting the next child.

What do all Mori, Dazai, Akutagawa, and Kyouka actually have in common? They are/were in the mafia, using their natural talents of cruelty for the underworld.

The Port Mafia resembles something of an abusive household or community that sees so much of what’s done to others there as normal, and constantly compares it to how it was with their old boss and thinks, “At least it wasn’t as bad as that.” It’s quite like the Orphanage Director’s thinking but on a larger scale. Does that make everyone in the Port Mafia abused? Nope, unlike most abusive communities, the Port Mafia is quite literally the mafia. Everyone is there for different reasons, at different ages, and different experiences. Everyone is taken advantage of in these situations, no matter the circumstances, but it doesn’t make them abused automatically.

So it’s hard to have a stance on anything about them being abusive other than the mentor situations in the Port Mafia don’t see abuse as abuse and just another way to teach their subordinates to survive in their world if they deem it necessary. Was Chuuya abused, either by Mori or Kouyou then? I’m going to have to say I can’t tell you that. We don’t have enough information on either of his dynamics with them to say that they’ve directly had any repetitive behaviors of direct harm against him specifically, and there's no reason for them to do so either. I’m not going to use the argument that “Chuuya doesn’t hate or fear them, so that must mean he wasn’t” because again, that type of response does not reflect so many situations.

Chuuya was still harmed by being in the Port Mafia as a teenager because nobody should have been surrounded by this much cruelty at that age. It doesn’t matter if he shows visible distress or not about the Port Mafia, he was just desensitized to it since his sheep days. So was he an abuse victim under the idea that being a child in the Port Mafia is abuse? That depends on who we’re speaking of, but in Chuuya’s situation, I'm going to have to say no as he's already internalized their mindset from his own experiences separate from the mafia. Keep in mind that it also still holds true that you can find family in situations like this, it’s not mutually exclusive. Some just find more comfort in what they’re used to than what would be better for them. Kyouka is a better example of someone being a victim of an abusive community.

A false claim I've seen made many times are the ones where they have it as if Mori is the mafia itself or that he made the mafia what it was. It shouldn’t be too surprising, but it’s the opposite. Mori already held flawed, heartless, calculative methods when in situations he thought required them. We’ve seen him as a soldier and an underground doctor, but we know nothing else about him outside of his cruelty, just like the headmaster. What he does is never for what he thinks is for his benefit, but for the sake of something larger. Whether it’s for the city, the country, or eventually, the Port Mafia.

The mafia is the first time he’s been put into a position of absolute leadership and is not yet accustomed to that at the beginning of Dazai, Chuuya, Age Fifteen. He’s able to quickly fit the mold of a mafia boss, but there’s that bit of honesty that peaks through in this light novel in the first and last sections that’s ignored too quickly. First Mori complains about nothing going immediately right, questions himself about Dazai, and becomes genuinely stressed if it was the right decision to involve him, then confesses that he sees himself in Dazai to him (and him and Fukuzawa in Soukoku in private), and finally gives his honest take of leadership to Chuuya.

I already go over Mori as a character in one of my other posts and will speak more of him later on, so I don’t want to reiterate the same points, but here we have proof he has (albeit poor) humanity. He did not become the Port Mafia boss for his own selfish gain of power if you’ve forgotten, but because Natsume introduced him to becoming part of the Tripartite Framework to protect the city he loves, it’s where he’d excel best in this plan. The Port Mafia was already a shithole, Mori just made it livable again by becoming what an organized crime group needs.

It’s what makes the dynamic between Kouyou and him so intriguing because you have an abuse victim who has embraced the environment she was forced back into, but won’t let go of someone who’s proven to be more of a decent leader than her tormentor and can be relied on. For victims who couldn’t get help or realize they needed help, the easier path is to accept this is your life through some justification. While I said the Port Mafia resembles an abusive community, communities as such aren’t purely terrible and that’s what keeps them justifying it in their head. The family you have for yourself, whether it's a made one or the one you're born with, is what sticks for you.

Like it or not, Mori isn’t stupid. He takes risky gambles that backfire on him sometimes, but he’s good at his job. He’s brutal enough to prove his own against the people who didn’t think he should’ve been boss and outsiders who want to go against the Port Mafia, but he’s considerate enough towards his people and shows enough competency to be perfect for the job. He’s not a great human being, but what did you expect? He no longer had any room to express that humanity, he never had; there was no benefit from being a good person in his line of work.

The Heartless Cur

That looked like a great segue to talk about Dazai and Mori’s dynamic, but it’d benefit to go over Akutagawa first. For those who do acknowledge it as an abusive situation, Thank you for at least taking that step. Numerous don’t and it worries me at the state of what’s considered abuse vs. training. It may be both at times but don't excuse one for the other. Training needs formal consent and communication at some point during a session. Akutagawa is learning, but it’s the same as getting yelled at as a child for not doing your homework right, when again, you’re still just learning.

It might’ve been easier to see for those who do acknowledge it because of the visible physical abuse that happens, but let's not undermine the psychological abuse happening as well. Dazai has messed with his psyche on an abhorrent level through his degrading and threats, making him reliant to hear a single word of acknowledgment from his mouth. What happened to Akutagawa is beyond the mafia’s environment.

Akutagawa does not hate or want Dazai dead for what he’s done to him, but he does hold anger at the seeming abandonment he’s been put through… and at himself as well. Anger that he couldn't get to what Dazai wanted him to be before he suddenly left. So he proves himself by climbing the ranks and becoming someone feared. Spectacles of violence not because he enjoys the feeling of other’s suffering or the power over them, but to show Dazai that see? He's still worth looking at!

He stays in the mafia because he’s found a place there. Even if he could, there was no point in leaving the mafia after he disappeared because what would be left for him if he did? He will always be an unchangeable, horrific hound of the dark and there's no changing that in his mind. From an inference of his actions in the dungeon when they finally reunite one-on-one, he wanted to believe that he was above Dazai after all those years, but Dazai doesn't act impressed or scared or anything. After all that effort, he gets nothing but ridicule and mockery like he's back to being that little kid with an oversized coat too big for his body.

Worse is that he gets told that some new kid Dazai picked up, who didn't train to the extent he did to refine his abilities, is better than him somehow. He gets riled up and at first, takes out on Dazai, but all those threats about killing him and how he went against the mafia were empty. Even now he can't bring himself to hate Dazai, he needs his mentor to acknowledge him no matter what side he's on. He never let go of Dazai, his coat is proof enough of that. So he takes it out on the party that isn't responsible and is convinced he needs to overcome Atsushi to prove something to Dazai.

He doesn't hate Atsushi, not genuinely. He does the same when he’s told he’ll never compare to Odasaku, someone who objectively should’ve been the weakest member due to his status. He gets angry at Dazai’s words, gets angry at himself, then takes it out on the person mentioned, rinse and repeat. I’m not sure if I’m the only one to notice, but he genuinely believed that the meaningful life Dazai gave him laid in the mafia and being useful to its cause. He has no reason to be as loyal to the mafia if he didn't think this.

Dazai’s acknowledgment means more than just appreciation for his skills and strength, it means his life meant something by striving for being the strongest. It’s not about the acknowledgment at all. Whenever he critiques and shames Atsushi for how he lives his life, it just feels like he’s unknowingly shaming himself through him without having to acknowledge his wrongs. It makes me curious about how much the acknowledgment itself even matters to him and the validation it gives him to strive for this is an excuse to keep living so what he’s doing in the mafia even matters in the end. What counts as acknowledgment to him?

He's convinced his faults are what made Dazai turn away, he just doesn’t know how to do anything to fix it and can't fix it this late into the game. What does Dazai want from him other than being stronger? When Dazai directly asks him to do something important involving Atsushi, he’s confused. He has no reason to trust him to do these missions. He’ll take the chance to prove himself once and for all, but to be included means he's being acknowledged, so what gives? The number of times he visibly self-reflects can be counted on one hand because as soon as it shows, he goes back to justify his violence and ignores his faults.

As someone whose favorite character is Akutagawa, I’m disgusted that all people can take away from him is “Akutagawa is an obsessive fanboy that deserves no sympathy because of what he did to Kyouka” or “Akutagawa is a poor, miserable man that didn’t deserve what Dazai made him into and should be absolved of responsibility because it’s all Dazai’s fault”. Both are very shallow and very harmful to perpetrate as they continue the idea that a person can only be the abused or abuser. He's both and it's okay to admit that.

Quickly let’s clear up this: He is not the way he is because of Dazai.

What Dazai IS responsible for:

Akutagawa’s need for his constant approval and recognition

Akutagawa learning to hone his ability

Akutagawa’s toxic views of being useful

The reason Akutagawa’s still alive

The reason Akutagawa is the Mafia’s dog

What Dazai is NOT responsible for:

Everything else

Akutagawa’s lean toward violence, his one-track stubborn mindset, and his lone-wolf attitude are not a product of Dazai’s treatment, he’s always been that way because of his time in the slums. He got beaten down by adults frightened of his empty gaze, had to learn to protect himself and find something to eat to survive, helped take care of his sister Gin and his friends by himself, and everyone constantly dying around him. That’s the real reason his personality is like that. He is a victim of his circumstances in a society that deemed him worthless, so he also thinks of his life as worthless. That’s why Dazai means so much to him.

Dazai did not trick him into joining the mafia, Dazai expressed what he was going to go through was worse than what happened in the slums and gave Akutagawa an out that he could live a normal life with enough money, but he knew Akutagawa would not refuse because he still needed meaning in living, just like him. Gaining enough money to get by so he and his sister could get out of the slums would do nothing for him, he already felt that his life was worthless. He has no problem throwing it away at any time, he was gonna die young regardless because of his lung disease. It has manipulative undertones, but that's how Dazai usually is with even the people he cares about.

Akutagawa knows too well that a person needs a sign, someone to tell them it’s okay to keep going, and so does Dazai. Part of Dazai’s goal is to save Akutagawa from dying and give him a reason to live like he promised that day because he sees the potential that could come from his development. I don't want to sound like a dick again, but you’d have to be dense to think Akutagawa would still be dead by the end of this arc. He isn’t sending him off to his death, Dazai doesn’t know everything.

Even if he knew Akutagawa might die there, it's better than both Atsushi and Akutagawa dying at that moment. If Akutagawa didn’t want to die for him, he wouldn’t have, he chose to save Atsushi’s life. This is why I have to defend Asagiri. Let’s reread the interview together, to make it get across already.

(Twt link)

Q: Just like how Akutagawa and Atsushi's relationship has changed, I could feel the relationship between Dazai and Akutagawa moving forward too. Is it like what Akutagawa has said in Episode 3 of Season 5, that every order he has received from Dazai so far has been "a trial", "a part of a meaningfull life"?

First, the question being asked. They’re asking Asagiri about their relationship in the present, and how it’s developed. Akutagawa is no longer thinking he was abandoned by Dazai for a new, better student like he was made him believe, that was just to rile him up and interact with Atsushi more. Instead, he realizes that he’s not supposed to work against Atsushi, he’s supposed to work with him. How he decides to go about that battle with Fukuchi and whether or not he works with Atsushi like a partner is his trial. If this was Akutagawa before he met Atsushi, he would’ve no doubt escaped or might’ve thought defeating Fukuchi would prove himself to Dazai. He's not an obstacle to his meaningful life, his quest for a meaningful life lies with Atsushi.

Asagiri responds with:

Asagiri: Needless to say, Dazai is the most qualified person in this world to help Akutagawa grow. Dazai has a vision for Akutagawa's development, and he completely understands what it takes to achieve it. We, as obsevers, can only see bits and pieces of that vision. But I can at least say that Dazai's training plan has never been wrong.

Many find this answer questionable, I was stunned reading it myself. Asagiri is not wrong at all here though, Dazai is objectively the only person in this series who can find a way to help him. Atsushi is the endpoint, but Dazai has been guiding him to this point. Dazai himself said that he was planning to team them up the moment he met Atsushi, he was still thinking of him even after all these years. There are much scarier implications than thinking that Asagiri was wrong. It's that Dazai was doing everything intentionally to get Akutagawa’s mindset where it was. He didn't mess up with Akutagawa, he just couldn't personally teach him the skills he needed and chose a different route until he found something that could.

Asagiri is not saying the abuse was morally justified, but the intention behind it was not wrong in an objective stance. Dazai would know what to do the most because of his understanding of wanting to find meaning in living. Teenage Dazai couldn’t have achieved much by himself, even if he could understand since he also could not find meaning in life. That’s why he made him hang on to his every breath of validation so he would keep his faith in Dazai long enough for him to find a solution to this dilemma. The moment in life when he found Akutagawa was not ideal and he still did what he thought he had to do for him to survive in the mafia. Without his ability, he's incredibly weak and needs to be able to defend himself. A violent person could not have made another violent person unlearn their violence.

You could say he just wanted a weapon, but that’s not it, not even close. Many of you are stuck on the part that it was a suicidal teenager that picked Akutagawa up from the slums and that no way someone like that could teach another suicidal teenager anything, so it’s “comical that Asagiri thinks as though he’s the most qualified”. You’re not wrong in some sense, but this is still incredibly intelligent, “Black Wrath of the Port Mafia”, Osamu Dazai, and not just some suicidal teenager.

He’s also no longer a teenager. Right now we’re talking of Dazai in the present who’s grown and no longer needs to be how he was in the mafia, he has Atsushi now, someone who can help Akutagawa see what’s wrong in his outlook. The only thing he could’ve done back then was to shelter Akutagawa so he wouldn’t kill himself. It's horrible, but Dazai validating where he is now would do no good for either of them and fix nothing.

Q: What kind of person is Dazai to Akutagawa?

Asagiri: Actually, at the time of "The Dark Era", Dazai already spoke very highly of Akutagawa, as someone who would "become the Mafia's strongest skill user in the not-so-distant future". He just doesn't say that in front of Akutagawa himself. The reason he doesn't say it is that Dazai has to be "the presence that continues to give meaning to life" to Akutagawa. So far, that trial has been completely successful.

None of what Asagiri brings up is new information. He doesn’t say it in front of Akutagawa not to spite him, but if he gives these praises out too freely, he loses his distant, almost god-like presence in Akutagawa and will go back to being just a lone wolf with no exceptions that will carelessly get himself killed. Without any goal, he’s lost. Just like Atsushi and the headmaster and how Atsushi hinges on proving he can do a good thing to motivate his life, Akutagawa similarly hinges on the fact that if he fails, he won’t get Dazai’s approval.

However, his death was not fully about Dazai’s approval in the way he's been preaching. In chapter 87, he mentions Dazai’s approval like always, and when they fail the first time even after trusting and working with each other as Shin Soukoku should, It hits him. What came into his head I cannot parse out at the moment, but his actions speak so much louder than any explanation we could've gotten. Of course, he's helping Atsushi escape, but what does he do for that? He used his ability on his shirt, and not just on the coat like he typically does.

It doesn't seem like a big deal at first, he could've always done that, but when was the last time he used it on something that wasn't the coat Dazai gave him? The coat means many things. His new beginning, his path in being Dazai’s student and successor (as that was also Mori’s coat), but it also conveys Dazai’s will that keeps him alive and that he's only strong with his coat. Without it, he's defenseless, so he clings to this coat the exact way he clings to those orders. It's his encouragement to keep going when Dazai isn't there. This overwhelming, suffocating responsibility, an oversized coat, is a lot to give to a kid but it's comfortable and he’ll grow into it eventually.

It was already a huge step in his development that he gave Atsushi his coat, but to use his ability not on his coat means he's making an effort to overcome his fixation and do an action unrelated to Dazai for the sake of Atsushi’s life. His whole life after the slums, everything he's ever done was with Dazai in mind. Him saving Atsushi’s life was not because he was doing what Dazai wanted him to do, that he'd finally get approval for doing It, and in turn give his life meaning before he died. When he saved Atsushi, it would give his life meaning in just that. He shouldn't let himself be defined by the past the way he criticizes Atsushi for, so he’s going to choose his meaning. I wouldn't say he's moved past Dazai yet, but he's getting there.

Dazai and Akutagawa’s relationship is not healthy in the slightest, and Dazai’s crueler actions and words against him are not right, but they’re still growing and not stagnant characters. Atsushi and Akutagawa learn from each other and that's what's pushing them to change. Nobody will pretend those past means weren’t just abuse, they were, but there's so much more to it. Like I asked with the director, was he successful? Well from what I’ve said, yes it so far has gone the way Dazai hoped for in the best-case scenario.

In the main universe at least, this is one of the better ways it could’ve gone. Beast is a different story. Teenage Dazai of the main universe was unsure of Akutagawa’s future and did only what he could’ve done at that time, but Beast Dazai does have that knowledge and he decided that it would be best for Akutagawa to not be in the mafia, instead bringing in Atsushi. It wouldn’t have been good to let him pursue his violent tendencies more than necessary in the mafia in this universe when he knew there was a better option, especially with someone like Oda, who would take the time to care for him properly.

Even if he didn’t bring him in, he still gave him the motivation to keep living for something. The prologue of Beast is a mirror to The Heartless Cur, with instead it’s a distant relationship of hate Akutagawa has for him for taking his sister. For those who argue that since Beast exists, that means Asagiri was somehow “wrong about Dazai”, but it’s still Dazai from the beginning that’s the source of this motivation. Dazai, who's still guiding him. If we’re gonna be honest, Dazai was putting their development/capabilities in speed run mode with the logic and future information he had access to prepare them for a timeline he won’t be alive for. There are many factors for what he did in Besst, but that’s not the conversation.

What does he get from helping him? Who knows, Asagiri wasn’t being cheeky when he said we only see bits and pieces of his vision. We barely have any clue what’s going through that man’s head, so don’t act like you do. He wasn’t always planning for the next Soukoku. Maybe it was a thought that came up sometimes, but he’s only met Atsushi recently. What about Akutagawa was so different from any other powerful ability-wielding orphan? Well, we’re not gonna know any time soon.

The point is that Dazai is thinking about their future, even if the abuse or manipulation makes that hard to see. Please do remember that abuse is still selfish no matter the intention, but non-selfish intentions make it all the more complicated to process. Their relationship is not misunderstood by Asagiri himself, it’s just clear to me most don’t want to face the unpleasant truth that there is more to their dynamic. When I first realized what was going on, I couldn’t help but get unnerved and awkward when someone would ask me about these two. These are both characters in the spotlight that you’re supposed to care about, but what happened between them is rotten.

You’re not supposed to pretend it didn’t happen because Dazai still contributed to who he is and it shows whenever it’s on screen. Abuse doesn’t make us stronger, don’t make it as if that’s a message that Asagiri is spreading. What happened to him motivated his development, but with Atsushi, that’s the opposite. Their circumstances are different and victims process what's happened to them in various ways. Depicting it in a form less common than usual doesn't mean the author thinks in the same way the victim does, it's just nuance at work.

I did not add Akutagawa’s attitude towards his subordinates and newer members as Dazai’s responsibility because Dazai is not the one controlling his hands when he hits Higuchi. Dazai’s mentoring contributed to his toxic views of being useful, but it’s only Akutagawa’s responsibility once he raises his hand. Instead of thinking of this in the context of the most typical abusive situation you can think of, how about this:

Your parent was raised in an abusive household, but they think they came out of it just fine and that there was nothing wrong with how they were treated. They treat you almost the same way, and all you can take away from that when you find out is, “At least it’s not as bad as it could’ve been”. You still hold anger at the standards they’re forcing you to reach, but if that’s what it takes to get that approval, then you’ll keep going anyway. Even if you get yelled at and you know you shouldn’t be treated like this, it’ll feel nice when you finally get on their good graces, right?

Then you get a new sibling, and all of that comes crumbling down. They don’t treat your sibling anywhere near the same when you were that age. Years go by and you get angrier and angrier. Why is it only you that was put to that standard? Even worse is that they treat you differently now too. You finally got to those standards, but now what is it worth? They’re so much nicer now and you want to curse them out for only changing now. Why couldn’t have had that parent from the beginning? It’s so unfair, but you can’t take it out on them because you still need them, they mean so much to you. As angry as you were, they were doing it because they cared about you in their way, you think. It was what your grandparents did to them at least. So you start treating your sibling similarly to how you were treated because you can’t take it that they didn’t experience that hardship without destroying yourself first.

Question: Are you right in what you did? Was the parent responsible for what you did to your sibling?

Nobody in their right mind would say yes to that first question. It makes sense why it happened, but continuing abuse will never be the correct answer. You’re doing the same thing your parent did. The second question needs more exposition to answer, however. How responsible is responsible?

In the end, even if it was the parent who influenced it, you’re only responsible for what you’ve done on your own accord. The parent did not tell you to take it out on your sibling, you decided that yourself. The parent is still responsible for what they’ve done to you, never get that wrong, but if you say that your guilt is absolved because it’s all their fault, you sound no different from any other abuser in denial. Are you saying now that the parent is also absolved from guilt because it’s all their parent’s fault too? Listen to yourself, You hurt someone but it’s not your fault, but the person who hurt you is also somehow not at fault? If someone came up to you and said that, you’d be fed up.

For those who do the same thing with Mori, rethink what you’re saying. Is it that painful to admit your favorite characters are at fault and that they’re changing? This comparison isn’t perfect and ignores some key factors: Dazai isn’t Akutagawa’s or Atsushi’s father and is not much older than them, the Port Mafia is a violent workplace environment and requires you to be able to navigate it a certain way, and all three of them at adults in present time. I used this comparison to be more real to earth and something a larger audience could process themselves to truly get that the emotions here are not straightforward even in a realistic situation.

Re: Portrait of a Father

Just like the prologue, in chapter 3 of the Beast light novel, Portrait of a Father is mirrored and retold in brutal upset that does not hold the hopeful bittersweetness at the end of it unlike its original. Before the present day, against all orders Dazai gave him, Atsushi attacked the orphanage on the day of his birthday. On his birthday, he would be reborn from the ashes of his past being burnt away, and kill the director inside to release himself from the fear of those memories.

It’s what he says at least.

Playing out, the director was expecting him. There might have only been one person in his mind who would’ve attacked a rundown orphanage on this scale. It frightens Atsushi after all that planning and fear of losing to the director, he could still see through him, but confusion takes hold when he’s told that he was late for his graduation.

Graduation? Atsushi is in fight or flight mode, why is he approaching him with this box? He can’t imagine it being anything other than a weapon, nothing else would make sense for this cruel monster. The director won’t give him any straight answer, just repeating words he’s heard over and over growing up here. He uses his tiger hearing to glean what could be inside.

Tick. Tock. Tick. Tock.

There’s the proof, it had to be a bomb. He needs to protect himself before anything happens or he’ll die. He’s scared, he can’t move, but he has to fight. The director opens his arms for the embrace of his child… and death, plummeted into a bloody mess on the floor. Only out of the corner of his eye, only when Atsushi stopped, he saw what was in the box. It was a watch, brand new and high-end. Happy Birthday was what was written on a sheet of paper next to it.

His last words, whispered into his ear, were words of encouragement: “Yes… just like that.”

I was not kidding when I said this was brutal. Just like in the main universe, Atsushi learns why he did what he did and can’t place any of his feelings, but overwhelmingly guilt crushes him to keep protecting people with his life rather than just fear because he killed him. He finds out much earlier about what happened with Shibusawa, and how the director protected his identity as the tiger.

The director’s intentions are draining when you let your mind wander. As we’ve established, the headmaster as a figure of hate for Atsushi is intentional on his part. He doesn’t explain anything on purpose here to probe him into killing him. He bought that watch for Atsushi as a congratulations for growing up and becoming a new independent individual.

In the split minute before Atsushi took the first swing, he said his usual, “Those who fail to protect others do not deserve to live.” I have to question now if he was so willing to die there, even encouraging him to kill him, then has it been this whole time he still can’t live with himself for what happened to his friends… or is it because he couldn’t protect Atsushi anymore? Maybe I’m overthinking it and it was just that the headmaster thought Atsushi needed to kill him to remove an obstacle in his growth as an individual, to be a necessary sacrifice for his benefit.

It's too flawed though. The director will never leave him, not after all that he's engraved into Atsushi. The watch has become not a symbol of a person who's found himself, but a child that's latched himself onto his father's cold corpse that won't ever respond, but that child would do anything to have him wake up and say "Good job, Atsushi". The director also has a clock, but can he call himself a strong individual when he hasn't let go of the past either?

Time stopped for Beast Atsushi when he picked up that watch. If he had just followed orders, none of this would’ve happened. If he isn’t his father’s child, if he doesn’t uphold his last wish, then who is he? When he’s no longer in the mafia and has time for himself to think, he wanders.

He failed in becoming someone he could be proud of, he deserved to die for that but doesn't want to be dead… because It wasn't truly about the Director, just like how it wasn't truly about Dazai’s acknowledgment or saving his sister for Akutagawa. At first, that was the motivation, it's the reasoning they keep going with, but in the end, it was to save their own life and give it purpose to validate why they're still around. If they can die like this, then it's all the same. If they have their own life in someone else’s hands, then they no longer have to be responsible for their own heavy-hearted weight.

Beast Atsushi is given neither and is taken of his reasoning, but he keeps going. Aimlessly.

Luckily, it’s not where his story ends.

He wakes up in his old orphanage, and it’s no longer the dreary place it was when he was younger. Kids laughing outside, no chains on the walls or bars blocking off the windows, and the new Orphanage Director greets him. He tells him that he will go back to being a student of the orphanage until he can become independent again, under one of Dazai’s last requests before he died.

Still, there’s one thing he needs to do. The new director takes out the watch and tells him to break it. Atsushi is distraught by this notion, but he won’t let Atsushi leave if he doesn’t. The new director has good reason, there is no point in becoming someone the past director was proud of and this is what’s holding him back. Atsushi, eventually, tells him he will not break the watch. He can’t move on just yet and this watch is still proof he’s himself, yet…

He’ll keep going and move forward, just like Akutagawa told him after he spared his life. The new director finds those words to be enough, saying he can’t leave until he finds something else to define himself with, but he can keep living here as his son. He went there to burn away his past and came out of it not able to let go of the past, but now he can redo and process it healthily with someone willing to hold him like a father should.

The Man Who Raised Dazai

Everyone who’s read Beast has questioned it: Why did Dazai in his right mind have Mori take care of an orphanage? Why did he save his life? Better yet, why is he so nice?! I have come up with some speculation on why Dazai would.

“Beast Dazai recognized this potential of change either from the multitude of universes he was able to witness or recognized it in his own considering canonverse Dazai never does anything against Mori (even if he visibly dislikes him).”

“Possibility is one thing, the why is another. It was either that he saw potential and good that could come out of this in the long run, Mori’s intelligence and expertise still proves usefulness, less dangerous for Oda in the long run if he let Mori stay there instead of the Mafia, or all three.”

(Didn’t feel like rephrase them)

We can’t know anything for sure about his decision, but I do know Mori is the type of character to sacrifice his feelings for what he thinks would logically benefit the sum, and there’s no better way to release yourself from that too-calculative responsibility than to remove yourself from it and to be in a place where you’re allowed to care for others and express yourself when there is no greater purpose than to just grow.

What happened with Yosano is undoubtedly wrong, but Mori had put away any sympathy in those situations because he needed her to do what he brought her in for. I was confused by his declaration that violence should never be used to educate children when I read it, especially out of his mouth, but now I understand. He would know with certainty that it’s not the right way to educate children, particularly because this is a Mori that hasn’t been in the dark for these past years and has grown to care for these children at the orphanage without any greater intention for them.

He’s not like the Old Director because he has no reason to think these kids would end up the way he did. They’re just kids that need someone to raise them with kindness, kindness will be what gets them through life as functional adults. Abuse has too many drawbacks to be called an optimal solution here. Is it surprising that all it took to change Mori was the kindness and salvation Dazai offered to him when he took over? Can you believe it was that simple to treat someone like a human being instead of a figure of hate?

What sticks out to me like a sore thumb is that when he’s introduced in Beast, he’s referred to as the man who raised Dazai. He is, regardless of what you think, the closest thing Dazai has to a father figure. In regards to how the fanbase speaks of their relationship, it’s hard to think that he cared about Dazai, but he did and the extent of how bad it got between them is grossly exaggerated.

As many comparisons Dazai gets with Yosano, their relationship with Mori is very different. Unlike Yosano, he did not need to be forced to do anything with psychological abuse and he did not need to be torn down to do what Mori asked him to. We don’t know what happened to him to become like this, but it wasn’t because of Mori. Yosano had light in her and a motivation to do the right thing, but Dazai didn’t. Dazai is no stranger to any violence or using violence himself even before Mori if he's this desensitized.

It’s useful that Dazai is like that when he meets him, up until it isn’t. He’s moody and actively looking to die. Mori can’t predict him that easily and Dazai can see right through him. There’s another huge difference between them though: Mori sees himself in Dazai. We don’t have enough insight in his head to make conclusive statements, but I think this is why he cared for Dazai. It’s not because he saw a child struggling that he cared, but grew some fondness because he saw a little mini-him. When he drove Dazai out of the Port Mafia, he expected him to come back and take back his vacant seat.

Eventually, Dazai will come back and realize that petty anger about someone dying is illogical in somewhere like the mafia. But because of him not being able to see through Dazai and seeing himself in him, he also expected him to eventually usurp his seat if he stayed any longer. That is why he had invited Mimic at the time he did and manipulated the situation so Oda, someone he knew Dazai cared for, would go and take care of the situation flawlessly. He’d be sacrificed and Mori could get something out of it, a Skilled Business Permit. A perfect plan… in theory, but Mori was wrong and miscalculated on many levels because of how many assumptions he made about Dazai.

First, he wouldn’t have known that it was Oda who held the words that would convince him to leave the mafia and go into the world of light. Dazai will never come back to his own volition. Second, as those panels quite literally tell you, Dazai was never planning on killing him. He saw his place in the mafia and saw that he was needed there. When Mori finally realizes his mistake with Dazai 4 years later during the Guild Arc, he can’t go back. His plan was still perfectly sound and he still got what he wanted out of it. He shouldn’t regret it, but…

Now that’s been paved out, where does wanting to save Dazai fit into this? If I had to assume, it’s the same reason he didn’t shoot Dazai for leaving his office during Dark Era. He cared about that boy, for 4 whole years he left him and his seat alone when the logical thing he should be doing was replacing him, but as much as he might’ve cared, he needed to put the mafia first. He didn’t let him die because of his use, but also because of their so-called “common destiny” in his eyes, a diamond in a rough he might’ve disposed of otherwise if he didn’t see his potential. There’s not much he could’ve done for Dazai here except keep him healthy and alive. Mori gets tons of flack for not trying to help him, but there's nothing he could've done, not in their position.

He can't cultivate his potential if there is abuse involved because there is no logical reason for him to do anything to Dazai. You guys have to stop assuming the worst when it comes to Mori, you’re missing huge character details that are right in front of you. The difference between Mori, the Boss of the Port Mafia, and Mori, the Orphanage Director is that he had time to rekindle his humanity so he’s able to care about him like a normal human being, feel guilt, and admit regret after Beast Dazai has died. Mori at most was responsible for ingraining tactical strategies and theories and molding him into the perfect Mafioso and right-hand man.

Not to say any of those aren’t a bad thing. He’s still a child and having him use his desensitized, intelligent mind to build the potential in what he could do for the mafia, it’s just that he’s responsible for very little in Dazai’s personality. The only answer I could give about Dazai being abused by Mori or being abused under the credentials that he’s a child in a violent, unsafe place is the same answer given earlier for Chuuya: in his case, not really.

Regarding this, I retract my statement about anything I’ve said about Beast Atsushi not being a victim in his time in the mafia, but I still hold my stance that he’s not the victim of the port mafia. I want to say the same thing about Beast Dazai and Atsushi that I do here, but considering he picked him up and trained him like how he trained Akutagawa, there’s a great chance Dazai emotionally abused him when you read their interactions. Not physically as that would make him too much like the headmaster, but just enough emotional distress in bringing up traumatic moments to manipulate him into doing what he needs of him.

It’s not a good relationship, but Mori wasn’t targeting Dazai in any real way like the Director and Atsushi or Dazai and Akutagawa. Unlike every other section, I have to conclude that he didn’t do anything to Dazai in that regard other than treating him like another adult when he shouldn't have. I don’t have much to say negatively about their dynamic otherwise. Just a weird, terrible son with his weird, terrible father. It’s more like someone who's taking after their mentor’s teaching and methods rather than an abuse victim echoing their abuser. This is why I don't accept the “Cycle of Abuse” as how the fandom understands it. It tells me a lot that people resort to the blame game.

I wonder what Dazai and Mori’s relationship would've looked like without any of this in the middle. Maybe something in cadence with Ranpo and Fukuzawa, but I can't help thinking that accepting Atsushi as his son in Beast instead of a student wasn't just for Atsushi’s sake. He was about to call him his student too, but immediately changed his mind. He already admitted he was helping him because of what happened to Dazai, so it can’t be a huge jump to think that in the same way this is Atsushi’s redo in building a relationship with a father figure, this is Mori’s redo to give him some atonement for the boy he failed.

A Mother’s Love

Kyouka, when we first meet her, appears as a force to be reckoned with. With skills a young girl shouldn’t have, and a demon shadowing behind, she’s a terrifying opponent. Quickly though, that appearance falls short in tragedy when the bomb Atsushi’s after is found on her own body and when he asks if she truly wants to kill... She has no answer, but her actions speak clearly. She gives him the defuser because she doesn’t want any more people to die, but the man behind the phone will not let it defuse.

So Kyouka does the next best thing to save more from dying: falling off the train with the bomb that’s about to go off. As long as she dies with it, nobody can use her and her abilities to massacre the people on the train when the bomb eventually fails to do what is necessary. Because that’s when Atsushi realizes that she cannot control her ability herself. No matter what she genuinely wants, she will never have the ability to obtain it because of this one fact. She can only be what people tell her she is.

We all know this story well, she gets saved by Atsushi and the man behind the phone is Akutagawa. Atsushi offers her the same kindness Dazai extended to him regardless of his reputation and destruction because it’d only be the right thing to do. He knows her incoming fate of eventual death for her crimes, he can’t do much, but she should at least experience normalcy this one time.

When she’s about to turn herself in, Akutagawa stops her and tells her she did her job well as a decoy for him to capture Atsushi. I don’t know if you’ve noticed, but there’s a peculiar oddness about Akutagawa here in his attitude towards Kyouka. In all logic, even though she is a strong tool to the mafia, she’s a low-level member, a disobedient one at that, and should’ve been killed on sight for her betrayal considering how quick he is to violence, but he talks as if nothing even happened. He brushes off any thought of her dying as she’s spouting nonsense and that she’s going to go back to the mafia as normal.

But then he spouts off about how she’s better off dead on the ship if she stops killing. What’s up with that? It’s not completely obvious at first, but he’s projecting his own experiences in the slums and beliefs formed from Dazai’s mentoring onto her. From his time when he wasn’t in the mafia, he tells her there’s nothing left out there for people like them, there’s only rock bottom. He can confidently say that there is nowhere that would accept her for her ability, demon snow, because it’s the same for him.

The only way her life can have value is to kill to be useful, just like any good mafia member. It’s exactly why that flashback with Dazai happens here. He’s the one who fed him these thoughts he’s lived with for these past 6 years, and what she’s been believing for 6 months. He doesn’t loathe her, he sees it as doing a favor for her. What else can a little girl who can kill be use of except to kill in her circumstances?

Contrary to popular belief, he is not her abuser and is not the same thing Dazai was to him. He neither trained her nor did we have information on their relationship to come to that conclusion. The only thing we know is that he was the one sent to pick her up by the Port Mafia. We can prove she is not the way she is because Akutagawa since Beast, well, exists. She is one of the few characters I can confidently say was a victim of the Port Mafia itself and not just a person of the Port Mafia specifically.

Akutagawa was trying to be what Dazai was to him, but he is selling a bastardized version of it to her. The person who was her Dazai was Atsushi, the same person who was given Dazai’s act of kindness. Someone who has experienced the same things Akutagawa has and is living proof that she can hope for something better.

He could see that the same revenge and lack of regard for her life in her eye was the same kind he met Dazai with. Despite that, these lessons he’s internalized have helped no one, not even himself. She can’t find meaning in something that is the root cause of her suicidal ideation. This life is unfulfilling for people like them who need meaning in life. Akutagawa doesn't realize this because he still has Dazai to be his motivational goal. That’s why he failed to help Kyouka, Dazai’s efforts would’ve been considered an utmost failure too if he wasn’t actively trying to fix that misunderstanding. Kindness is what actively saves us and helps us grow, the harm in abusive environments will only stunt us. But what happens when kindness is offered to us, but nothing comes out of it except proving us right that we’re unsavable? Then you have Kouyou.

Kouyou is the second person I could say was a victim of the Port Mafia. She has the same belief Akutagawa had about people like them being unable to be saved, so the only thing they can do is embrace it. I can’t claim she was Kyouka’s abuser either as we again don’t know enough, but that doesn’t change that her behavior is emotionally abusive, and is a much better contender than he is.

She’s doing the same thing Akutagawa was doing himself. Seeing themselves in this child and doing what she “needs” instead of what she wants. Just like him, she views this as saving her from the hands of light that will never make room for them and will ignore everything else she says. When Akutagawa is faced with her “disillusionment”, he… accepts it when she refuses his will and chooses another path, but almost kills her to spare her from that decision that would “doom” her.

Kouyou is much less accepting, opting to kill the root source of this hope itself, Atsushi, because her fondness for Kyouka prevents her from leaving her for dead. In contrast to Akutagawa’s attempt at being what gives her life meaning, Kouyou wants to stop Atsushi from being like the same man who also gave her hope that they could escape to the world of light. She can’t bear to see Kyouka go through the same realization she did far too late.

I can see what you're thinking, why am I reluctant to call either of them Kyouka’s abuser? Even if Akutagawa doesn't count, shouldn't Kouyou count because she seems to have an actual relationship with her and her effects are prevalent in Beast, the same points I mentioned to debunk accusations against him? Sure actually, but think about it like this. What the Port Mafia does have in common with real situations is that this is a community that is full of victims who refuse to process their traumatic experiences for any reason, and bring down others to their level when they don’t fit in their narrative to justify what’s happened to them.

There isn’t just one abuser weighing over you, there's this collective pressure from so many who aren't your abuser but they still contribute to your abuse with their presence itself. If Dazai wasn’t there in the mafia, would Akutagawa's situation have changed? Yes. Now if Akutagawa or Kouyou weren’t in the mafia, would Kyouka's situation have changed? Not at all. She’d have fewer examples to refer to, but she’d still be abused. If it’s easier to imagine, think of it similarly to cult mentality and how they keep you in cults. That is the reason I emphasized being a victim of the Port Mafia instead of an individual. Kouyou, Q, and Kyouka, while you can pin their main perpetrators on certain people, their overall situation doesn't change.

Now why doesn’t she just use the phone herself instead of letting people call Demon Snow for her? Wouldn’t she have more agency that way? Atsushi proposes this, but she rejects it instantly. It’s a very simple answer, it’s the same reason she can’t bear to look at it outside of when she’s forced to use it in combat. It’s her ability that killed her parents and why she was forced into this position.

It’s not hard for a little girl to believe she’s nothing more than a killing machine when she sees that night her ability would mercilessly kill her parents. She eventually caves when Kouyou points out how quick she is to vindicate violence to protect that hope she desperately wants a part of, and how she will never change. Her first mission with the Armed Detective Agency is proof in itself. Was Atsushi going to keep extending his kindness after hearing what she could only blame herself for?

Kouyou is a character I’ve seen that gets a lot of double standards compared to all of the other characters I’ve mentioned with abusive tendencies and is almost purely liked. She’s not seen as an absolute monster (The director, Mori) or controversial with one side containing pure dislike and another pure love (Akutagawa, Dazai), it’s only that she’s a well-written, sympathetic badass girl boss. It’s either because she’s a woman, that she doesn’t use an overt intimidation style, that her motives are more obvious in their emotional influences, or all of the above that she’s not treated the same.

Kouyou’s motivations are not special, as I’ve said. The only thing that differentiates them from the others is that they’re not covered by a mask of indifference. As fond as she is for her, she’s not much different from anyone else who holds the mafia up in high regard. She weaponizes her words in where they’d hurt the most so Kyouka would come with her. The entire last section of their battle sums up with her saying, “Kyouka come with me, they’ll only use you for your Ability when they get a hold of it. Even if the mafia did the same thing, at least they’ll accept you for who you truly are: a natural-born killer. You don’t have to fight anymore, I’ll protect you.”

When Atsushi finds Kyouka once again subsequently in her disappearance, she chooses to embrace her violence to help the Armed Detective Agency in this fight with the Guild. After her walk in where she used to reside, she comes the the conclusion she no longer belongs there. Against Kouyou’s wishes, she will brandish her blade for a home. That blows up in her face the moment she starts. Atsushi gets taken, and it’s just as Kouyou said would happen. If even her violence doesn’t get her wish, then what can she do besides leave herself to her fate?

As someone who’s seen another with a talent for killing walk the path of good and is on that same path himself, Dazai talks to her. He tells her about how she hasn’t gone through her entrance exam yet, how she isn’t an official member because she hasn’t proven her will or life on the line to help people she doesn’t necessarily know. Kyouka doesn’t believe she could’ve passed if that’s what it takes, but Dazai doesn’t agree with the points she’s brought up. So what if she’s killed or considered dangerous? That doesn’t make her less qualified to be a part of the Detective Agency, everyone there is from different backgrounds.

She can’t know everything, not even about herself. Nobody does, but it takes others to see more of yourself. Excelling in one area doesn’t prevent you from nurturing your potential in another. What would that make someone like Atsushi, a person who’s been her guiding figure throughout—but was never seen as anything more than a threat or a beast because of his ability before he joined them? The truth is, our lives aren’t defined by one purpose the moment we’re born, it’s only something you can make for yourself. We’re not the places we’ve been raised in, not the ideas people apply to us, and we’re especially not defined by the traumatic experiences we had no control over.

All of it accumulates the person we are today, and we can’t change that no matter how much we resent parts of our image that don’t hold up to what society deems as right, but it shouldn’t take control over what we want for ourselves. It isn’t fair for the victims who were forced into a life where they had to fend for themselves, the children who had to navigate an adult’s messed up world that didn’t have room for them to grow as kids should. Forced into a box where they stay unaware that they’ve ever left their mother’s womb, break out in fury with eyes that grew up too early—only to become lost and thrown away, or rot in that box without a single person knowing they were a breathing, living human being.

I deem abuse selfish for this very reason. Kouyou is wrong for this very reason. If she finds comfort in her reasoning, then I can’t critique her for her own choices and will have to respect her for choosing to stay in the mafia even when the old boss is dead, every abuse victim is different, but not a single person is born evil or good, in the dark or light. Not a soul has to stay in one place because they started there. It’s going to be a hard journey to truly achieve what you long for, results aren’t immediate and not everyone gets there no matter their effort, but still try. Try because it’s still worth trying, because you’re still worth more than you think.

In parallel, you can only get there as long as you’re seeking it. Too many see the Armed Detective Agency as something that will automatically save characters just by working there, but the only way it can help them is if they seek out their help themselves. The ADA is not the right place for every character, but Kyouka does want a place there. After her conversation with Dazai, she knows what she wants to do now. She will smash the drone she’s in into Moby Dick so nobody will have to die, but sacrifice her own life in the process. She’s chained to this place, but her choices aren’t.

She doesn’t have to die with regret, with this she can pass the entrance exam and become an agency member like she wanted. She made a difference for herself just by this act. It’d be a pretty melancholy arc if it ended like that, thank god we know it doesn’t end like this. When you become a full agency member, you gain more control over your ability, meaning—

She’s fine.

The exposition is over, let’s talk about Kyouka. Her arc is beautiful and the neglect to talk about her when it comes to her abuse story besides saying, “She’s the one who stopped the abuse cycle” and then nothing else is heartbreakingly superficial. She didn’t stop it, it’s impossible to, but she did break out of it. Kyouka’s section has more exposition than the others but I expected that. I wanted to save her for last because she’s the only one whose arc has come to a peaceful conclusion and not unfinished, and the lighter message felt nice to leave off on.

I shouldn’t berate Kouyou too much, the only reason she stayed in that room after being captured by the ADA is because she did want Kyouka to experience what she never had, and speaking with Dazai helped reassure her that Kyouka would be able to achieve her dreams. It’s no longer the age of the old boss. As well as her shedding the truth about her parent’s death so she wouldn’t have to resent her ability as not an avatar of massacre, but a product of her parents’ love that will always stay with her. She didn’t let go of the phone she’s had this entire time because her mother told her not to let it go.

Me going over Kouyou in this fashion is not me saying you shouldn’t love her character, I like her too. It’s just that it’s passed over so fast what she did, but somehow Akutagawa is more at fault here is mind-boggling. I’d get it a little more if this is because she redeemed herself by wanting the best for Kyouka over what was best for the mafia, but I doubt that’s the case when that moment is talked about so little as well.

I genuinely need you all to understand that not every character is going to have a satisfying, clean conclusion like this. Akutagawa’s story is most likely not going to have a conclusion that satisfies everyone and you should respect it when it comes. There’s no perfect way of writing abuse, but there’s no correct way of doing it either. I don’t think Dazai is going to have the repercussions you want him to have any time soon. If you got the message from Beast, getting revenge on an abuser doesn’t make us feel better or let us process what happened to us. Total resentment keeps us stuck.

The only thing that will heal us is the kindness so many offer in this series. You in no way need to extend that kindness to an abuser, you don’t need to forgive them or let them into your life again, but be kind to yourself and don’t let resentment prevent you from focusing on yourself. Forgiveness and reconnection are not the same thing. Don’t be angry when a victim does want those things. Unless it’s character inconsistent, that’s not something we shouldn’t have any opinion on as the right or wrong way to go about their lives. What if later they do change their mind and want something different from what they originally planned? That’s fine too. Everyone is different. Don’t give unsolicited advice to people who do not want it, let them decide for themselves. It is the best thing you can do.

The worst abusers are the ones who refuse to change and see wrong in what they’re doing, but what about the ones who do want that? Then also let them heal. They did something awful, why isn’t it a good thing they want to stop it now? You don’t have to let them in just because they changed though. Apologies don’t fix the damage already done, but to some victims, it feels nice to feel that what’s been done to them is acknowledged. You don’t want them to hurt others the way they’ve done to you, and neither do they. It hurts to let them forgive themselves when you haven’t and never will, you want to see them suffer, but that’s the only way things can change.

Dazai has changed, is he a good person even after what he’s done? I despise this question for any character of this series. He’s grown so much, and if you don’t think so, reread his conversation with Kyouka I beg of you. It is a far cry from his mindset in the mafia. A better person for sure, but a good person is hard to define for anyone in this series. The mafia is still the mafia, do any of them qualify as good people? The government, even if it’s the position of the right in society, is still an unjust system.

What a good person is cannot be an objective answer, people think there is but it’s not. A good person is how much we know about them and where our position in life affects our viewpoint. Prejudice values don’t make you correct in what you think a good person is, being convicted of a crime, one you might not even have committed, doesn’t automatically make you a bad person, being associated with a group doesn’t mean anything about who you are, etc. It’s all subjective in the end.

Meaning someone like Odasaku is essential in a story like this. He still has a presence in this narrative, even if he died in a light novel, because his existence pushes the boundaries of a “good person” in the fact his contradictory existence establishes itself. He failed in walking the path he wanted, but he doesn’t regret it even in his dying moments trying to.

Afterthoughts

The themes of morality and humanity go hand in hand with the abuse present in Bungou Stray Dogs, so it was hard avoiding talking about this when it was necessary. I don’t think it’s right of us to judge a character’s path that isn’t finished, in a story that’s nowhere near done. Ultimately, I’m only talking in a place of experience but never will it make me exempt from any personal bias. I tried to be as objective and nuanced as I could about this, and I hope it shows.

Abuse isn’t one of those things that I can analyze from any logical stand point or take resources to back my statements up about abuse. Of course everything I say can be backed up, but abuse is a personal, human matter and we’re just human being trying to figure out more than we can handle. I just couldn’t be comfortable with how people are now choosing to talk about Asagiri and needed to shed some light in what you’re missing.

Now I could’ve gone over Higuchi or Lucy because their stories also involve abuse, but I don’t think I could say anything new about them without repeating points I’ve already said. We know very little about Higuchi and what made her so devoted to Akutagawa, and Lucy is pretty quick to summarize considering her story is just like Atsushi’s. Q is also a character to be brought up but I don’t have enough information on them to say much about any abuse itself that happened.

Yosano was also an option but I don’t think anyone had any trouble understanding her backstory. Well I was only really aiming to speak about what’s not been spoken enough. Thank you for reading haha, god this thing is monstrous. Already got to 14k words by the time I was officially done…. I didn’t know if I wanted to lean into character analysis or just exposition, I hope it’s a good enough mix of both. This took way longer than the 4 days I was planning to write this in.

I was later reminded that I could do a post on how their abilities functioned and reflect on their abuse/traumatic events, but I didn’t think I’d have enough room for that here. It could be a bonus post eventually? I don’t think I did Kyouka enough justice in that aspect, but i’d just be beating myself up again about not making this perfect.

I hope I don’t come off scary or a very serious person? I’m very open to requests or discussions people want to engage in. Oh jeez, I’ll just embarrass myself if I keep talking. Writing this was a bit much, never really liked writing stuff myself. Sorry if glossed over anything, I wanted to stay on topic and not detail into something unnecessary.

The message BSD has is a pretty normal one, but there’s something very special about how it’s written here and I’m happy it exists. Maybe I shouldn’t have made this so long? But there’s so much to express sigh……

[melissa-titanium]

HELLOOO CAN I TALK TO YOU ABT DOLL

do you think that like, her being at school let her have some escape from her home and her revenge plans, like in this picture she is smiling and it looks way more like a happy smile than here

SHE IS HAPPY TO GET HER REVENGE, BUT SHE LOOKS SO TIRED, EVEN HER LAUGH IS TIRED

its like shes getting worse from the kills, in her house there was enough oil for her to not kill any other drones, yet her plan had to work, but it didnt, and only let her feeling more guilty

EVERYONE IS ALLOWED TO SEND ME SHIT ABOUT DOLL ALWAYS AT ANY TIME EVER FOREVER AND EVER. I LITERALLY NEED HER. SHES SO FUCKING COOL. BUT OMG HI YES HOLD ON

thats such an interesting take on pilot doll omg HI???? YES I CAN TOTALLY SEE THIS CONSIDERING WE DONT SEE DOLL IN SCHOOL OUTSIDE OF THE PILOT. HIIII YES OMG ok ok.

i havent actually thought this much about this. i personally think her in the pilot vs her in promening was like. not really a Whole big difference but like...the fact that lizzy now has access to v set her off. shes always been a little unsettling, a little fucking deranged but maybe something happened between ep 1 and 3 thatr was like. lizzy came to her like... hey, one of the disassembly drones came by my bunk the other day. was this the one? (shows doll a pic) and doll just FUcking Loses it . i think she was actively vengeful during the pilot too but YES like ur saying its almost a .grounding thing. everyone here is real and alive. and then at the end of the day she has to go back and face dozens upon dozens upon dozens of corpses that are there because of HER and its liike. idk i imagine shes 18-22 . shes young as hell. and that FUCKS WITH YOU. this is doll to me:

they know damn well her parents are dead but she's just under being eerie enough that no one really suspects her for anything going on. she's relatively normal around lizzy & not aggressive but not outgoing with other students. like to everyone, shes just a normal kid who lost her parents. plenty of kids have lost their parents, considering the murder drones lurking *right outside the bunker.*

i think she would get tired. yeah. she held onto the all consuming debilitating hatred for these genocidal war machines that killed her parents and countless others. then heartbeat happens, and suddenly people are Okay with them??? that would fucking set her OFF. so long, so fucking long shes been holding onto her anger and not being able to do anything about it . BUT NOW SHE CAN. ough ok but then theres those conflicting feelings bcos of uzi. u can see in promening she has SOME sense of... for lack of a better word, humanity in how she treats uzi (hell even tossing lizzy out of the way when she started killing people.) i think she picks and choses who she cares about and then is usually consistent in how she treats them. basically; dont get on her bad side. she's conflicted at the end of ep3 after learning uzi has the solver; but uzi is siding with the murder drones and thats HER loss for being SCHTUPIDDDDDDDD!!!! but then again, she finally has someone who understands what shes going through... but also AUGH..! i have to kill v i HAVE to kill v ive gotten so far i cant give up now FUCK!!!! FUCK!!!!!!!!!!!! i think there would be so much of her being conflicted between uzi knows what i feel. but also uzi is siding with the bitch who killed my fucking parents. i think she would just spiral and spiral until dead end comes along and she has a decision to make. and she makes it. and uzi is Fucked and v is Fucked and n and tessa are FUCKEd AND OK TYHIS IS GETTING LONG IM DONE

doll jumpscare

[zooophagous]

Any advice for not completely losing your mind during the new puppy stage when said puppy is still learning cats are A not scary so there's no reason to be afraid of them and B not small pointy dogs and so will not play with you if you bounce at them and bark in their faces. Once we get past that stage I consider the worst of it dealt with I can deal with chewing and teaching new behaviours but teaching a puppy who's never seen cats before that these two cats do not want to play with her is already making me just a tad batty (the cats themselves are fine we had dogs before this one and both of them are confident enough and willing to smack her upside the face if she gets overly rude and generally just look at her like she's a weird alien creature when she tries to demand bark at them)

Continue calmly redirecting the puppy when she goes after the cats. You may need to use a leash to tether her and quickly put a stop to it if she's a dog that tries to chase them. Puppies in general are just... difficult for a while. Many people I know with both dogs and children say that caring for a new puppy is harder than caring for a new baby.

Your puppy right now is too young to really have the emotional maturity needed to understand "no" and will need lots of repetition to get it down pat.

The best advice I can give you is that you need to be very consistent with your "no." Barking at the kitty always means you go in time out. Chasing the kitty always means you're stuck on your leash. Bothering the kitty can never be fun or rewarding. It must always result in the same no every time. You'll see little outbursts of bad behavior during this time while she pushes her boundaries. If they know exactly what to expect however, it helps them make good decisions.

In addition to the "no" however you should also be praising the "yes." So if chasing or barking gets a no, quietly sitting or ignoring the kitty gets a yes. If she's given the choice between paying attention to you or the kitty and she picks you, reward that. If she looks at the kitty and then pauses and looks away, reward that. Play games like "look at me" or "focus" where the dog is rewarded for eye contact, so she will look to you instead of at her trigger when you call the command.

With Tuunbaq, his biggest issue was leash reactivity with other dogs. I reward him for "focus" which is his look at me command, because when he's working hard at remembering his command he's not paying attention to the other dog.

It can be exceedingly frustrating I admit, but be patient with your puppy and yourself. Maturity takes time and a dog may be 18 to 24 months old before its adult dog brain grows in.

Full disclosure- Tuunbaq is ecollar trained, and an ecollar is an excellent way to proof "leave it," IF you know how to use it correctly. I recommend waiting till your dog is at least 6 months old and working with a professional trainer before using any ecollar as there is definitely a wrong way to use them. Tuunbaq's collar is fitted and used under the guidance of a professional trainer (not myself)

[lavend-ler]

BORDERLANDS: DEBT OR ALIVE BOOK REVIEW

I have read the new Borderlands book Debt Or Alive. I did not like it. In fact, I hated it so much I needed to pour out my thoughts in this review. It’ll be very long, so bear this in mind while reading through it because it’s been a while since a piece of media has made me this angry.

There will be spoilers to ALL of the book so you’ve been warned. I am going to analyze this book very thoroughly so everything that can be spoiled will be spoiled.

TL;DR – I hated this book. I accept Borderlands 3, I think it’s fine and I really like aspects of it. I wasn’t enthusiastic about New Tales From The Borderlands but in the end, I thought it was fine. But Debt Or Alive? It’s probably the only piece of Borderlands media that I won’t consider canon from this point forward. Half-assed story with shallow characters and ham-fisted message which retroactively ruins the events of the game(s). Don’t buy it, don’t waste your time on this just to see the worst version of characters you love.

A more detailed review will be under the cut. It’s over 10k long.

1. Tales From The Borderlands made even worse

I have a complicated relationship with Tales From The Borderlands. I think my best friend had put it in the best way – Tales From The Borderlands is good when you don’t think about it for too long. For me, it’s a fun game to play once every 4 years, remember the story and move on. The more you think about it, the more apparent the cracks get and the worse it becomes.

Debt Or Alive REALLY makes you think about Tales From The Borderlands in the worst way possible.

I have always thought that Fiona’s part of the story is weaker than Rhys’. It’s told in a way that sort of meanders until it’s reached its conclusion. The first sin Debt Or Alive commits is that the ending of Tales is its beginning. What should be the conclusion, the nice ribbon to tie the story is now the jumping off point. In my opinion, it’s always a terrible narrative decision to make your sequel start where the story left off. It always implies the fact that your conclusion is meaningless and that your characters didn’t learn anything. To write a new story, you need more challenges which also means that characters need new struggles. In Debt Or Alive’s case, it means that everything that happened in Tales isn’t worth a thing.

To me, nothing was more apparent of it here than the Vault scene. The Vault of the Traveler grants a wish to everyone who steps there. The Vault should be the conclusion to what we know of the characters and sort of “off screen” this happens to Rhys. We see Fiona hear that Rhys wishes for Atlas and that’s the end of his story in Tales. Though I will touch upon why I didn’t like this later, it does make narrative sense, he was supposed to be more independent and choose his own path instead of following others. It’s a ribbon that ties to his character in Borderlands 3 and New Tales From The Borderlands.

Then it’s time for Fiona and… Oh, yeah. What would SHE wish for? Throughout Tales, we see Fiona evolve as a character from the ragged con-artist who wishes to just go by, to the independent and certain Vault Hunter. Or do we? Yes, there is a moment in which Sasha dies which would be traumatic for Fiona but she’s from Pandora. She should know the dangers of living and instead, she should be happy that she came back as the hero. In the ending of Tales, we can hear Fiona say “This [Vault hunting] life…suits me” so she already reconciled the danger and in fact, she welcomes it. But to make this half-assed story be a thing, we have to disregard this entirely.

So in the Vault, Fiona is given a chance to wish for anything she wants. What does she wish for? Nothing, actually. Presented with an opportunity of a lifetime, Fiona has no idea what to wish for. I can’t even begin to tell you how bad of either an opener or an ending this is for her character. For an opener, we have a protagonist who doesn’t know what she wants and where she needs to go. Sure, it’s a start for an arc but not for Fiona who already DID have it. It’s an arc she had earned, so why would she have a restart and go through this all over again? And as an ending, it’s a terrible reminder that Fiona probably didn’t learn a thing. The time in the Vault was for nothing, Athena didn’t teach her anything. Burch doesn’t know his character well enough to think of anything for her to wish for.

Hence the whole journey moving forward truly is just a bad rehash. If Fiona didn’t learn a thing about herself and needs to do it again but worse, what’s the point of this story? To see her come to the same conclusion as she did at the end of Tales but worse? The answer is yes. As this story suggests Fiona is a protagonist who doesn’t know what to do with her life and just wants to protect her sister and that’s all. Which is the exact same point her character was at, at the beginning of Tales.

Actually, why did the Vault have to grant wishes, anyway? It doesn’t make sense for neither Fiona nor Rhys and even later, Gaige cements that this didn’t have to be the case. Part of the charm which Tales From The Borderlands brought was the story of everyday people. This wasn’t a story of glorious Vault Hunters with great stamina and luck, who chose the adventure for the guns and glory. This was a story of a middle manager and a con artist, two unremarkable people who were basically forced onto this adventure from outside forces and because of their will became heroes of their own stories. It’s a story of normal people who have made their own self-made destiny.

Debt Or Alive, of course, scoffs at this idea. Rhys’ Vault wish for Atlas makes no sense as he already has Atlas and already probably works under this trademark. It doesn’t mean a thing that he wishes for the whole legal action thing, when his character progression to have Atlas from Jack would be so good. But no, it’s cosmic power that grants him that wish fully. Fiona too, she was supposed to be a self-made Vault Hunter but in the end (or the beginning), she rejects this and doesn’t know what to wish for. Just an absolutely horrible way of planning out her character. No one wants a passive character and this is what this story makes Fiona to be – a bystander, rather than an igniter.

I also want to point out that the events of Tales and characters she meets are truly nothing but cameos. A big part of Fiona’s story was gaining independence when her father figure Felix turned out to be a snake who sold them out. Within Tales, it’s very clear that Felix was abusive towards Fiona and Sasha, forcing them into roles they didn’t want, favoring Fiona and making them live such a strict life, they thought it was the best they could get. Of course, none of this is ever touched upon in Debt Or Alive. It’s never mentioned that Fiona is an abuse survivor and how it would shape her as a person with her protectiveness and willingness to give up greatness for simply “good enough”, and being held to impossible standards. There are also barely any mentions of Athena and their time together. At no point does Fiona use tactics she had learnt from Athena or recounts their time. Those are passive mentions which make Fiona look like she didn’t learn a thing.

My own ribbon that ties this section will be the funniest thing that for me exposes how much Tales is made worse. Tales From The Borderlands is a game in which choices DO NOT matter. There are no consequences and each choice will yield the same outcome. Again, it’s just meaningless and it’s so funny to me that this book wants to wink at the audience becoming a “choose your own adventure” book in two sections, which both lead to the same result. It truly does not mean a thing.

2. Anthony Burch cannot write women and Fiona’s character assassination

Anthony Burch cannot write women. This is a fact that I wanna point out every single time I can because it was never more apparent to me than in this book. Let’s start with women in Borderlands and the stories which he had written for them. Maya has a good theme but falls flat when she’s only an object for Kreig to lust over. Nisha is Burch’s sexual fantasies coming true in a gross way. Athena in Tales is made only stone cold, no-fun character who is a liar to someone who loves. Janey in Tales is made to be an overbearing girlfriend trope but it’s progressive because she’s a lesbian. Vallory is a collection of tropes. So on and so forth.

Hence right from the beginning, I was very skeptical of a book by Burch which will have the most female-driven cast in all of Borderlands. My skepticism was proved not only to be right but also that it was much worse than I had realized. Because I haven’t even shown you the issues of Fiona and Sasha and trust me, there are some even in Tales. However from Tales I could very easily tell you what character traits Fiona and Sasha have and what differentiated them.

Fiona, as described in Tales promotional material is a con-artist with a heart of gold. She has been raised on streets, she loves money and she has a silver tongue to get out of every situation she’s in. Fiona also cares about those she loves a lot, as an older sister she can get overbearing but her situation in life made her realize that it’s justifiable. She can also be a nerd, she’s curious and fun, likes to joke around. Sasha is a character who loves danger far more than Fiona. She likes guns and has great knowledge of them, she’s more a doer than a talker. Sasha doesn’t want the con life and longs for something tangible, rather than just be a prize in the books. She also has an inferiority complex, due to Felix’ abuse which she masks with her forwardness and action personality. She shines through when she can do things she loves, becoming headstrong, honest and independent.

Do you really think we’ll get any of this in this book?

The answer is no and it’s very easy to tell it right from the start. I know I keep getting back to the Vault scene but trust me, this is the culprit from which I knew this book will be a failure. In this scene, Fiona doesn’t know what to wish for, so she “wishes” that Sasha was there. This wish is granted and it’s now both sisters in the Vault. From this you can see the issue – this book does not treat Fiona and Sasha as separate characters. They ALWAYS have to be together, always mention each other, they’re basically never given a room to breathe because whenever a scene calls for just Fiona or just Sasha, their internal monologue will keep mentioning the other.

I can’t even really make a case for either of the characters individually because this book itself makes such a bad case with them. I’ll give it my best shot because when these moments occur they are, well, bad. I’ll start with Sasha because I have less to say since the book itself had less to say about her too. There is a certain moment in which Sasha, being tired of Fiona’s carefulness, goes Vault hunting with Gaige. I was very happy at this, since I have shipped Sasha and Gaige before and I thought their personalities would mesh well. Yet, in this particular instance, Sasha isn’t enjoying anything regarding Vault hunting and the danger, while constantly thinking of Fiona. Why is that, why wouldn’t she be thrilled for the adventure and getting to know another person like Gaige more? They could bond and start a friendship but in the end, they barely talk and Sasha isn’t into it. Even guns don’t excite her that much. What happened to her?

I think even her reflections towards life after death are very much shallow and omitted. We get a sense of it, we get that Sasha is terrified that there’s nothing when she dies but we’re not given anything of it. I figured this would be her turning point, that Sasha will realize that if there’s nothing afterwards, it’s best to live her life to the fullest, going on adventures, not wasting chances. But nothing like this has happened. Sasha doesn’t enjoy Vault hunting, she shrugs at guns, she can’t have her own fulfillments, her relationship with Rhys is wishy-washy. You’d think that with sudden realization of death, Sasha would have a breaking point and start thinking if it’s all worth it and how her life should now be like. But that would require interesting philosophical questions that Burch doesn’t want to answer. Not when they lose the life-giving crystal, nor when Sasha dies a second time when she chooses to. It’d be such an interesting discussion of the meaning of life, how Sasha approaches life and what it all means to her but no. Not given any thought to this. At the end it’s not even unique to her as Fiona dies and is brought to life too so again, no point.

Another faucet to her character is the on and off relationship with Rhys and just… I was never a fan of shipping Sasha and Rhys together and this book reminded me of it in the worst possible way. Sasha is disinterested with Rhys’ world and they never mesh well together, having such different goals in life. She doesn’t even want to acknowledge their relationship, leaving Rhys to look like a sad wet sock (more on that later). It’s described how she’s used to acting a certain way and that’s fair, that’s a huge roadblock in a relationship. But we never see this roadblock get pushed. Sasha at the end of the book is still terrified of the potential relationship and doesn’t want this. We only learn that one time she calls him her boyfriend off screen, which is just such a cop out I can’t begin to describe it. I’m so sorry, Sasha, you deserve an actual relationship not just Burch’s fantasies.

So I move to the main character of the story, Fiona. And oh god, how badly has Burch treated Fiona, words cannot describe it but they will try. From the beginning, we see one of Fiona’s traits be amped up to 11 – her protectiveness which turns into overbearingness. Constantly, we are reminded that Sasha died and Fiona can’t forgive herself. Which is fair but again… We saw her happy and fulfilled at the end of Tales. But since Tales doesn’t matter and probably it’s better if it didn’t exist, it gets shrugged off. May I remind you, this book starts right as Tales ended. Which is a year later from the start. Which means Fiona is 30 and Sasha is 25. Their actions do not portray two characters of this age, especially Fiona’s towards Sasha’s.

Look, I’m 24 and I have a sister who’s 33, so close-ish range to them. If my sister would do the things that Fiona did to Sasha I would be pissed off as all hell because guess what, my adult sister does consider me an adult woman. Unlike apparently Fiona and Sasha. Because for Sasha’s “safety” Fiona puts her into a fucking jail on a planet they do not know, just towards her “safety”. Yes, it’s regarded as dumb and wrong in the book and that Fiona knows that Sasha would pull through but it’s just mind boggling to me that Fiona would even do that. She should know her sister. But then throughout the book we see Fiona acting like know all be all authority to her, constantly second guessing her actions and opinions and being completely overbearing. I’m sorry but her apology at the end doesn’t make it remotely okay to be so controlling of Sasha.

I guess that’s the point. In my opinion, this book is a character assassination for Fiona. People will whine and moan over how Rhys got ruined in Borderlands 3 and New Tales but no, I had and will always disagree with this. But Fiona in Debt Or Alive? Burch truly showed how he has no clue how to write female characters because she is completely ruined here. None of her actions make sense, neither do her choices, the little character she has is so unlikeable and I just can’t believe he thought it was all good.

The best way to show you how Fiona got ruined is to have a little overview of Fiona as a character before and her background. She is a Pandoran, born and “raised” there, through the life of crime and bribery. Her biological parents died, she only has Sasha with her. Thus she feels responsible for her and their wellbeing. Fiona also had Felix, a man who brought her and Sasha with him and raised them in a very abusive manner. Fiona all her life had lived in poverty, struggling to get by with her cons, constantly having Felix make her think she’s responsible for the failures or successes of the group all on her own. She lived in a caravan, she barely had any money to her name. She’s no stranger to the climate and cruelty of Pandora, having lived there all her life, though she herself prefers the “word” combat.

Got it? Well, now forget it because that’s what Burch did in his book.

I know that wealth can change people, I really do and the sum of money Fiona and Sasha received is enormous. What I don’t understand is that they both did a complete 180 on their perspectives. I do realize that living in poverty all their life, Fiona would start spending money on dumb things but to hammer home this fact, Burch tries really hard to show us how dumb some of the purchases are. But would she really act like this in this setting? First, it’s hard for me to believe that she would willingly move to Eden-5, seeing the corrupted system and life in which it operates. It’s just Pandora but with chrome paint on it. Yet, Fiona doesn’t see red flags and just continues on living, buying dumb shit. We don’t learn anything new about her through this either, it’s just a dumb thing after dumb thing. Why couldn’t it start with things that she really wanted and then move on to unnecessary things? I think it’s because Burch couldn’t even establish what her wishes would be from Pandoran times.

What also made me just want to throw this book away was that it took Fiona around 200 pages to realize that people who work for her are also bound by debt. It’s such a nearsighted thing, I cannot believe that she would do it. Especially since I think we’re led to believe that this book happened in the span of 4-5 years. For Fiona to be this bound by greed and wealth doesn’t fit her character at all. How could she just not see that people who work for her have been tortured by poverty? Up until this point, Fiona lived in poverty herself, she should KNOW that this is a thing people struggle with. Not to mention, in the book there are talks about how people have multiple debt cuffs on them. It’s unacceptable that Fiona wouldn’t care about those who were beneath her. And if she really did, do you think this makes her character any more likable? And do you think that her turn around is a moment of triumph when we’re led to believe she ignored those people for YEARS?

I think the story itself just makes you shrivel at one moment in particular. Fiona purchases a sapphire kitten, which shatters. Classic Borderlands humor, right? This moment truly disturbed me but not in a way that Burch wanted but for the implications. Fiona spends money on bullshit she doesn’t want just to have it. Who else spent money on unneeded bullshit just to show wealth? Handsome Jack. And when you’re comparing your hero to the most vile villain from the series, I don’t think it’s a good sign. Especially since in canon Handsome Jack loved and cared for Butt Stallion. Unlike Fiona.

Even the breaking point moment of Fiona, the destruction of Rustville, felt shallow. Reading this, I couldn’t help but to go back to the moment of Helios’ destruction in Tales. It was such an incredible moment for Rhys, seeing the destruction of a place that was close to him, death of people who he knew and respected. And seeing this “reprise” of sorts with Fiona just felt shallow. At this point, Fiona was in Rustville around 3 times if I can recall? She met people but didn’t form any meaningful relationships (because Burch doesn’t want either of the sisters to have meaningful relationships besides each other) or got to know anyone better. These were all one off interactions with random people. Unlike Rhys, it wasn’t Fiona’s choice to destroy Rustville. It was only an act that she maybe sort of allowed to happen but it was an action of one rich woman. Fiona had no agency in her actions, there was nothing she could’ve done to neither prevent it nor cause it. Thirdly, Fiona is a Pandoran. She should know the carnage, death and destruction, as it is ingrained in Pandora’s system and society. For her to act so devastated and shocked, it simply doesn’t make sense.

Another thing is that this story really dumbs Fiona down, to the points that I couldn’t comprehend how dumb she was. She goes alone to Tetanus Wilds, even if with Sasha she’d have more chances. Especially since she was going to Gaige’s stash and let’s be real – Sasha knows guns, Fiona does not. Fiona goes to destroy Rustville without any weapons and without any protection which of course results in her basically getting killed. Fiona takes a leap of faith thinking she’d die in the ditch but forgets that Deathtrap can fly and catch her. How would she forget if she was tinkering with him before? The same way she’d forget her weapons it seems.

I also wanted to mention how it always made sense to me that Fiona and Sasha would have a falling out in some part of the story, so both of the sisters would become independent and chase their own destinies. It would require Burch to stop thinking of them as a singular character, which does not happen. This part in particular made me especially angry. A skilled writer would make Fiona’s overbearingness and constant promises to be a start of Sasha realizing she needs to live her own life, Fiona as well. Anthony Burch is not a skilled writer so nothing of such happens.

Within Debt Or Alive we don’t learn anything new regarding neither Fiona nor Sasha. We are spoon fed information that we already know, seeing characters we love either devolve to their pre-Tales state or make terrible, nonsensical decisions. There are no moments in which  either of the sisters can breathe on their own. They are thrown into situations where something just has to happen. Thus, we don’t learn anything about them as people.

I also want to point out that the writing of Gaige is fine. I’ll talk more about this later but she truly was fine and I didn’t see issues with how her character was carried. Granted, I think it’s very hard to screw up writing Gaige but it’s Burch, he can do it all. I’m still sad that she’s a lonely outcast like in Borderlands 3 but in general, I didn’t have issues with either her writing or the story.

3. There will never be another Handsome Jack and the death of a good villain

Some of you have already started to roll your eyes at the mention of Handsome Jack but trust me, I have a point here to make. Whenever you hear people talk about Handsome Jack a special kind of sentence emerges – a villain you love to hate. I think this sentence is a great guide to creating your villain so that they’re impactful, fit the story, be likable enough to want to be with them but you’re happy when you get to kill them. And nothing made me feel like it’s a craft long gone than reading Debt Or Alive.

Countess Holloway is a nothing villain. She truly doesn’t represent anything and I can’t tell you anything of what she is as a person. Actually, it can boil down to one sentence – she’s rich and she’s evil. That’s all there is to her character but I guess it goes to show that even then, Burch cannot write women.

Going a little deeper, we gotta discuss the parts that make a good villain. I’m sorry for the comparisons to Handsome Jack but we really need to talk about what makes him great and what makes Holloway shallow.

On the surface level, the points are there. A villain needs to be connected to your heroes in a specific way, having an impact on their lives. Holloway does meet that quota, as she’s not only the motor for this story but also is actually the reason why Fiona and Sasha got rich in the first place. She is a vain person, who loves to live for shallow things and doesn’t care about the rest. From this point of view, we could think that Holloway serves as a reminder to Fiona and Sasha of “be careful who you can become” but neither of them have this revelation. Throughout the story, Fiona and Sasha basically do turn into Holloway, yet nothing of it is neither stated nor explored. It’s not a revelation that characters have, it’s what we think when we connect the dots.

When we start to think more, it all begins to fall apart. The key thing that lacks here is motivation. Looking back at Handsome Jack, it was clear how his goals were stated – he was a nobody who became somebody by his charisma and cunning ways. Now he projects his awful world views on others and it’s your job to stop him. There’s also the fact that his daughter Angel works for him and killing her for Jack is the breaking point. You see him be cruel, vain and abusive but you see his more “human” side that does not excuse his actions (I am looking away from Tales) but makes you understand how much of a terrible person he is and how he deserves to die. It’s effective and fantastic storytelling and his personality makes you want to be around him, even if he’s an awful person who deserves to die.

Let’s go back to Holloway and examine her as I described the traits of a good villain via Jack. Holloway’s motivation is that 7 years ago Gaige murdered her daughter Marcie and now she wants revenge on her. This is already a problem, as this is a passive goal. Holloway is presented as an arrogant woman who doesn’t like to get her hands dirty, hence she can’t kill Gaige on her own. Understandable but also she doesn’t seem very interested in it anyway? She wants to kill Gaige but passively. There’s a bounty on Gaige but Holloway doesn’t have a squad to look after her. Wouldn’t it be more interesting if Holloway had people looking for Gaige and when they die she swiftly replaces them with another one? It would be active but instead we’re presented this information as “well, maybe Gaige dies or maybe she doesn’t, idk, it’s alright either way”.

Another point is that Holloway is a very shallow character. In general, yes but in her actions too. What do we really know about her? She is rich, vain, vengeful, powerful and likes to spend money on frivolous things. Sure but that’s so basic you could tell this about so many other villains it wouldn’t make a difference. There is nothing in her nor in her behavior that would be an indicator of any interesting persona or character. Holloway just exists and we’re told that she’s evil. Wonderful character writing, gotta say.

We’re introduced to Countess Holloway in a way that she is the potential buyer of the Typhon DeLeon Vaultlander figure. Why would she want this? We’re not told nor shown. Thinking of it logically, we could say that it’s supposed to show us that Holloway likes to spend money on whatever bullshit she wants, which is fair. But wouldn’t it make it more sense if after the death of her child, Holloway became obsessed with Vault Hunters, knowing the murderer of her child became one? How did she start researching stories of Vault Hunters and think about how much she hates them, which would lead to her gaining knowledge? This way, Holloway could’ve been prepared for the attacks of Vault Hunters and Vault Hunter wannabes, since she would predict it all. Or even set a lure with a promise of amazing loot. Nothing like this happens.

Even the death of Marcie isn’t exactly a driving point to Holloway. When Angel dies in Borderlands 2, you see the impact it has on Handsome Jack. You know he’s an abusive parent yet even within this, he still acts as sort of father of the year type and constantly manipulates you, saying this is your fault. For Holloway, it seemed that the death of her child just happened and yeah, she’s pissed but you know, things happen. She doesn’t mention who Marcie was, even in her shallow understanding of it. It could’ve made a very interesting character bit where she would tell lies about Marcie, as she was more of a commodity to and of Holloway than anything else. Instead, Marcie’s death isn’t really a drive for Holloway, it’s just a thing that happened and she’s kinda bummed about this.

Is Holloway an imposing force, a ticking clock of sorts? No, she is not. We’re told that during all their stay on Eden-5 (again, around 4 or 5 years), Fiona and Sasha are neighbors with Holloway and nothing is done with it. They’re not anxious that she could strike at any moment or that she could catch Gaige. They don’t care about Gaige actually. That’s why Holloway makes a very poor villain in the imposing sense. There’s no impact of hers and her power felt throughout the book, when Fiona and Sasha can happily live next to her and nothing happens.

The only interesting display of her power is during the gala at Fiona and Sasha’s place, where Holloway shows that she can very easily change the whole Elite’s perspectives regarding the sisters. Yes, it’s a good moment for Holloway but it also truly makes me think how shallow she is as a character. First, the fact that Fiona fell for the Claptrap Vaultlander is another testament of how dumbed down she was. Burch, you made a whole joke about how Claptrap sucks at the beginning and how Fiona hates him, the least you could do was to think that she’d immediately throw this away (especially since you’ve established that Fiona is frivolous with her possessions now).

Second, it’s such a bait and switch moment for Holloway and the whole Elite. I get what it was trying to accomplish, it was for us to see that the Elites are stupid and will follow anyone as it goes. But wouldn’t it be better that out of her hatred for Fiona and Sasha she would work behind the scenes, telling other Elites how they are just stupid Pandorans who can’t achieve anything? It could’ve been a carefully plotted plan with instances that the blackmail was happening hinted at throughout the story but that would require the time when Fiona and Sasha spent on Eden-5 to mean something (it does not) and Holloway to have an ounce of personality and planning skills (she does not).

Another thing that Holloway for me lacks is the backstory. To create a good villain you must make us believe that they had a reason to do all that so we can hate them even more. I think in general, Borderlands does a great job with this, with Knoxx, Handsome Jack, of course, Colonel Zarpedon and the twins. But Holloway? We do not know anything about Holloway’s life. It was probably done so the billionaire character is just a shallow representation of this world but it makes for a very boring and one note character. We don’t know how she got this money, if she lived all her life like this and hates outsiders who she thinks are unworthy of this. Or is it a thing she got later in life thus is so cutthroat about this because she doesn’t wanna go back to poverty. No, you just get a one note shallow villain with no motivation and nothing to play off of.

Even her death is such a nothing death too. Throughout the book we see everyone trying to get at her and eliminate her and not succeed. It’s why Gaige is here, it’s a whole moral dilemma for Fiona and Sasha to grasp upon. As much as Holloway is baiting them to do this but calling them cowards and the sisters just lamenting over how they should’ve done this, you’d think Holloway would get her way. Possibly being quite literally torn to shreds by the sisters, Gaige and the poor people of Eden-5. I mean, it’s Borderlands, deaths like these could happen! But no, she just falls to her death. Even Gaige didn’t deserve to get a shot at her, it seems.

4. The themes of why all billionaires deserve to die or lack therefore of

In a now deleted tweet, Anthony Burch describes Debt Or Alive as a book about how “all billionaires deserve to die”. Why he had deleted this, I have no idea and I’m not here to speculate. However, I did not forget this tweet and throughout reading Debt Or Alive I kept reminding myself of itt. It should be the credo of this book, right? Or at least it once was. That is why, I wanted to simply sit down and speculate, what does this tweet actually mean for the themes of this book.

(This screen isn’t mine, I didn’t get to screenshot it when it was up)

I am a leftist, my politics are very much so on the left. My expertise lies in environmental issues and I know less about socio-economics but it’s fine because it seems that Anthony Burch himself doesn’t know much about this. Hence while reading Debt Or Alive, I asked myself the same question over and over. Let’s say I’m a person who likes Borderlands, likes Fiona and Sasha, isn’t too involved in politics and now I read Debt Or Alive – will this book convince me to learn more of the theory or think that all billionaires should die? In a way yes but in none of the right meaning of such speculations.

On the planet of Eden-5, it seems that life is determined by money and social status. Even the smallest crimes (or rather inconveniences towards the wealthy) will result in you getting a debt cuff. The imagery is already very ham-fisted but let’s go forward with this idea. What are the debt cuffs? I can’t really tell you how they work. While reading I couldn’t have deduced how exactly they operate with that premise. 

First thing is that a person can have multiple debt cuffs but it is never specified if the cuffs ever reach their limit in amount of money on it. As we see Fiona and Sasha get their cuffs and then we learnt you can get multiple, it truly got me thinking – how is that possible? How is it possible to get another, if the screens are digital (and they are described to be digital) how can they reach the limit and be forced to get another? In a highly technological society like Borderlands, nonetheless? How are the body parts chosen for this process? Fiona gets one on her ankle (I think, either this or arm, I forgot) but Sasha gets one on her neck. There are people who have so many cuffs they can’t walk anymore. How can they have so many?

Truth be told, we won’t learn anything about the cuffs or how people operate with them. We simply know they are very common and every citizen of Rustville is described to wear one. Even children, in an incredibly not subtle way, are described to wear “debt cuffs 4 kidz!”. We’re told the cuffs are very heavy but people live with them. We won’t learn who manufactures them, who is in charge of the law to give them away. We’re not even told about the ones who have paid their debt without help from Fiona and Sasha.

The moment when the book takes us to debt prison and the guard says there are some prisoners who can’t even walk because of their cuffs, I realized what these truly were. The cuffs were nothing but the least subtle visualization for us for the statuses of Eden-5 citizens. A literal ball and chain to be exact. For me it just serves as a very ham-fisted metaphor for what could’ve been an interesting concept. We could’ve seen someone pay up their debt but the cuff stays on because the Elites don’t want anyone to be free. We could’ve seen Elites wearing some as a “fashion statement”, mocking the suffering of the lower class. We could’ve seen an Elite who has an actual debt cuff and can’t pay it away, resulting in them hiding it from others. We could’ve had anything but the complete disregard Fiona and Sasha had for their workers and not realizing all of them wear at least one.

For all it’s worth, the book has a very black and white approach towards wealth and money, one that is very unusual for Borderlands. Though we get the usual for Borderlands “everyone is an asshole”, we have such a divide between Rusters and the Elites, it’s hard to mistake it for anything else. Because of this, world building suffers with this incredibly. There are only the poorest people around or the richest people around. There is no nuance or a conversation, there is either this or that. Even Gaige doesn’t offer any insider information towards it, even if she was born and raised there. Nowhere does her very outspoken politics mention the structures and Elites of Eden-5 which she should be completely against. And the fact that she knew Marcie and that she doesn’t wear any debt cuffs that are omnipresent on Eden-5 and the fact that Elites don’t want anything to do with Rusters makes me wonder – is Gaige actually rich? Because everything shows this, and if so, great work, Burch on creating a character whose identity is all over the place.

That was my big issue with showing the problems of wealth and social structures it creates. With no middle class, the conversation lacks another point of view. There are either the wealthiest around or the completely poorest lowest class imaginable. With getting rid of the middle, Burch fails to show us how daily life operates and robs us of the potential conversation. Where are the people who chase wealth and fortune? Where are those who would betray their whole class just to have that taste of top dog life? The only thing we are offered in this conversation are Face and Pick (you don’t have to know anything about them), who want to give Fiona and Sasha away for Holloway, just for the money. But that’s treated as a plot twist, rather than an actual plot point and the siblings already paralleled Fiona and Sasha, so there’s no conversation, just a very shallow shock.

Another point is how the Elites are presented to us. The Elites are the villains, of course and just like billionaires in real life, they aren’t good people. It’s more of how they are presented to us or lack of such presentation. Debt Or Alive doesn’t show us insides to the minds of the Elites because frankly, they don’t have any. I do understand that Burch wanted to show that these are stupid, cruel people, I get it, but even in real life, billionaires are stupid but not necessarily unintelligent.

In the book, we don’t see much of Elites, actually. We see them on the gala Fiona constructed and on Holloway’s gala at the end. At first, they are mindless people who cannot think for themselves. They’re either doing what Fiona wants or what Holloway wants. Secondly, they are quite literally used as meat shields for our heroes to hide behind. So in all senses, they have no personalities, either as a group or individuals. I think the biggest crime is that even in their rich years, Fiona and Sasha don’t interact with the Elites. We could see them be cruel to the lower class citizens, purposefully making them do things that would rank up their debt. We could see them spending money on idiotic things which Fiona and Sasha would point out as dumb. We could even have descriptions of Holloway’s house that are garish and grotesque because she has so much money, she doesn’t know how to spend it anymore.

Truly, the only billionaires whose mind we can read are actually Fiona and Sasha. But for this kind of story, you need a strawman, which is absent. I genuinely thought that Gaige could become their strawman but their relationship is so shallow and so one note I quickly realized it’s impossible. In stories like this, usually when the protagonists become rich and get to make stupid, meaningless purchases, there are already signs that something like this is bad. And though there are plenty of moments in which the girls make stupid choices over their greed, it takes them so damn long to wake up from that dream.

There’s also no critique of overconsumption or consumerism in general. It should be an easy task, regarding how Fiona and Sasha spend their money but though we never see the effects on them, for example throwing away new things or we don’t see the workers (besides that one lady) in such conditions. It’s all a very interesting subject that is brushed away at rich ladies’ boredom. Though we are told that these purchases are stupid, we aren’t given an answer to what they should do instead. And the only point of activism Fiona and Sasha do is to finally free the workers from cuffs. Took them long enough.

I simply can’t understand why this plot even had to involve the sisters, since it truly makes them worse by association. All throughout Tales we hear that Fiona and Sasha hate Hyperion and don’t want anything to do with Rhys. It’s a fair assessment, they’re Pandoran and Hyperion destroyed Pandora as they knew it and is personification of greed. So… Why were they so eager to live a rich and boring life? Was their issue only with Hyperion? Even more so, why were they so hateful regarding Hyperions? For all we know, Rhys is just a simple white collar worker who also gets screwed over by the system, yet they hate him for being part of the system even when it’s to also get by. Reading this story, I had a feeling that Fiona and Sasha simply hated Rhys for being a white collar worker and they had no problems with greed and destruction of lives via riches.

The story also really doesn’t want to take sides in this whole debacle. Fiona and Sasha lose all their money and want to start a revolution, killing all the Elites. This thought isn’t given any time to sink in or develop. At some point, the sisters realize no, we shouldn’t kill the Elites because that is how we’re gonna liberate the people, with their money. But then Gaige tells them they’re wrong? It’s very all over the place and the story really doesn’t want to take sides in this. 

That does make me think, what kind of impact will this story even have on both Fiona and Sasha? All in all, it seemed that they didn’t learn anything. They have to be on the run because the Elites want them dead but also they’re still into the riches and spoils of the Vault. Since Rhys is rich now, wouldn’t they not want to associate with him? Or are we gonna play the “not all rich people” card? I love Rhys and I actually like fictional rich people. But while writing a story like this, you have to stick with your principals and make them call out Rhys’ practices, not side with him because he’s one of the good guys. You can’t lead a revolution and then make puppy eyes towards a rich capitalist.

I have left out the discussion of race, because I am white and I feel like this isn’t my place to be talking about this. Don’t listen to me regarding this, listen to people of color. I want to, however, point out that Burch stayed within the racial ambiguity of Fiona and Sasha and their racial identity is not spoken of, while we learn the ethnic identities of two white characters (Gaige and Felix). Not to mention that I can criticize that having two women of color be painted as rich assholes and drawing parallels between Fiona and Handsome Jack who is in canon called a fascist is incredibly insensitive. And within the revolution literally having them be called out on being “outsiders who want to lead revolution that isn’t theirs and they talk over the native people” is so bad I can’t believe Burch thought of this. 

All in all, would this book convince me that all billionaires should die? With its heavy-handed metaphors and subtlety equal to a trainwreck, I truly don’t think it would. It’s a mess of themes and missed chances on having actually said something regarding the fact that billionaires should not exist and that they are vapid people who can’t look out for others. The story is just complicated when those people you criticize are also your protagonists, like Fiona and Sasha here.

We could’ve had interesting stories of class struggle and differences. The Elites could’ve been destroying the land, long before that laser hit Rustville. Destruction of land and resources for people to live is one of the oppression strategies real life rich people do. And just like the environmental issues won’t be solved with only everyday people making a change, it doesn’t mean we shouldn’t try to make things better. Write better stories with better themes. Maybe it’s just a tie-in novel for a game from 10 years ago but it could’ve said something instead of giving us a caricature of a rich person who spends money on little whale serving dishes.

See how I mentioned my passion for environmental issues at the beginning and it came back here? Set up and pay off. Something this book lacks.

5. Writing not just a better story but A Story in general

I am a writer. Sure, I write fanfiction but that doesn’t disqualify what I’m about to say. Not everyone is a showrunner, you need screenwriters too. What is this book if not officially commissioned fanfiction regarding Fiona and Sasha? When I myself am writing a story to explore, I always ask myself what is my theme, what am I building towards. Every story is fundamentally about change, right? That was why, when I stopped asking myself if I think all billionaires should die, I started asking myself – what did I gain from reading this story? What did the characters gain from this story being told? The answer is actually nothing.

Some of you probably had thought “this is just a tie-in novel to the games, it’s not supposed to be high art” and I agree with this but it is supposed to be art, no matter what. You could’ve said the same thing about the original Tales From The Borderlands, it’s nothing but an addendum to the main stories within the Borderlands. Yet, it moved a lot of people, inspired them, wanted them to create and follow the stories of these characters. For years, I’ve seen people longing for a story of Fiona and Sasha post Tales and this is what we get. Maybe in this regard Debt Or Alive is a high art, since it’s been making me nothing but angry these past couple of days. Or maybe it truly is a nothing piece of art, since at the end of the day, the feelings are just of shallowness.

Coming back to the fact that every story needs change to be worthwhile, I mean it even in the smallest of sense. It doesn’t have to be a huge change, but there has to be one no matter what. After I read Debt Or Alive I realized there was completely no change involved in the process. We start this book with Fiona and Sasha not knowing where they are in life and at the end, they decide to be Vault Hunters. You can say it is a substantial change but think about it like this – it’s the same kind of character arc they’ve had in the original Tales From The Borderlands.

Nothing had changed, they’re still at the same point they were almost 10 years ago when we finished episode 5. What Burch does is a classic shitty storytelling technique of the sequel that is just forgetting everything that had happened before and rehashing the character arc from the first one, just worse. Fiona goes from a self-reassured con-artist to a confident Vault Hunter. Sasha goes from a closed off younger sister to someone with agency. Those are the same kinds of stories we’ve already been told but when there’s no one to bounce off of, you realize that the sisters didn’t need this journey to realize it, they just needed to think for 15 minutes.

There’s also no change to the dynamics between Fiona and Sasha, and every attempt at it is shallow and pointless. At the beginning, we see Fiona being anxious that Sasha literally died before her eyes. Fiona is basically patronizing, Sasha goes Vault hunting but dislikes this, goes back and they make up. There’s no sense of change between them or maturity. I’ve already discussed the sense that their “class consciousness” is meaningless when they at the beginning were lower class. But even between each other, it’s the same song and dance. Fiona is a little overprotective, Sasha wants to show that she’s not just the younger sister. I’ve seen this already, Burch, you’ve told me this in Tales.

It doesn’t help that Fiona and Sasha really are treated constantly as the same entity, so their “changes” just don’t appear. They’re bound by the hip, unable to grow because of their limitations of the relationship. It’s too bad that a story about siblings has to treat them like they can’t exist without each other, when it could be an interesting story about independence. What if Sasha decides that Vault hunting is for her and actually goes away with Gaige? What if Fiona realizes that she’s been too caught up in her sister’s life that she forgot how to live her own? Those are all interesting questions that get tossed off the window, when you realize you have to do Tales but worse.

Just like that, the sisters can’t form any meaningful relationship. Not with the cardboard cutouts of the supporting cast, not with Gaige, there really is nothing. Fiona and Sasha don’t interact with their environment in an interesting way, it’s just a ham-fisted need to show that rich people are bad. Yes, I know they’re bad, I just want to see them discover it on their own. But we get nothing.

You can also argue that Sasha’s story regarding Rhys is just a rehash. As I’ve said, I was never a fan of this couple but I can’t imagine being satisfied with a solution that Burch brings to the table. Through the story, we see Sasha denying her feelings, not being ready for a relationship until Fiona steps in and says “actually, you are or you’re not” and off-screen we see that Sasha decided on their relationship. It’s truly insulting to see the “will they, won’t they” scenario with adult people and solved not before us.

What you have to understand is that this period of life that we’re seeing, with Fiona and Sasha is not a brief period of time. Maybe Burch doesn’t want exact numbers but this is clear when you think about a certain fact – Rhys has a mustache. I’m bringing this up because in Borderlands 3, Lor is actually surprised to see him like this, which means that the Maliwan invasion is well on its way. Which Rhys doesn’t bring up, of course. But deducing from this single comment we can calculate that between the beginning of the book and the ending, 4 or 5 years had happened. That is a damn long time and the fact that during this Fiona and Sasha do not resolve anything, do not develop and only go forth with their very surface level resolution is just a slap in the face.

We finished when we had started – it’s just that Burch doesn’t want you to realize that we had started at the ending. And this itself has consequences that he doesn’t ever want to acknowledge.

6. Show me my silver lining

I think at this point it’s very clear to see that I very much so didn’t enjoy this book. It’s just that I can’t bring myself to give a fully negative review, when there is one thing that I have to actually compliment. That thing is the arc of Gaige and what she’s been through in this book.

How we see Gaige is an actual arc and change of the character. We start with her being petty and bitter, returning to her home planet of Eden-5 for revenge. She wants to kill Holloway for destroying her and especially for the fact that she had imprisoned her father. We see Gaige’s smarts play the role against Fiona and we actually see the unbeatable Vault Hunter lose. Her father died at the prison. She has to hide, plotting her revenge. At the opportunity to bring her father back with the life crystal, she takes it immediately. But when it fails, Gaige is avoidant and quiet. Not wanting to see that she had failed yet again.

What was a terrible point in Fiona’s characterization, the destruction of Rustville, is the moment where Gaige shines through. Being presented with a choice by Holloway, she actually altruistically chooses to get caught, so she won’t hurt anyone. Sure, Holloway doesn’t keep her promise but it’s what Gaige is doing what is important. Instead of her usual snarky demeanor, we see her give up, something she had never done on her own. And in prison we see her still fighting for her life, screaming at the top of her lungs, even if at that point both her father and Deathtrap are gone.

The one genuinely great moment was when at the gala, Gaige gets a chance to open up about her feelings to her ECHOtube (I think that was what it was called?) subscribers. She talks about her love for her dad and how much he meant to her. How she misses him but wants to avenge him and wants him to be proud of her. It’s a very powerful moment, in my opinion, the best in all of the book. Gaige, surrounding herself with cheap thrills and adventures, seeks something that is real and opens up. It’s a beautiful moment of humanity for her that is just lovely to see.

Why she decided to take up the job of a party planner, I have no idea. Even with her explanation it still didn’t mean much to me. Thinking of how sad and once more, avoidant and lonely she ends up in Borderlands 3 does make me feel regret but I wanna hold onto that moment. Of Gaige’s sass and positive spirit, the only thing that made me go through that book.

Also there was a moment in which Rhys admits that he had a voice surgery. Made me go “what the fuck” at first but then I kinda laughed. Nobody needed that but whatever. Also fuck Troy Baker, all my homies hate Troy Baker.

7. Lightning round of criticism

Having said all of that and more about this book, this little section is about criticisms I had but didn’t want to dedicate a whole section to them. It’s just a list of things that bothered me as hell there but that will be shorter to sum up:

-        The humor of this book was unbearable. After several of those “jokes” you could very easily predict how the next one would go. It’s one person making a statement, another person contradicting it and then the outcome is a contradiction or first person admitting to the contradiction. Imagine this dry explanation but repeated over and over again and you get at least 40% of the whole dialogue. I don’t think it’s a good thing when you can sum up your entire humor in a descriptions like this

-        The new side characters are so paper thin, I cannot tell you anything about them. I can guarantee that if you ask me who they are in a month or two, I simply won’t know. All of them were characterized by a gimmick and not given anything real to do. The sisters, too, don’t have interesting interactions with them. Side characters here exist for cheap scenes that sorta progress the bad plot. In the words of a streamer Oboeshoesgames “Katagawa Jr. What a crazy character. He’s almost as memorable as Chet Smith.”

-        The way this book handled Rhys is horrendous. Equated to the kicked puppy who desperately wants Sasha’s attention, constantly described as stupid and worthless and then acting like a teenager when he’s pushing 30. I don’t think Borderlands 3 ruined Rhys. I don’t think New Tales ruined Rhys. But this? This is the worst written Rhys I’ve seen in years

-        Speaking of, Burch trying his damn hardest to write as if he’s a gen z person throws out words that make him look like Steve Buscemi “how do you do fellow kids” moment. In one moment, he even calls Rhys a himbo. Burch, do you know what words even mean

-        The narration style suffers from “tell don’t show”. Look at this example, here. Not only is this just flat out bad writing, we don’t need to be told three different times how badly Holloway treats people. A good writer would just show it to us via her actions towards her staff and juxtapose it with how Fiona treats her staff but of course, none of this happens

-        Being a video game writer, Burch doesn’t know how to progress a story. For him, the more important things are side quests and instant gratifications, not real emotional bits. The story rushes to the next point and leaves no room for you to breathe. You can’t spend time with those characters, you can’t learn anything new because you have to do another thing

-        Maybe that’s just me but I hate the non descriptive narration style. The world of Eden-5 feels shallow and pointless because the sisters don’t explore it and we don’t get any descriptions of it. Those are just empty phrases of wealth and dirt and nothing else

-        Last but certainly not least, I gotta ask, what the hell was Burch thinking with making this healing watch be the same thing as the healing crystal from New Tales? I always hated the deus ex machina of the watch but here it just had gotten ridiculous. It makes no sense, it’s a contrived way to bring it together. How does it connect? We never know, it is never explored. Maybe in Borderlands 50 or something

8. Conclusion

I hated this book. I wish I could’ve said something more profound but sometimes being direct is better – I truly hated this book and I won’t consider this canon to the Borderlands storyline. You can take my word that the canon won’t acknowledge it either. It’s a shallow cash grab directed at people who love Fiona and Sasha, engineered to be as meaningless as it could be and not to say anything either about its themes or its characters. It’s not a character study. It’s not a jumping off point for meaningful class structures and struggles discussion. It’s not even a fun popcorn adventure for fans of the series. With huge letters stating that it was written by the writer of Borderlands 2, I think we gotta ask – maybe it’s time to stop relying on the past and have someone write a spectacular story on par and better than Borderlands 2? Just anyone but Anthony Burch. 

[trekmupf]

a.k.a. Kirks evil twin needs a hug

Pro:

The Dog alien, iconic, beautiful

I know it was done to easily differenciate the two Kirks, but Kirks eyeliner slays

Bones everyday doctoring. Look I know in fic and memes people often say his bedside manner sucks, and with his friends it does yes because they're his friends and they're idiots, but his general doctor scenes are lovely

Kirk manhandling McCoy and McCoy sending Spock after him later

The way Kirk assures and takes care of Sulu / the landing party show more of his good qualities as a leader to his crew

Spocks heritage being talked about for the first time, interesting early ideas about him being stuck between both sides

The invention of the vulcan nerve pinch!

First proper „He's dead, Jim“ by McCoy!

Kirks halfs literally having to accept each other in a way in the end and hugging

Classic transporter malfunction

I like that they call evil Kirk the imposter - even though it's part of him everyone knows that he would never behave this way and that the "good" Kirk is closer to his real self

the general idea of splitting a person into opposing halves, even though the exact philosophy is muddled when analyzed deeper (yes, the message is a human being needs the good and bad, but – see cons)

Spocks speech about command underlines the kind of pressure Kirk is constantly under due to his position (something he handles well usually, and it gets adressed a few times thoughout tos)

Generally the dynamic between the trio and how trust works between them, especially in the transporter room in the end

love a classic „who is the real one“ duplicate situation

Con:

The entire violent scene between the imposter and Yeoman Rand is horrific and I personally find it to be longer than necessary to get the point across

also the way they treat her is too shitty for words. Even considering the production time it's bad, and I dislike all the scenes heavily

we're not gonna talk about Spock's last line. OOC. He would never.

The last third feels a bit streched

As said above, the split itself is very muddied philosophically and politically – I'd say is less good / evil and more base urges & survival instinct / higher developement, intelligence, which would make more sense as you do need both to function and one to control the other. Otherwise the message is you need „evil“ to function and thats just. No good.

also like. "sensitive" kirk does make decisions at the end and is also the brave one? it kinda undermines what they're trying to say

also the way it's presented goes a bit into the toxic masculinity philosophy that only a forceful / aggressive man can make proper decisions, when we know that's not at all true in Kirk (or the other men)

Sulu is us at @ every dog we encounter

Counter:

Kirk being shirtless (and posing in front of Spock with his little towel)

Transporter malfunction

A LOT of Kirk / Shatner Memes stem from this episode

Also the dog-alien is its own meme

Quote: "You're the captain of this ship. You haven't the right to be vulnerable in the eyes of the crew. You can't afford the luxury of being anything less than perfect. If you do, they lose faith and you lose command" - Spock

Moment: Kirk getting ready to beam down the reunite with himself and the almost silent conversations with his friends Summary: Interesting episode that raises a few questions about what makes a person who they are but can't fully answer them while giving further insight into the trios relationships as well as Kirks personality - beware the assault and treatment of the female character afterwards though.

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[iicaru2]

as much as i hate the fact that we cant let wyll make his own choice to break the pact or not when we can do so for pretty much every other huge origin choice, i kind of get why - because from what we know of wyll as a character, i really dont think he would ever make the decision to break the pact on his own. he hates mizora (understandably) and wants to be free of her (extremely understandably), but we also know about his insanely selfless, self-sacrificing tendencies. i love him dearly but i have serious doubts this man would ever knowingly sacrifice his father, no matter how much of a dick the guy is.

theres the argument of “but he must know his father would never want him to pact himself for eternity for his sake!!” but like. one, ulder wrote him off the moment he came home and saw him with a devil. that much is clear from wylls own testament and the things he says after you save him. two, even if that were the case, i doubt wyll would consider that perspective. because all he hears is “give away your soul to save a life” which is exactly what he did when he was seventeen.

is it an objectively bad decision? yes. have i made it repeatedly? yes, because of the points above and the fact that i think its the most in character decision for him, even if it makes me sad (wyll origin run is gonna be fun. and emotionally destroy me). do i still think we should be able to let him make his own decision? yeah, even if it means watching him sign his soul away again, because i think that happening 9 times out of 10 would really be a testament to what kind of character he is. tldr im at my limit and wyll ravengard makes me so fucking sad.

[yarameijer]

Hi, I've been reading accidental reversal and I really like your 'what if' scenarios with tenma and the gang, and I've had a fic idea I've been considering for a while that I'd appreciate your input on

I've really gotten attached to the idea of a Deaf Tenma, making the decision not to go to a Deaf School (The only Deaf school in Japan that I can find is Meisei Gakuen, which is located in tokyo, which is extremely close to if not the same city where Raimon is) so that he can play for the soccer team that inspired him, only to find the whole fifth sector mess going on.

naturally, he starts the whole revolution, because hes putting the quality of his education on the line to play for raimon, and he isn't about to let that sacrifice for nothing.

tsurugi notices straight away, and when he goes home he immediately starts learning JSL, because first of all he is Not ableist (for obvious reasons), and second is because if he's going to be monologuing at this kid, he's going to make sure he can be understood (he ends up being to go to interpreter when aoi/shinsuke isn't there)

shunsuke asks aoi to teach him and they bond

endou is surprisingly good at JSL when he picks it up (good with his hands + has a very expressive face), kidou, not so much (obscured face, not very expressive anyways)

due to the tension among the team in the first few games, it takes a good chunk of raimon an embarrassingly long time to realize that he isn't just wearing earbuds, and that he doesn't just have an odd accent, and that him looking directly at peoples mouths isn't just a quirk (shindou/kirino/sangoku being like 'How did you not realize? it's so obvious, we've just been learning independently')

also because I've noticed a trend in the show that these kids sure do like to monologue on the soccer field, and I think it's funny if they keep getting interrupted by a kid that just, does not seem to care (its difficult to lip read from a distance, they won't always be facing him, and it seems like a bad idea to wear hearing aids while playing a sport where kids can whip up fire tornadoes, because the average cost of a pair of hearing aids is approximately $4000, or ¥592,560)

anyways it's just an idea I've been considering

Whoa, I love that idea? It sounds so great! I’m a huge fan of rewriting the old story with just enough of a spin to give it a new flavor, and this one’s super interesting. Kinda reminds me of an idea I had at some point in which Tenma is mute and uses sign language. Also lmao Tenma pulling the revolution because ‘’I did NOT sacrifice my education just to get stuck with this crap’’ sounds like such a Tenma move, ngl.

Also yes, Raimon is located in Inazuma Town which is somewhere in Tokyo, it’s on the wiki if you want to check it out!

Okay so I’m not sure what exactly you wanted my input on, so I’m just gonna ramble! Feel free to send me another ask or comment if you wanted something more specific. Anyway, some things that immediately come to mind when I think about this:

1) One of the reasons Tsurugi takes his JSL lessons so seriously could be because Tenma reminds him of his brother. It’s not the same situation but in a way they’re both dealing with disabilities and Tsurugi has seen firsthand how hard it can be for Yuuichi, so he’s a bit softer towards Tenma because of that.

2) Depending on how much of a little shit you want Tenma to be: imagine him turning off his hearing aids at comedic moments, like when someone starts gushing about Fifth Sector’s goals. Tenma just nope’s straight out of that one. Or, although this might be a bit later when he’s more comfortable with the team, him turning off his hearing aids when someone starts scolding him. Absolute power move. They don’t even need to know he does it, maybe someone eventually finds out, cue comedic moment.

3) Since you mentioned accents… Tenma’s from Okinawa and as far as I could find, Okinawans have at least a bit of an accent. Deaf people are also known to learn how to speak by copying the lip movements of the people around them… so if Tenma grew up on Okinawa, it could be assumed he’s grown up speaking Okinawan Japanese and has the accent to match. I imagine non-deaf Tenma would have worked out most of his accent after he moved to Okinawa town so as to not stand out, but deaf Tenma would have had a harder time doing so/might not have even realized he had an accent in the first place. (There is a difference between Okinawan Japanese, which is a Japanese dialect, and the Okinawan language, which is a whole other language altogether and only a few people speak it (mostly the elderly) because it stems from a period before Okinawa was Japanese territory, so if you make use of this idea, maybe look into that a bit. It’s a bit of a complicated situation but I think it could really add something to the characters). This does depend a little on whether Tenma was born deaf or not, I think (that would also influence his lip reading/sign language skills - was he born deaf or has he only been deaf for a few years?)

4) Find subtle ways to mention it throughout the story instead of using full paragraphs. I like comparing it to writing someone who wears glasses. Small details are glasses getting fogged up when going from the outside cold into a warm room, or when drinking tea. Smudges on glasses that annoy the character. Pushing them up when they slip down their nose. These are all small, subtle actions that add a lot to the story and ‘remind’ readers of this detail without putting too much focus on it - you could try and do the same thing with Tenma’s deafness: lip reading is really difficult so Tenma might misunderstand or ask for clarification, or little habits he has (like you mentioned, watching people’s mouths rather than their eyes).

Anyway, I’d definitely recommend doing research on writing deaf characters because it’s very easy to accidentally make a mistake and come off as disrespectful. I’ve read a story or two in which there was so much focus on a character being deaf that it seemed to be their only character trait, and not only does that take away from the story, but it’s also not a good representation. Being deaf is not a defining character trait; it’s just part of their character, like wearing glasses or having asthma. An important thing that should be acknowledged but not constantly mentioned/made to be the center of their life and character.

Some questions that immediately popped into my head:

1. Was Tenma born deaf or did he lose his hearing?

2. Does he shout or say the name of hissatsu techniques? Would he even bother with that?

3. In fact would he even bother trying to learn the names of hissatsu techniques (since they can be super weird + it’s during a match and he’s not wearing hearing aids, so these both make it hard to lip read) and instead just come up with names for them himself? Imagine him referring to Sangoku’s Fence of Gaia as ‘’the rock thing’’ or Kami no Takuto as ‘’Shindou-senpai’s lightshow’’.

4. Does the entire team learn sign language (and how good are they at it), or does Tenma speak and lip read more with certain members of the team and use sign language with others?

Of course the amount of detail you put into it all depends on how long you want the story to be! I hope this is sort of what you wanted, and again, feel free to ask something else if this isn’t what you hoped for.

And in case you decide to write the story, best of luck!

[the-owl-tree]

its SO obvious that they wanted nightcloud to be some evil harpy so we’d feel bad for crowfeather and want him to be with leafpool (who he also mistreats because she had the audacity to choose her friends and family over him. crowfeather would have emotionally abused leafpool truther). crowfeathers trial feels like it wants nightcloud to also fess up to being bad. its so obvious when you read any author statements like from the field guides or websites

I'd say CT is pretty good towards Nightcloud (with my only non-issue criticism being that it does unintentionally and obviously not endorsed by the narrative sort of reaffirm the idea that it was her presence that was stopping them from bonding. obviously this is not the takeaway from the text, but eh, past decisions will always haunt the writing team). Breezepelt loving his mom sooooo so much makes me happy.

Po3 is really kind to her....because she's barely in it LMAO, she doesn't have much character outside of "Breezepelt's mom". She also doesn't really appear in OotS besides background appearances and that One Scene which people will unquestioningly cling onto, remove any context of, and not do any reflection on why they do that in the first place. Because when Nightcloud grabs Crowfeather (yes, she just grabs him), everyone is acting like a drama queen. Lionblaze and Breezepelt are FIGHTING and LEAFPOOL JUST PROFESSED HER LOVE TO CROWFEATHER AGAIN.

No mention of blood, she just fuckijng. grabbed him. if there was blood, we would have known it because breezepelt and lionblaze are beating the shit out of each other on the side lol

So even at her worst, she's still nowhere Crowfeather's level (seriously, if you can't think of the difference between hitting your kid for mouthing off vs. grabbing you partner during a brawl while his ex is going on about he loves her.....come the fuck on. this in no way puts these two on equal levels not at anon just a nebulous 'you'). Even then, this can be explained by everything that happened! That her aggression and unhappiness is from the whole reveal and the crumbling marriage. But this isn't a Nightcloud analysis, my point is that any and all of Nightcloud's actual behavior isn't nearly as focused on as Crowfeather's by the narrative and I don't think Po3 or OotS was trying to convince you otherwise, however, I do think Nightcloud being written more aggressive and "clingy" should be taken into account that the finale of this trio's arc is Crowfeather putting the blame on his wife and then subsequent field guides painting him as correct. The main arc books are fine, you can glean why Nightcloud behaves the way she does but the field guides paint her as a whole other character that we DID NOT SEE!!!! Po3 had plenty of opportunities to show this but they didnt, and instead the field guides invested themselves on a narrative that DID NOT HAPPEN.

The books have a trend of abuse apologia for their father characters, and I think that should be remembered when discussing how the authors and the books chose to handle these three. I know the field guides aren't considered heavy canon, but they're well worth considering to better understand how the writing team understands these characters and "the blame".

Also god yeah, the way Crowfeather treats Leafpool whenever she stopped playing into his fantasy...gross. Very glad more people know he said that shit about "mixed blood" JUST to hurt her, definitely not any red flags here!

[hopex4]

Really random things I have noticed cause I listen to all the Hatchetfield songs on repeat dear lord help me It's all Hatchetfield, ITS ALSLS HATCENAT

Ahem people probably know these already just let me go insane <\3

•In let it out, Prof. Hidgens says "and I know it's a singular voice, Paul," which is also Pokey's title- The Singular Voice.

•What Do You Want Paul can be considered a really bad summary I think. Paul doesn't know what he wants, so he becomes apart of the hive. He's unsure when he tells Bill he'll go with him to save Alice and overall after What Do You Want Paul whenever he has to make a decision he's just unsure (excluding before America Is Great Again and after Show Stoppin' Number)

•In Show Me Your Hands one of the cops says 'Her cat is dead' which I find funny cause 1. Charolette wears a cat sweater and later dies 2. Hey, Melissa reference before it came out I'm gonna sob

•I find it so funny it's called The Guy Who DIDN'T Like Musicals. I remember when I first watched it I said "This implies he starts liking them," and that's exactly what happened-

•BACK TO WHAT DO YOU WANT PAUL- In Let It Out, HE FUCKING- HE SAYS "It doesn't matter what I want," FURTHER PROVING THAT BECAUSE PAUL DOESN'T HAVE A SET GOAL HE DIES- and even MORE he gets a whole like 30 seconds singing about what he might want. "Am I crazy," for hating musicals "I don't think so- maybe I've always been," crazy for not liking them (read that as one sentence without the thingys [""] and the without the words not in them- then together if that makes sense <\3)

•In Let It Out and Inevitable there is a very audible difference between the hives voice and Paul's voice

•In Tied Up My Heart, Sam tells Charlotte to 'break him open' and that's what Sam does to Charlotte. Yes he says "Now I'm gonna free up your heart, Charlotte," but I'm pretty sure the human heart isn't located in the stomach <3

•Also in Tied Up My Heart- Sam says "I don't wanna die alone," and he doesn't. He dies with Charlotte <3 relationship goals frfr

•"Do you wanna save the planet? Of course you wanna save the planet, well there's just one way you can do it by singing a song," and that's what he does, thank you Lah Dee Dah Dah Day.

[dootznbootz]

At this point i am so sorry Ovid for all the hate you are better than the author that wrote Tele-GONE-ny :')

Like makes no sense for Odysseus story like it's not even canon. I believe he wrote it because of the success of Homer and wanted to make a known book based on something

Hmm this behaviour is oddly familiar with something recently we experience 👀

Honestly, it's not Ovid's fault in a way, just most peoples' taking his work as GREEK mythology instead of Roman. I don't think it's bad to enjoy the Roman Mythology version as long as people KNOW it's Roman and as long as they leave sweet boy Perseus alone.

Tele-GONE-y? That is just a titan of its own and it's so frustrating.

Because if you look it up? That's technically part of the Epic Cycle!

One of these is not like the others~

And it really sucks because we can't just say "It's Roman, therefore technically not Greek Mythology" like we can with Ovid! Why, out of all the myths for Odysseus and Penelope, would you choose this one? Why would you finish such a lovely story with such a trainwreck?

It literally goes against Tiresias' Prophecy! The myth of Odysseus being turned into a horse would've been a better one to go with if people didn't think "dying peacefully, surrounded by loved ones, after old age" isn't "exciting enough". At least then it's kind of cute to possibly imagine Horse!Odysseus being pampered by his family or something.

It is so dumb and just WRONG to say that the Odysseus and Penelope that are in the Tele-GONE-y are the same ones we know and love in Homer's masterpieces.

Even to lump the Tele-GONE-y with the rest is laughable. Even without considering the extreme out of character-ness of it, its plot is just messy and almost overly simple. As even with just FRAGMENTS of the other poems, we can take so much of what is implied and see the beautiful web that's being woven!!!

One of my favorite arcs, for example, is with Palamedes and his effects along the way. He places Odysseus' BABY in front of the plow and ofc, Odysseus saves his son. His sanity is proven and he has to go to war now, after having a prophecy of being the only survivor and not seeing his family again for 20 years.

Odysseus' rage is just boiling under the surface and he frames Palamedes for treason, causing him to be killed. THEN Palamedes' father, King Nauplius, hearing of his son's death plans to get revenge against all the kings. He goes to their wives telling them that their husbands plan to replace them.

Almost all of them take new lovers EXCEPT for Penelope. While we don't know the exact details, I believe it was likely that:

1.) "You're telling me, my husband, my Odysseus, is planning to replace me? That man is the biggest simp to ever simp, I've never heard such utter bullshit in my life. Get out of my house." 2.) When she realizes that he is Palamedes' FATHER? She's absolutely not believing one word that leaves his mouth. This is the father of the man who nearly got her baby killed and caused her husband to be taken away from her. She does not trust him.

(Silly side thing but Penelope's also probably making sure that Telemachus doesn't meet him lol "Remember that mean man who put you in front of the plow that I told you about? That's his dad. Don't talk to him. We don't know if 'Malice towards Telemachus' was inherited." 😂 )

It's so amazing and ironic that Nauplius got revenge against them all except for the man responsible!!! ALL BECAUSE PENELOPE IS THAT COOL AND SMART!

Granted, yes, he lied to Anticlea causing her heartbreak but still!

It's just such masterful and lovely storytelling!!! The rest of the Epic Cycle interweaves and connects lil stories into the big ones in such satisfying ways!!!

There is nothing like that in the Tele-GONE-y. No little seeds placed along the way to build upon. No "hey, this decision is actually monumental". Shit just happens.

It really does just feel like a young author being like "So, this is my new OC. His name is Telegonus and his dad is Odysseus! No, his mom isn't Penelope! And like, he has a special stingray spear and he kills his dad with it!"

I'm all for supporting and encouraging authors no matter how silly or cringy they get (I'm silly and cringy too!) but imagine from Homer's and the other authors of the Epic Cycle's perspective, that you write a book that you worked so hard on, only for people to take some FANFICTION as canon and therefore affecting how people see your work!

I got really rambly but I'm just genuinely mindboggled that people take the Tele-GONE-y as canon. It's not good. In general.

Another small thing but Homer usually tells us little details even when the characters don't know it. For example, with Helen not knowing her brothers are dead. (in Homer's works)

But I can’t see two of the men’s leaders,                                     Castor, tamer of horses, and Pollux, the fine boxer—they are both my brothers, whom my mother bore along with me. Either they did not come with the contingent from lovely Lacedaemon, or they sailed here in their seaworthy ships, but have no wish                                     to join men’s battles, fearing the disgrace, the many slurs, which are justly mine.” Helen spoke. But the life-nourishing earth already held her brothers in Lacedaemon,                             in their own dear native land.

(Book 3, Johnston)

Homer would have most likely said something in Book 12 of the Odyssey along the lines of "And so he left Aeaea for the final time, not knowing that he will have another son that grew up without his father." or something. HE DOESN'T SAY ANYTHING LIKE THAT. BECAUSE IT'S NOT CANON. It also never says that they slept together in Book 12. All she did was pull him away so that they could talk and she could warn him.

[veliseraptor]

I feel like presently there is a lot of focus in fandom, one way or another, on the question of whether or not a characters' actions were "justified" or not, and I have begun to find it increasingly exhausting, not just because it tends to end with really bad takes about characters I like and/or what strike me as shallow misreadings of the text, but because at its base I don't think it is either a productive or interesting line of conversation.

The question "is this character justified in doing [x]?" is inherently one that is going to have a yes or no answer. I suppose one could make an argument for there also being a "maybe" in there. From there, someone can dig into the evidence as to why they chose their yes or no answer, why they believe their answer is correct and somebody else's alternative response is wrong.

There might be an endless proliferation of arguments that could hypothetically be made, but typically I find that they end up boiling down to maybe three or four "themes" that then repeat and iterate across a fandom. Sometimes fandom laws of gravity will also cause one influential fan's strained reading of canon to become so ingrained in broader understanding of a text in a way that makes people start to play a game of telephone that then relates increasingly less to the source text than it does to the fandom conversation. Whatever happens, though, however people choose to argue their point, the fact remains that the conversation is set up so that there is a right/wrong claim being made. Furthermore, because "justification" most often rests on a question of ethical or moral standards, that claim is going to have a moral dimension, which leads very rapidly to people both (a) tying their own morality or their opponent's morality to their position on the question ("you must be a bad person because you think [x character] was justified!") and consequently (b) making the argument itself no longer about the character's justification but also a form of self justification.

All of this results in a lot of very acrimonious back and forth with no real results and which doesn't generate interesting new conversation, and the point I'm trying to make here is that, while "people yelling at each other on the internet" is of course an integral part of fandom that will always be present, I think this line of argument in particular generates a lot of circular arguments that just end with people convinced of their righteousness and their opponents' moral degeneracy.

Contrast this with other potential questions or considerations about fictional characters and the role they play in the story - "why did they do [x]? what drove this decision?" for instance, or "what are the influences that shaped this character the most?" or even, if one must consider the question of justification, what about "why did this character think they were justified, or, if they didn't believe they were in the right, why did they make the choices they did anyway?" These kinds of questions refuse a binary axis of yes/no, right/wrong, and therefore open up conversations that can both dig more deeply into a character and don't position people on two opposing sides, while also stepping back from an analytic practice that is built on trying to unearth the morals of a text.

I know that one text post by me, a relatively insignificant villain blogger on tumblr.com, isn't going to change the tenor of fandom arguments. There might not be a point in me writing this up at all. But I just think it might be worth considering, when engaging with fandom, thinking about other ways to interrogate a text than questions of whether or not x character was "justified."

[kerubimcrepin]

Live-read: "Les Dessous de Dofus" - part 2

And this is how it starts.

:(

Yes Lilotte. Yes he does.

Pupuces drink blood, as we know from Waven and the Dofus movie. Just because Joris and Kerubim's Pupuce likes to eat kibbles doesn't mean she isn't an obligate uhh hemovore (i made this word up). She wants to drink Lilotte's blood so fucking bad.

We can't really see if this thing Lilotte found is just a piece of fabric, or a dress. It doesn't look very dress-like, but it might be because it lacks any shoulder straps or belts. Keke does like to wear green a lot!

Considering the fact that she, uh, found high heels somewhere, I do think this is a dress. Kerubim has bad taste in clothes.

Joris is just pogging, while Kerubim is so worried about her being bitten everywhere by pupuce... gjsfgsf. (that and the fact that she found one of his drag things. But mostly her being bitten by pupuce)

I think Kerubim's game plan, if Julith hadn't showed up, was to hide knowing who Joris's parents were literally forever. Otherwise, this would be a pretty cruel thing to say, knowing that one day, he would have to reveal to Joris that that's his mom.

The Bakara bits of this comic make me so fucking sad, you have no idea. Just no idea. And her boyfriend is helping her get drunk, constantly.

I had spoken to some select people (in my dms) a lot on the parallels between Ivory Dofus's dragon, Jahash, and Kerubim, as well as Ebony Dofus, Julith, and Atcham. Joris has always been a person associated with neither light nor dark.

As well as parallels between Bakara (who I assume is around 10, in this design) and Joris (who is 10 at this time canonically). Makes me want to to believe that, in the Julith et Jahash comic, Bakara was 7. It'd be cute if they're similar like that.

Now, onto something more topical: Jahash and Kerubim are both idealists, who can make fun of themselves a little bit, but the idealistic view of their career as a hero differs for the two of them.

For Jahash, it is defending Bonta and its innocents.

While for Kerubim, it's about new experiences and sightseeing. It's about defending those who have nobody else, like widows and orphans.

And god, by now you probably know what Kerubim saying that he likes to defend orphans out loud does to my brain chemistry.

He doesn't want any orphan to suffer in life like he did.

Keke, a boomer, thinks that selling weed and catnip is illegal, but considering the fact that this guy went to the guards, — I think it isn't. Also, on the topic of funky plants that exist in the Krosmoz universe:

This is how my headcanon that Joris, Kerubim and Atcham smoke together can still win.

Like, there's a lot of weed near Bonta. Like a Lot of it.

They both haunt one another at night.

Julith having a stuffed doll of Jahash is just... so sad. Kerubim took everything from her, minutes after her husband has died.

And even if Kerubim thinks that she was an evil person, — he wants to protect the widow and the orphan. What happened here is the opposite of everything he stands for.

No wonder he's so protective over Joris, considering the guilt he must feel about killing his mother. He lost his parents too. He knows that, if he doesn't raise Joris himself, Joris has nobody.

My hot take, is that Bakara hates Joris, — and by proxy, Kerubim. Because the man took Joris in and loves him.

Sure, she couldn't have raised him, being a child herself, — but not having him in her life is a decision she makes on purpose, until the circumstances force her to interact with Joris.

Even as an 18-20 year old woman, she never contacts her nephew, despite knowing Kerubim and where they live. Even while crossing them on the street.

Think about it this way: She hates Julith. She thinks that she took advantage of her brother. That Julith had a child with him, for some perverted, monstrous reason, while lying about loving him, before destroying Bonta and causing the man to die.

While she probably knows that Joris isn't to blame for anything, her desire to never speak to him is... quite understandable. And probably for the best, for the sake of both of them, and their mental health.

[atamascolily]

Thunderbolt Fantasy: In Which I Yap About Swords

(What can I say? Guilty as charged.)

Thunderbolt Fantasy is about a lot of things, actually, but it's first and foremost a story about swords. So many swords. Magic swords, ordinary swords, demonic swords, holy swords, swords that look like swords but are actually something else, things that look like something else but are actually swords... the list goes on and on.

Thunderbolt Fantasy also has many themes, but I would argue that a major one is that swords are tools first and foremost; whether they are good or bad depends less on the sword itself and more on how it's used.

In the wrong hands, even a holy sword created to fight demons with the purest of intentions can be misused; in the right hands, a demonic sword can save the day, as evidenced by Shang Bu Huan's and Lin Xue Ya's clever team-up using Night of Mourning.

But it gets complicated because swords aren't just tools--or at least not all the time. Season 2 introduces us to Seven Blasphemous Deaths, who blurs the established boundaries--she is a person who is also a sword. Then we have Lang Wu Yao in Bewitching Melody of the West, a person who is explicitly compared to a sword; the climax of the movie hinges on Lang's decision to take full agency for his actions instead of letting unscrupulous people manipulate him.

Bewitching Melody of the West ends with Ling Ya--another character who blurs the line between person and object, and who is sometimes, but not always, a sword--teasing Shang that the Sorcerous Sword Index itself might one day gain sentience. "Any object imbued with strong enough sentiment in time grows a heart of its own! Not that all of them are chatty like me! ... You keep dragging that batch of magic swords around and sooner or later it [the Index] might start talking, too!"

Shang is incredibly flustered by this: "Shut the hell up! Don't jinx me!" He's learned to accept both Lang and Ling Ya as friends and comrades, but the idea of anything more than that scares him. Then he catches himself, "Er, I mean..."

"Mean what?"

And for a moment it seems like Shang is going to tell him, and then he pivots to thanking Ling Y for his assistance earlier and changing the subject. Which is too bad, because I really want to know what he's thinking here. Would it really be so bad if the Index and/or the swords within it was no longer a tool, but a person in their own right? If they could make decisions about how they wanted to be used?

Okay, so maybe it would be bad, given that swords are weapons--they can protect people, yes, but they can also kill them, or turn them into puppets, or generate massive earthquakes. It's only natural they would want to perform the functions they were made for, and some of those functions are terrible. Even holy swords are dangerous, as evidenced by Wan Jun Po being burned alive from the inside out from wielding one of the Three Holy Relics. Good is not soft, to say the least!

Given everything we know so far, it would not surprise me if Shang can "hear" the swords in the Index, and has a sense of their personalities and desires. His restraint in using the Index is entirely justified because these swords are dangerous, even though he has the skills to use them (and this restraint is one reason he can wield them). My personal headcanon is that one reason Lin Xue Ya is such a natural at using Night of Mourning is that he is also incredibly skilled at manipulating people and thus their desires align; he might have more difficulty with a sword that makes other demands of its wielder.

But as we've established, a major theme of Thunderbolt Fantasy as a whole is that even villains can grow and change (cf. Xie Ying Luo's arc in S2) and that people aren't bound by fate--they can and should be able to make their own choices. So why not extend that to the Index as well, especially considering how many people are trying to control it?

And would a sentient Index really be so terrible if it was embued with Shang's feelings? The man who is the moral center of Thunderbolt Fantasy, whom Lin Xue Ya (a master thief) says is the safest place he can imagine? I think an Index that grew out of Shang carrying it for so long would inherit that strong moral center--and I think it would be fitting, given how much carrying it has transformed his life.

One way or another, Shang can't rest until the Index is dealt with. One possibility is that Thunderbolt Fantasy punts the final ending, by having him keep wandering with the Index, but somehow I doubt it--Shang may well continue to journey on, but if he does, I think it will be because he genuinely wants to, or has some other task he wants to do, not because he's still carrying out the same old one forever.

In order for Shang to give up the Index, he has to trust it will be safe from people who will misuse it. We saw how that went at Xian Zhen fortress; even an institution dedicated to preserving the world couldn't keep the Index safe for less than a day, and most of them are worse.

The Index could be hidden, perhaps, or chucked away into the void, but the reason Shang hasn't already done it himself is because the swords are humanity's one hedge against another demon invasion. The swords were created to fight the demons, and they will continue to exist as long as that threat remains. So peace with the demons has to happen first. This is likely for other reasons--see Lang Wu Yao's whole arc--so I feel pretty confident about this. Maybe the swords, most of which originally came from another world, will end up returning there in the end--and like I said, the void of space seems to be a favorite place for chucking stuff you never want to see again (eldritch horrors, Lou Zhen Jie, etc). So it's definitely a possibility.

We also know as of S3 that the swords came from another world, and it's possible that they'd lose their powers if they were returned to their home and be ordinary swords again. So that's also an option.

But given all of the hints and established themes, I'm rooting for a secret third thing: to neither hold on to the Index or to throw it away, but to let it grow up and come into its own. Maybe the Index would decide to leave of its own accord; after all, the swords inside it came from another world and maybe they'd be happier to return there after all. Maybe it'd stick around under the auspices of Dan Fei, Juan Can Yun, and the Hu Yin Shi, who are going to need something to do with their lives once the war with the demons is over for good. I don't know. But I want the Index to have the same freedom as any other character. I want it to be able to choose.

How exactly this would work, I don't know. Maybe the Index is a single entity, or maybe it's a collective intelligence composed of all the swords inside it. Given that Huo Shi Ming Huang's theme centers around this kind of "swarm", and that he seeks the Index, I can't help wondering if the two are connected. But if the Index has to choose between Shang and Huo Shi Ming Huang, I think Shang's influence will ultimately carry the day in the end, though it might get pretty dicey before the end. After all, he's the one who carried it for so long!

(Look, I am but a simple soul--all I want is to see all of the swords flying out of the Index all at once in the climactic battle, preferably under their own accord. Yes, I know that technically already happened in the S2 opening, and it was great, but can we have that as the centerpiece of the final movie instead of 10-15 seconds?? Bonus if that severed arm is still in there and smacks someone across the face.)

All of this is to say, I fully expect that this is going to be a major theme going forward, and I have "the swords unionize" on my personal bingo card.

[jsprnt]

babe i hope you don't get mad at me. i totally understand and appreciate his decision to represent turkiye. after all he never got a proper conversation with german representatives/ they didn't take him srs enough to consider him.

i wish he can openly talk more in turkish without getting laughed at and can bond more with his team mates. the accent is gonna be naturally heavy and the only one's fault is his daddy's. no need to make fun of something he wasn't thaught in. the memes were too much for me personally cz i know how annoying that is with german as the second language.

i know he is only 19. he has showed what he can do against ger nt and at juve but there was minimal interior by him in this competetion. i do not expect him to pull a prime ronaldo and score even once at every match. but it's a fact that he has not created the same amount of attacks as baris alper. he missed lots of opportunities just like the remaining young attackers.

kerem, samet also got lynching. and let's not kid anyone, his face card gives him an advantage among young women. the coach should have given semih a chance so he would not be targetted because of his formation. montella's decisisons were questionable anyway.

I’m definitely talking about the crazy abuse he’s received. Obviously, I’m saying it wasn’t his best performance, and yes, he made a lot of mistakes, but I’m seeing people verbally abuse him, send death threats, want to physically harm him, which doesn’t make it okay whether he did good or bad.

we all saw the game yesterday, and can pick apart every single thing. kenan had his chances, but missed- at the end of the day, it just didn’t happen, we didn’t win. we can’t baby him obviously, I’m saying have some grace and be mindful.

It’s happend, and it’s done, talking shit about the players who gave their all is absolutely unnecessary..

I’ve seen so many other also get crazy hate, especially players like cenk, kerem, mert m, altay and especially samet in the other game. In my post I’m talking about kenan only, because the anon was about him..

About his Turkish, we all know the only person is to blame is his father, who didn’t bother to pass down a huge aspect of Turkish culture.

He’s said himself that he holds back on speaking the language because others make fun of it. Culturally, german born Turkish people are made fun of for their accent.

We can have a whole cultural dissection of how wrong that is, and how it holds people back from speaking their own language. (Something I’ve also experienced myself) many other players like Ferdi, aren’t 100% fluent in their Turkish, and I get that.

as a person also born and raised in the west, my Turkish isn’t incredibly fluent as well, even though we visit home every single year for two months straight.

though I’m confused about what his ‘face card’ has to do with my post. All I’m saying is the hate is too much. his outside appearance is honestly giving him more hate at the moment, can you not see how people are tearing him apart for fixing his hair once or twice?

we can go on and on about montella’s choices and the ref (that got on everyone nerves), but nothing will change.

I understand where you’re coming from, and definitely agree with some of your points.

they’ve all done incredibly well, and we should honestly be proud of them, not go around and verbally harass them. football culture has its own problems, and that one is a huge part of it.