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Weiss and Jaune = Knight + Queen

Mirror Help me Who am I?

Weiss and Jaune are strong foils (mirrors), who can be analyzed through a specific motif.

They are both Knights (masculine):

And Queens (feminine):

This is made clear also through their respective allusions:

1 -Weiss alludes to Snowhite and plays all the different characters of the story with a specific focus on the Princess and the Prince, which is highlighted since the White Trailer:

Weiss and her inner Prince (Animus), who is corrupted and possessed by her Father

Here, Weiss fights a giant armor, which symbolizes the power her father (the patriarchy) has above her. She is fighting both for her freedom and to get back a possessed part of herself (the Arma Gigas is literally a haunted armor). If she wants to escape Jacques, she has to be her own Prince. In other words, to be crowned queen, she needs to become a knight first.

2 -Jaune alludes to Jeanne d'Arc who was both a maid and a knight. Jaune's story is about him growing into both. He needs to accept his inner maiden to become a proper knight. This is made clear in the Jaunedice's arc (this mini arc really works as Jaune's trailer). There he grows not when he gives in to toxic masculinity, but when he stands up to it:

Jaune performing his first miracle and later on being guided by his Goddess (Anima), who is none other than Pyrrha

Jaune makes progress when he nurtures his most feminine side and shows vulnerability by apologizing and asking for Pyrrha's help. A real man has no fear to show he is also feminine.

In short, both Weiss and Jaune's stories deal with the integration of their feminine and masculine parts, so that they can be full-fledged individuals.

ANIMUS AND ANIMA

Integrating the feminine with the masculine is a psychological process, which is described by Carl Jung with the archetypes of animus and anima:

The animus is the masculine part of a woman

The anima is the feminine part of a man

Each person has naturally both, but society promotes specific gender values and drives people to repress traits culturally associated with the opposite gender. So, to fully be complete a person should integrate the negated parts.

This is the case for both Weiss and Jaune, who are initially trapped in fixed gender roles:

Weiss is the rich spoilt princess. She is forced to adhere to the social role Jacques has chosen for her. She is the Schnee Heiress, which means she should always be classy, perfect and elegant:

Weiss: I'm. Not. Perfect! Not yet...

Jaune is instead the loser boy, who wants to be a knight. He doesn't really fit his gender nor social role. He is a male, but is weak, geeky and odd. He has a legacy of warriors to honor, but can't fight. So, he feels he isn't enough:

Jaune: I don't want help! I don't want to be the damsel in distress! I want to be the hero!

Basically they are both trapped in opposite ways. Weiss fits her legacy and stereotype so well people forget there is more to her. Jaune instead doesn't measure up to his ancestors nor to the classical male type, so everybody assumes he is bound to fail. This happens because Weiss and Jaune are victims in different ways of toxic masculinity:

As a girl, Weiss has to obey her father, to suppress her emotions and to be nothing, but beautiful. Think about how Jacques even weaponizes typical feminine traits Weiss has, like her talent at singing.

As a boy, Jaune has to conform to physical prowess and bravado. He has to be big, ripped and cool or else he is no-one. The idea he is not like the other boys is at the root of Jaune's insecurities.

At the same time, Weiss and Jaune are also incredibly immature and project outside the same gender roles they are trying to escape inside. Moreover, they do so specifically with each other:

Weiss: (mockingly) My hero.

This scene summarizes their whole early dynamic. On the one hand Weiss sees Jaune as the loser he is scared to be. She only sees his superficial bravado and misses who he is behind the mask. On the other hand Jaune is attracted to Weiss because he sees her as the perfect princess to his knight. So, he is drawn to the mask.

Even the reason Jaune initially falls for Weiss ties into this:

Weiss: Yeah! And we can paint our nails and try on clothes and talk about cute boys, like tall, blond, and scraggly over there!

Weiss here is mocking both Jaune and Ruby, two people she has misjudged and shows no respect for. She is being cold, superficial and rude. Still, Jaune falls for it and believes Weiss's words. He does because they describe Jaune as he wants to be perceived. So, he runs after Weiss and ignores Pyrrha.

In short, initially Weiss and Jaune can't see neither themselves nor others clearly. Luckily, this starts to change at Beacon.

ICE QUEEN AND VOMIT BOY

Sun: Ruby, Yang, Blake… Ice Queen.

Ruby: Look, I'm sorry! Vomit Boy was the first thing that came to mind.

Weiss and Jaune are given nicknames the moment they arrive at Beacon. This happens because they are both childish and self-centered, so they are called out by others. Specifically, their nicknames are light-hearted ways to criticize their perceived self-importance and the archetypes they are trying to emulate. Weiss is called an ice queen because she is acting as daddy's little princess. Jaune is instead jockingly named vomit boy because he tries too hard to look cool. They are still far away from who they want to become and their friends pick up on this. Luckily, giving them funny names is not all RWBY and JNPR do for Weiss and Jaune. Rather they help the two kids grow. In particular, Ice Queen and Vomit Boy develop in two different and complementary ways:

In volume 1 they learn to see who they are slightly better

In volume 2 they become able to see others with more clarity

Seeing One-Self

At the beginning of their stories Weiss and Jaune are running away from who they are:

I'm the loneliest of all.

Even when I told my parents I was going to Beacon, they told me not to worry if I ended up having to move back home. How depressing is that?

Both have big families, but feel lonely and misunderstood. So, they hope they can have a fresh start at Beacon, but immediately meet unforeseen circumstances:

By this point Weiss and Jaune are pursuing a superficial dream of heroes and monsters. They figure their most perfected selves beside the "right" patner.

On the one hand Weiss wants Pyrrha to be the "knight" to her "princess":

Weiss: This will be perfect! The smartest girl in class combined with the strongest girl in class! Together we will be unstoppable!

She wants someone strong (body) that complements her intelligence (mind). She thinks that in this way she can't fail.

On the other hand Jaune wants Weiss to be the "princess" to his "knight":

Jaune: Don't worry! No need to be embarrassed! So, been hearing rumors about teams! I was thinking you and me would make a good one! What do you say?

He wants someone who is beautiful and looks frail, so he can protect her. He thinks in this way he can appear strong.

Both are wrong obviously. This is why they end up with respectively Ruby and Pyrrha as partners.

Weiss needs to realize what complements mind is not body, but heart. This is why she is paired with Ruby, who lacks physical strength, but has more than enough heart to guide Weiss. Throughout the initiation, Weiss herself has to act as a Knight by saving Ruby from the Nevermore. And later on, she needs to follow Ruby's plan (so Ruby's mind) to take down the Grimm and pass the trial.

Jaune needs to realize a real knight is not physically strong, but is wise (mind) and brave (heart). This is why he ends up with Pyrrha, who is both and challenges him in two different ways. She doesn't fit feminine stereotypes and sees Jaune's value not in his superficial traits, but rather in his willingness to help. Throughout the initiation, Jaune shows this by staying behind to lead others into kiling the Grimm.

So, Ruby and Pyrrha are the ones, who can help Weiss and Jaune grow the most. However, the 2 kids struggle to accept it and enter into a conflict with their respective partners in The Bagde and The Burden and Jaunedice. These 2 mini-arcs are interesting because they do not really add anything to the main plot. Rather, they are episodes which focus on Weiss and Jaune respectively. Once again our wannabe queen and wannabe knight act as perfect foils to each other.

On the one hand Weiss is powerful enough to kill Grimms on her own, but wants to be the Queen giving orders. On the other hand Jaune has gained the title of leader, but wants to be the competent Knight slaining monsters.

In short, they want what the other has and miss what they already are. Why is that so? Because deep down they dislike themselves and can't see they have the seeds for greatness within. They don't need to look outside, but should nurture the inside.

Luckily, they are helped by 2 mentor figures:

Port: So instead of fretting about what you don't have, savor what you do. Hone your skills, perfect every technique, and be not the best leader, but the best person you can be.

Ruby: Because it's not just about you anymore. You've got a team now, Jaune. We both do! And if we fail, then we'll just be bringing them down with us. We have to put our teammates first, and ourselves second. Your team deserves a great leader, Jaune. And I think that can be you.

Port invites Weiss to grow as a person and Ruby reminds Jaune of his duties as a leader. So, Weiss and Jaune step up for the sake of their partners:

Weiss: Ruby, I think you have what it takes to be a good leader. Just know that I am going to be the best teammate you'll ever have!

Jaune: Don't ever mess with my team - my friends - ever again. Got it?

Weiss encourages Ruby to be a good leader and promises her she will be the best teammate ever. She even aknowledges she has always loved bunked beds and makes a small step in integrating with her inner child. Something necessary if she wants to blossom into an adult.

Jaune fights Cardin for Pyrrha's sake and decides to dedicate himself to his role of leader. At the same time, he accepts Pyrrha's help, so he shows vulnerability. In other words, he starts integrating with his feminine side. Something needed to become more mature.

So, by the end of their first semester at Beacon both Weiss and Jaune have come to understand themselves and their roles a little bit better. Still, they have yet a long way to go when it comes to the way they aknowledge others.

What better chance than a dance to work on it?

Seeing Others

When it comes to the dance, Weiss and Jaune find themselves in the same situation of the initiation ceremony. They are locked into "triangles":

Jaune wants to go to the dance with Weiss, who wants to go with Neptune

Pyrrha wants to go to the dance with Jaune, who wants to go with Weiss

They pursue the wrong partner and ignore another person's feelings. In this way they do to another what they lament it is done to them:

Weiss: All my life, boys have only cared about the perks of my last name.

Jaune: It's Weiss… I'm completely head over heels for her, and she won't even give me a chance. She's cold, but she's also incredible. She's smart, and graceful, and talented-- I mean have you heard her sing? I just wish she take me seriously, y'know?

On the one hand Weiss wants to be seen for who she is, not her name. And yet, she refuses to look earnestly at Jaune and doesn't even recognize his feelings as genuine (recognizing someone's feelings doesn't mean to reciprocate them by the way). On the other hand Jaune wants to be taken seriously, but the moment Pyrrha tries to open up to him, he reduces her feelings to a joke:

Jaune: Oh please, if you don't get a date to the dance, I'll wear a dress.

At the same time, both approach love superficially. Jaune has started to really like Weiss as a person, but he is still far from truly seeing the girl in all her complexity. Weiss is instead failing to recognize Jaune's good qualities and is attracted to Neptune's try hard persona:

Neptune: Haven. And I don't believe I've caught your name, snow angel.

The narrative makes it very clear Neptune is just a shallower, but better looking version of Jaune. He is a geek (like Jaune), but calls himself an intellectual. He flirts with every girl that breathes, waaaay more than Jaune does initially. And yet, he looks cooler, so Weiss is attracted by him.

This "double triangle" is solved positively in 2 different ways:

Weiss and Jaune start to display respectively more masculine and feminine traits

Weiss and Jaune learn to see others a little bit better

Weiss plays the part of the knight and invites Neptune to the dance:

Weiss: I know this is a little unorthodox, but… I wanted to ask you something. Would you… like to accompany me to the dance tomorrow?

Jaune plays the part of the maiden and wears a dress to accept Pyrrha's late invite:

Pyrrha: I had no idea you were a dancer. Jaune: Yeah, well, these things tend to happen when you grow up with seven sisters.

On a deeper level, Jaune confronts both Pyrrha (the ideal self he must aim to be) and Neptune (the past self he has outgrown).

Pyrrha: I've been blessed with incredible talents and opportunities. I'm constantly surrounded by love and praise, but when you're placed on a pedestal like that for so long, you become separated from the people that put you there in the first place. Everyone assumes I'm too good for them. That I'm on a level they simply can't attain. It's become impossible to form any sort of meaningful relationship with people. That's what I like about you. When we met, you didn't even know my name. You treated me just like anyone else. And thanks to you, I've made friendships that will last a lifetime. I guess, you're the kind of guy I wish I was here with. Someone who just saw me for me.

He realizes he has hurt Pyrrha's feelings and has failed to see her the whole time. At the same time, he calls Neptune out on how he has treated Weiss's feelings:

Jaune: Do you even care about the girls you're hitting on? How they feel about you?

And finally, thanks to his ideal self (Pyrrha), he is able to give his past self (Neptune) a good advice:

Jaune: Then just go talk to her. No pickup lines, no suave moves, just be yourself. I've heard that's the way to go.

In this way, Jaune shows he has grown more mature and crowns his evening by wearing a beautiful dress and proving he is a great dancer (differently from Neptune).

Weiss grows too. She accepts Neptune's apology and thanks to him, she is able to finally see Jaune for who he is:

Weiss: You said you were embarrassed at first. What made you come talk to me? Neptune: You're looking at him. You got some good friends looking out for ya.

She might not reciprocate Jaune's feelings, but Jaune is still her friend and cares about her as a person, not as a trophy. This moment marks an improvement of Weiss's overall dynamic with Jaune and she starts to see him as a close one, even praising him occasionally:

Weiss: Well, he's certainly improved.

This is a top off for Weiss's growth as a less judgemental person. This process starts with Blake and her prejudice against Faunus and goes on with Jaune and her misjudgement of him.

All in all, Weiss and Jaune's months at Beacon are key for the kids' early development:

Weiss grows through Ruby and Blake

Jaune grows through Pyrrha and his team

They keep walking parallel paths and slowly start to aknowledge each other more. Weiss starts to see Jaune not as a loser, but as a person who is trying hard. Jaune start to see Weiss not as a damsel, but as a talented individual with wishes of her own. Similarly, their relationship with their inner selves improves, as well.

By the time of the Vytal Festival, both Weiss and Jaune are making small steps toward who they want to become.

The Vytal Festival: Unsure Knight and Clueless Maiden

Weiss and Jaune's tournament fights display their better qualities. On the one hand Weiss sacrifices herself for Yang. On the other hand Jaune is able to lead his team well. They are both more selfless with a better understanding of their roles in their teams.

This growth is marked by important moments outside the arena.

Weiss meets Winter, who inspires her to branch out a little. This is the catalyst for Weiss's transformation into a knight:

Jaune notices Pyrrha is off and tries to step into an adviser position. Basically, he tries to do what Pyrrha has done for him. He tries to guide her by symbolically playing a more supportive role. Moreover, he tries to help Pyrrha making sense of maidenhood:

Jaune: I guess… I'm just trying to say that… you've always been there for me… even when I didn't deserve it. And I can tell there's something on your mind, so… I don't know. How can I help?

Obviously, they are both still immature. Weiss is dependent on her father and can barely summon a tiny sword. Jaune is ignorant and isn't able to give Pyrrha the right advice. Still, they both try, even if they meet an unforeseen crisis. The Fall of Beacon.

Weiss manages to step in to protect Velvet. She acts as a real Knight in Shining Armor:

Jaune does his best to stand beside Pyrrha, even in her darkest moment:

Jaune: She's right. Whoever was on that microphone… they're the ones that did this. And we have to make sure they don't take anyone else.

Despite this, they both fail in the end. Weiss can't save Beacon and loses her new found home and family. Jaune can't save Pyrrha and loses the girl he loves. So, after so much development and growth Weiss and Jaune wake up to discover it still isn't enough. So, the finale pushes them back in the roles they have tried to escape so desperately.

Weiss is brought back under her father's thumb. Jaune is shoved into a locker, forced to fly away like a loser. Weiss is once again daddy's little princess, while Jaune is once again a wannabe knight, who couldn't save the girl.

SNOWHITE AND JEANNE

Ren: Well that embarrassment - that desire to go back and tell yourself not to be so stupid - that just proves you're not the same person you used to be. You're smarter, you're kinder, you're stronger, and you're not done growing yet. None of us are.

The Mistral arc marks a metaphorical growth spurt for both Weiss and Jaune. This development manifests in the volume 5 climax, where their stories intersect:

This scene is a culmination of their respective developments and ties with both their allusions:

Snowhite dies, but is resurrected by the Prince

Jeanne D'Arc performs a mircacle and brings back a person from the death

So, it is clearly very important symbolically, but what does it mean for Weiss and Jaune's characters, specifically?

1- Weiss and Jaune overcome two fake Maidens

Vernal and Cinder are the two fake Maidens of the Mistral arc, as the opening of volume 5 suggests:

Vernal is set up as the Spring Maiden and Cinder is set up as Raven's biggest foe. And yet, neither of them lives up to expectations. On the one hand Vernal is just a red herring, while Cinder isn't Raven's true opponent, but Yang is.

At the same time, Vernal and Cinder are Weiss and Jaune's opponents during the Battle of Haven. Interestingly, they both challenge the kids about their true identities. Who are they really?

Vernal: Let's see what the Schnee name really means.

Cinder: Who are you again?

Vernal mocks Weiss by stating she is nothing outside her name and Cinder sneers at Jaune by telling him he is a nobody. These are Weiss and Jaune's biggest fears. Weiss is scared her only value is her Schnee name, whereas Jaune is terrified of being a loser. In short, both Vernal and Cinder attack Weiss and Jaune's egos and leave them shattered:

Vernal physically breaks Weiss's aura, while Cinder psychologically destroys Jaune by targeting Weiss, just like she did with Pyrrha. Vernal and Cinder's objective is really to reduce Weiss and Jaune to nobodies. And yet, they fail. That is because the self is not found in physical strength or power, but rather comes from inside:

Yang: You might be powerful, but that doesn't make you strong.

In this battle Vernal and Cinder really symbolize Weiss and Jaune's illusory sense of selves. Their ugly personas. This is why they are both fake. Fake maidens masked with strength and confidence. And yet, they are deep down made of lies.

Vernal derides Weiss because of her dependency on the Schnee Family. And yet, Vernal herself has dedicated her whole existence to the Branwen Tribe and even changed her name for Raven's sake. In other words, she has reduced herself to her Spring Maiden persona. She is the one, who is nothing more than a name. And a false one, to boot.

Cinder laughts at Jaune's wannabe hero performance, but a lucky strike by her opponent is enough to derail her. An inexperienced fighter like Jaune grazing her breaks Cinder's whole facade and shows the ugly psychological wounds she hides behind a mask.

This is why Vernal and Cinder defeat Weiss and Jaune, but ultimately fail and actually destroy each other. Vernal dies by Cinder's hand, despite how strong and smart she is. Cinder is unmasked by Raven and falls because of Vernal's final desperate attack, which ensures Cinder's defeat.

Weiss and Jaune instead are reborn thanks to each other. Weiss is physically saved by Jaune, whereas Jaune starts to psychologically heal through helping Weiss. Weiss unlocks a new summon, while Jaune discovers his semblance. In the end, Weiss and Jaune don't need to play by Vernal and Cinder's rules.

Weiss's strength doesn't lie in her individual skill, but in the relationships she has built with others. She doesn't have to survive on her own because she is full of loved ones ready to help her shine. And she can help them too.

Jaune is heroic not because he is a lonely warrior slaying villains, but because he is a good friend always ready to help. His value lies in his wish to protect others. Moreover, he can rely on them when he needs.

Weiss and Jaune's real selves are in their hearts, which are growing stronger. That is why they lose the physical fight, but win the spiritual one. They ultimately succeed, as Weiss's Queen Lancer is key to saving Haven and Jaune's Aura Amp is fundamental in saving Weiss. Weiss protects a Kingdom, while Jaune protects a girl.

2- Weiss and Jaune integrate with their animus/anima

Weiss and Jaune embrace their true selves by reconciling their masculine and feminine parts. Once again this process is conveyed through their allusions.

Our Snowhite dies and is reborn twice. The first time, Jacques (the Evil Queen) kills her psychologically by taking away her Heiress title and imprisoning her in her room (the glass coffin). Weiss is able to escape by developing her masculine side (the Knight).

She successfully draws energy from her animus (her inner Prince) and uses this new found resourcefulness to escape. She leaves behind her passiveness (feminine) and grows more active (masculine). This is why her summon symbolically breaks the window and immediately after Weiss makes the choice to leave.

The second time, Cinder (another Evil Queen) kills her physically, but Jaune (the Prince) saves her. As a result, Weiss wakes up and is crowned Queen.

Becoming Queen in fairy tales means you have reached self-actualization. So, Weiss has become her true self, which is a combination of feminine (queen) and masculine (lancer). The Queen Lancer then symbolizes Weiss reconciling with her anima (feminine part) by making it freer, more genuine and stronger through her animus (masculine part).

Our Jeanne performs a miracle and has a vision. He brings Weiss back from the death in Haven. By doing so he physically plays the part of the Knight in Shining Armor. Still, he succeeds by integrating his animus with his anima. As a matter of fact he lets go of fighting and killing (masculine) and takes up healing (feminine):

Later on, he needs spiritual guidance and finds it in his anima (Pyrrha). So, he has a symbolic "vision" of her in front of her statue:

Obviously, the woman is probably Pyrrha's mother, but it doesn't matter. The whole scene is framed up as aetherial and ambiguous because thematically Pyrrha's soul points Jaune toward the right path. So, Jaune is guided by his feminine side.

Weiss and Jaune's journey in Mistral leads them to face their fears and let go of their personas. By doing so, they succeed at integrating their animus and anima. The end result is that they grow up.

Weiss blooms into a Queen:

Weiss's royal dress is blue (melted ice) and has snowhite-like puff sleeves.

Jaune becomes a Knight:

Jaune's outfit keeps his red details and adds more gold to it.

Upon their arrival in Atlas, they are not Ice Queen and Vomit Boy anymore, but genuine articles.

QUEEN AND KNIGHT

Right now I’m just a bit surprised Cuz I feel just fine And I might just touch the sky

The sun is shining in the sky The birds are smiling so am i I’m kicking ass in every way Think this change is here to stay It’s feeling like a brand new day

In Atlas, our Queen and Knight live their best lives.

Weiss arrests her father and reconnects with her estranged family. She becomes the Queen of the Schnee family. Jaune instead supports everyone, meets the admiration of civilians and is in generally successful. He becomes a perfect Knight in Shining Armor.

Even when the situation gets dire they both maintain a mature attitude. They are not touched by the Divide and their major conflict lies rather with a family member (sibling):

Winter: You're not leaving me. I'm giving you a head start.

Ren: You cheated your way into Beacon!

Winter and Ren oppose Weiss and Jaune out of repression and frustration. And yet, Weiss and Jaune's reaction is of empathy and understandment:

Weiss: Don’t worry, they’re sisters. Sometimes sisters just have very different ideas about what’s right.

Jaune: We’re all under a lot of stress right now. I used to push people away too.

They never doubt their loved ones and when Winter and Ren come around there is no need for apologies. Weiss and Jaune simply welcome them back with warmth.

In short, our Queen and Knight are among the characters who have grown the most, so they often come up with solutions. For example, Jaune offers a way to overcome the Divide from a practical point of view:

Jaune: Okay. Okay… Then let’s go for both. Get Amity up and running and evacuate Mantle.

Weiss is instead the one to state the theme outloud before the climax:

Weiss: Trust is a risk

This development is precisely why they both get to shine in the final battle.

On the one hand Weiss holds it together while her team is in disarray after Yang's fall. Ruby is traumatized and caught up in a fight with Neo, while Blake temporally loses it. Weiss keeps on facing Cinder alone and does her best to protect Penny and the relic.

On the other hand Jaune keeps a level-head and manages to evacuate the civilians only to join the fray at the very end. He reads the situation correctly and kills Penny when there is no other choice.

Weiss and Jaune have grown into who they want to be in the beginning. This is why they are the last fighters standing. And yet, despite all their training and maturation, they still fail. They face an Evil Queen (Cinder) and are defeated when they are at their strongest. Weiss is a true Queen fighting for her home and Jaune is a true Knight fighting for the people. And yet, they are crushed and fall. Just like at Beacon.

Once again, Weiss fails to protect a Kingdom:

Once again, Jaune fails to protect a Maiden:

At the same time, they believe the other can somehow succeed, even if they don't:

Weiss: Maybe… Jaune and Winter were able to get them out, despite… everything… despite us…

Jaune: I don’t know where the others are, but… Weiss will give us time!

Weiss hopes Jaune and Winter (aka her ideal) save the relics. Jaune hopes Weiss can buy him and Penny time, like Pyrrha (aka his ideal).

In short, Weiss and Jaune grow into their ideal selves, but still lose. Not only that, but they keep on projecting their ideals on others. And yet, these others also fail. So, what to do? The only choice is to let go of unreachable perfect paragons.

FALLEN QUEEN AND RUSTED KNIGHT

Weiss: I am a citizen of a fallen Kingdom and an heir to nothing. I will not be defined by my name because I will be the one to define it. I am Weiss Schnee, and I am a Huntress!

NeoCat: You were never the brave knight either! Just more fairytale nonsense!

Weiss and Jaune's journey in the Ever After is about letting go of their Queen and Knight idealized self-images. In this way they can truly accept who they are. This is difficult at first because they are full of self-hate and regret:

Weiss: But it wasn't enough! We hatched a crazy plan that put a whole kingdom at risk, and we don't even know if we saved the Relics...

Jaune: I’m trying so hard to save them… I stopped them from becoming what they needed to be. I was being selfish because I… I wanted the rush of rescuing someone and I got that here.

Still, they both work through it in 2 ways.

They face their traumas again:

Weiss: I am so tired of leaving places in ashes…

Jaune: On that bridge… I was the only one that could do it! I was the ONLY ONE! And I… And now I have to live with that forever… In here or back home…

They change their dynamic with Ruby, who they put on a pedestal.

Specifically, Ruby becomes a paragon for both Weiss and Jaune during the Mistral arc. There, Weiss learns to be emotionally vulnerable with her partner. Jaune instead grows to admire Ruby's optimism and hopeful self.

So, after the fall of Atlas, both Weiss and Jaune go back to Ruby. Weiss lets out all her troubles, while Jaune dives after Crescent Rose and proudly gives it back.

However, Ruby is in no condition to play Weiss and Jaune's hero. This shows and it unnerves them, who grow progressively more irritated with Little Red:

Weiss: Hurry! People are counting on us!

Jaune: I know you may not care about protecting this village, but you could at least help your friends when they’re in danger.

Until Ruby herself snaps at the both of them. Interestingly, it is Weiss's demand that Ruby consoles Jaune, which sets her off. Moreover, throughout her monologue, Ruby calls Weiss out on her dependency on her:

Ruby: What about me? “No time”, right? “Gotta get home!” “Gotta help Jaune!” Gotta find someone who isn’t just going to screw everything up!

And she lashes out against Jaune's hero complex:

Ruby: I’m sorry, is this a bad time? Are we supposed to be mourning Jaune’s make-believe friends?!

She pintpoints both their flaws and then runs away. It is Ruby's outburst, though, which wakes up Weiss and Jaune.

Weiss finally realizes Ruby's pain and empathizes with her. Her words clearly have an impact on Jaune too:

Weiss: Ruby has always been the one to get us through the hard times. We say things like “We believe in you”, “We can count on you”. I know we mean well, but…

They both let go of their idealization of Ruby, which in turns helps them with their own struggles:

Weiss: I think you’re asking too much of yourself. We’ve been telling ourselves that failing means we’re no good. But I can guarantee even the best Huntsmen in history… they’ve all lost. But they were still incredibly brave… and good.

In front of a genial ruby, Weiss and Jaune manage to move forward through each other.

Jaune is spiritually guided and shown empathy by Weiss. Weiss instead starts healing psychologically by helping Jaune. In a sense, this is a parallel and an inversion of their shared moment in volume 5. There Jaune finds himself strong enough to cure Weiss. Here Weiss finds herself wise enough to teach Jaune. Both are in a self-hate spiral, but then realize they are better than they think by saving the other. At the same time, this moment also calls back Jaune's "vision" in Lost. There Jaune is shown the way by a Pyrrha stand-in. Here Weiss steps into the role of spiritual adviser.

After spending the whole volume looking for someone to guide her, Weiss discovers she can be the guide. After spending the whole volume wanting to be the hero, Jaune realizes he is the one that needed help the whole time.

They both learn the main theme of the volume:

Jaune: Maybe that Cat was right… Maybe I just needed to accept it. It’s not a place you go.

They reach acceptance of who they are. Both their good traits and their negative traits. They accept they did their best, but also that they lost. And once they do, they become able to better accept others, as well:

Jaune: I think I get it. This is how we got here, or… why the Tree brought us here. Acceptance.

Weiss: We've done everything we can. Now it's up to Ruby. Whatever happens next… we have to welcome that.

Not only do they let go of their idealized self-images, but of Ruby's too. This is why they are ready to welcome her, no matter what. Strengths and limits, alike.

Thanks to their inner development, they both get to make another step into self-actualization. This growth is shown symbolically in the finale . Weiss is finally able to summon a full Nevermore, which combines all her previous glyphs (so it is symbolic of the self). Jaune accepts Alyx's hand and goes back to his real self through her (he goes from iron to mercury). These are glimpses of who Weiss and Jaune are going to finally become.

SOPHIA AND HERMES

Curious Cat: Looking at you, wise huntress.

Alyx: Maybe it’s time for a change, to be the kind of man you always wanted to be.

So, who are Weiss and Jaune going to be at the end of their journey? It is still too soon to say, but I would not be surprised if they were to become Sophia and Hermes to each other.

Who are Hermes and Sophia? They are the embodyments of a perfected animus and a perfected anima. In short, by the end of their psychological development, a woman should integrate with Hermes and a man should integrate with Sophia. Personally I think (wish) Weiss is stepping in the role of Sophia for Jaune, while Jaune is stepping in the role of Hermes for Weiss. Volume 9 might have given symbolic hints of this.

Weiss is directly associated with wisdom, which is what Sophia means.

Jaune goes from iron to mercury through Alyx and Mercury is just another way to call Hermes. Moreover, one of the symbols of Hermes in alchemy is a stag and well... Juniper resembles one.

Now, this final integration can be romantic (my preference) or platonic/individualistic (if they chicken out). What is sure is that it's going to happen, one way or another. It is just the cherry on top on a animus/anima story.

Snowhite and the Animus

Snowhite is the story of a child growing up. The first step in self-actualization is to stop identifying with the Mother, so the mirror image changes. This transformation generates an inner conflict. On the one hand there is the side who wants to grow up (Snowhite), on the other hand there is the side who doesn't wanna change (the Evil Queen). It is only by conquering the Evil Queen (the shadow), that Snowhite can truly become herself.

And how does she do it? She succeeds through an integration with her animus (masculine side):

The King is absent and doesn't help Snowhite

The Hunter appears and helps Snowhite

The Dwarves give Snowhite a home

The Prince saves Snowhite

As you can see, Snowhite's story is full of male characters and each new one is more helpful than the one before. This is because all these characters are representations of Snowhite's interiority and of her strenghtening animus. It is initially possessed, but then it progressively blooms until it saves the protagonist.

Now, this is just Weiss's story in a nutshell:

Willow is absent and Weiss's animus is possessed (The Arma Gigas she fights in the White Trailer)

Winter helps her and inspires Weiss to pursue her career as a Huntress (After her visit Weiss summons a part of her Knight)

Team RWBY welcomes Weiss and become her adoptive home and family (Weiss becomes herself through them)

Only the Prince is missing and it will probably be Jaune (he already is in volume 5). Wait, aren't all these characters women? Yes, they are because Weiss's fairy tale is all genderbent except her. So, why should Weiss's Prince be Jaune? Because in his case, he is the genderbent one :P

Jaune can be Weiss's Prince (again platonically or romantically) only if he fully blooms into Jeanne first. He can't be a real Knight, if he doesn't become a Maiden.

The Four Stages of Anima

Jaune's journey through the anima is well conveyed through 4 stages, which stand for archetypical female figures. Each one represents a different level of maturity:

Eve is the mother - The boy has no romantic attachment and sees the woman as a source of protection and nourishment

Helen is the seductress - The boy feels romantic attraction and sees the woman as a talented individual, but pays no attention to her spiritual or inner life

Mary is the virgin - The boy fells mature love and sees the woman as a paragon of virtue, but pays no attention to her negative traits

Sophia is wisdom - The boy is ready for a relationship with a woman as an equal partner and sees the feminine as a source of wisdom with no need to objectify the woman anymore

This scale describes Jaune's relationship with the feminine perfectly:

Eve is Pyrrha - she nurtures and protects him as a mentor and Jaune feels initially no attraction to her

Weiss is Helen - she is Jaune's first crush and he grows enough to see her as a talented person, but can't understand her inner world

Mary is Pyrrha - she becomes Jaune's guide and the embodyment of heroism and virtue

Only Sophia is missing and I think she will be Weiss. In general, though, these phases describe Jaune's general approach to women and how it changes. He arrives at Beacon looking for a girlfriend because that is what a man should do, which in itself is a very childish behavior. Then he grows to see the girls around him as powerful individuals, but he can't go behind the surface. This is true for Weiss, but also for Pyrrha, whose struggles he ignores. After her death, Pyrrha becomes an ideal, but she isn't the only one. For example, Jaune believes Weiss and Ruby can save Pyrrha from Cinder and later on he keeps idealizing them. In volume 9, he learns to let go of his idealization and to see others as their own people. He is stepping into Sophia (wisdom).

MIRROR MIRROR

I looked in the mirror And I gotta say It’s been a long long time Since I felt this way

Weiss and Jaune go through perfect mirror journeys, which are about recognizing others to see their own selves and vice versa. This is why Weiss's mirror mirror motif works so well for them.

They don't know who they are (mirror tell me who am I?)

They realize they dislike their current selves (mirror tell me who is the loneliest of all? I am the loneliest of all)

They work to change (mirror I'll tell you something, I might change it all)

They overcome their narcisism rooted in self-loathing (I'm shattering the mirror that keps me split in pieces)

Now that they can see who they are better, the next step is to probably see others more clearly. This is the secondary theme of the volume, after all: empathy.

Ruby breaks Summer's pedestal and as a result she can see herself better. In turn, this makes her able to look at others in a new light:

Weiss and Jaune do the same. They break Ruby's pedestal and show empathy and forgiveness for themselves and her. Still, this is framed as just the beginning. The theme of empathy is probably gonna be explored in later volumes. This is true for both Ruby's arc and Weiss and Jaune's stories.

Wouldn't it be wonderful if the next mirror mirror song is a conversation not with the mirror, but with another person? A person that is a mirror, but not because stuck inside it like Weiss in the beginning. A person, who is a mirror because every person can be a mirror of another if looked at with empathy. And this is what beating the mirror really means. Not to look at ourselves through it, but to look at ourselves through others. And to accept them. And to accept us.

#rwby #white knight #weiss schnee #jaune arc #rwby meta #my meta #rwby theory #sorry for this post's lenght but i love their foiling very very much and wanted to explore it fully

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dulcemaiden · 8 months

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Lord Canopus, revealed

So, we have received confirmation in ch. 204 that Doll is Lord Canopus, as many in the fandom have theorized. I personally believed this too, not because Vega was most likely Layla/Al (and canopus was the only left), but because her personality fits with the japanese chart about blood type personalities. By now we know these canopus/Types B: Lizzie, Doll, Redmond, Lau, Bard, Wolfram, and all the corgi class students like Mabel and Ginny.

"Type B blood people are creative, cheerful, independent, laid-back, and adventurous. They are quick thinkers and spontaneous, as well as passionate and strong-willed. They do things at their own pace, and mostly end up going their own way because they are not good at follow orders, so they are known too as the "rule-breakers". They are honest and caring at heart, and make friends easily because they are loyal and non-pretentious. On the other hand, their negative traits include being “wild,” selfish, unforgiving, irresponsible and unpredictable. When type B blood people focus on something, they put their all into it, and they are unlikely to let go, even if the goal seems unachievable or impractical."

There are interesting things in the symbolism of canopus too:

Canopus was the helmsman of the Argo Navis, the ship of Jason and the Argonauts, who served King Menelaus. Canopus is described as a handsome young man who was loved by a egyptian prophetess, but never reciprocated her feelings. While visiting the Egyptian coast, Canopus was bitten by a serpent and died, and Menelaus then built a monument to his memory on the shore where this happened, around which the town of Canopus later grew up. In this town was worshipped the egiptian god Osiris, under a peculiar form: that of a vase with a human head. Osiris is a god who is in among other things, the Lord of the afterlife, the dead, resurrection and life in ancient Egyptian religion).

Osiris is the name of the group/company Undertaker was supposedly working with on his bizarre doll/resurrection project during the Campania arc. It is curious too the way Canopus died (it will implicate Doll's fate in the future?... although for now I see it unlikely).

About Doll's role in the plot, I don't think she will be killed (in this arc), because I think our Ciel will see her again, it would be a poor choice on Yana's part to reintroduce Doll just to kill her off so quickly, what would be the point then? And we still don't know why Undertaker revived her either. The "Stars" require a lot of work and huge amount of resources to function properly, and her blood type is rare (not as rare as Sirius but still rare), so why Undertaker gave her such preferential treatment is a mystery. I don't think he has revived her just to mortify OCiel, there must be another reason.

And some things start to make sense now, just at this part. I don't think the relationship between RCiel and Doll is good at all, since RCiel wouldn't tolerate someone who hold such a big grudge against his brother, and Doll wouldn't like the idea of dealing with the brother of the one who killed her and her family. So it makes sense not to mention Canopus as a candidate for his butler.

Besides, the butler of RCiel would need to be a fighter, and unlike Lizzie, strength in combat doesn't seem to be Doll's strong point, who also seems to be in a delicate state. Polaris fought AGNI and won, Layla(Al) almost beat Ronald if it wasn't for William's intervention, but Doll just walk and collapse? Like with RCiel, that could be because of a low blood supply.

What will happen now?

Regarding what will happen next, I was somehow expecting a confrontation between Doll and Finnian, but in her current state that seems impossible, since she probably can barely move, so the whole conflict will happen between Finny and Snake.

Doll is an important part of Snake's character. She is the first person who reached out for him, and in his memories she is the most prominent figure of his "circus family". The worst thing is that Snake has been serving loyally to the one who ordered her death, and him forgiving OCiel after finding out seems unlikely. There are inocent children involved too, so the situation is really complicated. It will all depends on what are Snake's priorities and loyalty, but I wonder if he will bear with the idea of killing Doll, I highly doubt it (I hope he and Finny save the kids though).

On the other hand, I expect Finnian not to die and return to OCiel and Sebastian, but he could learn from Doll the truth about Sebastian's nature. At first obviously not believing her words, but the seed of doubt would be planted, as he could remember Sebastian's strange behavior in the Emerald Witch arc. Finnian could confirm this later, causing a huge conflict between the servants and Sebastian, who would want to protect their master from him, and complicating things for our Ciel.

In addition, we must consider that Meyrin and Bard have already achieved 2 victories for OCiel, will this be the occasion where RCiel will win a game?

#lmao if undertaker revived doll because it was fun to him to have a bizarre doll named doll #kuroshitsuji #black butler #chapter 204 #analysis #doll #undertaker #snake #ciel phantomhive #finnian #elizabeth midford #edgar redmond #lau #bard #wolfram gelzer #mabel #ginny

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physalian · 2 months

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Tackling Characters with Mental Health Issues (or, ‘Write What you Know’)

**Trigger warning for this entire post**

This is completely off the cuff and unplanned but here we go. I just read a book that POV switches between its two romantic leads. One of these leads was intended to be written with a severe case of generalized anxiety. I have confirmation from the author that it’s not an author-insert. This character was entirely based on research, not experience.

Without putting them on blast, because they really did try…. While ‘neurodivergent’ or ‘mental health disorder’ isn’t a protected class, it should still fit squarely under other topics you shouldn’t write about if you don’t experience it with a massive asterisk.

TL;DR: If you yourself aren’t part of X minority or suffer Z physical or mental disability, you should not be barred from writing characters with those traits. ***HOWEVER*** writing these characters struggling, suffering, or overcoming this given trait in a pro-cis, straight, white, neurotypical, able-bodied America is not yours to touch.

This suffering isn’t your story to profit off of, when you didn’t actually suffer any of it.

I cannot remember who said it and I am absolutely paraphrasing but for example: White authors can and should include characters of color (and I am a White author). White authors should *not* write about a character of color as their protagonist experiencing bigotry, discrimination, hate crimes, and all that hardship, at the hands of white society. It’s just not your story to tell, and all the research in the world will never give you the lived experience you need to do it justice.

Like, you can write about the concept of slavery existing in a fantasy novel. Or sci-fi. Or some Alternate Universe historical fiction. You cannot write about the American slave trade like you lived it and still suffer the ramifications of it when you didn’t, especially when it is the thesis of your entire book.

Anyone remember that awful Amazon movie, My Policeman? Based on a book written by a straight, white woman whose straight female lead took an entire narrative to whine about how she was jilted by her gay husband and his gay lover who she got arrested and institutionalized so she could keep her husband… and never told them? With the predatory 3rd love interest and the whole ‘liar revealed’ and… yeah. That one.

Unless you do the work very few authors are willing to do, with permission and encouragement and a backing from whatever minority you’re writing about and their stamp of approval that you knocked it out of the park, just don’t. Save yourself the headache.

—

As I read this book, and this entire character’s arc is about her mental health, for 100k words… why would you *want* to take on that responsibility? Why would you want to take on all that extra research, all the stress of making sure you get it right, all the costs of hiring sensitivity readers and the risk of your character falling apart with readers who do fit these traits?

Characters with mental health problems are very, very tricky to get right for one massive reason: Accurately depicting many disorders and anxieties means your character can come across as extremely unlikeable, uncompelling, confusing, and frustrating. These characters won’t make logical choices or arguments, they’re likely to self-sabotage, contradict themselves, argue in circles, and die on molehills they think are mountains. This is just what anxiety does to people in the real world. We are not always compelling protagonists, and we don’t always get happy endings.

Writing illogical characters takes a lot of practice if you yourself are not an illogical thinker and if you’re writing half a book elbow-deep in 3rd person limited, intimately trying to describe how this disorder impacts their daily life, you, my friend, have so much more work cut out for you than you anticipated.

So why?

It got very sticky very quickly when the message I took away from the book was “character A can love away character B’s anxiety” and that just… it’s just not how it works. That is a very dangerous mindset to have, for both parties involved.

Character A does not exist to “fix” Character B, nor should A exist to be B’s therapist.

Making A B’s “medicine” can encourage some dangerous codependency. Especially if they break up, B backslides and spirals, and A takes on guilt for not being there anymore, as if any of this is A’s fault.

It says that ‘curing’ anxiety just takes a little romance. Which. No. B has to love themselves, first, before they’re able to love anyone else or let anyone else love them.

It got stickier when the author accidentally wrote a trauma-induced ace who wanted to start liking sex to please her partner and not for her own peace of mind (with internalized self-hate for her anxieties around sex as if not liking it after a traumatic experience isn't completely justified), as if she wasn’t good enough with the boundaries she had. And the narrative backed it up because she was *cured* after a couple rounds in the sheets—I worked really hard on my Ace character guide to help stop people from doing this.

Had Character A accepted these boundaries B had, and these two come to a creative compromise around intimacy that B does like, it would have been so much healthier. B liked making out, just not being the 'recieving' partner, while A chose to die on a 'if we can't have the sex I want, I can't be in a romance with you' hill and it just broke my heart for B. B wasn't being picky. B was traumatized.

The worst thing you can do to your ace character is a) reinforce the idea that they’ve failed as a human because they don’t like sex and b) reinforce the idea that they “just haven’t found the right person yet” and this narrative hit both in the bullseye.

The author wasn’t trying to write an ace, I can tell, but aceness aside “good sex is the best cure to your sexual trauma” is… also, not great? If you yourself didn’t experience this? The point of all of this was clearly to attempt exposure therapy, it just got so bogged down with other problems that the nuance necessary to stick the landing was completely lost.

If this was fantasy, like Twilight, with Bella’s dangerous codependency on Edward in New Moon, mental health is not the point of that book. The author didn’t set out on a mission to provide respectful representation of depression and healthy relationship goals. It’s toxic as hell, but it also takes a backseat to the actual story and the audience who loves those books couldn’t care less about how toxic it is.

The books aren’t about Bella overcoming her depression. They’re about sparkly vampires and the dangers of… teen pregnancy?

It got even *stickier* when the character revealed she’d apparently been in therapy for a decade and a half, only for her therapist to shrug and go ‘I guess you’re stuck with it’ while her mental health issue became a physical health issue, because she should have had a crippling eating disorder that the narrative didn't at all take seriously.

Why would you want the stress of writing this?

—

I am not at all saying you can’t write anxious characters if you yourself are not anxious. But make that an ingredient of the pie and not the entire pie, yeah?

Ask yourself why you’re doing this. The fundamental argument of that book seemed to be “anxiety can be loved away” and from the very first page, it was doomed. That was the book’s thesis. The entire story hinged on the success of this depiction.

I can’t even be mad, because it wasn’t intended to be harmful, but it inadvertently reaffirmed so many dangerous and incorrect assumptions and stereotypes about mental health. Good intentions historically do not guarantee good results.

If you do not suffer from anxiety, you are still allowed to write a character who experiences it (Or OCD, specific phobias, BPD, what have you). I tip my hat to anyone willing to do all the work to get it right because those are all tall orders, but you aren’t blacklisted from these characters.

But with any minority, anyone who isn’t “cis, straight, white, male, neurotypical, and able-bodied” write a character who is also X, instead of an X stereotype, who happens to be your character.

#writing advice #writing resources #writing tips #writing tools #writing a book #writeblr #writing #character design #character development #mental health #mental health in media #anxiety disorder #anxiety #write what you know

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infinitebullshit · 10 months

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[Kawaki's mental instability and Boruto's responsibility]

1- The line Kawaki crossed.

Something always comes up during Kawaki character-related discussions, which is the implication of Kawaki becoming "crazy" due to his attachment to Naruto.

It was first introduced by Amado, who claimed Kawaki's love for Naruto is veering on madness. In case he meant to describe Kawaki's unhealthily obsession in an over-exaggerated manner, it fits but not really.

Amado was wrong, mostly projecting his own craziness about his daughter on Kawaki. After all, someone who abandons his daughter's needed treatment because he could recreate her is not a sane person to begin with.

Let's take Kawaki back prior to Momoshiki's third takeover.

He was exactly in the same situation he is in now but worse: Code was out there vengeful same as now, Boruto was a real threat who'd turn into an Otsutsuki soon and on top of that nobody had any powers to stop either of them.

On a light note, Kawaki was clinically depressed, anxious to say the least. He suffered a mental setback as a result; nightmares, mode swings, compulsive self-deprecating.. Etc.

Yet, not once, not in a single fleeting panel, not even in his thoughts he considered the idea of Boruto dying for the purpose of getting ride of Momoshiki.

The opposite, he was afraid for him. He didn't want Boruto to die enough to suggest implanting Karma (the thing he hates most) on Code to save him (which also served as a way to protect Naruto but it was for Boruto's sake mostly).

When it came down to fighting Code, he couldn't take the risk. He believed Boruto would die and asked him to leave the battle-field asap even though Boruto dying to Code is one threat down.

Boruto was always a threat, Kawaki knew it. He fought Momoshiki before and cautioned Boruto about it to his face but he didn't and couldn't acknowledge the implication of what that means.

Boruto being a threat was a reality Kawaki didn't want to face, much like his need for Karma.

When Momoshiki took over at the end of Isshiki's arc, Kawaki couldn't accept Boruto was gone even when he actually was at that time.

He kept full high on denial unlike Sasuke and Naruto, he'd look at Momoshiki and see Boruto solely in there.

They were separate entities in his head until Code's battle forced him to accept the bitter truth.

Shikamaru made a point of Kawaki not hesitating to kill a comrade, which he saw as an issue born from his unhealthy obsession with Naruto, that it made him mentally unstable.

He is not completely wrong, Kawaki's fear of losing Naruto is so strong, it triggers panic attacks and emotional breakdowns. But that didn't drive him crazy, it drove him to be self-sacrificial.

Before the Code battle, Naruto basically showered him with affection and assurances but Kawaki's conclusion wasn't to get Karma back & kill Boruto/Code to keep Naruto safe.

His answer was to kill himself so they could all live.

The point I'm making; Kawaki's mental instability/madness wasn't born out of Kawaki's attachment to Naruto itself. He didn't go around promising death on anyone who might or will be a threat to Naruto regardless of how much he himself loves them.

What really drove him crazy was this:

狂ってなきゃできねえんだよ兄弟殺しなんてよ

Kuruttenakya dekinē nda yo kyōdai koroshi nante yo

Viz screwed up the line. It's whole meaning was lost.

Quick JP lesson:

Kurutte : Going/becoming crazy/mad.

nakya: Have to.

dekinē nda yo: Can't/unable to.

kyōdai koroshi: killing a brother.

nante: Something like/ such as.

The "yo" is just for emphasizes.

So the full line will be "[You/I] have to go crazy or [you/I] won't be able to do it. Something like killing [your/my] brother."

Why Japanese don't have pronounces?

Kawaki is a very self-aware person. He sat there and shamelessly admitted the most embarrassing things about how he sees himself and what Naruto is to him, but what he associated with craziness- what he had to force himself to go crazy for; wasn't Naruto.

It was killing his Brother.

Experts say there had been cases where patients ended up being clinically crazy or depressed because they forced themselves to pretend to be those things.

Under the dire circumstances, Kawaki was forced to instantly accept Boruto needs to die.

He didn't process this decision, unlike Naruto/Shikamaru, he wasn't on the sidelines.

He had a split second to decide, and another to act on it.

The hesitation Shikamaru searched for in Kawaki's demeanor when he killed Boruto wasn't there because he didn't process his emotions, he gave priority to understanding the stakes.

"It's a do or die now"

And the opposite of processing your emotions, is shutting them out.

If Kawaki didn't stomp on his emotions, he wouldn't have been able to do it.

He didn't have the luxury to in fact, as nobody else there would've taken the burden.

So he took this responsibility upon himself, willingly sacrificing his sanity to succeed.

In other words, killing Boruto was like crossing a line.

Boruto got to come back from it, mentally unscathed, Kawaki didn't.

2- The burden of being Boruto's brother, Kawaki's responsibility.

For all Boruto's gifts, emotional intelligence wasn't one of those.

From the very first arc of the manga up until his resolution in ch80, Boruto suffered a consistent flaw of misjudging people based on his personal impression of them. He doesn't strive to get a better understanding of someone.

If he forms an idea of somebody, he doesn't budge unti he's forced to.

Examples:

Believing Naruto was a useless good for nothing despite everybody's attempt to make him understand.

Painting Tento as an insufferable brat without realizing how much they had in common.

Assuming a stranger like Ao was a good man based on 1 conversation, little did he know..

Defined Kawaki's whole existence based on his first impression of him (more on this later).

What I get from this is Boruto loves to be certain and right. He hates being in the gray area where he doesn't know what he thinks of someone or what his thoughts are about something.

He hates doubt, unsureness.

It's a flaw that he isn't very self-aware of:

His first impression of Kawaki is based on an incident he wasn't present when it happened so he had little to no proof yet he was quick to point fingers and fill in the blanks about this new person he just met.

Ripped off a very long Kawaki analysis that never saw the light;

During the first few days the author depicted how estranged and alienated Kawaki was from everyone else on both social and emotional level. This was first shown in the famous vase scene when he broke it accidentally, creating a dispute between him and Boruto.

The narrative purpose of this sub plot is to parallel Kawaki, a self-estranged person, with Boruto who grew up normally and healthily which allowed him to learn and be capable of engaging emotionally with other people and his own feelings.

Contrasting Kawaki’s disengaged state, who knew what he did to Hima’s vase was a mistake as a matter-of-fact but didn’t really connect with Hima’s sadness or get why it was even important, making his apology come of as shallow and diminishing.

Boruto on the other hand didn’t catch on Kawaki’s detachment state and thought he was being intentionally uncaring.

Boruto adoration of Kawaki came as one of those moments where Boruto stands corrected. Except this time Boruto has messed up pretty bad, almost getting his sister killed if it wasn't for Kawaki.

This was the beginning of Boruto's growing dependence on Kawaki. It's not far-fetched to claim their relationship is mostly carried by guilt and reliance on Boruto's part.

Kawaki always came in a clutch for him, be it saving Himawari, saving Naruto & Sasuke, or saving Naruto later on. Boruto (& Momoshiki) would've killed or caused the death of plenty of people many times otherwise.

As a result he developed a sense of dependence and thought he could do anything so long Kawaki was by his side which Kawaki didn't reciprocate.

In Japanese he basically said "Hurry up and be independent, you mf"

There's always this wedge between them, because Boruto never knew true despair or what being unsafe feels like. All these incidents were mere "big missions" to him, it's how he navigates his path as a Shinobi.

But for Kawaki, it was about survival. For he knew what irreversible damage is, the things he can't take back, things that can't be repaired.

He doesn't feel safe and motived just because somebody he cares about is around. Be it Naruto or Boruto, not when they are as powerless as he is.

The only reason Kawaki felt safe enough to actually start mentally healing after Delta's fight, was because he thought Naruto could take care of Jigen.

Boruto doesn't understand that. What he views as a "big victory over Momoshiki", the dying part he didn't care about because he was "prepared", it broke Kawaki.

And he let him do it, asked him to, in fact. Then tried to paint it as a proof of their brotherhood, the highlight of their bond as it's so strong and special, he can even ask Kawaki to kill him, you see?

That, "he did it cuz we are bros".

Boruto couldn't be more wrong.

It wasn't about him. Kawaki would've killed anybody who threatens Naruto's life, that person being his brother merely drove him unhinged.

Boruto thought they were in this together, that part was correct at first. Kawaki kept his promise to him and took the burden of fulfilling it.

Sacrificing his sanity, his life in the village and his relationship with Naruto.

None of those consequences crossed Boruto's mind. He's comfortable knowing Kawaki or Sasuke would deal with Momoshiki if he came out, all he has to do is die which is not a big deal for him as he sees honor in Shinobi death.

Kawaki shouldn't have been "the only person he could ask him to do it" but the last one, if Boruto understood what being in Kawaki's place means.

3- The burden of being Kawaki's brother, Boruto's responsibility.

Of all the people Boruto misjudged, Kawaki remained the only one Boruto couldn't get a grasp of. Even when he comes so close to figuring him out, there is always something missing; Experience.

For instance, he understands Naruto means a lot to Kawaki but never why. Therefore he can't comprehend the actions Kawaki takes to keep him safe.

He doesn't know what it feels like living years of nothingness, then someone gives something to you.

Same goes for Kawaki's self-blaming, self-destructive behavior.

Regardless, Boruto spared no effort to help Kawaki.

It was him who compromised first to begin with, claiming him as a brother without expecting Kawaki to change himself, or have anything in return.

He made a promise to him to help him defeat his abuser.

He gave him his headband to make him feel included and one of them.

Having a loved one who suffers from mental disorders is a burden, you always have to put extra effort you put in dealing with a healthy person.

Boruto never gave up on him even when Kawaki stepped out of line during the training scene, or trying to sacrifice himself despite how Naruto would feel about it.

He stuck to his side and didn't budge.

But he was unable to see the world from Kawaki's perspective which created a disconnection between how they feel about that incident.

Boruto seemed to go about his life, naive enough to believe it changed nothing.

For Kawaki, his mental stability took a great hit- at some point he even forgot what he was supposed to do; protect Naruto and the village via his Otsutsuki acquired powers because they'd have an early death otherwise. Yet he imposed that fate on Sarada with his own hand.

A visualized proof of Shikamaru's warning to Sarada before she disobeyed him and left, that Kawaki was basically crazy at the moment.

He couldn't think straight, operating solely on what he deemed "facts" rather than how he felt.

His breakdown in front of Eida showcased a great deal of emotional blockage.

An emotional blockage is activated in certain situations to cushion the impact of a negative situation or event that can be very painful for us.

His thought process devolved from facts, to bargaining to an emotional blow.

Despite his resolve to protect Naruto at all costs - including killing Boruto - he never came in terms with Boruto's death up until after Omnipotence.

Boruto's responsibility:

From his point of view, he was the one who cornered Kawaki to cross all lines.

In a way, he was.

Boruto himself didn't commit any wrongdoings, he is not to blame for Momoshiki's rampages but he is the carrier, even though he didn't choose to be.

But realistically, if you were carrying a certain illness that potentially could destroy everyone around you but you adamantly chose to live, wouldn't you be responsible if somebody got hurt because of that?

Boruto reached two realizations in ch80.

1- He lost his brother who in turn lost himself as well, because he was too weak and dependant on him. He threw the burden of dealing with Momoshiki on Kawaki, allowing him to be a brother killer which drove Kawaki insane.

It was too much to ask, after all it's Kawaki who's going to have to kill/stop him again in the future which Boruto realized it was meant to happen if he didn't do something.

Despite Boruto's initial confidence of being in control, Momoshiki took over anyways and he almost lost to him completely if Sasuke didn't save him.

It was like a reality-check for him.

2- If he wants to live, he needs to deal with his own problem. Get stronger and rectify things himself for a change. Otherwise he could just die and end it all, or continue to burden Kawaki and the others which did nobody any good.

From the angle Boruto sees this whole situation, he lost nothing except Kawaki.

So the cheerful mindset that always naively over-simplified dire situations as big missions, refuses to see the current situation as anything but a setback.

Because he experienced loss this time, his brother, and he couldn't accept that.

#kawaki #Boruto #boruto two blue vortex #boruto uzumaki #kawaki uzumaki #naruto #Naruto Uzumaki

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tinylantern · 6 months

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It's interesting how some of the criticisms I've seen over on r/runefactory concerning RF4's writing--specifically those surrounding Act 3--are serving as inspiration for a potential AU to explore in fanart (and maybe fanfiction as well, if I ever get around to it.)

So, you know, even as someone who adores Rune Factory 4's cast of characters and the individual character arcs everyone goes through, I am not without my criticisms of the writing. One thing I am definitely not a fan of is the fact that all three acts of the main story are essentially "save Ventuswill: Parts 1, 2, and 3." It's not that "save the Divine Dragon" is a bad plot to have, but that it never really switches up the formula enough to keep it consistently interesting across the length of RF4's story. You can easily describe the three acts of RF4's story as "Ventuswill is secretly dying! You must save her! Oh, now she's dying again! Get the Rune Spheres back from Ethelberd and save her! Surprise! She's not actually dead! Let's save her for real this time!" And because of that lack of variation, the most interesting aspects of Act 2 and Act 3, at least for me, are not saving Ventuswill, but the stuff that happens with the other characters who are involved in the plot. Arthur, who cites frequently in his dialogue how much he dislikes having been born a prince, utilizes the resources he has at his disposal to get Selphia the support it needs from the capital because as much as he may complain about his position, he knows he has a responsibility as a member of Norad's royal family and the true prince who was supposed to run Selphia. Doug, who was revealed earlier in Act 1 to actually be a spy for the Sechs with a personal vendetta against Ventuswill, feels immense guilt for having believed in a lie that ultimately hurt the people he cares about, and he actively seeks to redeem himself to the point of getting injured multiple times across Act 2. And during Act 3, we finally learn that Frey/Lest is a surviving descendant of the Earthmates who have spent literal centuries trying to find a solution to the runes in the land dying out so that Ventuswill will no longer have to rely on the sacrifices of the Guardians in order to live.

However, a post by u/KamenRiderSekai, who I believe goes by @avenger-concerto here, highlights that Act 3 does, to an extent, potentially ruin the narrative themes of Rune Factory 4's story. Even as someone who generally prefers happy endings to sad or bittersweet ones (hell, the whole reason I originally bought Rune Factory 4 Special was because I needed a more lighthearted game after the literal rain of depression that was Ender Lilies: Quietus of the Knights), Act 3 does feel very... out of place. A lot of RF4's themes revolve around those of loss, grief, loneliness, and self-isolation, and how you need to make the most of the time you have with those you love instead of shoving them away because life is so short. Although it was upsetting to see Ventuswill die at the end of the Act 2 despite all the crap Lest/Frey went through trying to save her, it feels... fitting, especially since Frey/Lest's ending narration solidifies that although they and the rest of the town were in mourning for some time, they resolved to move forward with their lives because all Ventuswill wanted was a bright future for her friends and for Selphia, and she was absolutely tired of people sacrificing themselves for her sake.

But Act 3 comes along and you learn that Oh, not only was Ventuswill not ready to go just yet, but we still have a chance to save Ventuswill despite the fact that she's literally dead. I get that although it has its "dark" moments, Rune Factory is overall a fairly lighthearted series, but it just seems very shoehorned in for the sake of giving players a happy ending where Ventuswill is alive and well. And when you do complete Rune Prana and save Ventuswill, there is so very little fanfare to the point that there isn't even a credits roll like the first two acts; all you get is a commemorative illustration featuring Ventuswill in her human form down in the trophy room. It makes Act 3 almost feel like one big afterthought despite the important lore it contains, especially in regards to Frey/Lest.

With all that said, KamenRiderSekai did briefly bring up an interesting, alternate concept for Act 3, one that has been gnawing at my brain off and on again since I originally first read it. Taken directly from the original reddit thread:

"A more apt arc would have been maybe the birth or succession of a new "Ventuswill", which is something I've always thought of as an alternative for years on end."

This makes so much more sense to me on so many levels. First off: Ventuswill does state during Act 1 that, when she expires, the runes her body gives off will be enough to sustain the land for another 1000 years, during which a new Native Wind Dragon will be born to play their role as she did. A new "Ventuswill" being born, possibly as a result of the influences of the Rune Spheres as well as whatever efforts the protagonist and the Guardians put in, would 100% make sense from a lore standpoint. However, it also makes sense from a thematic standpoint in regards to the franchise as a whole.

A major theme prevalent in the Rune Factory series is the cycle of life, death and rebirth. In almost every game, the protagonist loses their memories, resulting in the "death" of their past self. They wake up in a new town that takes them in, where they create a new life for themselves; eventually, they fall in love with someone, get married, and start a family with their spouse. This lines up so well with the idea that even though the old Ventuswill is gone, she is not forgotten and her spirit will live on in the new Wind Dragon who will one day guide and protect the land like their predecessor.

If I were to make this into a full blown AU, there are other things I would like to explore as well. I highlighted in a post from August about how Arthur's Another Episode reveals that Selphia's relationship with the royal family is complicated because it is not actually ruled by the king, but by Ventuswill herself, and that her death should have had more implications in terms of Selphia's political status as well as in regards to Frey/Lest and Arthur's switch... which it doesn't because a major point of RF4's gameplay is that you're in charge of Selphia and even Arthur returning to his position briefly during Act 2 doesn't affect your ability to manage the town through the Order Symbol.

There is also the matter of the Guardians; although they willingly allowed themselves to have the Etherlink spell cast on them because they wanted to save Ventuswill, all four of them had lives prior to their centuries-long slumber and with her death, it seemingly renders the sacrifices they made pointless. So, you know, there is an incredibly great potential for angst as well as character development if this becomes a "Okay, we failed to save Ventuswill, but we can speedrun the birth of the new Ventuswill" plot.

I'm sorry for the massive ramble. It is just strangely satisfying knowing that some genuinely valid criticisms of a game I adore have the potential to result in some incredibly tasty fanwork scenarios.

#rune factory #rune factory 4 #rf4 #rf4 ventuswill #spoilers

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rei-caldombra · 3 months

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Demon Girl Next Door Chapter 89 Review

I’m back to talking about one of my favorite series ever, Demon Girl Next Door / Machikado Mazoku. If you didn’t see my post giving my thoughts about Demon Girl Next Door as a whole back in September of last year, please check that out! I’m keeping the promise I made there of doing a post on each chapter of going forward. I’m very happy to finally be writing about chapter 89 of Demon Girl Next Door. There will be spoilers and this post is largely written chronologically with the chapter.

This chapter gets right back into the most recent plot development, which is Shamiko wanting to dive into Anri’s memories to obtain the family recipe that was lost in the fire. I’m very happy we are getting a lot more focus on Anri and getting introduced to her family. I’ve always really liked her as a minor character. She fits in perfectly with the cast as she is an eccentric weirdo like everyone else, but in a more normal flavor. She can be silly and gung ho with the weird things in this story that you’d think a normal person wouldn’t, but has more normal reactions and information. She is the most helpful for Shamiko navigating social situations. I think she helps keep things grounded while still contributing to the silly energy of the story. But who knows, that grounded normalcy may be changing in the future based on what we learn here.

We’ve seen Shamiko’s abilities grow a lot in recent chapters. The most notable new one that is mentioned in this chapter is that Shamiko can now mend wounds, including broken bones. This is a pretty big deal, giving her a new way to be helpful to the people around her in a way only she can. Recent developments shown in this chapter are important and I'll get more into how great of a character Shamiko is later in the post.

Shamiko is such a caring girlfriend, making sure Momo eats properly while she is gone. I still love these two and they are the only couple I go full shipper with.

Some of the magical side of things is actually pretty complicated. Sion’s thing as a book demon got brought up here, which I will honestly say I do not get very well. I need to re-look at the arc that focused on her sometime and try to understand it better. I feel her purpose recently has largely been to give cryptic information that is not as helpful as it could be, when we know that she is or at least more knowledgeable about the wider story but doesn’t give us all that info. I don’t dislike her as a character, but I don’t love the way she is being used. It’s pretty much my only criticism of the series right now, and it’s hard to describe why she just doesn’t vibe with me. I think I just don’t like feeling that information is being withheld for no good reason. It’s not a problem of severe note, and maybe if I understand her better than I'll fully see a good reason.

Oh boy this is officially our 2nd foray into proper horror in this series. A meat grinder is a good choice for the family of butchers. Those shots are genuinely creepy and well done, I’m terrified but excited to get more. The horror works especially well because of how long we have had with the series being very wholesome and cutesy. The juxtaposition works very well, so we will see if it continues to work well as we get more scary content. I'm confident it will.

We’re getting some serious lore here. It looks like this story involves the Russo-Japanese war, which I assume is mirroring the real life one. We also learned that demons participated in that war. If I remember correctly Momo was found by Sakura at a Russian facility and spoke Russian when Sakura approached her. So the Russo-Japanese war may have been the event that led to Sakura finding Momo. The old picture mentions Shirosawa which gives the story an avenue to how we can hear another account about this event. A big question going forward is how this factors into the conflict between demons and the light clan + magical girls. Were there demons and magical girls fighting together on both sides of wars? Or is it more in line with each faction being on one side? Is the world at large as aware of and blasé about magical stuff as Tama City is? It looks like we will see more into how magical beings have played into politics, and likely get more into detail about the conflict between the demons and light clan. This is some heavy stuff, showing how the series is maturing into taking itself seriously and has much more to say than just being wholesome and funny. I love the more serious directions it’s taken and hope it continues to feel well balanced with the wholesomeness we all love.

In terms of what this means for Anri, it’s pretty complicated and hard to say right now. The issue in the family Sion mentioned is clearly about the darkness that came in at the end. The family must be under some kind of memory shenanigans. Right before they went into Anri’s home she says that she has a large family. But when they are eating at the table she states that they are a two child family, which totals at 4 people. That is not a large family by normal standards, that’s exactly average. Lilith’s “I see” response is likely her picking up on this. The table is also set in front of those chairs which is strange. When Shamiko goes into the dream we get to see more of the family tree, which I will admit I am not great at reading. But it’s clear that there are 3 siblings who are being blocked out from memory due to some terrible event.

The ending to the dream dive is very rough for Shamiko. Shamiko started off being incapable and incompetent whose failures are mostly played for laughs. But it becomes clear that her weakness and lack of skills gave her issues of inadequacy. I think this stems largely from her long state of being physically weak and ill, along with her time of health where she generally appears as pretty stupid and unfit. We even get reminded of this idea in this chapter through the joke of Anri’s little brother only knowing her as losing and crying a lot. We saw these feelings showcased a lot with her initial interactions with Momo. Such as her getting angry over being looked down on and pitied, and thrusting herself into situations she is not prepared for like fighting Momo in desperation to prove herself. Over the course of the story we have seen her struggle and grow into a more confident and capable person. She got many genuine wins due to her own way of thinking and capabilities, such as defeating Sakura’s minion, freeing Ugallu, and most recently fixing Anri’s broken bone. She has grown to be much more secure with herself, but deep down she still has issues of inadequacy. This coupled with her desire to help people after seeing the darkness inside Anri, makes her feel like she did not succeed here even though she still completed her mission of getting the recipe. Shamiko deeply cares about helping others, likely due to her own past weakness, so when she is presented with the opportunity to help she puts everything else aside to focus on that. And she is still harsh on herself, calling herself a failure for not being able to help in a situation she just found out about. It’s details like this that makes Shamiko feel like such a realized and endearing character.

I’m sure it won’t be long before Momo finds out about all this. She is quite perceptive, so I’m not too surprised that she would know that Anri usually sleeps early. We have seen her notice people’s minor behaviors to a surprising degree, such as when she mapped out how Shamiko’s tail portrays her emotions. It’s also nice to see that Shamiko also does not expect the deception to go on long, showing how well she knows her magical girlfriend. They’ve been close for awhile now and I believe the series does a great job of showing the growing understanding between them. They still have some conflicts but they know each other very well. This is one of the reasons why they are such a great couple. I trust that once she finds out she will help Shamiko get through this.

I’m glad the first chapter we got in awhile is a meaty one! Absolutely worth the wait! I’m very interested to see how the story develops from here. And I do want to end by saying that if you love the series as much as I do, I highly encourage buying the manga and anime DVDs. It’s the best way to support the series. I’m not trying to guilt trip anyone, I just believe it’s best to monetarily support the media you truly care about when you can in addition to talking about how awesome it is online. Most of the manga is available in English already.

Thanks for reading! I’ll be doing posts on each chapter going forward so please stick around! Hopefully the wait will not be as long for the next chapter but I'm happy to wait as long as Ito Sensei needs.

#review #manga #demon girl next door #machikado mazoku #blog #manga chapter

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prism-forgone · 7 months

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So how long till you drop the Deltarune Classpect expansion featuring the secret bosses? Haha just kidding. Unless... But anyway having not thought about classpects in like half a decade that post was a fun read.

i'm so glad you enjoyed it! ^^ it's nice to know there's a demographic for stuff like that still sksjsjk

the post in question for those out of loop here : x

and now.....

It appears my work is not yet done.

Jevil // Bard of Breath

So this is a bit irregular.

Since classpects are not only an allegory for a place in the narrative but also for character growth and progression, it can sometimes be hard to pin down a title of a character who had already gone through their arc. Jevil is someone like that - he's just hanging out. He fights you because it's fun and he's bored and won't you come outside? Let yourself be free?

Jevil screams Bard from miles away and his theme of freedom couldn't be more blatant but the problem I encountered was pinning down which aspect he was ghosting and which was his own. Bards usually experience a psychic break of sorts - we call it a crisis of aspect - that causes them to stop acting aggressively like they're bound to the opposite aspect. But the problem is - I would describe his encounter with 'a strange someone' as something exactly like that. So is he a Bard of Blood that is still in a way ghosting his opposite aspect, destroying the concept of imprisonment by calling being locked up as being truly free? Or is he a Bard of Breath that destroys through Breath by getting himself imprisoned and twisting the definition of freedom?

I decided to go with the latter because not only do I see his encounter with that strange someone being his aspect crisis as non-negotiable, this is not the only clue we have (even if it's the most crucial one). The way Bards operate before their aspect crisis is destroying their aspect through embracing the opposite one. Being a court jester is a very social role that I would say fits someone who is Bloodbound or ghosting the hell out of Blood well. Blood heroes are leaders, confidants and advisors and I think this fits well pre-crisis of Breath. He realized he's not truly free and never will be so he simply smashed his definition of freedom and remade it.

Spamton G. Spamton // Mage of Life (Kind of.)

So, hear me out. I promise it adds up.

Spamton has clear marks of someone Lifebound. This clingy attitude towards success, recognition and money is a very clear mark of that. Another one is how Life heroes are laughably susceptible to contact or persuasion by some kind of dark forces. His separation from other Addisons to become a big deal on his own has connections to a theme of rebellion, and his subsequent rise to the top of the social ladder is emblematic of the theme of authority, both of which being something that very up Life's alley. ...Also, he can literally heal. There's that.

Mages, as I've discussed in Noelle's case, experience the good and the bad of their aspect and can even experience harm because of it. And the cycle of Life says what rises up must fall down. In fact, I believe that what we're dealing with is Spamton's experience with the one who stopped calling him pulling him to the bottom and straight through, leading to him inverting to being the opposite of his title.

Spamton G. Spamton // ↺ Heir of Doom

Sometimes characters can experience a switch to the opposite title. That is called an inversion. It won't make sense for those who are reading this just for character deconstruction and have no knowledge of HS but think of how Rose acted like a Witch of Void, the inverse or her Seer of Light title, when she went grimdark. This isn't ghosting - it happens when a character actively rejects not only their aspect but their whole title.

This leaves Spamton acting in a way that is contrary to his nature - something isn't quite right. We get a feeling this isn't how he should operate but something happened and left him like this. For all intents and purposes, the narrative treats him like an Heir of Doom now, bringing about all things that have to do with being Doombound - this means he attracts the worst parts of the narrative, acts bitter and resentful, even fatalistic, is prone to visions of an awful end or unfortunate fate (this one I'm bringing up specifically because of his phone) and has a connection with nihilism and fatalism.

The inverse of his class being an Heir is also significant. Heirs inherit and embody their aspect, and Spamton does this two-fold - he serves as a cautionary tale of what happens when you hit rock bottom after trying to climb too high up, and, after the fight in the basement, becomes an omen to Kris that leaves a significant impact on them.

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natureismynature · 8 months

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if you had to assign at least 10 qsmp characters songs that fits them. what qsmp characters would you choose and which songs would it be.

(and feel free to explain your reasoning behind the choices, but you don't have to)

OOHHH FUN ASK! Thank you Anon! Now, sorry if this takes me really fuckin long to answer because I am gonna be thinking about my answers very deeply-

Foolish - Parachute by Liel Bar-Z ("I did it, I did, I jumped, I walked right off that cliff without a parachute" is SUCH a banger way to describe how qFoolish lives his life. He would just jump into situations and make brash decisions without a fallout plan JUST because he's curious about what would happen.)

Badboyhalo - Momento Mori by Fish in a Birdcage ("Momento Mori, leaves a debt. You haven't paid it yet. I never wanted to sleep" HELLO?? "My suit stayed the same, can't remember my own name, inside a timeless cage" need I explain myself???)

Jaiden - Who Am I by Besomorph ("You've given us everything and nothing at all, so why do you build us up to crumble and fall?" "I'm falling apart at the seams, I can't deny, I'm losing grip of what I knew" Just thinking about how terrible it must have felt for her when she realized she used to be part of the organization that is causing so much pain to her and her friends, yet she's still powerless... GHHH)

Baghera - Rät by Penelope Scott ("I came from scientists and atheists and white men who kill god, they make technology high quality complex physiological, experiments and sacrilege in the name of public good, they taught me everything, just like a daddy should" Thinking about Baghera thinking the Federation's her only family now... AUGHHH"

Forever - Give a Little by LeGrand ("Everyone projecting all their dreams on me, a million life plans of what they want me to be" Dude, listening to this song while thinking about Forever's story ever since he became the president? It hurts. "Just give a little, give a little, give a little, until you disintegrate")

Pac - Ship in a Bottle by fin ("You set sail alone, there is no crew. No one on deck who can help you, this is all your own battle to win, this is your ship and you are the captain" His whole story during the Happy Pills arc!! He was alone at that moment, driving his own boat, trying to save his friend and himself and everyone who could potentially be affected.)

Cellbit - Stronger by The Score ("I write truths and never fiction, my disease is what you fed, I can't stop with my ambition, like a missle on a mission, I'm a force that you will dread" Cellbit's way of dealing with the Federation, so unrelenting, never ending. They keep pushing him down and he always comes back)

Tubbo - Middle Finger by Bohnes ("So I put my middle finger up, I'm done being your slave. My generation's had enough and you should be afraid" His beef with the Federation will always be famous <3)

Roier - Pretender by AJR ("I'm a good pretender, won't you come see my show? I've got lots of problems, well, good thing nobody knows" IT'S LITERALLY HIM "Don't you think I'm clever? We laugh at all the same jokes")

Etoiles - Do What I Gotta by Naethan Apollo ("Imma do what I gotta. This city got issues, lucky for us, though, I'm a one-man armada" I don't even know enough words to express how ETOILES this song is. Just- just listen to it idgsjs)

#qsmp #timb answers #not gonna tag all of them lmfao #long post #kinda?#just know anon that i loved this so much that I am now only gonna go to sleep at 1am lmfao #no worries tho <3

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fairytale-poll · 3 months

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ROUND 1C, MATCH 8 OUT OF 8!

Propaganda Under the Cut:

Mira:

She’s a badass and I love her

She embodies one of the truest parts of the Little Mermaid dating back to the original story: She loves the prince, even if he does not love her in return. It isn’t out of desperation or a desire to be sought and wanted, it is simple and pure love for another soul. A love so true that she lets him go without so much as a word of protest because when you truly love someone your greatest wish is for their happiness.

Will beat the shit out of the sea witch (good for her).

Bug:

Their a bug that falls in love with a human they rescue and becomes human, but even when they don't get to keep their human body, they still get to be with their love. It's a sci-fi fairytale musical.

Little Mermaid meets Starship Troopers musical starring awesome puppets and the most trans coded main character ever. Please. Please vote Bug Starship I love him. Go watch Kick it Up a Notch from Starship. Go watch Status Quo from Starship. You will understand.

He's a bug and he lives in space on a bug planet but he really wants to be a starship ranger which you can only be if you are a human and then one day a spaceship lands on his planet and so he goes to an evil bug called Pincer who then helps him become a human. And Bug falls in love with a human on the spaceship and it's very sweet. The musical and storyline are based on the little mermaid story, the creators themselves called it "the little mermaid but in space". Bug wanting to be a human/a starship ranger and achieving that and falling in love with a human is very much like the little mermaid

Starship is a musical that can only be described as The Little Mermaid meets Starship Troopers. It follows Bug, an alien bug who dreams of being a Starship Ranger, a galactic explorer/soldier, but the rigid confines of bug society keeps him trapped in a job he hates. He reaches a Starship Ranger named February from the hive and immediately falls in love with her. In order to be with her and pursue his dream, he makes a deal with a giant scorpion named Pincer who through sci-fi bs gives him a human body. Near the end of the second act he sacrifices his human body and returns to his bug body, and saves the day and wins February's heart. It's truly the ultimate Little Mermaid. He has multiple songs, and his bug body is portrayed by a puppet!! Vote for Bug!!

“It's a big, big, universe So many dimensions And unanswered questions Not to mention Life What an invention Life There's no choice involved in what you are given One mind, one voice, one body to live in It's a short, small thing we lead With so much potential Pointless or essential Which one can I be? Where do I fit? Where do I stand? Who are they to say what I am? And how can I stay inside this awful world I know? I need a way out I need an escape I'd rather be dead than to live in this place I wish that something or someone could just take it all away Someone take me away” dear god….. can anybody hear me…. (song from starship)

They are the purest little mermaid adaptation done in the most unuque way. An alien insect gets turned into a human, a race he has always loved and admired, to be with the woman he fell in love with. Also just a great musical.

Bug's whole arc is so so in tune with that of the little mermaid. He is an alien who has fallen in love with humanity through a crashed spaceship and trades his place in the hive for a chance to be with both with the human he's falling for and to be a Starship Ranger. He body swaps with human in a cryogenic pod! It's literally sci-fi Little Mermaid!

#dimension 20 #dimension 20: neverafter #starship #team starkid #starship by team starkid #mira #bug #the little mermaid #little mermaid #fairytale #hans christian andersen #poll tournament #poll bracket #character polls #polls #round 1 #round 1c #the little merpoll

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warrior-cats-rewritten · 1 month

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I think my most controversial Warrior Cats opinion is that I actually really like the Cinderpelt-heart reincarnation plot. Or at least I would really love a version of it without all teh ableist implications. StarClan realizing that teh “no kits for medicine cats” rule is hurtful, and also that disabled cats are often pushed into roles they don’t want and aren’t suited for, and they reincarnate Cinderpelt for those reasons, not because a disabled life isn’t a full one. Cinderheart feeling pressure from teh clan, maybe even her family or even Lionblaze, to be a medicine cat when she finds out. It has potential idk.

I liked it at first, because... Admittedly, I read Po3 before I read TNP and before I finished TPB.

So Cinderpelt was this mysterious, not quite known character to me. I went and read TNP and thought "hmm. I wish it had been more 'this is happening because your life is going to be cut short now due to the move to the lake and that isn't fair because you were supposed to live a long time so go become your niece, really sorry about the badgers, xoxo PS sorry about your mom slowly starving to death in the forest'"

Instead it hinges on her having had "not a full life", which.... When I went EVEN FURTHER back and finished TPB.... She did. She loved Medicine. It was HER choice. The Erin's forgot, made a weird retcon that has become her entire character: "I loved my teacher and didn't tell him", and had Lionblaze be the... Reward for that?

I liked it, it was just done for a stupid reason. Another one of those "we wrote this plot point to make sure a character does xyz" instead of just... Writing it. Snowkit's death is the most egregious example of these writers pretending they have no control over these fictional cats.

I have some controversial opinions of my own.

The Lake territory is cool but also sucks. We need to either leave the Lake or start redoing things about it. It has no landmarks to hang out at or have what I call 'set pieces' whatsoever, and more importantly no threats (thunderpaths, snake rocks, gorge, the tree with a huge Owl, Carrionplace) and I'm pretty sure the writers feel this way too since we leave the Lake once an arc. I wouldn't mind moving territories again, to a more dangerous but still natural place.

Breezepelt should be a permanent Queen. I know it would mean seeing less of him (which I dislike) but him being a gentle parent and helping others raise their kits would be a PERFECT wrap up to his arc. As much as I desperately want Breezestar I think he would fit more as a perma-queen.

A trip to the distant future or past would be both good and bad. A whole new cast would be kinda cool but let's be honest, these writers suck. What is needed is a whole new writing team of people who actually LIKE the books.

I never really liked canon!Riverstar that much, we really didn't know anything about him because DOTC is less Dawn of The Clans and more "pwease like our power trip fantasy oc who knocks up a girl his son's age 🥺". I genuinely cannot remember anything River Ripple even does. He just... Isn't there. Maybe more prevalent in the last 2 books but I never got past the first 3 chapters of book 5 and never opened book 6 aside from looking at its last scene and rolling my eyes. Petal's death was where I drew the line, the narrative bending over backwards to make Clear Sky a poor sad baby crossed it.

• I've come around thanks to Bonefall but I genuinely hated Star Flower as a kid. The way she was described was uncomfortable, annoying and made it feel like the writers were trying to force you to think she's this gorgeous, perfect cat, it made her boring, bland, and anything with her in it a slog to get through because of the way Thunder spoke about her, going on and on about her beautiful she was, getting worse when Moth Flight's Vision described her with purple eyes to go with her star-shaped pupils... Also, I was really attached to Petal, who died suddenly when Star Flower entered the picture, and I was on the assumption Clear Sky and Petal were going to get together, while I didn't like Clear Sky, I just wanted my favorite to stay alive unlike every other female character. Starf also suddenly becoming a helples damsel in distress added to the annoyance so badly that I actually never finished DOTC, and it made me take a break from the series altogether. I really wanted her to be playing the long game. A sincere thank you to Bonefall for helping me reread who this character is, and while the way our 'Camera' describes hee is still annoying, I can at least look past that and see the roots of this character.

I love Leafpool, and Hollyleaf. Met a lot of Leafpool fans who seem to think Hollyleaf is this monster when she very much reads as someone who cannot handle their religious and emotional abuse based trauma and lashed out at the wrong person. What she did to Leafpool was awful but she was basically an irrational teenager. Just like apprentice does not always equal child, warrior does not always equal "grown ass adult who should get over it". Her own existence went against every single thing she believed in and was told by her own mentor to never ever question.

As sweet as the scene with Dandelionkit and Juniperkit in Starclan was... There was really 0 point in giving Squilf 2 dead kids, other than "the writers hate her". The only thing I can see a point for it is for a long-shot setup to Squirrelstar for some lives seeing as you just know they absolutely forgot about Squish's friends.

• I think Ivypool has somewhat of a right to be upset with Dovewing. HEAR ME OUT. She is allowed to be upset, NOT take it out on Dovewing. She also needs to learn that she helped drive her sister out, but the writers are allergic to that kind of thing in favour of "make character a background conservative. If female = mom. If mom = soft until politcal debate scenario." She is allowed to be sad and upset that her only sister is gone, she just needs to acknowledge she messed up, as well as lots of Thunderclan cats messed up.

It's time to kill Brightheart, Brackenfur, Thornclaw and Cloudtail. Enough is enough, start retiring cats who were full warriors when TNP started. Tawnypelt should be in the Elders den and Oakfur should be rotting in hell for what he let happen to Berrynose. On that same note, I hope Russetfur went on trial for that and her attempt on Firestar's life. I like her but good GOD, that was egregious, and looks even more pathetic when Yellowfang's Secret reveals she herself wasn't Clanborn.

Tigerheart's Shadow is a good book (aside from that one 'territory' bit, you know the one) and this series could go FAR if they embraced the mysterious mystical elements they set up, people are far too harsh on the experimental things.

Moonkitti makes good points sometimes but I need younger fans to stop taking everything she says as gospel and start thinking for themselves; case in point the recent Mapleshade drama that REEKS of "if I was Orpheus I wouldn't have turned around". The writers call the Moonstone the Moonpool every time we revisit the forest, do you really think they remembered The Bridge? Did YOU remember the bridge or did Moonkitti point it out? Also, with how cosmically doomed from the start the story was, the water probably would have overtaken the bridge and STILL swept them away. For every one good take Moonkitti has they seem to have more than a few bad ones.

My silly one. FERNSONG SHOULD HAVE BEEN NAMED AFTER HONEYFERN AND BEEN A HONEYFERN CLONE APPEARANCE WISE. No problem with him being named for Ferncloud but could they PLEASE acknowledge that Cinderheart is Honeyfern's sister too? Poppyfrost named her baby boy after Molekit and Lilyheart named her daughter Honeykit despite never having met Honeyfern, and those don't feel like coincidences.

I dislike the Tribe as its concept, but I like some of the characters that came from it, know what I mean? I like OG Stoneteller (though I always pictured him very differently. I saw him as gray tabby with white paws!) I think he is an interesting character, and Outcast was a huge letdown with having him be wrong. It would be a nice change in story if the Clan cats had tried to push their way, only for it to NOT work, for there to be a different way to do things, or a trick the Tribe used in the past that they "could give another crack at", and for the Clan cats to learn that their way of life is not a golden standard. Could you imagine Hollypaw learning this? I also really like Brook. I dismantled her and I know she is a play on the stupid "Indian princess" trope. I love how sweet she is, though I hate how it was painted against the Tribe. I plan to keep that wisdom and kindness, while also making The Tribes just as good a place to live.

I don't think Tawnystar would've been a good idea, as good as a name like that sounds. She, like Bramble, is too old, and the writers can't stand killing off Arc 2 characters in favour of killing off Arc 3 and 4, we would have been stuck with her and the writing for leaders atm SUCKS. Tawnypelt also just... Isn't that great. While I like her, I don't think she would be a good leader. Same goes for Mothstar, though I feel like they could have it done better if they do have it happen by making her not want the 9 lives. After the absolute Christian slog ASC has been about "non believers" it would be cool to see her prove that wrong and put this shitty arc's hinge point in the ground once and for all.

I'm tired of Med Cat protags. We've had one since TNP barring Dawn of The Clans when arguably it would have been the most beneficial from Pebble Heart or Dappled Pelt. Leafpool was cool because she was the first, Jayfeather was kinda cool still because of blindness and being part of the Prophecy, and while his POV in OOTS was a necessary evil, we did not need Alderheart. There is no reason to have Alderheart be the POV when Sparkpelt has the objectively more interesting setup and Alderheart's "anxiety" works better when we can't see through his eyes, as the authors don't know what actual anxiety is. Shadowsight and Frostpaw are alright, through Frostpaw's pov suffers around Nightheart and she does suffer from Camera POV Syndrome at times... Not helped by her being a Female Warriors Character with all the lovely things that come with it. Shadowsight was cool until the writers completely fumbled the bag and made him rude, argumentative, and dropped his epilepsy for no reason. All this is NOT helped by the new retcon that you're just "born different" with some kind of inherit special connection to Starclan, like it wasn't some kind of learned thing, hence Cinderpelt struggling with it as a lot of the time she was on her own!

Let Daisy retire and let Sorrelstripe take over the nursery. These new characters are in desperate need of personality, let Sorrelstripe be a feisty, confident midwife who won't let Queens be bullied into things.

#warrior cats #warriors #warrior cats rewrite #wcr #asks

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