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ilynpilled · 1 year

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Aerys & Cersei

I have seen some posts recently that want to paint Dany as the Aerys parallel in the story, as opposed to Cersei, and I want to pick that apart, and argue why it is detrimental to the respective stories of multiple characters, as well as pretty thematically incoherent.

Putting this quote by George in here as a given, as it will be relevant to the content in here:

"Fire is love, fire is passion, fire is sexual ardor and all of these things. Ice is betrayal, ice is revenge, ice is that kind of cold inhumanity and all that stuff is being played out in the books."

Thematically, Dany becoming an Aerys parallel is awful because of the bio essentialist undertones it has. I’ll put a link to the post that goes more in depth into this at the end of this. This is going to be rather long.

People use this argument for the Dany parallel for some reason: later, wildfire in many ways also functions as the Targs’ attempt to recreate dragons (Aerys is the most glaring example). To recreate lost magic, lost power. There are many historical stories of this destroying some of them. When you have a family be the head of a violent construct, like feudalistic hierarchies, it should not shock anyone how power can get corrupted. That is how I always viewed wildfire: the corrupted version of fire. It is an attempt to recreate power. Dany already has dragonfire, she literally brought them back into the world, she already has “power”, and she is learning to wield it (dragons, like power, can be wielded in different ways: plus they are living beings, I think this is key when comparing them with wildfire and its symbolic implications) Cersei’s story foils this in so many ways. Fire already has a rich duality in this series: life vs death, emancipation vs corruption, light vs destruction etc. Now let me get into the role fire & light plays in Cersei’s story:

She is associated with fire and passion in the text. She has a hunger for many things, power, love, respect and so on. She seems to mirror wildfire (directly as per Jaime’s description: “She had been a pretty girl, in truth; dimpled and delicate, with long auburn hair. Timid, though. Prone to tongue-tied silences and fits of giggles, with none of Cersei's fire.” , “Their father had been as relentless and implacable as a glacier, where Cersei was all wildfire, especially when thwarted. [….] her fury had been fearful to behold. She does not lack for wits, but she has no judgment, and no patience.”) She feels that that fire, that power, is absent in her life, leaving her in darkness and turning her ice cold.

By the time they left Maegor's Holdfast, the sky had turned a deep cobalt blue, though the stars still shone. All but one, Cersei thought. The bright star of the west has fallen, and the nights will be darker now. She paused upon the drawbridge that spanned the dry moat, gazing down at the spikes below. They would not dare lie to me about such a thing. "Who found him?"' "One of his guards," said Ser Osmund. "Lum. He felt a call of nature, and found his lordship in the privy." No, that cannot be. That is not the way a lion dies. The queen felt strangely calm. She remembered the first time she had lost a tooth, when she was just a little girl. It hadn't hurt, but the hole in her mouth felt so odd she could not stop touching it with her tongue. Now there is a hole in the world where Father stood, and holes want filling.

Tywin is both a symbol and a person that governs so much of Cersei and her relationship with the world. He owned her, a misogynistic traditionalist that sold her and moved her like a chess piece, with no regard to how it would affect her. He did not allow her individualization solely because of her gender. She even thinks he is in hell in her first AFfC chapter, likely for a multitude of reasons. Yet, Cersei aims to emulate his example. She seeks to fill the hole that he left. She wants to prove to him that she is worthy, even in his death. More so than his sons. His absence means darkness to her, because he and his conditioning is all that she knows. She thinks this is the key to recreating that absent fire. This also juxtaposes Jaime’s thoughts when he looks up the same stars. He associates Tywin with death and a feast for crows. He acknowledges that the sun has set, but he does not connect that light to Tywin, and he also thinks about the faint light of distant stars instead. They also come to drastically different conclusions about the worth of a crown. Cersei is repeatedly associated with death, and I do not think it is just about her own doom, but the feast for crows that she will bring about.

The queen could feel the heat of those green flames. The pyromancers said that only three things burned hotter than their sub-stance: dragonflame, the fires beneath the earth, and the summer sun. Some of the ladies gasped when the first flames appeared in the windows, licking up the outer walls like long green tongues. Others cheered, and made toasts. It is beautiful, she thought, as beautiful as Joffrey, when they laid him in my arms. No man had ever made her feel as good as she had felt when he took her nipple in his mouth to nurse. Tommen stared wide-eyed at the fires, as fascinated as he was frightened, until Margaery whispered something in his ear that made him laugh. Some of the knights began to make wagers on how long it would be before the tower collapsed. Lord Hallyne stood humming to himself and rocking on his heels. Cersei thought of all the King's Hands that she had known through the years: Owen Merryweather, Jon Connington, Qarlton Chelsted, Jon Arryn, Eddard Stark, her brother Tyrion. And her father, Lord Tywin Lannister, her father most of all. All of them are burning now, she told herself, savoring the thought. They are dead and burning, every one, with all their plots and schemes and betrayals. It is my day now. It is my castle and my kingdom.

Mind you this seed was already planted in ASoS:

Jaime curled up beneath his cloak, hoping to dream of Cersei. But when he closed his eyes, it was Aerys Targaryen he saw, pacing alone in his throne room.

Then, this is as clear cut of an Aerys parallel as it can get. People use Jaime’s description of Aerys and his relationship with fire, and try to project that onto Dany:

“Aerys would have bathed in it if he'd dared. The Targaryens were all mad for fire.”

The traitors want my city, I heard him tell Rossart, but I'll give them naught but ashes. Let Robert be king over charred bones and cooked meat. The Targaryens never bury their dead, they burn them. Aerys meant to have the greatest funeral pyre of them all. Though if truth be told, I do not believe he truly expected to die. Like Aerion Brightfire before him, Aerys thought the fire would transform him…. that he would rise again, reborn as a dragon, and turn all his enemies to ash. (Beyond obvious how well this fits with Cersei’s current and pending situation like lets be serious) :

I am Cersei of House Lannister, a lion of the Rock, the rightful queen of these Seven Kingdoms, trueborn daughter of Tywin Lannister. And hair grows back.

My crown, the queen thought. They took the other crown away from me, and now they are stealing this one as well.

I should not have done this. I was their queen, but now they've seen, they've seen, they've seen. I should never have let them see. Gowned and crowned, she was a queen. Naked, bloody, limping, she was only a woman, not so very different from their wives, more like their mothers than their pretty little maiden daughters. What have I done?

“He has sworn that he will not speak until all of His Grace's enemies are dead and evil has been driven from the realm.”

Yes, thought Cersei Lannister. Oh, yes.

People take the Targaryen aspect at face value, because they love to pick and choose at what times they want him to be an entirely reliable narrator. Again, Aerys never had dragons, he wanted to recreate them. It is not hard to actually navigate Jaime’s bias here as a result of his trauma, especially considering what Jaime himself thinks of Rhaegar (Rhaegar is not a Targ mad with fire in his mind but the ”good king that never was” lol) and the brutal death of his children at the hands of his family. (Aerys trauma affecting judgement regarding bloodlines was present when he almost pulled a #targrestoration for the trolling after they found him and asked him to name a king and he almost named a Targ as king and his father as hand bc it would make Robert #mad and thats funny until he got Aerys PTSD. He fears the ghost of Aerys returning more than anything else. It is a priority over his family’s interests, even back then). Again, the text is not actually bio essentialist, Jaime just has a very intense and dark relationship with Aerys and immense trauma that affects his logic. Not to mention, again, all that Aerys and some other Targs craved, Dany already achieved naturally. I just find it very funny how some of you people pick and choose when you want this man to be a reliable narrator depending on your agenda. Trust it is actually not that hard to figure it out when he is bullshitting in his thoughts or his words. Just look for contradictory actions or words, or whether his trauma and dissociative tendencies are relevant. Also why would you agree with the logic of “inherently evil and mad bloodline” said by the guy who is currently also convinced that he and his twin are one soul in two bodies who are tied together by fate?

Then, Jaime himself makes an actually reliable connection between Aerys and Cersei. No bloodline bullshit here. Cersei is literally his twin.

"That would be an even greater folly than burning the Tower of the Hand. So long as Tommen sits the Iron Throne, the realm sees him as the true king. Hide him under the Rock and he becomes just another claimant to the throne, no different than Stannis.”

"I am aware of that," the queen said sharply. "I said that I wanted to move the court to Lannisport, not that I would. Were you always this slow, or did losing a hand make you stupid?"

Jaime ignored that. "If these flames spread beyond the tower, you may end up burning down the castle whether you mean to or not. Wildfire is treacherous.'

"Lord Hallyne has assured me that his pyromancers can control the fire. The Guild of Alchemists had been brewing fresh wildfire for a fortnight. "Let all of King's Landing see the flames. It will be a lesson to our enemies."

"Now you sound like Aerys."

Her nostrils flared. “Guard your tongue, ser"

"I love you too, sweet sister."

How could I ever have loved that wretched creature? she wondered after he had gone. He was your twin, your shadow, your other half, another voice whispered. Once, perhaps, she thought. No longer. He has become a stranger to me. (Interesting that Jaime repeatedly associates Cersei with death directly, be it subconscious or conscious, and Cersei makes an accidental connection but not a deliberate one)

Other than the obvious fascination with wildfire, Cersei also aims to hurt him here with Kettleblack, because she is uncomfortable with losing her tool, and also because she is losing a source of warmth/love:

Cersei beckoned to Jaime. "Lord Commander, escort His Grace and his little queen to their pillows, if you would.

"As you command. And you as well?"

"No need." Cersei felt too alive for sleep. The wildfire was cleansing her, burning away all her rage and fear, filling her with resolve. “The flames are so pretty. I want to watch them for a while.”

Jaime hesitated. “You should not stay alone.”

"I will not be alone. Ser Osmund can remain with me and keep me safe. Your Sworn Brother"

"If it please Your Grace,” said Kettleblack.

“It does.” Cersei slid her arm through his, and side by side they watched the fire rage.

We have access to Jaime’s thoughts:

Jaime knew the look in his sister's eyes. He had seen it before, most recently on the night of Tommen's wedding, when she burned the Tower of the Hand. The green light of the wildfire had bathed the face of the watchers, so they looked like nothing so much as rotting corpses, a pack of gleeful ghouls, but some of the corpses were prettier than others. Even in the baleful glow, Cersei had been beautiful to look upon. She'd stood with one hand on her breast, her lips parted, her green eyes shining. She is crying, Jaime had realized, but whether it was from grief or ecstasy he could not have said. The sight had filled him with disquiet, reminding him of Aerys Targaryen and the way a burning would arouse him.

Jaime is aware and is bitter about that, but he hones in on a completely different thing. The bitterness over the cheating takes a backseat to him noticing the ghost of Aerys being present in Cersei. Then, this parallel keeps going. Right after Jaime makes a direct parallel between Aerys and Cersei, as well as associating her with death and corpses again, his thoughts drift to Aerys and his skewed relationship with wildfire & sex. Fire is passion, yes, sexual ardor, but again, wildfire is a corrupted version of fire.

whenever Aerys gave a man to the flames, Queen Rhaella would have a visitor in the night. The day he burned his mace-and-dagger Hand, Jaime and Jon Darry had stood at guard outside her bedchamber whilst the king took his pleasure. "You're hurting me,” they had heard Rhaella cry through the oaken door. "You're hurting me." In some queer way, that had been worse than Lord Chelsted's screaming. "We are sworn to protect her as well," Jaime had finally been driven to say. "We are," Darry allowed, "but not from him." Jaime had only seen Rhaella once after that, the morning of the day she left for Dragonstone. The queen had been cloaked and hooded as she climbed inside the royal wheelhouse that would take her down Aegon's High Hill to the waiting ship, but he heard her maids whispering after she was gone. They said the queen looked as if some beast had savaged her, clawing at her thighs and chewing on her breasts. A crowned beast, Jaime knew.

"And this?" Cersei pinched the nipple now, pulling on it hard, twisting it between her fingers.The Myrish woman gave a gasp of pain.

"You're hurting me."

"It's just the wine. I had a flagon with my supper, and another with the widow Stokeworth. I had to drink to keep her calm." She twisted Taena's other nipple too, pulling until the other woman gasped. "I am the queen I mean to claim my rights.”

"Do what you will.” Taena's hair was as black as Robert's, even down between her legs, and when Cersei touched her there she found her hair all sopping wet, where Robert's had been coarse and dry.

"Please,” the Myrish woman said, "go on, my queen. Do as you will with me. I'm yours.” But it was no good. She could not feel it, whatever Robert felt on the nights he took her. There was no pleasure in it, not for her.

She gasped some words in a foreign tongue, then shuddered again and arched her back and screamed. She sounds as if she is being gored, the queen thought. For a moment she let herself imagine that her fingers were a bore's tusks, ripping the Myrish woman apart from groin to throat. It was still no good. It had never been any good with anyone but Jaime.

Cersei seeks to achieve catharsis. She is exploring her own trauma. She wants to derive catharsis from emulating power. From emulating violent men, emulating Robert. But she experiences no pleasure. She experiences no catharsis. This is not enough. This is not what she is looking for. All she has is the fire.

Its eyes were pools of molten magma, and when it opened its mouth, the flame came roaring out in a hot jet. She could hear it singing to her. She opened her arms to the fire, embraced it, let it swallow her whole, let it cleanse her and temper her and scour her clean. She could feel her flesh sear and blacken and slough away, could feel her blood boil and turn to steam, and yet there was no pain. She felt strong and new and fierce.

This is what Cersei, like Aerys, will want to achieve in a metaphorical and in some ways literal sense. But with wildfire. It won’t work obviously, but it is all that she has.

Now lets talk about Cersei and swords.

Jaime, above most else, functioned as her sword. He was an extension of her, a weapon she desperately needed in order to punish others, and simultaneously protect herself. It was power. She immediately takes note of it when physical and internal change in Jaime is present:

"He'll have Casterly Rock, isn't that enough? Let Father sit the throne. All I want is you." He made to touch her cheek. Old habits die hard, and it was his right arm he lifted. Cersei recoiled from his stump.

"Don't ... don't talk like this. You're scaring me, Jaime. Don't be stupid. One wrong word and you'll cost us everything. What did they do to you?"

"They cut off my hand."

"No, it's more, you're changed." She backed off a step.

Jaime hugged her, his good hand pressing against the small of her back. He smelled of ash, but the morning sun was in his hair, giving it a golden glow. She wanted to draw his face to hers for a kiss. Later, she told herself, later he will come to me, for comfort.

"We are his heirs, Jaime," she whispered. "It will be up to us to finish his work. You must take Father's place as Hand. You see that now, surely. Tommen will need you.”

He pushed away from her and raised his arm, forcing his stump into her face.

"A Hand without a hand? A bad jape, sister. Don't ask me to rule.”

"Your turn," she told him afterward. "Pull his mane, I dare you." He never did. I should have had the sword, not him. (Interesting symbolism as to which one of them is opposed to the lions and which one is not)

If Jaime had not lost his hand. That road led nowhere, though. Jaime's sword hand was gone, and so was he

Jaime may yet come. She pictured him riding through the morning mists, his golden armor bright in the light of the rising sun.

It should be Jaime beside me. He would draw his golden sword and slash a path right through the mob, carving the eyes out of the head of every man who dared to look at her.

Ofc, who she used the weapon against were usually victims, but that is a big part of Cersei as a character, and the whole commentary about victims & perpetrators. You can have an irredeemable and evil character that the patriarchy still suppresses and affects the psychology of immensely, rendering her a bigger monster. The commentary on the destructive capacity of static social constructs is not lost as a result. A character can turn into the devil of the story due to a world that ceaselessly strips her of her humanity, as well as as a result of the choices she actively makes. Cersei has shown to be capable of cruelty even before her trauma (how she treated Tyrion, her extreme narcissism, throwing her best friend down a well), but this does not change anything. Being a perpetrator does not negate her victimhood, and vice versa. It is also her stubbornness and power hunger that leave her to her ruin in a world that does not allow her the ‘freedom’ or ‘power’ that she desperately desires. It becomes the worst combination of nature and nurturer. Her sword is gone for good. The motif of “sunlight” is once again present. It turns his hair/armor gold. She craves the golden Jaime in golden armor, the Jaime from AGoT. But we know Jaime’s color symbolism is heading in a very different direction:

Even at a distance, Ser Jaime Lannister was unmistakable. The moonlight had silvered his armor and the gold of his hair, and turned his crimson cloak to black.

She did as he bid her. "The white cloak . . ." ". . . is new, but I'm sure I'll soil it soon enough." “That wasn't . . . I was about to say that it becomes you”

When he was done, more than three-quarters of his page still remained to be filled between the gold lion on the crimson shield on top and the blank white shield at the bottom.

“Gold? Or silver?" Cersei plucked a hair from beneath his chin and held it up. It was grey. "All the color is draining out of you, brother. You've become a ghost of what you were, a pale crippled thing. And so bloodless, always in white." She flicked the hair away. "I prefer you garbed in crimson and gold."

(Again, gold is heavy negative symbolism for Jaime, another indication that Goldenhand the Just is an obvious dead end, as I have discussed at length atp. It is an attempt to recreate his phantom and cover it up with a golden lie.)

Then, finally, the conclusion for Cersei during her rebirth:

A shadow fell across them both, blotting out the sun. The queen felt cold steel slide beneath her, a pair of great armored arms lifting her off the ground lifting her up into the air as easily as she had lifted Joffrey when he was still a babe.

This is the reason the sun gets blotted out at the end. I think that is a final statement on how he will never be her sword again. So now she needs a new sword. She has Robert Strong, and she has wildfire. Light & sun is repeatedly absent, and she lands in the cold darkness over and over again. She has associations with ice and wildfire. Unlike Jaime, who is often reborn in light & warmth (1. first POV: “sent them toward the pale pink dawn. After so long in darkness, the world was so sweet that Jaime Lannister felt dizzy. I am alive, and drunk on sunlight.” In contrast with Cersei’s first POV: her awakening in her dark chamber after a dream turned nightmare. 2. when the arakh kills his old self: “sunlight ran silver along the edge of the arakh”, 3. the steaming bath. Robert Strong also contrasts Brienne. Interesting that he lifts Cersei up into the air, while Brienne catches Jaime before he could fall. Robert Strong is “cold steel”, while Brienne’s touch is “warm” (noted twice by Jaime). “The cell began to darken. It was growing cold as well. Cersei began to shiver. How can they leave me like this, without so much as a fire? I am their queen.” Cersei on the other hand keeps being put or reborn in darkness, I assume this symbolically has meaning and is no coincidence. Plus, while Jaime chooses to cut his own hair, Cersei is forcefully stripped from it. What is also interesting is what the both of them have in the dark (Jaime’s weirwood dream) are the flames (for Jaime the flaming sword, for Cersei the torch, and later the wildfire).

Again, people want Jaime to be an unreliable narrator here, clouded by bitterness and hatred or something, but I really doubt that is the case. Again, the cheating takes a backseat, and that whole thing is more complicated anyways: it is primarily a catalyst that reveals to him how broken the illusion he created for himself about the relationship is at its very foundation. The whole idea of her love, which is so significant for him, is questioned. There are so many factors that play into their relationship falling apart (they both change, the hand loss, Jaime’s rejection of being Tywin’s heir, his desire to give up power and choose Cersei, while Cersei would never give up power for Jaime, him not understanding the nuances of that as Cersei is inherently more powerless bc of her status and she craves it desperately + differences in nature and experiences. + Cersei asking him to kill Tyrion. Again, they are fundamentally different. This is also a partial reason as to why Jaime rejected her advances post sept scene imo, even if he keeps making inconsistent excuses (location, the dead KG or his father, vows, judgement of the gods [he never really cared about this before: he is a reddit atheist, also did not stop him at the sept]). Some of this is before the cheating reveal.) Jaime does not harm her even if she repeatedly hits him, emasculates him, insults him (he mentioned that he already turned her blows to kisses before) etc. but there is violent anger within him about the cheating. I think this is because that is the one thing that truly creates a major hole in his self-conjured narrative about the relationship (we are one soul in two bodies, destined lovers), as well as something that recontextualizes all the awful things he had actively done to sustain it. Other than all that, let me talk about Jaime and eyes:

Jaime watched her eyes. Pretty eyes, he thought, and calm. He knew how to read a man's eyes.

Bolton's silence was a hundred times more threatening than Vargo Hoat's slobbering malevolence. Pale as morning mist, his eyes concealed more than they told. Jaime misliked those eyes. : Roose Bolton's eyes were paler than stone, darker than milk

He remembered Eddard Stark, riding the length of Aerys's throne room wrapped in silence. Only his eyes had spoken; a lord's eyes, cold and grey and full of judgment.

The clasp that pinned it to her breast was wrought in the shape of a wolf's head with slitted opal eyes. The girl's long brown hair blew wild in the wind. She had a pretty face, he thought, but her eyes were sad and wary. (makes his inaction [link] all the more terrible, his conscience is screaming at him)

"Blue is a good color on you, my lady," Jaime observed. "It goes well with your eyes." She does have astonishing eyes.

The queen's eyes were green ice. "You had best go, ser."

He remembered how Rossart's eyes would shine (another Cersei parallel) when he unrolled his maps to show where the substance must be placed.

With his grim face and deep-sunk hollow eyes, Ser Ilyn might have passed for death himself . . . as he had, for years.

Though his pox-scarred face was grim and his eyes as cold as ice on a winter lake, Jaime sensed that he was glad he'd come.

Sorry, but I am gonna trust what Jaime sees in her eyes at Tommen’s Wedding. His judgement tends to be very accurate. Eyes are the windows to the soul after all.

Every idea that I have discussed at length here is also present in Jaime’s dreams.

Down a twisting passageway he went, narrow steps carved from the living rock, down and down. I must go up, he told himself. Up, not down. Why am I going down? Below the earth his doom awaited, he knew with the certainty of dream; something dark and terrible lurked there, something that wanted him.

The steps ended abruptly on echoing darkness. Jaime had the sense of vast space before him. He jerked to a halt, teetering on the edge of nothingness. A spearpoint jabbed at the small of the back, shoving him into the abyss. He shouted, but the fall was short. He landed on his hands and knees, upon soft sand and shallow water. There were watery caverns deep below Casterly Rock, but this one was strange to him. "What place is this?"

"Your place." The voice echoed; it was a hundred voices, a thousand, the voices of all the Lannisters since Lann the Clever, who'd lived at the dawn of days. But most of all it was his father's voice, and beside Lord Tywin stood his sister, pale and beautiful, a torch burning in her hand. Joffrey was there as well, the son they'd made together, and behind them a dozen more dark shapes with golden hair.

"Sister, why has Father brought us here?"

"Us? This is your place, Brother. This is your darkness." Her torch was the only light in the cavern. Her torch was the only light in the world. She turned to go.

"Stay with me," Jaime pleaded. "Don't leave me here alone." But they were leaving. "Don't leave me in the dark!" Something terrible lived down here. "Give me a sword, at least."

“I gave you a sword," Lord Tywin said.

It was at his feet. Jaime groped under the water until his hand closed upon the hilt. Nothing can hurt me so long as I have a sword. As he raised the sword a finger of pale flame flickered at the point and crept up along the edge, stopping a hand's breath from the hilt.

—- Brienne shows up naked. Jaime cuts her chains. Gifts her a sword. etc.

Brienne's sword took flame as well, burning silvery blue. The darkness retreated a little more.

"The flames will burn so long as you live," he heard Cersei call. "When they die, so must you."

"Sister!" he shouted. "Stay with me. Stay!" There was no reply but the soft sound of retreating footsteps.

— Jaime and Brienne are left to face ghosts, lot of LN imagery and all that. Jaime’s sword’s fire goes out, Brienne’s still burns, he jerks awake before the ghosts rush him with his heart beating. Another moonlight motif happens after he wakes up on a “white stump” and he goes back for Brienne and saves her from the bear etc whatever no longer relevant to Cersei’s story imo

The Lannister legacy is associated with doom in Jaime’s subconscious. Cersei leaves with fire to join the Lannisters, specifically her son and father, and the imagery of death is so prevalent again.

This then mirrors Jaime’s other main dream, where his subconscious mind is communicating with him, right before he burns her letter. Again, overwhelming fire imagery. And it is fire that is destroying her. Like the letter, she is left to burn. First he mistakes his mother for Cersei, and then her leaving him parallels Cersei leaving in the fever dream. His mom, or his subconscious, also presents him with a key reality check:

One. One hand, clasped tight around the sword hilt. Only one. "In my dreams I always have two hands." He raised his right arm and stared uncomprehending at the ugliness of his stump.

"We all dream of things we cannot have. Tywin dreamed that his son would be a great knight, that his daughter would be a queen. He dreamed they would be so strong and brave and beautiful that no one would ever laugh at them."

This is in direct conversation with his last dream (I assume it is deconstructing it. Idk, Jaime, it is almost like Goldenhand the Just is not a real possibility): “Last night he dreamed he'd found her fucking Moon Boy. He'd killed the fool and smashed his sister's teeth to splinters with his golden hand, just as Gregor Clegane had done to poor Pia (we know what he thinks of Gregor, we know this is not good in his mind or ours, it is almost like his subconscious is telling him something). In his dreams Jaime always had two hands; one was made of gold, but it worked just like the other.”

"I am a knight," he told her, "and Cersei is a queen."

A tear rolled down her cheek. The woman raised her hood again and turned her back on him. Jaime called after her, but already she was moving away, her skirt whispering lullabies as it brushed across the floor. Don't leave me, he wanted to call, but of course she'd left them long ago.

Both of their endeavors seem to be dead ends. Cersei is not gonna be the Queen that she always craved to be, despite having the title. Jaime is not and is not going to be the glorious knight, Goldenhand the Just, as he should conclude based on the Riverrun fiasco (this is also why I think Jaime’s very emphasized white/silver/grey replacing gold & crimson color symbolism is not about the KG, it is either something more abstract or it is about the Starks: “White is for the Starks. I’ll drink red like a good Lannister”, ntm how tied Arya is to JB through locations/brotherhood/stoneheart despite their desperate search for Sansa (pointless, she is at the Vale), and horses & wolves, the weirwood, the oath in general, and the fact that WW is half of Ice.) That is his attempt to recreate a fictive ideal that the boy he used to be dreamed of. That is not what true knighthood is about though. It was never about golden glory. These are golden lies. He knows too deep down. He has one hand. He has to look at the ugliness of the stump. It feels like Jaime realizes this, on a subconscious level certainly, and will pivot (especially after confronting what is essentially the embodiment of the worst product of the Lannister regime: a monster created by its sins, the cycle of violence itself, as well Jaime’s specific part in it: Stoneheart) at least I hope so, because that is how his arc would be functional, but Cersei remains steadfast. Also, Cersei remaining passive would feel like her character and the set up did not go anywhere. Whatever she will do with wildfire will be a grand act of agency, and her combatting the state she is in, it is gonna be a very corrupted and poetic act of destruction. She is essentially gonna set herself and the world on fire in order to battle the cold (her enemies, the people that hurt her, witnesses, and the innocents that are a victim to this whole cycle). That is what I would like to see. Jaime’s last AFfC chapter is also supposed to be a point of no return in some form. The idea of “opening the shutters”, winter, is so emphasized. The main reason certain retreading happens in ADwD that some people are obsessed with overanalyzing or misrepresenting (especially bc they need it desperately to justify “Jaime is drawn back to CR of all places to Cersei for no good reason other than he is a codependent addict” so they can get the wildfire + Cersei + KL out of the equation so Dany or whatever can be the Aerys parallel/mad evil kaboom boom person while there still being some lackluster follow through for all of Cersei’s set ups like valonqar etc) is because George’s editor told him to do some retreading with him since he took so long between books that the readers needed a reminder about where these characters were left:

so this entire passage had to be added in to cover these bases. When I read the Feast/Dance combined book it made me laugh how much this part was a “previously on Jaime Lannister.”

But again, he makes a clear choice, motivated by a concoction of things: he goes with Brienne, not back to his King, or back to Cersei. I think he is not ready to face Cersei yet and fears what he would do. I think so many dichotomies were being emphasized in this chapter: Tywin’s dogma, its results, the glory of pursuing the brotherhood, and how it all conflicts with Jaime’s arc in the subtext. I do not doubt he will land back there again, yes, George said they are effectively estranged, the romantic relationship is over, but that does not necessarily mean they will not meet again, nor that they will not hold any relevance in each other’s stories anymore. (Even if valonqar will not be literal, again, he has one hand, and he came to this conclusion in his dreams too in the end, and this fact very much comes in the way of the logistics of “the valonqar will wrap his hands”, if not only literally, certainly symbolically: even if it is the gold chain part two (was one not more than enough George???), I feel like Jaime would struggle with doing it with even that considering his hand situation.) Personally, I would prefer it if that part of the prophecy is subverted and it ends up not being an ex (or any other man for that matter) overpowering and murdering her. George had enough misses when it concerns some misogynistic writing in her storyline, it is 2023 now, so her death not being in anyway “gratifying” for misogynists (see aspects of the framing of Lysa’s death) would be my preference. I would love her death to be on her own terms. I made a parallel about her and Hedda Gabler before, and maybe something of that sort would be the best case scenario. She would rather take herself out in a blaze of glory than let the men (any valonqar, be it Tyrion, Jaime, Aegon etc) do it. That would be tragic as well as in some very dark way her reclaiming agency from fate itself. But honestly I doubt that is the direction George will go. Jaime will probably kill her, and it will be an incredibly grey act. Do not want that to be presented as straightforwardly heroic. I think it will be motivated by a lot of emotion and not just duty. Do not know how this entire situation will go down exactly. Also, really specific detail I noticed regarding prophecy wording, might not be deliberate:

“And when your tears have drowned you, the valonqar shall wrap his hands about your pale white throat and choke the life from you.”

Sometimes he even wept, until he heard the Mummers laughing. Then he made his eyes go dry and his heart go dead, and prayed for his fever to burn away his tears. Now I know how Tyrion has felt, all those times they laughed at him.

Drogon killed a little girl. Her name was … her name …" Dany could not recall the child's name. That made her so sad that she would have cried if all her tears had not been burned away.

And then there was no stopping the tears. They burned down the queen's cheeks like acid.

To my knowledge, these three (+ Cat’s tears burning like vinegar) are the only characters with this specific phrasing present. Interesting anyway.

Also, I am wondering how much Cers will even trust Jaime atp. The sun is blotted out, that has to represent disillusionment, no? Ronnet Connington is also back at KL, we all know what Jaime did to that man when it concerned Brienne, and Cersei’s “he would never abandon me for such a creature. My letter must not have reached him” might entirely fall apart even more if he happens to tell her. Nonetheless, Widow’s Wail is still very much at the Red Keep, and that will have to land in Jaime’s hand(s). Also to further address the theory that the twins will be away from the wildfire and die together at CR since I mentioned it, I do not think the twins should go to The Rock. It is a place that Jaime repeatedly rejected, and Cersei is so closely tied to KL, the throne, and her kids are destined to die because of their crowns. Kevan wanted to return Cersei to The Rock, and what happened to him lol. “So long as Tommen sits the Iron Throne, the realm sees him as the true king. Hide him under the Rock and he becomes just another claimant to the throne, no different than Stannis.” “I am aware of that” the Queen said sharply.

I don’t know guys, doubt Cersei will want to hide under the Rock after what happened. Like you are telling me that Cersei, the one that reached into the lion’s cage, the human embodiment of wildfire, will passively accept all this? “That is not the way a lion dies.” So unless it is like a huge irony moment, which I would honestly like less, I do not think I see it or would like it happening. Also, Jaime is presented with the opportunity to die with Cers twice atp, once at the end of AFfC when the letter comes, and then at ADwD he is on his way back there. He ends up not taking it. In ASoS, when Brienne talks him out of passive suicide under the graceful crescent, he makes “Cersei needs me, I cannot die we need to die together”, “Tyrion who loves me for a lie needs me”, and “revenge against Hoat and co” his purpose to keep living. Notice how literally none of these things come to be. He does not even actively pursue the Hoat gang, revenge “lost its savor” once he sees the brutality that happened to Hoat, Tyrion no longer loves him for a lie and he believes he does not love him at all, and look at what is up with Cersei. “Her need is real enough”, + his bitterness about the cheating is still present in the chapter, and yet he does not end up pursuing any of that and chooses the oath to Cat (he abandons his position alone with Brienne, not exactly the safest thing). Like in his dream, he has his own flame right now, Cersei leaves with her torch and is no longer “the only light in the world” like it used to be as a result of their codependent relationship. The essentialist roots of that were completely deconstructed for both parties, Jaime especially (and it is touched upon again in ADwD w Hildy). So I don’t know why and how he would go to CR to Cersei atp tbh. Something will have to draw him to KL imo. Jaime’s dream is not about CR literally either, one it mirrors Brienne’s dreams and she pictures a different location (ntm they are together in Jaime’s whole dream thing anyway, what the fuck would Brienne be doing over there), two he repeatedly thinks and realizes how there is no such place beneath The Rock by the end. The original CR connection is more metaphorical than anything in my opinion. It is Tyrion that is tied to that place in a plethora of ways. It is his character that it is extremely relevant to. Whatever he will end up doing there will serve just as well with the idea of the destruction of Tywin’s legacy. I think the other two siblings will destroy Tywin’s legacy in different ways.

Finally, here is why it being Dany is thematically pretty dysfunctional imo: link

And even if, after all that, you guys still believe there to be another Aerys parallel in the narrative: This is already in the text. Is Cersei’s role just to foreshadow another woman’s path? You want this same narrative to happen again but with a teenage girl? I sure love that guys great message about women and power.

#disagree with some of this now but the symbolism analysis is good imo #asoiaf #cersei lannister #daenerys targaryen #jaime lannister #aerys targaryen #asoiaf meta #valyrianscrolls #long post

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shannankle · 6 months

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Art in Shadow the Series

So as I was watching episodes 1-7, one thing that stood out to me was how Brother Anurak asks Dan to keep a dream journal. Now the idea I have in my head of a dream journal is that it is written, but interestingly when Dan does choose to record his dreams he does so through art.

I think there’s something interesting going on here with narrative and Anurak pressuring Dan to narrativize his dreams, but I’m planning to cover that in another post. For now I wanted to focus first on how art comes up in the show. I’m sure there are folks more versed in this but here’s some things I noticed.

Surrealism

I want to start with surrealism because as a style that is directly mentioned in the show by Dan and Cha-aim. As a style and movement it seems to both aesthetically and thematically align well with the show. Even with a cursory knowledge of surrealism, it’s easy to see why the style would work well in a horror piece that is trying to bend one’s sense of reality and realism. But I want to unpack this a bit more.

Surrealism cropped up after WWI in Europe and it was very much a response to the trauma of large scale war. Surrealists attributed the war to an over emphasis on rationality and bourgeois values that dominated prior to the war. Their response was to turn to methods of creating art, writing, and media that would allow them to access the things that realism suppressed. The goal was to find ways of producing art that allowed the unconscious to be expressed so that both dream and reality could co-exist in a “super reality” or “surreality.”

So how might this resonate with Shadow?

Well first off, trauma. Dan and Cha-aim discuss art and surrealism in the theater. This happens just after Dan has told her about his parents and as we begin the storyline of Dan’s past. It’s entirely possible that surrealism is something Dan is fond of because it resonates with his experiences with trauma. Perhaps in this light we can also think about how he turns to art more frequently as he starts to get control over his dreams and develop a more intimate relationship with the shadow.

Then there’s the idea of surreality. This of course fits well with what the show is attempting to do with Dan’s experience. He is not just dreaming about the shadow, but it is coming to be intertwined (literally and figuratively if you catch my drift) with reality in the same space. This notion of co-existing, I’d argue feels apt for a story exploring the ways that queerness and disability are rejected by society. Instead, through haunting they sit on the border of rejection and co-existence.

And of course this ties in well with the ideas of rationality and suppression. Brother Anurak tells Dan that if he stops believing in the shadow, it’ll lose its power. Mind over matter–rationality over the subconscious and that which society tries to suppress. Perhaps Anurak’s role here is to take on the suppressive role of rationality? After all he does claim that "Your mind is of the most importance." The monk Dan and Nai visit certainly is placed in opposition to this, offering a more supernatural explanation and solution for what’s occurring. Correct me if I’m remembering wrong, but we also see Dan start to draw his dreams for the first time after he is given the ring.

We can also perhaps see a critique of hyper-rationality in how Dan confronts his father. Notice how their dream encounter is framed around a chess board (a game his father loves and plays even in the hospital). His father is quick to turn away from the idea of emotional vulnerability. When Dan asks if he ever loved him, he responds in logical terms: "That's a stupid question." He can’t recognize how he harms others and rejects the idea that men should express love, care, and intimacy. This rejection of emotion allows him to justify and perpetuate abuse. Not entirely dissimilar to the claim by surrealists that hyper-rationality led to the violence of WWI. Through Dan’s resistance to his father, the show is perhaps trying on one level to present us with a critique of how rationality comes to be tied to structures of violence.

These structures go beyond the family unit in Shadow, much like Surrealists were concerned with bourgeois values. Notice how most of the teachers at the school push for a particular set of social norms, suppressing threats to current values. From the librarian telling Dan and Nai to hide their queerness to the head of the school resisting Trin’s attempts at change. And this ties really well to Surrealism as a movement which was, with some exceptions, tied to communism and anarchism. Surrealists were often thinking in revolutionary terms.

Salvador Dalí and The Persistence of Memory

Before moving on I think I should briefly talk about Salvador Dalí. Dan mentions Dalí specifically and Cha-aim specifically refers to his piece “The Persistence of Memory.” Dalí and this art piece are probably the most well known touchpoints for surrealism nowadays. Though it does bear keeping in mind that Dalí, unlike many other surrealists, had fascist leanings (or at the very least he refused to denounce it). Something I can’t ignore if we’re going to accept my above claim that the show could be dialoguing with the revolutionary values of the movement. My guess is that the show isn’t wanting us to think too hard about Dalí and is using these as a recognizable gesture to surrealism for the audience. But it’s something to chew on as the rest of the show plays out.

Dalí, however, is an interesting figure to think about in terms of themes on madness. Madness and mental illness are certainly aspects Shadow is playing with, and I’m hoping to also write a future post on how horror and madness intersect around disability. The theme is also central to Hamlet, our play within a show. I’m sure there are folks who know more than I do on how Dalí spoke about madness over the years.

However, what I have found is that Dalí wrote about madness in a piece titled, “Declaration of the Independence of the Imagination and the Rights of Man to His Own Madness.” In it he writes “we announce these truths: that all men are equal in their madness, and that madness (visceral cosmos of the subconscious) constitutes the common base of the human spirit.” This wasn’t exactly a call to accept mental illness but the quirky, strange, and illogical.

In response to attempts to alter his art and make it more palatable, he wrote “It is man’s right to love women with the ecstatic heads of fish.” His take on art and pushing boundaries was something he framed as “apolitical” and did end in troubling places at times. Still the idea of claiming madness feels appropriate to a show that is so interested in alterity (queerness, mental illness, etc) and madness as a lens to explore this.

Dalí’s piece, “The Persistence of Memory” is also a compelling reference for the show to use. The MoMA describes it this way: “Those limp watches are as soft as overripe cheese…Here time loses all meaning. Permanence goes with it: ants…represent decay.” The way that the piece hauntingly captures decay and the failure of time speaks well to the show’s focus on death, haunting, and the breakdown of time. On a very related note, I talk about the way these themes manifest in the show through cultural anxieties around the death drive and queer time in this post here. “The Persistence of Memory” is another great example of this dynamic in Shadow.

The Bust

We’re presented with at least one other form of formal art in the show during the art class where Dan sees his classmates dead. Here they’re presented with a classical bust and asked to draw it how they see fit. Despite the fact that they are told to do what they want, there are still rules here. Nai tells Dan (in the waking dream timeline) that as a kid he was told to draw whatever he wanted, but was then required to take supplemental exam. While it’s presented humorously, there’s an interesting tension brought up between freedom of expression and unspoken rules. Draw what you want, but not like that. Be yourself, but not that way or we’ll have to give you supplemental lessons. It’s notable that of all the art in the show this is the only one happening in a class setting, once again bringing us back to the ways the teachers often push social norms on the students.

The assignment itself is interesting in so much as drawing a bust, like still-life drawing, requires the artist to focus on a model and draw something in the real world. Compare this to surrealism which rejects pure realism. Or to the drawings Dan does. Correct me if I’m missing anything, but when Dan draws he never works off a model or at least not a real-world reference. He draws cartoons, he draws what he saw in his dreams.

I think it’s striking that the bust falling is what marks a perceived shift from reality to waking dream for Dan. When he goes back to pure reality, we find out this switch happened before he even talked to Nai (making that conversation all the more important). Still the statue falling marks the moment of perception changing. And notice how it is the bust’s head that is shattered, a common symbol for rationalism. The head bursts and the dominance of reality and rationality fall away to a surreal waking dream.

A few other thoughts:

-Correct me if I’m wrong but I believe the first time we see Dan sketch his dreams is after he’s given the ring by the monk. And he does so more as he starts to become more intertwined with his dreams. Suggesting that art and drawing are an alternative way of engaging with the shadow than what brother Anurak has been offering.

-Dan and Nai first meet when Dan gives him the journal full of pictures. The use of art marks the start of their friendship, and could even be symbolic of their shared supernatural abilities and their social alterity.

-While not fine art, theater as a performing art is also influential and a space where our other character Trin is framed as we learn of his queerness and mental illness

#shadow the series #shadow the series meta #my meta #thai bl #bl series #my posts

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rebelsofshield · 1 year

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Tales of the Jedi Season Two Wishlist

We all learned last week that the animated anthology series Tales of the Jedi will be returning for a second season. While we currently don’t have any indication of what Jedi will be spotlighted in this round of short films, I do have a few hopes for potential selections. Tales of the Jedi feels like a prime opportunity to either shine the light on members of the Order that have yet to receive their moment in the spotlight or to fill in important gaps in major characters’ storylines that likely would go untouched otherwise. Here are some of my preferred candidates.

Quinlan Vos

Quinlan Vos feels like one of the most appropriate picks for a Tales of the Jedi style project. Not only was he set to have a pretty major unproduced story in The Clone Wars’ pre-cancellation plans that would have also concluded Asajj Ventress’ character arc, but also, thanks to last years’ Obi-Wan Kenobi show, is a confirmed survivor of Order 66. Episodes centered on Quinlan could serve as a visual remake of the Dark Disciple novel which adapted his original Clone Wars storyline or alternatively could show us what his life looks before, during, and after the Purge. There’s so much potential storytelling present for this fan favorite character and the Lucasfilm animation team would be smart to give Vos his moment in the spotlight.

Barriss Offee

Barriss Offee’s betrayal of the Jedi Order is one of the most consequential plot points from The Clone Wars that has yet to be touched upon in the current canon. This year marks the ten year anniversary of the incredible season five arc that saw Ahsoka framed for her former friends attacks on the Jedi Temple in Coruscant, so what better time to finally check back in on Barriss. Episodes could explore Barriss’ disillusionment with the Jedi Order, her relationship with her Master Luminara Unduli, and finally provide answers on what exactly happened to her after she was carted off by the Jedi Temple’s guards.

Mace Windu

For being one of the most important Jedi to the Prequel Era, there is relatively little canon media that centers Mace Windu. While comics and novels have teased aspects of Windu’s childhood and training, Tales of the Jedi is a great opportunity to offer a more detailed exploration of this Master’s upbringing, Knighthood, and position as a member of the Jedi Council. It affords the opportunity to showcase the complicated emotions of and morality of a character that is often dismissed as cold or uncaring by some fans. Windu clearly holds a great deal respect and love for both the Order and the Republic as a whole and I would love to see that shown and expanded on screen.

Luke Skywalker

Given the wealth of canon media that already exists, Luke Skywalker is far from my first pick for a Tales of the Jedi story, but there is a chunk of time between Return of the Jedi and The Mandalorian (and its spin offs) where his life feels relatively uncharted and unexplored. While it may make sense to hold off on showing Luke’s training of Ben Solo or other events more directly tied to the Sequel Trilogy until a later time, I would love to see a series of shorts showcasing his life immediately after the fall of the Empire. In particular, maybe we could finally see that first meeting between him and Ahsoka Tano that was teased in The Book of Boba Fett. Thematically, I would also love to really explore how Luke grappled with his father’s legacy and that of the Jedi Order. And as an added bonus, it presents the perfect opportunity to bring Mark Hamill back on board to play the character one last time in a way that isn’t an uncomfortable deep fake.

Rey/Finn

So we now know for sure that we will be seeing Rey’s New Jedi Order on the big screen at some point in the next few years. But given that there’s going to be a fifteen year time jump between The Rise of Skywalker and whatever film marks Daisy Ridley’s return, Tales of the Jedi has plenty of space to showcase the very early days of Rey’s Order and her training of Finn. We’ve already seen glimpses of this period in the semi-canon Lego specials on Disney+ but it would be a perfect opportunity to give fans of these characters a more concrete glimpse into their shared future. And maybe we could get Daisy Ridley and John Boyega back to voice their characters? Wouldn’t that be incredible?

#Star Wars #Tales of the Jedi #Mace Windu #Quinlan Vos #Barriss Offee #Luke Skywalker #Finn #Rey #Rey Skywalker #reviews #review #commentary

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mitsybubbles · 1 year

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You made this art with zeus and apollo that has something to do with fire walk with me. I don’t really get it but im interested, can you explain?

Hi there! Thanks for asking! (FYI this ask is going to have spoilers for Twin Peaks and the Twin Peaks movie Fire Walk with Me, I highly reccomend them if you haven't seen them. This also has mentions of abuse, CSA and trauma) (also Im not a zeus-anti or whatever the fuck, I find him interesting so like. pls don't send that discourse to me ghhg that shit genuinely tires me out lol) My idea about it was mostly about the cycles of abuse (with Bob/that neighbor or family member > Leland, and Leland/Bob > Laura and also with Kronos > Zeus, Zeus > Apollo) The scene in Fire Walk with Me I'm depicting is the "wash your hands" one where Leland interrogates Laura about her "dirty hands" (ie: her purity and also that she is hiding things from him) which Laura takes very hard (for obvious reasons lol and also cause she is scared she isn't a good person and is "impure" cause of the abuse she suffered through and how she copes with it). In Twin Peaks: the Missing Links, there is a parallel deleted dinner scene where Leland and Laura were very affectionate with each other and also later in the final cut of the movie itself there is a scene where Leland affectionately kisses Laura's head. This complicates their relationship so much esp when you know that Leland is Bob and all this time he has been sexually abusing Laura since she was 12. Cause in the movie Laura keeps dealing with the knowledge that her father is Bob until the end where she accepts it once and for all and it tears her apart on the last day of her life. The knowledge of it is too much for her to bear. Going aside from that Leland keeps jumping unpredictably between a imposing patriarchal figure and an affectionate father (who ultimately still wants the attention on him)- you can also see this in the main show of Twin Peaks with how he behaves and grieves Laura and also how he attempts to murder Jacoby, murders Jacques (lol not complaining about that asshole's death at all minus how it messed up the investigation), and murders Maddy. Personally I think as a thematic device Bob represents the cycles of trauma and abuse since Bob also abused Leland when he was a child before possessing him and that was his intention with Laura too but she managed to hold out and break that cycle. This connects in with Zeus and Apollo cause their relationship is similar in that Zeus is a very imposing patriarchal figure who often wields his power against his kids while also fluctuating between that and being incredibly affectionate to them. While he deems Apollo (and Athena) as his favorite children, he also keeps a very tight leash on them and his and Apollo's relationship is incredibly volatile with a power struggle between them (but ultimately Zeus has the power in the relationship). You can see that with the Cyclopes, the attempted coup, and also smaller interactions where Apollo both follows his father's orders to the T but also lashes out and diverts from it in subtle ways. Apollo himself is also both a victim and perpetrator of SA/abuse similarly to Laura (tho Zeus never raped Apollo- let's just get that clear) and struggles with seeing sex and the body as a commodity, guilt for lashing out and feeling powerless in his situation (this is most apparent with his relationship with fate and his duty as an enforcer of fate- but it should be noted that this duty is directly tied to enacting Zeus's will). I think the reason Zeus does this is cause A) he was raised with barely any parentage and a father who wanted to murder him and he does love Apollo and wants stability and B) he doesn't want to lose his power as king and he needs to divide and conquer his control over his kids cause he doesn't want the cycle of sons overthrowing their fathers to happen to him. You can love your child and still be a bad parent to them. And Zeus very much is a bad parent with how he plays favorites, puts incredible amounts of pressure on his children/scapegoats the other ones and also punishes them harshly. Even if he means well and is affectionate sometimes it doesn't change that fact

Which takes me to the cycle of abuse with Kronos and Zeus- I think that ultimately Greek mythology is focused on cycles, and how they echo through generations and even in the gods vs the mortals. Which is why the bg of the piece shows the myth of Kronos eating his kids and Zeus defeating him. The flowers btw are foxgloves and begonias- foxgloves represent secrecy/illusion immortality and insincerity. Begonias represent caution and warnings of misfortune. Foxglove are also poisonous flowers (they contain digitalis poison)

#an ask!#I hope this answers your question op #zeus #apollo #greek myths #twin peaks

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little-fandom-gal · 2 months

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As a writer, I feel like Miraculous is the perfect case study for both generating worlds and characters people feel attached to, to the point where they generate theories and get invested in tiny developments, and also a case study for how a story should absolutely not be developed from that point on.

Every time I see something from the show, I’m reminded of the brilliance of its concepts and setups. You have superheroes tied to zodiac animals (plus others) which give different powers not tied to the animal form in ways people had seen before (seriously, props where props are due, there were some unique power/costume combos here). You have secret identities which hide both two kids who are in love with one another in different forms AND the fact that one kid is the SON OF THE VILLAIN (angst on angst for that finale and any reveals). You have cute little creatures of seemingly infinite cosmic energy who have been around since the dawn of time but also have banter of their own. You have cool jewelery designs (yes, this is vital to making people want to draw your world and make their own ocs, which is one of MY big writing motivators lol). You have a cool cast of background characters who, for the first two seasons, are each given an episode to have a breakdown and become villains. You have a bully who seems like childsplay in the face of an actual supervillain terrorizing Paris. You have a clear front runner for Villain #2 in a character who depends on deceit to rule the class. You have all the foundations for an epic tale of growth, love, betrayal, etc. etc.

And you squander it. You take the MC whose father is the villain out of the final fight to pad out the awaited reveal. You backslide any and all character development. You don’t let the romance go ANYWHERE for four seasons, then speed through the reversal of attraction people had been dying for. You send the most interesting characters out of the story (mainly Luka, but I’m also going to include Chloe here). You let all the background characters become heroes and forget that the main draw of the show is watching our two leads, or, sorry, ONE lead by the way things end (because forget about the fun of their dynamic no matter the masks which drew so many people to this show to begin with).

The worst part for me is that I can pin pretty much all its problems on one thing: the rule of cool. It would make thematic sense for Adrien to be in the final fight and face off his father, but it was COOL for Marinette to combine the miraculous and fight him solo. It was interesting to see a small band of heroes help our leads (their two best friends and Chloe, who was shaping up to be an interesting hero in her own way), but it would be COOL if all the kids had powers 24-7 now and no, most of the designs don’t look as good as those initial ones. It would be interesting to see Marinette and Adrien finally discuss their feelings to one another, and eventually have a reveal that leads to maybe betrayal and excitement all at once, but it would be COOL if they just started dating already so they date as civilians. It would be interesting to explore the world, the themes, and relationships we felt promised by those early episodes, but it would be COOL to just take the story wherever the wind blows and add in any cool fights or lines that prop up our now stand-alone MC, even at the expense of her literal partner or any of the other secondary characters we were given a focus on (because why prop up the characters everyone already loved when we can give Kim, a solid tertiary character, a backstory tied directly to Marinette’s worst trait in a COOL attempt at explaining it away because it WOULDNT BE COOL if she had flaws).

I’m not saying I hate everything from the newer seasons. However, it seems like the writers’ plan for the story didn’t include things they set up, and what they set up was infinitely more interesting than the things they planned to pay off. My takeaway advice for writers is this: put down the “Rule of Cool” for a moment and analyze what you think are the inherently INTERESTING parts of your story. Maybe you have a unique world, or your character ideas have merit, or you too have some contrive love square people can spend hours agonizing over. Then, don’t shove it to the side (or drag it out past the point of caring). Think through what you want to do with those concepts and the ways you want to explore them, and make a clear path. Don’t worry about what the public reception to those ideas will be (I know, seems counter-intuitive to the post, but stay with me) and instead dig into the themes you want to tell. Miraculous wanted to tell a cool story, and in the end they told a bland one. The best stories come from writers who put aside their goals of being cool and just write the worlds they personally find interesting.

#miraculous #miraculous ladybug #miraculous tales of ladybug and chat noir #a bit of a rant here #I just can’t get over how they squandered so much #I have hope for the next season though since Lilla seems like a genuine threat

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daenrys · 7 months

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omitb s3 thoughts (spoilers for episode 8!)

i’ve really enjoyed this season. the vibes are immaculate, and the songs are great, the new characters are fun, and i really like the direction they’ve taken the main 3 in. i also have very little clue who the killer is lol, despite being pretty good at guessing things like this usually. yeah, i have no idea (or no truly logical idea anyways, lol). i’m pretty confident the loretta confession is a fake out, which makes me think dickie also isn’t the killer. omitb tends not to have the killer be a suspect that they’ve seriously considered, and especially not one that’s been seen as suspicious so recently (dickie) or so consistently (loretta).

as for a guess based on theme, i guess i have an idea or two but i don’t know how likely i think they are lol. if i had to assign s3 a theme i would say it’s about family, and specifically found family. the emphasis on the nanny in death rattle (dazzle), the whole loretta/dickie/ben story, uma’s reminiscence about bunny, mabel using girlcop to cope with her father’s death, charles and joy’s engagement mishap, and the disintegrating (and now recovering) relationship between our central trio all tie into this. resentment is also a recurring idea, again back to the uma/bunny thing, unresolved conflict.. oliver is the only one of the main 3 who i don’t think has an arc directly tied to either of those, that i can think of anyways, except in regards to his friends.

anyways, neither of these point me to anything besides dickie and loretta, and again, i’m pretty confident it’s not them. so… i… have a guess, that i guess will be my guess until episode 9 or i think of something better….. but it’s truly not a good guess. like, it really isn’t. but who else is connected by family? who else could be motivated by family, unless it comes from another reveal of information we don’t have yet which i kind of doubt. i’m sure i’m missing something or the reveal ties into the theme in a different way. but. the only guess i can really make, and i agree it’s bad, is either cliff or donna. i don’t know, i agree it’s a bad guess LOL but it’s about family. they’re family. maybe something something money motive, i don’t know. it could parallel the mother/son red herrings with loretta and dickie, which would make sense, but i don’t see any motivation or evidence pointing to them beyond kind of that. it makes vague half sense thematically but it doesn’t really make total sense story wise, at least not that i can see.

if i had to pick a more major cast member, i guess i would pick tobert just because of mabel’s line about the killers inserting themselves into the investigation, and because he was my initial guess after episode one and i think they ruled him out pretty quickly. i don’t have any specific real reason for thinking that otherwise, though. i’m sure i’m wrong entirely LOL but if the killer isn’t revealed in episode 9, i’ll hopefully have a more solid theory after that. i’ve considered howard and jonathan, but i don’t think it’s either of them, and i’m confident it’s not kimber. idk, we’ll see lololol

#omitb spoilers

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bougainvilea · 8 months

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hottie w a body i hope 😏 get it girl use that charisma score!!!!!!!

aislinn DOES have a magic item but it’s homebrew- we call it the starsaber. so ok so this is a long-ish story but

aislinn was originally a blood hunter who got their abilities from an archfey; that archfey turned out to be a manipulative prick (lol it was loki) and aislinn was chosen by artemis to be their champion, so they yeeted loki out of their head and swore themselves to artemis, which traded their blood hunter levels for paladin levels.

over a year later artemis did something very cruel- aislinn asked for a “starfall miracle” (starfall is a winter celebration but also their birthday) and artemis said they would see their family at sunset. cool! aislinn spent all day so excited bc they hadn’t seen their family in six decades and then what it turned out to be was the asshole middle brother, lugus, on tv, talking massive shit about aislinn and calling them insane

aislinn was understandably FURIOUS and had a huge confrontation directly w artemis eventually where they pointed out “this war started with the failures of the gods and now you want us to do all your dirty work for you and don’t have an ounce of care or respect for us” to which artemis was like “lol bitch. why would i care abt y’all. i know how this story ends. my weapon i gave you is your only advantage here. either you beg my forgiveness or maybe i’ll give it to prisha (the bbeg)”

and aislinn’s stubborn ass said “NO YOU KNOW WHAT FUCK YOU I DONT NEED YOU”

they lost multiple levels of paladin but not all- they started drawing from the power of their bloodline, and in a side quest of a year in game, trained diligently with a god-killer from another universe to learn to stand against gods and not die. in doing that, they had to open themselves up to drawing power from their own ancestry bc their great-grandfather was the archfey of starlight so now they have all their paladin levels back, rely on no god or creed, and their eyes even turned silver like starlight as a result. also they came back able to kill gods and part of that is their weapon!!!

so the starsaber is a lightsaber but it’s tied to aislinn’s starlight archfey blood and it’s essentially like this: https://www.tiktok.com/t/ZT8jnuGbF/

multi-purpose lightsaber with a base that allows for those different weapon “types” that:

- has an additional +3 to all attack and damage rolls which means it

- deals a base, a BASE of 3d12+13 radiant damage (we’re a very high stakes campaign so a lot of our weapons are homebrew to do larger amounts of damage)

- but also deals an additional 3d10 radiant to any non-mortal/god-type creature (gods, archfey, eldritch beings)

- and on a natural 20, aislinn automatically severs a limb of the creature they hit (this happened with the fight with their father where they cut off one of his legs to add insult to injury)

does alaira have any? also who are her favorite ppl who’s closest to her!!!!

HO. LY. SHIT!!!!!

okay so first things first OBVIOUSLY alaira is a hottie w a body. shes currently on a quest to get blessings from all 4 elemental gods in order to wield her racial artefact (a crown), and i like to imagine that with each blessing she has received (3/4 now!!! only water left - very thematic) she has become more and more 'elemental' looking (she grew up w her high elf mama and never saw other genasi so i imagine she basically looks elven and has become more elemental looking as i said) and thus i imagine that she has like water light lines (like the top of water in sunlight) all over her skin. she is HOT like thats PERSONALITY TRAIT NUMERO UNO!!!

secondly HOLY HELL THAT IS ONE FUCKING CAMPAIGN!!!! thats sooo intense holy shit. wow! aislinn has been through a lot! fuck artemis all my homies hate artemis! very cruel! but paladin levels tied to bloodlines is very very cool & empowering!!! and what a fucking lightsaber holy shittt MINIMUM 3 D 12 PLUS 13 like ...... woweeeee

i had a dagger that is +2d8 ice damage. i havent really had the chance to upgrade weapons for a while, hence im on the lookout!

alaira is unfortunately very cagey (her wisdom only recently went up to 10, she was on 9 for a while and that manifested as literally unable to come up with any solutions to problems other than revenge). she barely considers her party friends hahaha! but theres a dragonborn named miraak who is another pc and hes a big friendly giant and while she thought he was just stupid for a while they had this really beautiful open conversation revently and now she considers him a friend 🥺 ultimately tho her top bestie is her mama. she also has a familiar but rhats more utility than bestie (bc its associated w magic which she is only recently trying to unlearn negativity toward.... u understand). also one of our party members who she cared for most left ages ago so she feels really Abandoned by Everyone That Matters iykwim. anyway here's my alaira playlist if u want HAHAH:

if i could fucking annotate a playlist i'd be UNSTOPPABLE!!!! it's supposed to be chronological, from growing up w her mama and diving in caves + the ocean to get her pretty rocks (her mum is a jeweller), to fun at wizard school, to her roguish days, to not trusting anyone, to (eventually in the future) finding her Cowboy Like Me. would love to hear ur thoughts hehe <3

edit: the last 6 songs arent in order yet theyre new hahaha

#dnd #thekingdomlights #aya responds

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tea-and-la · 3 years

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Aang as Zuko’s “Found-Sibling”

so i kind of alluded to it on my previous post but if zuko sees his relationship with any of the gaang as a foil to his sibling relationship with azula, it’s aang.

in the season 1 finale, zuko compares the two directly:

zuko: I finally have you, but I can't get you home because of this blizzard. There's always something. Not that you would understand. You're like my sister. Everything always came easy to her. She's a Firebending prodigy, and everyone adores her. My father says she was born lucky. He says I was lucky to be born. I don't need luck, though. I don't want it. I've always had to struggle and fight and that's made me strong. It's made me who I am.

here zuko makes a lot of assumptions. he is implying that because aang is a prodigy like azula, everything must come easy for him. we as the audience know this isn’t true (he doesn’t know aang’s background at this point), but it does speak to his insecurities in terms of his sister (foreshadowing to his season 2 interactions with azula.)

contrast that quote with what zuko says to katara in the season 1 finale:

zuko: you rise with the moon, i rise with the sun.

he sees katara as evenly skilled as himself. a match, but with opposite bending elements. and that’s even reflected in the way that katara wins their match at night, but zuko wins their fight when it’s day time.

zuko (especially in season 1) sees azula as superior to him, someone who he’ll never catch up to in skill because she’s a prodigy. in contrast, he’s seen katara when she first started to bend and made mistakes (barely able to form a water whip, and the time she accidentally froze sokka). zuko has seen and acknowledged her growth throughout the show and he sees her as someone who has also had to struggle and work hard to get to her current bending capacity.

and like @sokkastyles already said:

Aang is the younger prodigy who he resents for being better than him in the beginning, the one who is imbued with power and authority by birth that he lacks, the “lucky” one.

continuing on, i wanna talk about crossroads of destiny. the zk scene again emphasizes how similar zuko sees katara to himself (not azula.)

he is calm, open, and vulnerable throughout these scene with katara. he almost allows himself to forget they’re on opposite sides because of how much they have in common. but once aang comes in:

there’s that same anger and resentment he has towards azula.

i’ve seen some people refer to the crossroads of destiny as zuko some hidden meaning of choosing between “sisters,” but i disagree. it’s framed as a decision between azula and aang, and for zuko, it’s supposed to be an impossible choice.

so we see him go after aang with an uncontrolled intensity that is so different from the brief peace he was able to achieve with iroh in ba sing se. and it’s easy to imagine that this is because he’s taking his frustration that he can’t express towards azula, out on aang, as a substitute.

we see lingering bits of zuko’s resentment towards aang, even after he joins the gaang. it’s unintentional, but from the firebending masters, we can see how he initially still holds onto that insecurity a bit.

when he initially realizes he lost his firebending he tries the forms over and over, while aang is just chilling:

aang: that one felt kinda hot

zuko: don’t patronize me!

aang: sorry sifu hotman

zuko: and stop calling me that!

even though aang was being genuine, it’s easy to imagine that zuko is connecting this moment back to times with azula growing up. especially because we know how much his ability to fire bend is tied up into his self worth.

he’s given the chance to “prove” himself by teaching someone who he considers superior in skill to himself (aang, just off virtue of being the avatar), and when he fails, that rears up the resentment again.

but then, their dynamic shifts after zuko admits he doesn’t want to rely on hate and anger anymore. zuko has several moments where he encourages aang (who he was previously resentful towards) because he sees that aang needs it. he’s able to realize that aang isn’t a prodigy in the sense that he thinks he’s superior to anyone else. and he’s also able to see that aang has his own insecurities as well, as they get to know each other more on their trip. he has phrases like:

zuko: you can do it. i know you can. you’re a strong kid.

aang: [Turning to Zuko.] We could turn back now. We've already learned more about fire than we'd hoped. [Aang shows Zuko his flame and gives a weak smile.]

zuko: No, we're seeing this through to the end.

and aang’s face as a result:

so in a sense, zuko is able to be needed as a big brother. and to offer support because aang is unsure about himself.

also this scene reeks of sibling energy:

but anyways, i think aang/zuko’s found-sibling relationship foils azula/zuko’s sibling relationship because even though they start off with resentment for similar reasons, his dynamic with aang changes.

i see people say that the reason they think katara is zuko’s “surrogate sibling” is because she provides him with care and kindness, unlike azula. the same could be said about aang.

whereas azula has made it clear that she doesn’t respect zuko’s bending, aang values and respects zuko for his skills (even when he was struggling at the beginning of the firebending masters.) aang is able to reciprocally affirm zuko as well:

aang: i don’t care what everyone else says about you. you’re pretty smart!

i also find the last few lines after they meet with the dragons to be significant:

zuko: That's why my firebending was so weak before. Because for so many years, hunting you [Turns toward Aang as screen zooms out to show Aang.] was my drive ... it was my purpose. [Aang turns toward Zuko as well.] So when I joined you, I lost sight of my inner fire. But now, I have a new drive. [Cut to Zuko's face as screen zooms in.] I have to help you defeat my father and restore balance to the world.

i’d like to think that part of losing/letting go of his anger/resentment in part was because of the new relationship he was able to build with aang. in a sense, he’s able to repair a “pseudo-sibling” relationship with a found-sibling who willingly accepts him.

i love that they’re address their confidence issues regarding firebending together.

and how, when they rushed to show the rest of the gaang after they returned:

aang: [Cut to Aang and Zuko demonstrating the Dancing Dragon to the rest of Team Avatar and friends.] With this technique the dragons showed us, Zuko and I will be unstoppable.

zuko has gained a found-sibling relationship that isn’t about comparing their firebending to each other, but working as a team. it’s so so meaningful that aang says “zuko and i.” the idea of zuko having a sibling relationship where he’s able to share his love of firebending and not feel insecure about it ...🥺. him having a “sibling” who wants to hang out with him and do things together and gushes about it with the confidence that aang had when he said they would be unstoppable.

oh! not to mention that i’ve seen people say that zuko/katara have a sibling relationship because she teases him in EIP. but like .. that’s such flimsy logic. and also? aang and zuko have their mutual teasing moments especially in the firebending masters, and it’s just adorable.

anyways, my main point from all this is that ik people love to say zuko/katara fit surrogate siblings (which i hate btw), but it’s mostly said because of katara/azula’s similar age. it doesnt matter that aang is 12, though, because honestly, he fits the “found-sibling” dynamic a lot better because of how zuko used to see aang in relation to azula. it just works better thematically. especially, because like i’ve said, and as so many people in fandom point out: zuko and katara are similar (some people... antis.. would say “too” similar). and when has zuko ever seen azula as being similar to himself? exactly.

#i'm gonna tag zutara for exposure but it's not zutara lol #found sibling #zuko #aang #atla #showing love to aang and zuko's friendship because i love it so much #and i consider them to be brothers #i wrote this at 4 AM whoops #if there's errors that's why lol #found sibling makes my heart go brrr #sorry that this was long #and no i dont want aang to replace azula btw #but i do think through his relationship with aang he would eventually know how to approach and repair his with azula

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ghostietea · 3 years

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On Tohru and Akito: a long overdue analysis

As some may know, Tohru Honda and Akito Sohma from the manga Fruits Basket are pretty much my all time favorite protagonist/antagonist pair. They just work incredibly well as thematic pieces and driving forces of the story in relation to eachother. And beyond even the surface level they have a rich and layered goldmine of parallels that make them fascinating to think about. While it may make many a newbie raise an eyebrow, I think this is a fact that is to some level pretty widely acknowledged in the fandom proper. However, there is another level of their relationship that is often mostly left out of analytical conversations about them and their parallels: their eventual friendship. Something which, partly due to screentime, is often somewhat simplified down and misinterpreted. Which I think is a shame because, when you look at it, their eleventh hour friendship is deeply interwoven with their parallels and the very thematics and ending of the story. So then, what’s really going on with the girls that stand as part of the thematic core of Furuba? Beyond (most of, true analytical objectivity is impossible in interpretation) my personal sentimental feelings, let’s talk Akito and Tohru: their parallels, relationship, and role in the story overal. Read more present, this is going to be a long one but I hope you stick around 😊

One facet of Akito and Tohru’s role in relationship to eachother that I think is both interesting and imperative to understanding their purpose is their nature as eachother’s foils, especially their parallels. See, the two girls are both opposite and the same. Takaya sets them up as foils before we even properly meet Akito, as you can see in these panels:

However, their foil relationship becomes a lot more intriguing once their similarities become more apparent later in the story. Just think about it: two girls with boy’s names whose fathers died when they were young, leaving them alone with their mothers, who both developed behavior that, according to the environment that they grew up in, would keep them from being abandoned. Akito, coming from the cultish Sohma clan where she was treated as a God to the point that she thinks she can do no wrong and has tied all of her self worth to the role, plays the part of a male ruler who must uphold tradition and keep the zodiac with her by any means. Akito is terrified of being abandoned, especially since she has no idea how to have relationships outside of the context of the bond, only exacerbated by the fact that Ren, one of the only people that openly questions her role, has constantly told her that she’s useless and will be abandoned. This is something that informs all of her (many, terrible) decisions and leads her to try desperately to keep the curse together, something which puts her in direct conflict with Tohru, who actually wants the curse broken in part so that she won’t be abandoned. Tohru may not be as obvious with her abandonment issues as miss screeches-at-people-not-to-leave-her, but they still inform a good deal of her character. Like Akito, she develops behavior around the time of her father’s passing to try to keep herself from being abandoned, mirroring her father’s proper speech because she was worried that she was losing Kyoko. But, as she grew older in her much warmer environment, Tohru turned to kindness instead of fear to capture others, maintaining a facade of extreme positivity, politeness, and determination so as to not bother anyone. And, while she hides it, Tohru just gets worse after losing her mother. She becomes dedicated to preserving her feelings about her mother as is, refusing to move on much as Akito also refuses to move on from the curse and what her father wanted. Then comes the beach house reveal, where Tohru learns that Akito plans to take away her new family, even locking up the one most precious to her. Tohru tells herself that she’s going to break the curse for the freedom of the zodiac and cat, but she is also, in a way, doing it to keep herself from being abandoned. Later this feeling changes to become more focused on preventing the loss of Kyo himself, something which Tohru doesn’t want to admit. Tohru is a truly good and kind person and does want to help, yes, but also some part of her is doing this to keep the ones she loves by her side, understandably as she is a teen that recently lost the person she revolved her whole life around. But it comes to a point that you have to realize: Akito and Tohru are both motivated by the same thing, they just present it in wildly different ways. I don’t think that I have to explain how exactly their behavior foils eachother, the more worldly and modern Tohru acting on radical kindness and acceptance and thinking she deserves nothing while the sheltered, traditional Akito uses manipulation and fear to get what she thinks she is entitled to. It’s very apparent, but just gets even spicier in the context of how similar they are. Another parallel is in Tohru’s mom picture vs Akito’s father box, both relics of their dead and favorite parent that they are extremely protective of and treat almost like it is their deceased parent. Early in the series Tohru is seen carrying around a photo of her mom which she talks to, something which seems pretty harmless, until we consider how terrified she is every time she thinks she’s lost it, even going as far as to refer to it as if it were her mother. Notably, it barely shows up in the second half of the series, as she reluctantly drifts away from her mom and towards Kyo. In this later part of the series, we are introduced to Akito’s box, which she (semi, it’s complicated) thinks contains her father’s soul. Akito’s box is shown in a much darker light, from how the reveal of what it us to her is framed to how cruelly she reacts when it’s being stolen. Akito’s box is to Tohru’s photo what their owners narratively are to eachother: a dark mirror.

Ok, and now for the reason that I think it was important to bring all these parallels up first: because as you cannot understand Tohru and Akito as enemies without understanding their differences, you cannot understand them as friends without knowing their similarities. While it is easy to write off Tohru reaching out to Akito as just another case of Tohru being Tohru, that does a disservice to the full picture. I’ve seen around in the fandom that a good deal of people seem to think Tohru trying to befriend her is just Tohru being overly kind and forgiving, and this is something I think ties back a bit to some early fandom misconceptions about Tohru. Bear with me for a second, this is going to be a bit of a tangent but it ties back. It’s died down some now, but in the early Furuba fandom it was very common to just think of Tohru as a pretty flat nice girl doormat character, which besides misogyny is probably partially the fault of the 01 anime, which cuts off before we get to see more of Tohru’s insecurities and tones down what we do see (also, in the case of the relationship I’m talking about, 01 ads in that God awful end confrontation that I despise for being everything that I’m about to argue the ACTUAL confrontation that I like is not). Manga Tohru is a very subtle character, she hides a lot of her feelings behind a perpetually happy front which doesn’t start to let slip until later. And, since it’s later on in the manga which went unadapted for years and is mixed in with a bunch of crazy stuff, I think Tohru’s quiet development is often somewhat overlooked. For example, early series Tohru is very well known for the speeches she gives to the zodiac when she first meets them, speeches that, importantly, always tie back to things that her mom said. Tohru’s worldview back then revolved completely around Kyoko, so it’s probably a bit of a thing that in the later story, when Tohru draws ever nearer to the realization that she must move on, she does not give her mom speeches anymore? As opposed to the early story, when it was pretty much back to back character intros, in the late story Tohru notably only gets to befriend two new Sohmas: Isuzu and Akito. Notably, she doesn’t quote her mom either time, these are both people that she can relate to on some of her more hidden issues, and she shows a more personal side of her emotions in her turning point confrontations with them than she did earlier. It is especially important to realize that, in her confrontation on the cliff, Tohru is deciding that she is willing to go against her mom. Early series Tohru was a front anyways, and is a different Tohru from the one that finally gets through to Akito. I was using it as an example, but the evolution of Tohru’s befriending confrontations will be important later. Furthermore, there is the perception of Tohru as a doormat. Listen, Tohru may be very kind and polite, but one of her defining characteristics is being very determined and strong willed when need be. This is something that is especially relevant to her interactions with Akito. From the first meeting outside the school, Tohru knows to be wary of Akito and even breaks politeness and shoves her when she senses that Akito is making Yuki uncomfortable. This sets up immediately that Tohru can and will stand up to Akito. This is driven in even farther at the beach house, when Tohru, after again physically getting between Akito and a zodiac, decides that she will directly go against all of the Sohma family’s centuries of tradition and Akito herself to break the curse. There’s even a cute moment when, upon remembering Akito telling her not to, Tohru just decides to meddle even harder. Tohru, while polite about it, does not like Akito and puts herself in direct opposition to her. Tohru does not originally want to be Akito’s friend, or to have anything to do with her. The cliff scene is not just Tohru befriending someone because she just is over forgiving and loves everyone (an argument can be made that she still goes to easy on Akito, but it’s in line with how the narrative treats her too so that’s another conversation), there was a specific reason both that she chose to try to get through to Akito and that it actually worked. Up until their big confrontation, Tohru still thinks of Akito as a threat, and while she has gotten more information that shakes up her view of Akito, she still doesn’t understand her well enough to see her as much more than an obstacle. Then Akito barges into her yard when she’s just been rejected, crying and confessing how terrified she is of being abandoned, of things changing, and Tohru just goes still, eyes wide in shock. And she realizes: her and Akito have been afraid of the same thing the whole time. This is when Tohru decides to try to reach out to her. Because Tohru, on a deep level, sees Akito because of their similarities. She calls Akito out on her insecurities, and Akito reacts badly, accusing Tohru of being “dirty” and trying to condescend. Tohru partially rebukes this, not trying to hold herself above Akito as pure and righteous, but instead confessing her own fears of abandonment and change in an attempt to empathize with Akito.

At this part of the story, Tohru is fully coming into the realization that, in order to live her life, she needs to stop clinging to this idea of an “unchanging” relationship with her mom, something that scares her quite a bit. She realizes that, while she saw the flaws in Akito’s “eternity” and tried to destroy it, she had not been as perceptive with herself, clinging to that same notion. Tohru is an incredibly repressed character, especially in regards to emotions she thinks of as “dirty,” and she is showing a remarkable amount of vulnerability in this scene. Another thing to note about Tohru is that she, in her immense repression, will often process her own issues through other people. We see this throughout the story, from her showing grief over her mom by crying for Momiji and his mom to her projecting her fear of losing Kyo onto Kureno and Arisa. So then, it’s quite something to consider that the last Sohma she befriends is the one most emblematic of the issues she keeps locked up tightest? That as she’s speaking to her she’s deciding to move forward from her own fears? In a way, could accepting Akito be a symbol of Tohru accepting what she thinks are the darker parts of herself? Akito is also coming to a realization about moving on, acknowledging that the zodiac curse is coming to an end and that everything she believes is a lie, and she is absolutely distraught about it. But Tohru, in a way that nobody else does, understands Akito, and wants Akito to be her friend. Not out of pity or reverence, but a desire for solidarity. And this is the very reason why Tohru was actually able to get through to Akito. As we see with Kureno before he gets stabbed and Momiji at the beach house and when his curse breaks, it’s not like people haven’t kindly tried to get through to her before.

Of course, the reason it worked for Tohru can also be partially chalked up to the fact that Akito herself has come a long ways in personal realizations to the point that there’s just some things she can’t deny anymore, but that’s not all. Akito tends to react very negatively to what she sees as condescension, she thinks people want to try to pick her apart and see how she ticks just so they can look down on her, so they can see her as lesser. She thinks Tohru is trying to condescend too at first, especially since she perceives Tohru as this holier than thou saint wannabe. Fascinatingly, Akito’s view of Tohru is incredibly similar to that early fandom idea of Tohru as an angelic mary sue, and she hates her for it. She thinks that Tohru is trying to be like this and is seen as such, and that she (Akito) is the only who can see that Tohru is wrong somehow.

But Tohru rejects this notion of a pure her that both the fandom and her early self tried to project, presenting herself as flawed and human and purposefully trying to not put herself on a pedestal above Akito. She makes it very clear that she’s not trying to condescend, she is the same way (well, sorta) and she gets it. Notably, after this point Akito doesn’t accuse her of looking down on her, instead freaking out temporarily because of how much Tohru called her out before venting about her fears to her. And, while, partially due to outside circumstances, it does take Akito a bit longer to accept her offer of friendship, she legitimately manages to get through to her very soon after this point. If Tohru had tried one of her early series mom speeches on Akito, or just tried to blindly accept her without understanding, it would not have worked. Akito would have just written it off or reacted badly and left it there. But because Tohru tried to befriend Akito out of understanding as an equal it actually worked. You can’t separate Akito and Tohru’s parallels and their eventual friendship because one aspect is integral to the other.

A connected aspect of their relationship that I see talked of very little but is actually a pretty strong undercurrent is that of equality and power. To explain this, we have to look at Akito for a bit. Throughout her life, pretty much everyone around Akito has either put her on a pedestal or looked down on her. This is something that not only greatly damaged the way she thinks of herself and others, but has given her an intensely hierarchical view of relationships. We even see this notion clearly take form for her in the black paint scene, where she decides that Yuki, who she’d previously seen as the same as her, has to be lesser or else she will become useless. From the moment Akito was born she was “God,” an existence above everyone else. Even her own father only seems to give her affection for being God, and when he dies and she takes his place as the head of the family she is just elevated even farther at an extremely young age. The only people (she thinks) she’s close to are the zodiac, and the curse itself puts an inherent power dynamic into that relationship that can only be overcome with its undoing. Akito clings to her power, to her rank in the hierarchy, all the while the very thing she desperately upholds has made her the real outsider. Akito, who does everything in the name of belonging, was always alone from the start. As Tohru points out, as long as she is above the group she cannot be a part of it.

Simultaneously, and almost contradictory to the pedestalization and power dynamic aspect, Akito is extensively coddled and pitied. A lot of the older adults around her treat her almost like a crotchety, spoiled child. A child who is coddled to the point of never being given any reprimand or instruction on just how to behave like a functional human being until things have gone far too far. Then you have cases like Kureno, who seems to still see Akito like a kid, pretty much just coddles her as a job, and only stays because he pities her. This leads to a strange dual sided dynamic in multiple cases, where Akito is seen as someone’s better and has more power but is also being looked down upon in a way too. Akito has never in her life been seen and treated as an equal, so it’s pretty important when it is made clear that Tohru tries to befriend her as an equal. After all this time, Tohru, an outsider that is not under Akito’s control, who can hold her ground in a challenge against her, is finally the one to meet her on the same level. There’s this page that I adore that symbolizes this idea really nicely. It opens on a panel of Akito sitting a distance away from the zodiac who are all having fun together, a motif we’ve already seen a few times, but this time Tohru sits down right next to her.

This page comes at a critical moment, when Tohru is offering her hand in friendship to Tohru, it’s Akito realization of what Tohru is trying to do. Later on, we get Akito narrating what this page was showing, which I think I just need to put in:

We also see a bit of their conversation after they reunite in the hospital later, where Tohru again denies that she is better than Akito. Now, I think both the Tokyopop and Yen Press translations of this scene are a bit weird, the Tokyopop version uses the word “pretty” (confusing) while the Yen Press uses “kind” (don’t think that’s the best word). However one time I saw like a Malaysian english release in the half price books that used “pretty on the inside” and I like that best so I’ll just pretend that’s it.

I think this scene is interesting because it could seem like they’re just talking about morality but that’s not it. This is, once again, Tohru pretty explicitly trying to stop the creation of any sort of hierarchy between her and Akito. It’s not about right or wrong, Tohru know very well that Akito’s done things wrong and actively worked to stop her, it’s about not wanting them to be put on some sort of different rank based on morality and Tohru understanding Akito enough to empathize with the fact that (wrong or no) Akito was really hurt by Tohru and they won’t get anywhere if they don’t acknowledge that. Furthermore, I’ve already talked a bit about it already, but I think the way that Tohru asserts that she gets what Akito’s feeling and thinks she herself is “dirty” during their confrontation is relevant here too. She is, again, presenting herself as someone on the same level who understands Akito and is not being nice out of pity. This then leads to the page I talked about before which is again, Akito realizing this! This is a huge moment for her, someone who has had all of her relationships messed up by inequality and has no idea how to have a normal relationship, who is having a breakdown because she thinks that because of this it’s too late for anyone to love her, to have someone who understands her and wants to meet her on the same level. Even if she tries to deny it and shift blame, at this point Akito has realized that the zodiac bond is not what she thought and that she has been acting horribly. The groundwork is already there for Akito to have a change of heart, especially considering that a lot of her horribleness stems from legitimate extreme ignorance and her obsession with the bond so once she’s snapped out of that… The main thing that’s holding her back past that is that she’s panicking and cannot see a way forward. So then when there’s someone who actually gets where she’s coming from instead of just tolerating her and is offering her the sort of friendship that she’s never gotten to have of course she’d go for it! Tohru Honda has proven Akito wrong in ever way and, in the end, she even proves her wrong on her greatest fear: that she can only be wanted because she’s God. Because of Akito’s specific issues, nothing could have been more powerful for her than someone coming to her as an equal. Again, the piece about why Tohru could get through to her. It just wouldn’t be the same if Tohru didn’t have a reason to want Akito around or if she somehow saw Akito as below her, the very core of their relationship is the destruction of hierarchies. From the beginning Tohru has been trying to destroy the hierarchy of the zodiac, and when it comes down to it she does not take Akito’s spot at the top, but decides to stand beside her and the zodiac instead. Early in the series we see Akito trying to have some power over Tohru through fear, but when the time comes and Akito is pretty much defeated Tohru does not take power as the victor, hoping that Akito joins her instead of being somehow defeated. And at the end of it all this works, and Akito dissolves the zodiac and with it most of her power and her godhood of her own accord.

Despite their relative lack of page time, Tohru and Akito’s relationship has always been something that I come back to. Sure, a lot of that is just sentiment as they meant a lot to me when I was younger, but I think there’s something there. They work amazingly as protagonist and antagonist, contrasting nicely and working as symbols of both sides of the thematic conflict. There’s a palpable tension to their early interactions that makes you both scared and interested to see what happens when these two inevitably have to go head to head. But then, as the story goes on, it seems more and more like they are a tragedy, so similar yet on different sides of the story, fated to have one of them stuck with an unhappy ending brought on by the other.

But, even as dark as it gets, that wouldn’t really be Fruits Basket, would it? In the end, Tohru and Akito’s similarities win out, not their differences. I think it would have been so easy to just make this a story where the sweet heroine “saves” the villain just because, but that is so blatantly not what’s going on. Tohru simply sees herself in Akito, she’s not trying to somehow fix her and nor should she have to, she just wants to be her friend. And then the two manage to overcome their driving fear of moving on, forging new bonds and inspired by their interaction with the other. It’s not like Tohru somehow fixes Akito’s problems, Akito has to do things herself and in fact independence is a big theme of her endgame arc. Tohru simply offered her friendship, and that was enough. There’s a distinction to be made between how Tohru inspires Akito and Tohru somehow “saving” her, because Akito very much has to learn to save herself in the end after a lifetime of pushing her issues onto others. And, as a side note, all this is sort of why it bugs me when people act like Tohru would be like a mom to Akito. First off, Tohru shouldn’t have to be the mom to everyone. And, kind as she is, Tohru is also not a Kureno, she sees and interacts with Akito in a completely different way and their relationships with Akito are one of the big points were Tohru and Kureno differ. Second off, Akito has spent her life coddled and clinging onto anything that she can hold onto as a resemblance of parental affection to a toxic degree. Part of her arc is that she needs to grow out of this, become more independent, and have more balanced relationships. Akito at this point does not want or need to make a mommy figure out of one of her peers, and doing so may in fact be regressive. Sure, she will definitely need a level of guidance going forward, but it would be more beneficial for her to learn from example and under more of a friendly, balanced context coming from multiple people, not one person holding her hand. For all the reasons I’ve gone over in this entire post, I think it is much more meaningful for Akito to have Tohru as what she was canonically presented as in text: someone who sees her as an equal. The whole point of their relationship is, again, the defiance of hierarchies, something which I think is often sorely overlooked even though it is very openly there in text. And that, in part, is why I think their relationship is so powerful to me. Beyond hero and villain, right or wrong, or any story roles, it’s about two girls finding solidarity and friendship on a very personal, human level. This is Akito for the first time being seen not as this distant, untouchable male deity or some pitiful being, but as a flawed, hurt human girl who is nonetheless capable of change and being loved. This is Tohru coming out of hiding, presenting her flawed, terrified human self to someone she saw as an enemy. Fruits basket is, in part, a story about friendship and defeating systems of power and abuse. Even in a messy third act that muddles its themes at times by weighing character endings too heavily on het romantic love, especially in regards to the women (Hello Rin, Machi, Uo, ect.), Tohru and Akito stand out as a friendship that is given a huge amount of narrative weight. It just feels nice that, in a story that often focused on the power of relationships between women only to ditch all that and focus primarily on their relationships with men, these two girls are one of the driving forces of the endgame. The curse didn’t get broken by romantic love, but by the friendships everyone made along the way, including Tohru and Akito. Tohru has gotten it to this point, and now Akito just needs to bring it to a close and finally end things. At the very beggining, before this all started, all the cat wanted was for the God was to move forward and live as a person among the humans, and, finally, a long time later that wish was granted. The tale of the zodiac gets its happy ending not by a villain being defeated, but by the power of friendship and solidarity between women.

#fruits basket #akito sohma #tohru honda #fruits basket spoilers #meta

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piracytheorist · 3 years

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Since the first thing that strikes me about re8, story-wise, is that it seems to be all over the place? Again, I’ve no idea how it ties to previous games but it feels like this parental/mother-child theme is just hanging there with no resolution at all? I mean yes, Ethan saved his daughter, presumably breaking some sort of abuse cycle, yay, congrats, but what about his wife/gf? Isn’t she supposed to be like the main protagonist of the story of a mother bereaved to the point of tyrannical madness

Or rather, this specific story is not the right choice for his character since there’s SO many ethical and philosophical issues and questions implied but never properly explored because of Ethan’s ‘fuck you, idc’ attitude (which is completely understandable in those circumstances but adds virtually nothing to the plot and arguably even ruins it a bit). Heisenberg could’ve been an excellent ally with fascinating grey morality (provided the writers wouldn’t push him to the point of absolute insanity and let freedom, not power-hunger be his main goal and motivation for rebellion).And again, aren’t the lords supposed to represent child development stages? In which case Ethan what? Kills the possibility of some evil version of Rose? Or his own chance to experience fatherhood throughout all of those stages? Either way, it seems a bit… weird to have a Parent destroy multiple people whose main relevance to the plot is that they’re children of an abusive antagonist in a storyline so extremely focused on parent/kid relationships.

I feel like the main theme of re8 is not just parenthood/motherhood, but the relationship itself of the parent to the child. There's a lot of mentions to "children being used". Miranda kidnapping people, experimenting on them and mutating them and then treating them like they're her kids; Miranda kidnapping and practically killing Rose; Dimitrescu making daughters out of reanimated corpses she experimented on; Heisenberg wanting to use Rose's powers, etc etc.

And it's important that Miranda is at the center of this. There's something very interesting she says to Ethan in her boss fight:

"Why do you interfere? Surely you have no need of Rose now, so close to death?"

And that's where her mistake was. Ethan wasn't doing all that because he needed Rose herself. He was doing it to save her, fully aware that he wasn't going to be a part of her life cause he knew he was dying. Miranda was way too dependent on her love for Eva - and like, I honestly get it that losing your child can devastate you (if anything my fear of that is one of the reasons I don't want to have kids) - so much that her life literally revolved around her child. Once Eva died, Miranda wanted to die. Once she found the Megamycete and discovered she maybe had a chance to bring Eva back, she dedicated her entire life and ruined multiple others to do just that. Her one and biggest need was to get Eva back. It wasn't a simple want or wish. It was a need. She'd get her child back, damn everyone else - including other people's children.

Miranda had no-one to blame directly; Eva had died from the influenza, it wasn't like she had any chance to change things. Ethan's case was different; he had people to blame, particularly, the one who kidnapped Rose and dismembered her, and her lackeys who kept said parts and fought him for trying to take them back.

So on one end, you have a parent who lost her child due to a tragedy, and ended up destroying other - innocent - lives in order to get her back. On the other, you have a parent who lost his child due to a crime, and ended up going after the criminals responsible in order to get the child back. Like, it wasn't even revenge, and it wasn't that he "needed" Rose in his life. He simply wanted to save her and ensure she'll be alright.

I fully agree it could have been Mia as the protagonist in re8, and that it was a wasted opportunity to simply fridge her and have her in the sidelines angsting over her husband. But whether it was Mia or Ethan as the protagonist, I feel like the theme that I explained above does offer a resolution, showing the opposites of Miranda and Ethan, and ending Miranda's tyrrany of her "need" to have her child back through Ethan's determination to ensure his child's safety and happiness - even if he doesn't get to be a part of any of that later on. Miranda showed obsession; Ethan showed dedication.

And this is how I see the abuse cycle breaking and the resolution is reached; an obsessed parent hurt a good parent's child to bring their own child back - the good parent's dedication stopped the former, allowing the former's tyrrany to end and their child to grow up safe.

Seeing as this is a horror game, I don't tend to focus on the morality issues (if I'm interpreting your second message correctly). Like, the developers are making a grant effort to put us in Ethan's shoes, first-person POV, plain character protagonist and all; our child got kidnapped and practically murdered, and we have the chance to bring her back. We'll absolutely raise hell to the people who are responsible for it and we will get our child back, fuck any moral dilemmas we might have. When someone is threatening your life, you have the ability to kill them to defend yourself. In the case of a caring parent, that ability may multiply by a lot when the threat is towards their child. And I feel that this is what the game explored in the end. Though the whole survival issue is taxing on Ethan, he doesn't give a damn about who he has to kill if it means saving his daughter - but again, it's only the responsible parties. We see how watching all the people at Luisa's house die affected him, and even before Elena died, he wanted to ensure her safety before he went searching for Rose; he is sympathetic and morally rational, but also capable of cold-blooded murder if someone is threatening his child. To a lesser extent, we saw that in re7 too. With his life on the line, he killed Jack (multiple times) and Marguerite, and at the end he recognized how they were actually victims of Eveline. But they were still actively trying to murder him so he wasn't given the chance to help them. With Zoe, he promised to send help, and he did, even wanting to talk to her once she'd been rescued by her uncle and Chris. The same applies to re8, but as I said, it's multiplied since it's his daughter who's in danger, and the end of re8 proves he cares for her safety more than his own.

Now, all that said, I think it's important to note how it's stil a Resident Evil game. I haven't actually played or watched any playthroughs of other games, but the basic concept in these games, from what I understand, is that the player shoots zombies; ex-human beings who have lost any human mentality and will just come for your throat if you don't kill them first. They're not humans anymore, they can't be reasoned or sympathized with. It's not really an issue of morality, ethics or philosophy. Your life, and the life of your child in the case of re8, are in danger. You don't give a shit. You just start shooting and hope for the best. Again, I don't know if the morality issue is explored in other RE games, but to be honest... Resident Evil doesn't sound like the kind of franchise that's thematically into going super deep into the morality of shooting zombies to save your life.

I have to admit I haven't thought of the Lords being representative of child development stages. I think they could be put as Moreau being a toddler, fully dependent on their parent - funnily enough, the Greek word for baby is "moro", pronounced almost exactly the way "Moreau" is pronounced in the game - Donna as a child, Heisenberg as a (rebellious?) teenager, and Dimitrescu as a late teen/young adult (if anything, Dimitrescu seems to behave like the eldest child of the bunch). But I'm not sure the connection that has to Ethan as a father, if anything because the bosses are fought in complete random order of age, if my analysis is correct. Like, I understand the symbolism behind the Lords' behaviours, maybe as you said they represent the obstacles Ethan had to overcome. In one single day and with his life on the line, instead of in the course of Rose's entire childhood and adolescence, but that's exactly why he hated being a protagonist of a horror game, lol.

Anyway, yeah. All in all, I don't think Resident Evil is a franchise where we should expect to sit down afterwards and ponder whether we were right to shoot the zombies that were trying to kill us. Again, I'm not the right person to ask this, since I don't know anything about other RE games, but that's the conclusion I'm making in a meta-thinking way.

#Resident Evil #Resident Evil Village #Resident Evil 8 #Ethan Winters #Mother Miranda #re meta #anonymous #ask and ye shall receive

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twdmusicboxmystery · 3 years

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11x01: Details + TTD

Okay, let’s start with TTD.

There wasn’t a ton of smoking guns in TTD this past week. (Hopefully next week when Emily is on, it will be better. :D)

We got a good shot of the music box still sitting on the shelf behind Angela. That’s always encouraging.

The first thing that caught my eye in the actual episode is that they showed the blood running over Norman’s rabbit tattoo during the “in memoriam.” And it didn’t correlate to anything else in the memoriam. It wasn’t like they were showing a particular death or walker kill and it happened to be in the same shot. They just randomly threw it in in the middle. As though really emphasizing it. Definitely caught my eye.

Angela talked about the “whispers into screams” graffiti. She said the Whisperers did do that before leaving Alexandria, and it’s also the name of one of the comic book issues. Interesting. Something I might want to look into more, but even if they’re gone, it seems something about the Whisperers is still relevant. Not only because we still see this graffiti in the intro, but in the trailer, it looks like Maggie will wear a skin mask at some point.

What I can tell you is that the “masks” theme is still very prevalent. So it may be largely thematic, but I’m interested to see where they’ll go with it.

At one point, Paola said Maggie was “off the rails.” You don’t really see that in episode 11x01, other than what Negan said about her planning to kill him. But you’ll see it a lot more in 11x02, so I’ll talk more about it next week.

Finally, they said that the wall of the lost Eugene’s group sees in the CW compound was full of pictures of the crew, which is fun. David Boyd, one of their directors, is on it. I like David Boyd a lot. He directed 10x21, and during the TTD for that episode, he was giving lots of confirmations and hints. So, not only is he very much in on the plan for the show (Beth; the CRM; etc) but he’s willing to tell us stuff from time to time. So, I like him. :D

There are also some people on the board that look a lot like Beth/Emily. One gal with blond hair and striking similarities to Emily is in a graduation cap. There have been some people trying to figure out if it’s actually her. I kind of doubt it. I think that would be too obvious. But I do think people with similar looks to her were purposely placed on the board to remind us of her.

Think of it this way. We have one sibling searching for another (Yumiko’s brother) and the sibling (Yumiko) presumably thought he was dead before this moment. Meanwhile, there’s a blond, very Beth-ish girl on the board directly beside that. Hmmm.

Details:

Okay, just a few things I didn’t talk about in my analysis on Monday.

First is the money theme. We’ve actually noticed a lot of money symbols in the episodes late. @wdway has especially been focusing on and interpreting them. Of course the paper money symbol goes back to Still, when they gathered up stacks of cash and then used them to set the moonshine shack on fire. So, we can definitely tie paper money symbols to a Bethyl storyline.

I’m not going to go into great detail about the money. I’ll just say that it is tied to the Revolution Theme. Why? Because paper money generally has pictures of leaders (ie. Presidents or the founding fathers if it’s U.S. money) on it. It also often has pictures of political buildings, such as capitol buildings.

Not only have we seen such buildings in TWD (think 9x01) but in this episode (11x02, actually) we’ll see the part from the sneak peek where Daryl looks at the murals on the walls. One of the things he sees is a capitol building of some kind in flames.

@wdway also noticed that one of Maggie’s people (Duncan, I think) has an All-Seeing-Eye tattoo on his arm. That’s on the back of the American $1 bill. So, we’re seeing this theme a lot lately.

In this episode, we saw a bin full of paper money at the CW that all had black Xs on them. (X = Chevron = Beth). And then there was that interesting sequence about Princess and her $2 bill.

I’ll also tell you that in 11x02, we see a heavy money theme around Daryl, and it ties in a big way to Beth symbolism, but more on that next week.

Thanks for asking this, because I completely forgot to talk about it on Monday.

Yes, the things Carol gives back to him are his two knives. So, when Carol, being the last one down in the building, runs to get the last of the food, Daryl shoots walkers to cover her. But at some point, he either runs out of arrows or just can’t reload fast enough, so instead he throws two knives to take out 2 walkers that are close to her.

When she finally makes it back up to where the rest of the group is, she hands him back both of the knives. I know the shot is dark, so you have to look closely, but you can see that there are two of them.

And yes, I think this is SUPER significant. First, it’s the kind of thing they didn’t HAVE to show. Who’s gonna notice how many knives Daryl may have or if he gets them back, anyway? And it’s something we could always assume happened off screen. But no. They went out of their way to show us this.

What does it mean?

Well, given that Carol originally gave him Beth’s knife, I think of them definitely represents Beth and her bringing Beth back to him. We’ve seen a ton of evidence to suggest that Carol will be heavily involved in Beth’s return.

What about the second knife? I’m sure most people would assume Leah. Because he gave her Leah’s knife, maybe it just makes sense, right?

Meh. Maybe, but that actually wouldn’t be my guess. Only because we haven’t seen tons of evidence of Carol being involved with the Leah storyline moving forward.

And I could be wrong about that. It’s not set in stone in my mind. Just because we haven’t seen evidence of it doesn’t mean it won’t be the case.

But my guess would be Connie. And no, for the record, I don’t mean to imply that Daryl feels about Connie as he did about Beth. But he definitely cares about Connie and he lost her in a very similar way to Beth. And in that case, Carol was directly at fault. So, I like to think the two knives represent Carol bringing Connie and Beth back to him.

In fact, especially if Connie is first (which I think she will be) her return will be a precursor to Beth’s. We’ll see first one and then the other. Just my guess, though.

Okay, I think that’s all I have for today. I’ll do my rabbit theory either tomorrow or Friday. Stay tuned!

#beth greene #beth greene lives #beth is alive #beth is coming #td theory #td theoris #team delusional #team defiance #beth is almost here #bethyl

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dahniwitchoflight · 3 years

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KH: The Foreteller’s Animal Masks

This is half fun facts / half theory but basically it’s a list of which Sins/Foretellers are associated with which animals AND where the inspirations for the animal associations came from, since there’s actually a few different sources!

The first would be the Ancrene Wisse, which was a sort of field guidebook for Anchoresses (Female Abbesses/Monks/Nuns basically) containing rules of conduct and behavior

https://www.hermitary.com/articles/ancrene.html

This goes into many things that honestly have cool thematic ties with symbolism for stuff in Kingdom Hearts, which I could honestly make a whole post in it’s own for tbh, but for here were focusing on one passage:

“The wilderness is the solitary life of the anchoress's dwelling, for just as in the wilderness there are all the wild beasts, and they will not endure men coming near but flee when they hear them, so should anchorites, above all other women, be wild in this way, and then they will be desirable, above other women, to Our Lord.

In this wilderness are many evil beasts: the lion of pride, the snake of poisonous envy, the unicorn of anger, the bear of dead sloth, the fox of covetousness, the sow of gluttony, the scorpion with the tail of stinging lechery, that is, lust.”

So, we start out with a nice base for some of the Sin/Foretellers:

Ira - Wrath - Unicorn - Unicornis

Avaritia - Greed - Fox - Vulpes

Acedia - Sloth - Bear - Ursus

Invidia - Envy - Snake - Anguis

but then wait, here Gula/Gluttony is a Sow, a Pig, but in KH it’s a Leopard

As well as recently in KH, they’ve made it clear that Luxu/Luxuria is a Goat, not a Scorpion (As cool as a Scorpion would have been for Luxu’s emblem, but a bit too on the nose I suppose haha)

Well, interestingly enough, did you know that back when the 7 deadly sins was actually more like the 8 Evil Things once? And that they were also grouped into a Trio of their own?

(Despair as Tristitia being the 8th one, because it’s essentially the sin of falling to sorrow/sadness or giving up, of blinding yourself to other’s troubles and causing sorrow in return or being too sorrowful to act, later it was folded into Sloth as a lack of diligence)

But the 3 Major sin groupings was essentially the three Reasons that people would sin the deadly sins

Incontinence: Doing wrong because they couldn't help it. Or sinning from a lack of moderation or self-control.

Violence: Doing wrong because of anger, revenge or retaliation. Or sinning from by trying to force your will externally

Fraud/Corruption: Doing wrong on purpose in order to hurt other's. Or sinning from betrayal, lies and manipulation.

These three things form a sort of Unholy Trinity in opposition with the Divine trinity of Father-Son-Holy Spirit

And, very famously, Dante’s Inferno links these three groupings to three creatures from a famous bible verse describing the destruction of humanity via it's own nature:

Jeremiah 5:6 - “Therefore a lion from the forest shall slay them, and a wolf from the desert shall destroy them. A leopard is watching against their cities, every one who goes out of them shall be torn in pieces because their transgressions are many, their apostasies are great.”

A Lion, A Leopard and A Wolf.

Now based on Dante’s actual writing which grouping with which animal and which sins is often debated, but usually it’s roughly as follows:

Leopard of Incontinence: Gluttony, Greed, Luxuria (from Immoderation, Extravagance, Wastefulness)

Lion of Violence: Wrath, Pride (from Murder, Suicide, Squandering, Blasphemy)

Wolf of Fraud/Corruption: Envy, Sloth, Sorrow/Despair (Tristitia) (from Corruption, Thievery, Falsifier, Betrayal) (yeah... old timey people did indeed view what was essentially depression as a “willful” sin aka something people did on purpose to hurt themselves, like they drown in their sorrows willingly because of a refusal to heal themselves or as a willing corruption of their soul, nowadays if it existed would definitely be thought of a Leopard sin I’d think)

So here it’s very easy to see where Leopardos and Gula get tied together, because in KH the sin of Gluttony is lifted above the other’s in the group, which makes sense because being gluttonous for money is greed, being gluttonous for luxuries was Luxuria (or sex for lust)

And here also, the Sin of Pride/Superbia is again associated with the Lion as it is in the Ancrene Wisse (though it’s also associated with Wrath strongly as well, so no wonder MoM chose Ira to be the next leader after he was gone)

So in all likelihood, this means that the symbol of the Master of Masters is most likely a Lion of Pride, Superbia (and if he had his own union, it might be something like Leo or Panthera)

But honestly the biggest thing that definitely makes MoM the Lion of Pride is the passage in the Ancrene Wisse that elaborates upon the Lion of Pride, describing it as having “many cubs”:

“But the author continues the animal analogies, enumerating a classification of the sins. "The lion of pride has very many cubs," he states, and enumerates them: vainglory, indignation, hypocrisy, presumption, disobedience, loquacity, blasphemy, impatience, contumacy, contention, "airs and graces." “

Reminds me of both MoM’s many apprentices or Master Xehanort’s collection in the organization

Though the REAL reason is also because did you know when KH was still being thought of and designed, Nomura actually wanted to make Sora a Half-Lion Chainsaw Wielder and we all know Sora is secretly the MoM right lol

But anyway, that explains Gula being a Leopard

So then where did all this talk of Luxu being a Goat come from?

Well one reason could be that later on as the deadly sins got solidified as just the seven of them, and as their meanings changed from umbrella terms to more specific sins, their animal interpretations also started to differ:

Avarice/Greed = Toad/Frog

Invidia/Envy = Snake

Ira/Wrath = Lion

Acedia/Sloth = Snail

Gula/Gluttony = Pig

Luxuria/Lust = Goat

Superbia/Pride = Peacock

Also Ira with a Lion mask would be cool but can you imagine a Snail Aced or a Froggy Ava? lol

But it IS Cool to think that these “Modernized” animals could then become the emblems of the Union Leaders that inherited Ava’s legacy, since they are the newer versions of those Unions, obviously there’s no one to Inherit MoM’s legacy

But you could easily think of Ventus as the “Traitor” aka the scapeGoated 6th for the new group, leaving Frogs, Snakes, Lions, Snails and Pigs for the other five

(I wonder who I’d put with who... Ephemer, Skuld, Lauriam, Strelitzia and Brain... the only sin associated with Death would be Wrath (As Suicide) and the “Ira” position appears to be the one who inherits the leader, and it’s theorized Strelitzia was the circled name supposed to get the Book of Prophecies

So Strelitzia = Lion/Wrath

Ephemer and Ava always seemed to be the closest and he was the one who seemed to inherit her Legacy the most so he can get Frogs/Greed

Brain is similar to Gula in how they calmly investigate issues and try to uncover the truth and got extra information than the others, so Pigs/Gluttony for him

Lauriam was the poster boy for temptation into darkness, which is what Darkness was intended when his sister Strelitzia was killed, for him to be the first to fall to rage and grief, nice Aced parallel as the one everyone suspected of falling to darkness first so he gets Snails/Sloth, fitting for the flower elemental lol

and that leave Skuld and Invi which also makes sense as the parallel for the person who tries to intervene in conflicts and mediate for the group, so Skuld gets Snake/Envy

Neat!

But anyway back to Luxu, I think Luxu is represented by the Goat not just because of the above modern listings, but also because of the special place of evil that Christian religions tend to place on Goat itself

If the Lamb is the most common symbol of Jesus Christ, the Goat has always been a symbol of the Evil of Lucifer. Sheep and Goats, despite being so similar, have always been seen as this symbolic duo. Sheep and Lambs being submissive, complacent, docile, while Goats are crazy, willful, destructive and etc likely because since they are so close in nature, they are basically seen as the Good and Evil version of the same animal, a Goat is essentially a heretical false Lamb

They are very commonly associated with the Devil/Lucifer himself and goats have always gotten the short end of stick, all the way back to the old tradition of using goats as well, scape-goats literally. The practice of singling out a particular creature or person and placing all the sin and blame onto it, and then driving it away

Luxu is singled out from the group, likely given the role of “Traitor” amongst the six of them and then is forced into essentially exile to the future by MoM where he can do nothing but watch and wait, never able to interfere or meddle with anything

And this reasoning of the Goat fits Luxu above all others.

So there we have it, finally at the end:

Ira/Wrath - Unicorn/Unicornis

Avaritia/Greed - Fox/Vulpes

Acedia/Sloth - Bear/Ursus

Invidia/Envy - Snake/Anguis

Gula/Gluttony - Leopard/Leopardus

and if Luxu and MoM had union names, (which seem to be just be taken from the genus of the animal directly) they’d likely be:

Luxuria/Lust - Goat/Caprini

Superbia/Pride - Lion/Panthera

But I think the Most Interesting Thing to glean from all of this, is going back to the 3 Groupings for the 8 evil things, can you imagine if KH ever decides to give MoM a little backstory, and a figure based on the Wolf of Fraud/Corruption, emblem of Despair came into the picture somewhere?

Something that might look a little like this?

Hey that’s interesting, isn’t this the special secret boss Dark Hide from Aqua’s Fragmentary Passage? Y’know, that journey all about Aqua falling into the pits of Despair where she then ends up fighting The First Real Pureblood Heartless she ever faces in the Realm of Darkness? Something that Aqua felt was Willfully and Intentionally Stalking her through the depths, instead of mindlessly attacking her?

https://www.youtube.com/watch?v=JQGONhqs0mU

Isn’t that interesting how all of things, they give this boss the opportunity for the player to see through it’s eyes, something very unique, and how it initially appears as a formless Darkness

And isn’t Darkness itself, given a will and a personality, now a figure in KHUX Dark Road, that has specific ties to the MoM, as Luxu describes as being a fellow student and/or old friend of MoM?

Could the Will of Despair manifested from darkness come to be a secret 8th apprentice of MoM?

Who knows, but it’s interesting how that symbolism lines up isn’t it?

#KH #Kingdom Hearts #KHUX #KHUXDR #Darkness

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ayearinfaith · 3 years

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𝗔 𝗬𝗲𝗮𝗿 𝗶𝗻 𝗙𝗮𝗶𝘁𝗵, 𝗗𝗮𝘆 𝟳𝟴: 𝗣𝗲𝗿𝘀𝗲𝗽𝗵𝗼𝗻𝗲 Persephone is the Greek goddess of spring and queen of the Underworld, a personification of the changing seasons. Her name possibly means “grain thresher”. 𝗘𝗮𝗿𝘁𝗵 𝗦𝗵𝗮𝗸𝗲𝗿’𝘀 𝗗𝗮𝘂𝗴𝗵𝘁𝗲𝗿 Persephone is traceable back to the pre-classical Mycenean period of Greek history (1600-1100 BCE). It’s possible she may be even older, from the Minoan civilization, from which we have evidence of a harvest goddess who underwent a cycle of rebirth, though at this point the direct connection becomes tenuous. Persephone is not alone in Mycenae; Linear B (the writing system used before the Phoenician-born Greek alphabet still used today) inscriptions have been found bearing the names of most of the classical panhellenic gods, though with some notable discrepancies. Some 3-8 hundred years before Homer wrote the 𝘖𝘥𝘺𝘴𝘴𝘦𝘺, Zeus was not the chief of the gods. Instead that role was filled by Poseidon. Poseidon himself was also not the sea god, but an underworld deity who had the epithet “earth shaker”. Hades, the classical god of the underworld, was absent. This is relevant to Persephone as she is related to all these gods in significant ways. In classical mythology Zeus is her father, and Hades is her husband. In Mycenae, both these roles seem to have been filled by Poseidon, with Persephone and her mother Demeter (also attestable at that time) filling the role of dual queens. How the change from Mycenae to Homer occurred is uncertain, the two civilizations are separated by a 3-400 year long dark age with sparse records. To speculate, its likely that as Poseidon and Zeus changed roles, the partners of Demeter and Persephone fluctuated to maintain thematic purity. Its important to the myth that Persephone be the daughter of the chief god (a royal divine lineage) and that she be wed to the underworld god (as a cycle of life and death). Transitions of this kind are common, and especially noticeable when myths pass between different cultures; the individuals of the myth may change greatly, but the themes maintain. An important thing to note her is that, in the religious practices of Persephone and Demeter, they are the main actors; not their interchangeable husband/s. 𝗗𝗮𝘂𝗴𝗵𝘁𝗲𝗿 𝗼𝗳 𝗠𝘆𝘀𝘁𝗲𝗿𝗶𝗲𝘀 Persephone is most associated with the ancient Greek religious tradition known as the Eleusinian Mysteries. The mysteries were both an organization and a specific event of initiation rites (aka. “mysteries”) that took place in the sanctuary at Eleusis. The Eleusinian Mysteries were not the only mystery religion of ancient Greece, but they were the most famous, both then and now. Possibly as a result of its popular yet secretive nature the Mysteries had a remarkably stable and long life, stemming from pre-classical times (Mycenean or even Minoan) and persisting until the rise of Christianity and prosecution of Pagans in the Roman Empire. So stable was its doctrine, it even seems to have preserved aspects of the Mycenean arrangement of gods, with the underworld Poseidon. There may even have been a distinct identity given to the earlier and later versions of Persephone, evidenced by epithets: the elder daughter of Demeter and Poseidon, Despoina (“mistress”), and the younger daughter of Demeter and Zeus, Kore (“girl”). At the center of these traditions was the abduction myth. The general story is as follows: Hades, lord of the underworld, falls in love with Persephone. He beseeches her father, Zeus, for permission to marry her. Zeus, aware that Demeter would not allow the union, advises Hades to abduct Persephone. Hades does so, taking Persephone into his domain beneath the earth. Demeter is distraught when she cannot find her daughter and causes the earth to become barren. Zeus commands Hades to return Persephone in order to end the disaster. Hades does so, but not before Persephone eats from a pomegranate. Having eaten the food of the underworld, she becomes bound to it. While she can return to Demeter and bring life back to the world, she must eventually return to the underworld and let the Earth go barren again. The core of the myth is tied to the changing of the seasons: vegetation seems to dies in the winter (in the Northern Hemisphere) and return to life in spring. To initiates of the Eleusinian Mysteries, this cycle of death and rebirth also represented a form of immortality of the soul, though it is uncertain if this was further extrapolated to a doctrine of reincarnation or simply the perception of the continuity of one’s family line as immortality. 𝗗𝗶𝘃𝗶𝗻𝗴 𝗶𝗻𝘁𝗼 𝗔𝗯𝗱𝘂𝗰𝘁𝗶𝗼𝗻 At a glance, the abduction myth seems to portray Hades as a villain, stealing a young maiden for lascivious purposes and then trapping her with him. Most ancient records of the myth do generally depict a terrified Persephone during the act of the abduction itself and a duplicitous Hades feeding her the pomegranate. But there are reasons to assume the depiction was not so simplistic, not least of which being that the myth is part of the core doctrine of a religious tradition built upon secret initiations. For context, it should be noted that the underworld is not the Greek equivalent of the Christian underworld, or Hell, which is a nightmarish realm of torture. The Greek underworld is a realm of the dead, but of all dead, virtuous and wicked. Death is also only one of its functions; it is also the source of mineral wealth. Thus, Hades is not a Greek devil, but a kind of fertility god in his own right, the source of precious metals, gemstones, and other such things. The pairing of Persephone and Hades is not a union of opposites, but compliments. When looking at depictions of the underworld couple outside of this myth, they are often the very image of royal respectability, a great contrast to the antagonistic relationship of the actual chief couple Zeus and Hera. Persephone is invoked directly in the 𝘖𝘥𝘺𝘴𝘴𝘦𝘺 when Odysseus descends to the underworld, and his sacrifice is made to her, not Hades. This does not necessarily imply that Hades act was not kidnapping; the characters are, after all, fictional, and the ancient Greeks did not generally feel pressed to explain incongruities in mythology: these were things of gods which humans cannot understand. There is a possibility that the entire affair is a metaphoric depiction of ancient Greek courting rituals in which Zeus or Demeter are at fault; Demeter for being overprotective of Persephone, Zeus for his dishonesty to Demeter. Many Renaissance depictions of the myth use the title “the rape of Persephone”, though this use of “rape” stems from the Latin for “seize” and did not contain the explicit meaning of sexual violence it does now. Image Credit: Proserpine, Dante Gabriel Rossetti, 1874

#A Year in Faith #Persephone #Prosperpina #AYIF #Religion #mythology #day 78

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blackjack-15 · 4 years

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The Puzzle is Just the Italian Language — Thoughts on: The Phantom of Venice (VEN)

Previous Metas: SCK/SCK2, STFD, MHM, TRT, FIN, SSH, DOG, CAR, DDI, SHA, CUR, CLK, TRN, DAN, CRE, ICE, CRY

Hello and welcome to a Nancy Drew meta series! 30 metas, 30 Nancy Drew Games that I’m comfortable with doing meta about. Hot takes, cold takes, and just Takes will abound, but one thing’s for sure: they’ll all be longer than I mean them to be.

Each meta will have different distinct sections: an Introduction, an exploration of the Title, an explanation of the Mystery, a run-through of the Suspects. Then, I’ll tackle some of my favorite and least favorite things about the game, and finish it off with ideas on how to improve it. Like with all of the Odd Games, there will be a section between The Intro and The Title called The Weird Stuff, where I go into what makes this game stand out as a little strange.

If any game requires an extra section or two, they’ll be listed in the paragraph above, along with links to previous metas.

These metas are not spoiler free, though I’ll list any games/media that they might spoil here: VEN, RAN.

The Intro:

From the French-inspired streets of New Orleans, Nancy jumps on a plane to Venice and is caught up in international espionage, theft, a mafia ring, and a cast of hostile suspects living in the same house as her.

Sounds a bit like my first semester of college, honestly. Minus the whole “Venice” and “international espionage” parts.

Coming directly after CRY, VEN isn’t quite as thick with atmosphere, doesn’t have any of its philosophy or thematic elements, and is really only famous for being set in Italy and for the fact that they hired four voice actors for our main cast sans regular characters (Colin, voiced by our good ol’ boy Jonah Von Spreecken, counts as a returning VA), but hired 6 distinct VAs for the singing gondoliers, most of whom the average player will never hear.

Yeah, VEN is kind of that type of game.

There’s a lot that makes VEN the trippy experience that it is – more on that immediately below – but nearly none of that makes VEN as confused as it is. Nancy’s hired by a foreign government – sort of – but there’s also a love line – sort of – a roommate story – sort of – and some touristy stuff like overpaying for flowers and gelato.

Taking place overseas, VEN might have been mistaken for a Jetsetting game if it weren’t for the fact that every bit of the game is permeated with the sense that nothing was quite thought out, nothing quite flows together, and there’s no emotional response in anyone – including the player.

That’s not to say that there’s nothing enjoyable about VEN; it’s one of the most highly memed games, in fact, with a catsuit, horrific fashion choices, and little laser roombas all making up the most memorable meme material (and that’s not even touching discount Justin Timberlake and his slides of seduction). It has strongly-painted characters (even if there’s a touch of the caricature about them), the return of recurring characters, the first appearance of a semi-recurring character, poisoned chocolates…it’s almost like someone tried to do STFD, but with a sprinkling of spies and Italy thrown in for good measure.

VEN can be a lot of fun, but it’s also a grind a lot of the time; the required puzzles can be ridiculous, for example, and, in a twist for Nancy Drew games, there’s a puzzle for everyone to hate, no matter if you dislike stealth games, card games, speed-reaction games, or even language puzzles.

Which brings us to the biggest problem with The Phantom of Venice: the common puzzle thread, the thing that keeps recurring, the ‘mission statement puzzle’…it’s just the Italian language. The game hinges on the idea that the player won’t know any Italian (or any Romance language, honestly), and that’s where the majority of the difficulty in the game (barring bad hand-eye coordination) comes from. It’s not a good thing at all, and it brings the entire game down with it.

Well, it has a little help. Let’s talk about the Roomba in the museum, shall we?

The Weird Stuff:

There’s a lot of things that are weird about VEN, no getting around it. But there’s one solid thing that makes it…well, Odd in the way that the other Odd games are qualified, and that’s this one simple fact:

This is a Hardy Boys mystery, with Nancy clumsily inserted in instead of Frank and Joe.

Think about it; called in by a foreign government, espionage, nearly drowning, contacts in the government and police force, an Italian crime ring…these are all things straight out of a Hardy Boys novel, not a Nancy Drew novel. There is a Nancy Drew book titled The Phantom of Venice, true enough, but this game doesn’t bear any resemblance to it besides, well, Venice itself. You could swap out Nancy with the boys and the whole game could go on, minus the whole ‘keepsake necklace from Ned’ thing, and depending on what you ship, even that might fly under the radar.

And no, I didn’t forget the dancing in a catsuit thing. Pure comedy right there.

Nancy’s a homegrown detective; most of her cases are ‘small thing spirals into bigger thing’. It’s not that she doesn’t deal in espionage, at times in foreign places, or stumble upon a crime ring. It’s just that that’s not the type of thing Nancy’s called in for, it’s the type of thing she trips over halfway into a lower-stakes mystery.

The Hardy Boys, however, because of their father’s contacts (in the novels) and their position in ATAC (in the games) are exactly the kind of people that work with police chiefs and security experts and foreign spies and the like. It’s very nearly their bread and butter. Which is why I have a wild but not out-of-the-way wacky sorta-serious theory. Bear with me:

This game was designed as a Hardy Boys game, and Nancy really was clumsily inserted in with a few weeks to spare.

At this point in history – the far-behind time of July 2008, as the Great Recession was descending, the fury of an election year was coming to a head, and you couldn’t go to a supermarket or clothes store in America without hearing OneRepublic tell you that it was just a little too late to apologize – HER wasn’t doing badly, per se, but they certainly weren’t doing as well as they could have been. They weren’t that far from having had to majorly upgrade their engine for a rapidly changing technological world, and there seemed to be no end in sight. HER had plenty of staff change-ups coming because of new sponsors, but weren’t making enough simply with what they had.

Put simply, they needed a carrot. And what better carrot than the fan-favorite Hardy Boys?

There are two Hardy Boys games put out around this time: The Perfect Crime and The Hidden Theft. While neither one was done by Her Interactive, there was a HER Hardy Boys game in the works: the DS masterpiece Treasure on the Tracks. The audience for a Hardy Boys game was meant to be young boys/teenaged boys, but the side audience expected was fans of the Nancy Drew books and games.

So while I know logically that Phantom of Venice was just the latest in a line of ‘adulted-up’ Nancy Drew books (and games), in my head it makes much more sense to say that it was supposed to be a Hardy Boys game meant to promote Treasure on the Tracks and HER got nervous and pulled the plug, stuffing their erstwhile teen detective in instead.

The Title:

As far as a title goes, The Phantom of Venice isn’t a bad one; you can tell it comes from the ‘hotter and sexier’ Nancy Drew books, and as a collection of words, it works rather well. It’s an evocative title, giving us our location, our crime (‘phantom thieves’ are common as a type of thief), and doesn’t say too much else, so as to not spoil the mystery.

As a title for this game, however…well, so little of the actual game deals with the Phantom that it’s rather non-indicative as a title. By the time you’re 16 Scopa games deep and are wearing a sparkly red dress with a cat mask and sneakers around Italy, you’ve pretty much forgotten about the Phantom and are more worried about exactly what happened to the pigeon you used as a messenger and why exactly flowers and gelato cost so much for 2008.

The Phantom of Venice just…deserved a better, more cohesive, more…well, phantom-y game than it got. That’s all.

Now, onto the mystery!

The Mystery:

Nancy’s been called in by the Secret Italian Police because a thief has been stealing art.

No, really, I’m being serious.

Sure, Prudence Rutherford has a hand in getting her called in, but basically Nancy goes from small-time cases, sometimes getting her name in the papers, to called in by the Italian Secret Police.

Caught up at a house where no one likes her (understandable, given that she just Appears one day, forced on the Ca’s owner, Margherita Fauborg, and her residents at the Ca’), Nancy soon becomes embroiled in a mystery most foul when she discovers ties to the art thief – or thieves – right around the Ca’, poisoned sausages and message-laden chocolate boxes, and shades and shades and shades of tiles offered by the Ca’s resident nerd.

Soon, Nancy is juggling police contacts, heists, Scopa games, and the impersonation of a world-class spy just to give the Italian police a hint as to who might be stealing Venice’s greatest artworks. It gets personal, however, when the Phantom Thief himself shows up, stealing Nancy’s locket which she’s just been given by Ned.

Oh, and did I mention that the whole thing is told in media res? Yeah, very, very weird choice right there.

Honestly speaking, the mystery isn’t…bad, per se. It’s got solid bones – art theft, mysterious thieves, romantic location, interesting-seeming suspects, some spy shenanigans. The problem with VEN’s mystery, largely, is that there just isn’t any cartilage to connect those good bones. Without something to hold it all together, it just kind of falls apart – exactly like a skeleton without cartilage.

Simply put, there’s a lot of mystery, but no plot to carry the mystery along.

The Suspects:

Beginning with Margherita Fauborg, the tanning-obsessed matriarch of the Ca’ Nacosta, seems like a good place to start. Dismissive of Nancy, tourists, and Nancy being a ‘tourist’, Margherita prefers to stay on top of her house tanning the day away rather than take part in any shenanigans.

Having Margherita not be a member of the ring was almost as inspired as having Helena lead it; she’s not nice, does suspicious things, is entirely self-centered – but she’s not a villain, nor does the game really pretend that she is for more than a second. I really like characters like this in the Nancy Drew games, who are honestly just People not enamored with the teen detective, but aren’t villains just because of that.

Also, the story of her husband’s death is just incredibly hilarious.

Her half-ward, half-employee Colin Baxter, on the other hand, is anything but dismissive of Nancy. He’s part of the ‘kinda crushing on Nancy’ club, but is Far less beloved than any other member of that club. It comes from his inherent creepiness, criminal record, and love for tile slides, I think.

Colin, as a suspect…well, he’s just there to make the numbers add up. It’s a shame that his largest utility is to show Margherita’s slightly unscrupulous nature, but he should have been kept as perhaps a figure that Nancy could call to get the story, rather than an in-person suspect.

The other person staying at the Ca’ is Helena Berg, fulfilling the HER mandate for having a German villain in their European games. Having Helena be the mastermind of the ring is a pretty good plot point, honestly, as I expected the first time for her to just be part of it, and to have that be the Big Surprise.

She’s also one of the few villains who promises revenge on Nancy and/or is still out there. I know it would have been Way too soon to have Helena be the returning culprit in RAN rather than Dwayne, but honestly she was a better candidate for it. While any hope of a good ND game (and mostly any game, honestly) is pretty far from me, I always hoped one day Helena would return in all her platinum blonde glory.

Enrico Tazza is our most encountered (kind of) and outwardly suspicious suspect, but he’s not exactly…well, scary. He makes Nancy-as-Samantha play a card game with him, then disappears, despite being the Preeminent Villain Face for the first half of the game.

I do love Tazza, however, just for his presence in the game. He’s cartoony, fun, well-acted…he’s just great. And as a potential villain, he’s great too! You’re never meant to doubt that he’s a ‘baddie’, you’re just meant to go along for the ride. Excellent.

Finally, Antonio Fango is the most prominent suspect that you’ll ever completely forget the name of, due to his lack of screen time despite being the Italian Police’s favorite suspect. He has a whole convoluted backstory involving multiple colleges and degrees, but really he’s just the communication go-fer for Helena’s theft ring.

As a villain…well, Fango does his part, but due to being a nigh-unseen suspect, he’s really just not very memorable. He’s like most of the ring – necessary to establish the numbers, but other than that, a non-entity.

The Favorite:

Despite the plot holes wide enough to steer a gondola through, there are a few things that really make VEN stand out.

The first is Samantha Quick; originally a stage name suggestion from Simone in FIN, she shows up as an actual character in VEN, albeit only by phone and shadow. Her pissed-off phone call to Nancy is a highlight of the game, especially as she ends with the vaguely threatening line “say hi to Ned for me”. Her shadow at the end in Colin’s window is the final clinch to make SQ a personal favorite of mine, and her presence (and the feeling of her presence, which is sort of different) is a high point in the game.

The location of the game is another plus; not so much Venice, but the Ca’ Nacosta itself. It’s a wonderful ‘home base’ location for any Nancy Drew game, filled with light, staircases, and pretty impressive stonework given that just a few short games ago, everything looked like it was animated out of melted gummy bears.

My favorite puzzle(s) are the chess puzzles, honestly. I just kind of like chess puzzles to begin with, and it’s a nice respite from forcing pigeons to do your bidding and avoiding various foods.

My favorite moment in the game is honestly the Samantha Quick shadow, but if I had to pick another moment, it’s where Nancy implies that she’s stripping for money, and Ned just replies that he’ll be really glad when she’s back home safe in the States. It’s such a random, hilarious thing to happen, and Ned’s complete underreaction to the idea of Nancy earning money in such a way (as she makes it sound way worse than it actually is) is what really sells it.

The Un-Favorite:

There are some un-favorites as well, however, that drag down the game to the place it currently resides.

The first is…well, the location and the means used to get Nancy there. As much as I have no problem with Venice, this attempt to open up the world makes little sense when you consider that there’s no way the Italian Secret Police would hinge their hopes on a small-time 18 year old American detective, no matter how highly Prudence spoke of her.

The jumbled plot (when there is a plot, at least) is another point against VEN; the writers just didn’t know what to do with Nancy being in Venice, and so just…didn’t do anything with it.

I also dislike that this game happens in media res. There’s no real reason to do it – and it makes any actions that the player takes that’s slightly apart from the ‘main plot’ – gondola rides, ice cream, looking at slide after slide after slide – seem incredibly out of place and borderline inappropriate. At the very least, if the Hardy Boys were part of the game, they could be yelling her name as she began to drown, which would give a sense of urgency that’s missing from the confused opening.

My least favorite puzzle…well, that brings me to a huge problem: every puzzle in this game is based around the fact that it’s in Italian, and they expect no one playing this to even have an idea of Italian (or any romance language). It boils down to this: the puzzle is just the Italian language, and they have nothing else up their sleeves. I don’t have a least favorite puzzle, because apart from a select few, they’re all the same puzzle, wrapped in slightly different clothing.

The Fix:

So how would I fix The Phantom of Venice?

Coming off of CRY, we’ve now had two games with two (or three) player characters, so that’s what I’d start with doing. Include the Hardy Boys, who have been called on by the Italian Secret Police because of their work with ATAC. They’re helping the mystified police track down this ring of thieves when Nancy mentions offhand that Prudence Rutherford is recommending a stay at a Ca’ in Venice whose owner owes her a favor (as a treat/vacation). Upon hearing this, the Hardy Boys ring her up and ask her help, as they’ve stalled out. They’re not allowed to come into physical contact with Nancy (to save money on animating them/Nancy), but they want her to investigate from her end, as she won’t be suspected at all.

The real reason the Italian Police let the Hardy Boys get her involved, of course, is that they need someone to impersonate Samantha Quick, and they’re having a rough time with their Joe-in-a-wig tests. They need an American who can convincingly pull off the act, and the brothers mention Nancy’s stints undercover. Desperate enough to grasp at anything, Nancy’s officially in.

That along would help beef up the plot, as suddenly we have an actual police plotline with the Hardy Boys (playing as one or the other, it doesn’t matter, or maybe both with different ‘jobs’ to do as one or the other). Diving the suspects is a good idea too; Nancy would take Helena and Tazza as her primary suspects (of course, only Tazza would be the ‘primary’ at the beginning), while the Hardy Boys handled Fango and his side of the ring.

The final puzzle (with the flashlights and such), especially, makes more sense as a Hardy Boys sort of thing. Nancy can snoop around the market and the Ca’, discovering clues as to Helena’s guilt and such. The Hardy Boys take down the ring, but Nancy takes down Helena.

I would also give Nancy a better reason to be undercover at the dance club. It’s a weird little minigame to be sure, but if it’s gonna exist in the game, there should be a better reason. Even better, take it out and have her solve puzzles – something other than the Italian Language, mind you – in order to get money from the police or something.

(Even better, take out the money thing, as someone helping the Police and pretending to be a spy should not be or appear to be short on funds.)

The last big change I’d do is to take Ned out (sorry, Ned, but there’s really no reason for you to be in this game) and swap him for Carson. Carson really should be in a few more games than he is as it stands, and this is a great way to bring in the fact that…well, Carson can’t be entirely Comfortable with the direction that Nancy’s life is going, even if he is proud of her.

Most of the time, Nancy’s family and friends are just used to say “and she’s ‘normal’ and loved and supported even though she’s never home”, and I think using them to establish her character and the stakes is a far better use of these pre-existing characters.

#nancy drew #clue crew #nancy drew games #VEN #phantom of venice #video games #nancy drew meta #long post #my meta

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