#it does not exist to only show our own values

[kasumingo]

Even if the sentiment about feeling the same about fictional characters as we do about real people was real, it should not be encouraged or used as a leverage

#We already have actors and artists getting death threats #txt #if anything we need to keep hammering it in #actors are not their characters #art does not have to reflect the feelings of the artist #fiction is not 1:1 reflection of us #fiction does not only have the function to accurately depict real world #it does not exist to only show our own values #fiction is a safe space for play #for exploration #for experimentation #and the implications of treating it #and characters #on the same level as living beings #just makes the whole thing fall apart

[tarotwithavi]

You from the eyes of your future lover/future spouse

Read part 1 here

How to choose a pile?

Take a deep breath and close your eyes. Kindly ask your spirit guides to show you the right pile for yourself and then open your eyes. Whichever pile catches your attention is the right pile for you.

For my female audience , I'll be using she/her pronouns in this post.

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Pile 1

When I'm with her, I feel an overwhelming sense of strength and confidence, as if I could conquer any challenge that comes my way. She embodies everything that brings me joy and fulfillment. Being in her presence makes me feel like the luckiest person in the world because I have her by my side. Her mere existence has the power to make my wildest dreams a reality. Not only does she inspire me to reach for the stars, but she also motivates me to become a better version of myself. Her influence pushes me to strive for greatness in all aspects of life. Just knowing that she is there for me, supporting me, and believing in me, helps me heal wounds that were never caused by her. Her presence alone has a transformative effect on my well-being, bringing me solace and restoration. If her love were poison, I would willingly drink it without hesitation or remorse. Such is the depth of my devotion and the extent to which I value her affection. I yearn to be of assistance to her, to be a reliable pillar she can lean on. I aspire to be her rock, her unwavering support, providing comfort and strength whenever she needs it. Being with her fills me with an indescribable sense of empowerment and joy. She is my beacon of happiness, encouraging me to strive for greatness and inspiring me to become the best version of myself. Her love and presence heal me in ways I never thought possible, and I am eager to reciprocate by being her steadfast support and ally.

Pile 2

Describing her is a challenging task, for she possesses a depth that transcends the confines of ordinary words. She carries an aura that attracts wealth and prosperity wherever she ventures, as if they were faithful companions by her side. From a distance, she appears strong and bold, yet I sense a vulnerable little girl hiding within her, fearful of the harshness this world can wield. She has distanced herself from those around her, for nobody has truly comprehended her essence. No one has made an earnest effort to unravel the intricate puzzle of her being. My deepest desire is to be the one who unravels that enigma, the person who embraces the challenge of understanding her complexities. I yearn to discover every missing piece and gently place it in its rightful position, completing the beautiful picture that is her. I want to penetrate the walls she has built, to listen to her unspoken fears and insecurities, and to offer solace and understanding. By becoming the person who comprehends her deepest self, I hope to bridge the gap between her and the world that often fails to perceive her true nature. I want to be the companion who supports her unconditionally, providing comfort and encouragement as she navigates through life's labyrinth. It is my aspiration to create an environment where she can fully express herself, knowing that she is truly seen, heard, and appreciated.

Pile 3

The moment our eyes met, I was immediately captivated by her essence, as if an invisible force had bound my heart to hers. Prior to meeting her, I had been skeptical of love at first sight, dismissing it as a mere romantic notion. However, in her presence, all doubts were washed away by the sheer brilliance of her beauty. She has bewitched me completely, leaving no room for retreat. Even if her allure leads to my demise, I would embrace it willingly, for the privilege of experiencing her presence outweighs any consequences. Her presence has an intoxicating effect on me, causing me to lose my composure in the most enchanting way. It is as if she holds the power to unravel the layers of my soul, igniting a fire within me that I cannot control. My hands yearn to touch her, to explore every corner of her body, as if searching for an uncharted territory that only she possesses. Every flaw she may perceive within herself, I view as perfect imperfections, enhancing her unique beauty and making her all the more irresistible. Words fail to fully express the depth of my admiration for her. She is a work of art, a masterpiece without blemish in my eyes. I am eager to shower her with praise, to extol every facet of her being, and to make her feel cherished beyond measure. In her presence, I find myself stripped of pretenses and laid bare, drawn to her like a moth to a flame. It is an indescribable sensation, this all-consuming affection, where reason and logic are overshadowed by an overwhelming desire to be closer to her. She has become the center of my universe, a gravitational force pulling me toward her. To love her is to lose myself willingly, surrendering to the magnetic power she holds over me.

#tarot reading #tarot cards #pick a card #free readings #free tarot #tarot #pick a pile #tarotblr #pick a picture #pick a photo #love tarot reading #future spouse reading #future spouse #pick a card tarot #tarotwithavi #tarot witch #oracle reading #intuitive readings #psychic readings #predictions #love reading #tarot pick a card

[hebrewbyinbal]

I grew up wondering, what would I have done seeing the uprise of antisemitism in the 1930s in Europe, or in any other time or place in history...

And now, we are living it.

This time, it is cleverly disguised as fighting for the Palestinian people, when in fact - the only ones who are rewraded, funded, and supported are those whose entire existence is dedicated to making sure that Jewish people do not, and that the state of Israel does not.

The palestinian people are as neglected by the world and by their own people as are the millions of people around the world who are truly opressed while the world says and does nothing.

It is an uprising of yet another wave of Jewish hate. All the rest is the "how" to get that going this time.

I never thought I would live to see this, but I do know now - what I would I have done.

I will forever stand proud as a Jewish Israeli woman;

Teach the beautiful, wise, ancient language of Hebrew;

Celebrare my culture and the cultures I grew up with - Arab, Beduin, Drize, Christian, and more;

And I will continue to show our strength, values, and light - facing this wave of evil on all its darkness.

🤍💙

#jewish #israel #jew #jumblr #never again #history #jewish history #Instagram

[beggars-opera]

Hey, can we move our advice about kids on the internet into the 21st century please?

I 100% agree that we should all be as private as humanly possible online, but I also know that I do not follow my own advice, nor does anyone else, including you, probably. Yes, many of us were raised in a time in which the internet could be completely anonymous, but that was in the era before social media. Facebook, Instagram, etc. started as tools to interact with people already in your social circle, which is why personal information is used on them, but they've evolved since then for better or worse, and we need to acknowledge that. Simply telling teenagers that they have to operate under an avatar at all times like we're on a 2002 message board and that they are brainwashed idiots if they don't isn't helping anyone.

If I was giving someone real life advice, it would be this:

If you are a minor, know that there are predators out there who are more than willing to interact with you, so honestly, sincerely, do consider being as anonymous as possible. That means not using your full, or even your real name (this is the perfect time to use the name you always wished you had, mine was Morgan after Morgan le Fay), and putting things on private as much as possible so only people you know, or those you can vet, can interact with you.

If you do choose to show your face, know that this comes with risk and buffering that with other things (like using a pseudonym or never tagging your exact location). This can go a long way to protecting yourself. If you're just posting aesthetic images, sure, make your IG public, but if you're documenting your every move maybe stick with friends only for now.

Even if you are not a minor, creeps will still find you. Again, assumption of risk. Either way, though, the block feature is your friend.

If you're being open online because you're really dead set on being an influencer, know that is going to come with a whole world of pain all its own assuming it actually pans out, so it's probably not worth it. Also you probably won't make it as an influencer, hon, I'm so sorry but statistically it's true.

If you're posting certain things traceable to you this could also bite you later at work, or for prospective employers.

When interacting with strangers online, always assume that people are hiding SOMETHING. That isn't always a malicious thing - they could also be protecting themselves! But don't take everything they say at face value. Online personas are always acting of a sort.

If you find yourself becoming friendly enough with someone that you want to meet them in person, take stock of how much you know about them. Do they post photos of themselves frequently enough that you can tell they are who they say they are? Are they willing to video chat with you before meeting irl? Are they willing to meet with you in a neutral, public location or with a group of friends, or do they act sketchy about that?

To the above point, meet people for the first time in a neutral, public location, preferably with a group of friends, just in case. Look, I've broken this rule myself and even though nothing happened, I still kick myself for it.

Trust your gut. You are the creator and the curator of your own online existence, so do what makes you feel safe.

#social media #online safety #lots of discussion about this lately

[slayerkitty]

Let's Talk About Trust, Baby

I've seen a lot of posts where people are really confused about Mew and where his head might be at with regard to his relationship with Top. Why he hasn't given Top the boyfriend title back, why they haven't had sex yet, etc. That led me down a rabbit hole of thinking about the relationships between the characters and the one thing all relationships need to function - TRUST. If you don't trust your significant other or your friends/family, etc, what kind of relationship can you even have? I tried to break this down in groups/pairs and some of it might not be as thought out, so there may be more on this as the show goes on but here we go.

The Fab Four

So there's a lot of context we're missing about the relationships between our core four dysfunctional besties (Note: So far, Cheum doesn't seem that dysfunctional, you're doing amazing sweetie!) such as how they met, how long have they been friends (what the hell Ray and Mew got up to that one night... *ahem* I digress). Now, we don't have any real answers to these questions (yet) so I'm taking some educated guesses based on my own college experiences and what I've generally picked up from other university BLs typical story telling.

I feel like the four of them met during orientation (except maybe Ray and Mew, I'm waffling on thoughts that they've known each other since high school). Most university BLs set it up that the mains meet during orientation, bond during whatever torture the seniors are putting the freshman through and kind of build their friend groups based on that.

I also feel like they may have gravitated toward each other or remained a group because they're all queer. BLs can go either way on whether or not homophobia exists in their narrative and I think that Only Friends is going the more realistic route (and it's Jojo) so I think that I can definitely see them bonding over being queer. They find an LGBTQ bar and it becomes their thing to do together. Most friendship groups form because people just sort of fall in together due to circumstance and they seem no different.

But do they trust each other? Signs point to yes. (I was shocked too, lol)

Mew and Cheum: We haven't had much focus on her, but he seems to value her opinion and listen to her advice. (We also know that April likes him from the time they've spent together and he likes April, so I would say he and Cheum probably have pretty good trust built up.)

Mew and Boston: He believed without a single doubt when Boston said that Top had never had a lover longer than 3 months and that Top would probably, as Ray put it "nail and bail" once Mew and Top have sex. Cheum also believed Boston. Do I think Boston was lying here? No. But neither do they and that's important. Does Boston trust Mew? I think he does. His issues with Mew are not about trust.

Mew and Ray: These two vibe a little different than the rest of the group. They seem closer; they seem like they've talked about "the deep stuff" (vs maybe superficial topics with their other friends). Their first one on one scene has them talking about Ray's alcoholism seriously (even though Mew doesn't push about it as much as I would have liked) and you can tell there's an intimacy there that the other group members don't share. Whether that stems from whatever it is that happened that night in the video (I am salivating about this, it's delicious, I need more info) or because they've been friends for longer, I don't know.

Let's move on to the pairs:

Cheum and April: Do they trust each other? I assume so? Cheum goes out drinking with the boys at least once a week and April seems okay with that (we haven't heard otherwise), so I'll say yes? (Jojo, I NEED MORE OF THEM. I DON'T HAVE ENOUGH TO EVEN ANALYZE. GIVE US MORE.)

Sand and Ray: I'm gonna call this one as Sand does not trust Ray, but Ray trusts Sand. Sand knows that Ray is a walking red flag and he's trying to resist but Ray is making it really hard. *ahem* Ray bailing mid-make out is not helping Sand's trust issue. If you look at how Sand has cared for Ray since episode one, however, Ray most likely trusts Sand. I mean, Ray talked about his mom to Sand. I think that's a biiiig deal.

Mew and Top: Thanks to Boston, neither of them trusts the other. And this, right here, is why Mew has not moved the relationship forward. HE DOESN'T TRUST TOP. He's still worried that Top will "nail and bail". Remember Mew's checklist from episode two? He only checks off "gets along with my friends" (HAH!) and "respects me" but not "doesn't lie to me". We can infer this means it hasn't been marked off since he doesn't mention it to anyone in this episode. Given that a lot of us clocked Mew potentially spotting Boston's trunks on the floor in the shower, along with him questioning if Top was telling the truth about the fire, it's clear this is the one thing holding him back.

If Mew agrees to be Top's boyfriend, then the expectation of sex becomes a lot higher (it shouldn't but that's a different discussion to be had). It's also implied in the narrative (and from Jojo) that Mew is a very structured person and he doesn't like to lose control (re-watch the counter scene from episode one. You know you want to. I'll wait). The moment that Mew realizes that he is way too into what they're doing, he panics because he doesn't have control over the situation.

Up until episode three, Top did trust Mew. He trusted him enough to get vulnerable and then Boston blew it up by fabricating a narrative backed with evidence of...something between Ray and Mew (I'm seriously dying for this scene, I need it).

Another thing I am having thoughts about is that in this episode, Top referred to himself as Mew's boyfriend and so did Cheum and Mew didn't deny it like he did in episode two. When Top's *ahem* "buddy" approached them at the silent disco, it was very clear that Mew expected Top to introduce Mew as his boyfriend and was visibly (if momentarily) upset that he didn't.

Boston and Nick: Yes and no, but also no and no, respectively. So Boston trusts Nick with some things but not everything which leads to him lying, gaslighting and manipulating (he's a triple threat). In turn, Nick lies right back, because what else can he do? (a lot of things actually, oh Nick, you are starting to spiral hard.) This leads Nick to rigging the CCTV video to show on his phone and to wiretap Boston's car, which just shows you his trust in Boston is non-existent.

In conclusion: Trust is another theme the show seems to be exploring: earning it, keeping it, and what you do after trust is broken. I think it can tie back into the ongoing ephemerality discussion as well: trust isn't permanent. You have to earn it, maintain it, and once broken, it's gone (and seldom can be repaired).

Also, everyone needs therapy.

Tagging the Ephemerality Squad: @waitmyturtles, @chickenstrangers, @lurkingshan, @twig-tea, @ranchthoughts, @clara-maybe-ontheroad

Hope I didn't forget anyone!

#only friends the series #thai bl #only friends meta #Hope this made sense

[troius]

What we learned from the war

"Endings are hard" is a something of a truism, but it's borne out in Bleach, where every story arc besides after the first two stumbled at the finish (even the endings of the first two arcs don't really "end" so much as continue into a new story). In the Arrancar arc, the number of characters and plotlines got so overwhelming that an ending that had to be rushed if it was to arrive at all. In the Lost Agent arc, the characters were pared down, but the ending wound up thematically inconsistent with the story anyways, possibly due to real-life circumstances. And the Thousand-Year Blood War somehow managed to have both problems.

The change in direction from "tightly focused character drama" to "sprawling cast of soldiers" meant that it was unlikely to ever give us the development of our protagonist that we craved, and that lack of focus was only aggravated by the widely-reported health problems of the author. And yet, perhaps because we don't get that, because so little of this arc is filtered through Ichigo learning about himself, we get a much clearer statement of the values inherent in the work.

This is most evident in our antagonists for this Arc. Yhwach and the Wandenreich don't really have the relationship with Ichigo that previoius antagonists had. He never knew his Quincy heritage, never identified with their ideals, and so feels very little conflict about opposing them. He doesn't ever develop his Quincy powers, at least beyond integrating them with his already existing powerset. And he doesn't take much of a personal interest in Yhwach, who in turn, doesn't seem to think much of him when he's not directly in front of him.

But for all that Ichigo doesn't end up having much of a dynamic with them, the Wandenreich still manages to maintain a unique character. Every antagonist has a priority, something that they are willing to do great evil for. For Soul Society, it's its own existence, the continuation of the system they've built. For Aizen, it's his own self-aggrandizement. For the Fullbringers, it was simply living another day, screwing over others so that they can't screw you first. But the Wandenreich has no such priority. They simply want it all to end.

That's most obvious in Yhwach's ending monologue, but you can see it from the very beginning as he kills Yamamoto, the man who tried to move on from his bloody past being slaughtered by the man who would absolutely not let it go. Yhwach shows more emotion towards the skeletons of Argola and Huberdt, his dead soldiers from a war long lost, than he does towards any of his living subordinates. And his subordinates follow his lead in showing no love to one another, happily stabbing each other in the back without even the Arrancars' uneasy level of camaraderie. Their movement has no future, and neither do they, so nihilism is the only recourse.

Most of the time. I think it's important to note that every time a member of the Wandenreich expresses positive feelings towards one of their comrades, it's immediately followed by them turning on Yhwach. Liltotto, Bazz, Giselle, eventually, in her own twisted way…even Jugram, at the very end. Sure, Yhwach kills them for their impertinence (he is the bad guy), but he also massacres the Wandenreich faithful en masse. There's no salvation, only death, and he'll enforce that state on his followers rather than allow them to discover any alternative.

I imagine the lesson, and the general attitude of the Wandenreich, was not lost on Uryu Ishida. Even in his relative paucity of appearances, it's he who is at the moral center of the arc. His culture, which he had thought was nearly entirely dead, turns out to be alive, and out for vengeance against the people who exterminated them. It's something he probably fantasized about growing up, and I don't blame him for joining. How could he not?

But at the end, he makes the very easy choice. Calling it a matter of "life and death" is a little on the nose, but it's morally quite black and white. Yhwach has no hope for this world, or for his people within it, or even himself. He lost a war for the nature of existence to a monster a thousand years ago, and never got over it. But Uryu has the strength to look at the horrors of this world and yet hope for better. Because he has people he loves in life, and who love him in return, he can dream of a better tomorrow.

And that's what the ending is all about. Yhwach loses to Ichigo, and it is very much "good guy beats bad guy". But he also loses to Uryu, and to "I hope to have a family with my girlfriend who I love so much" Renji Abarai, and to "I have a tremendous amount of hope to eventually make myself king of everything" Sosuke Aizen, and eventually (in a way I'm still confused about mechanically) to the child Ichigo and Orihime will eventually have, the literal embodiment of the potential of the future.

The final villain of Bleach is not society's tendency to preserve itself at any human cost. It's not individual selfishness, or manipulativeness, or any of the many vices we saw embodied in the hollows throughout the series. It's despair, the idea that life might not be worth living even through all the struggles and horrors our protagonists have endured. Sure, it will always raise its head, sometimes at the most inconvenient, or ill-fitting times. But having its reincarnation be blown away by the supernaturally normal lives of our cast…well, that's as clear of a message as I can imagine.

#bleach #troius reads bleach #bleach meta #this turned out way more positive than I thought it would? #I dunno I guess I just think “choose life” is a pretty great message for a comic book aimed at teenagers #who would have thought the Wandenreich would win me over in the end #even if I still think their aesthetic is kinda silly

[chaifootsteps]

I think there's an argument to be made in favor of showing the reality of what Angel deals with on the day to day, both on the gear he wears and the SA he faces from Val.

but these kinds of scenes can very easily be exploitative; used for cheap shock value & end up fetishizing that abuse by presenting it as titillating. it's long happened to female characters where the violence becomes an excuse to show them brutalized or with their clothes ripped off and given how often Angel is sexualized it can just as easily happen to him.

Addict managed to communicate a whole history of sexual abuse committed by Valentino with just a forced kiss and a hard cut to Angel having a breakdown in his room. The scene focused on Angel's emotional distress rather than the act itself, so it avoided objectifying him further and was still effective

this is part of a wider pattern already established by Helluva Boss, where abuse is treated in the least sensitive, most sledgehammer blunt and cartoony way possible.

going by HB, abusers are:

always obvious and easy to spot,

they're complete monsters devoid of any life or interests of their own,

they have no inner lives whatsoever because they only exist to hurt the victim (Stella stays around the house despite not liking Stolas, Crimson wants to force Moxxie into a gay marriage despite being homophobic - to the guy who put his son in prison in the first place!!) - they're inconsistent and unknowable,

they abuse their victim openly in front of others everyone goes along with and tacitly approves of it (Stella's friends happily laugh at her jokes disparaging a demon prince who could kill them all despite knowing he's in earshot)

they cannot be easily stopped even when they have far less power, either in magic or social standing, than the person they're abusing (Stolas and Stella, again)

they hang around long past when they should despite the cast having ample reason to proactively do something to stop them (everyone leaves Crimson alive despite killing all his minions, Stolas knows Stella has ordered a hit on him but probably still lets Octavia spend weekends with her??)

they are fundamentally Bad People. None of the 'good' characters can every be called out for being abusive, what they do is funny - because they are fundamentally Good People. It doesn't matter how many traits Stolas and Stella have in common, he is Good and she is Bad. It also doesn't matter that Stolas sexually coerced someone for a season and a half, neglected his daughter and abused his servants, and barely feels bad about his own infidelity. He is Good so anything he does can be excused. Same with Loona - beating people is bad, but it's OK for her to give her dad a black eye and beat his head in with a picture frame, because she's one of the Good Guys. Same with Blitzo demeaning Moxxie constantly in the workplace - it's funny when he calls Moxxie fat, it's abuse when Mammon does it to Fizz

Abusers are fundamentally Other from Us, and we never need to examine our own behaviors as long as we know we are fundamentally Good.

like how is any of this making the world a better place? or advancing the understanding of abuse? it's an embarassingly dated and in places actively harmful depiction of what abuse is or isn't (I don't even want to get into the bad takes I've seen surrounding Stol/tz and what coercion is or isn't, but you can probably add that to the list too)

if the Angel scenes are as brutal as they sound then the rating should be an 18. I don't entirely blame Viv for that, I know sometimes ratings boards have a weird habit of treating works that have LGBT content as somehow 'more adult' than movies with straight up rape and SA scenes in them (though HH is both, so idk how literal bondage gear didn't up the rating), but I hope against hope there's some kind of trigger warning for this somewhere, and it isn't just dropped on the viewer's lap in order to shock them further with the world's bluntest and most graphic animated scene of SA it can

This. All of this, every word.

#Anonymous #viv stuff #hazbin hotel critical #actual blog post

[dollypopup]

sorry, still on this soapbox but

we have really, REALLY done Colin a disservice in this fandom. we spent so long viewing him primarily as a Love Interest and not as a Character. But when we see and analyze him as a character, so many of his actions make sense, and it becomes almost ridiculous, the dynamics we've imposed on this couple (yes, I'm talking about the 'Colin fucked up and needs to prove himself to Penelope' narrative) when there's so much more nuance and beauty to their pairing than we give them credit for

we as the audience focus so much on Penelope's perspective in their relationship, of course, because we have so much of her perspective in the show, and so our frustrations with Colin stem from that, but we get more insight into him than Penelope does. The 'I would never court her' scene that we've been livid over for years is considerably softened when we actually look at Colin as a character, and the circumstances around his actions.

Colin spends season 2 SAD. He is straight up not okay. We leave Colin in Season 1 freshly heartbroken and running away to Greece to heal. In Season 2, we meet him again, considerably more somber. Colin doesn't participate in the dances. He even says 'I'm just a spectator'. Colin talks about how he started a conversation with himself, tried to understand what he wants and how he feels. Colin offers Benedict shroom tea, and for a moment, JUST A MOMENT, we see the facade slip. His mask cracks. 'Are you quite alright, brother?' and then it's gone. Then he's cheerful again. Calm Colin. Nice Colin.

Colin who is okay.

But Colin is *not* okay. Colin completely isolates himself from women. Colin doesn't flirt, doesn't entertain female attention. Colin is heartbroken, trying to be better. But he views Penelope as a friend, a sacred relationship, a worthwhile relationship, and he can't bear to lose her. To him, Penelope is arguably his closest friendship. His best friend. And in an entire town full of people who don't listen to him, he thinks Penelope does. Unlike the typical dynamic of the ton, in which men are ONLY speaking to women by viewing them as potential sexual partners, Colin views Penelope as a whole person. She doesn't just exist as a romantic option to him, but as a vital connection in his life. That's why the 'I am a woman' 'You are. . .Pen' is so important to view as an act of love- Penelope is NOT just a woman as the ton sees her, good for marriage prospects and little else, Penelope is a complete person. Yes, she's a woman, but more importantly, she's PEN. She's a full human being. And he values her as such. We cannot say the same for the grand majority of men in his society. Tell me any other male-female friendships like that in the ton where that level of respect is given?

But for Penelope, it's hurtful, because she WANTS to be seen as a romantic option in his eyes. That's a fair feeling, though we as an audience should recognize that it can be both upsetting to Pen, and also deeply beautiful as a sentiment. Because of Penelope's hopes of Colin as a romantic prospect, she does not see that he is hurting. Because of our connection as a fandom to Penelope, we do not see it, either. But he *is* hurting. In all of Season 2 he's hurting. That's why he throws himself into the Jack mess. He wants, NEEDS a distraction. He wants to find a place in his world, his society. Honestly? He needs a win. He has spent the last year losing and losing and losing. Who can blame him for being sick of it? His engagement blows up, he finds out his family pays no attention to him, that no one cares about his agency, and he's publicly humiliated. If he invests, if he makes money, he might make more male connections. Might run in more important circles. Like his brothers do. Might prove himself. But Colin isn't friends with the men of the ton. We don't see ANY evidence that he has strong friendships with any of them. Because he isn't like them.

He is 22 years old. Treated like a child in his own family. When he talks about his travels, no one listens. Everyone dismisses him. 'Remarkable, yes, in the sense that I have many remarks about it'. Colin is invisible. He is trying to slot himself in his community, but he does not fit neatly into it. He connects with Will, a man outside his community, and Penelope, a woman also outside his community, because *Colin* exists outside his community. He's the foolish boy who fell headfirst for a woman who lied to him. He's the 'green' baby walking in his older brother's footsteps and unable to fill them. He doesn't behave the way other men of the ton do. He doesn't talk like other men of the ton do. Hell, he *apologizes* to women. We have men NOW in the MODERN ERA who don't even apologize to women.

His own *mother* doesn't even notice he was dating someone for several months in season 1. Colin is a pretty, empty ghost wandering around Mayfair, and so of course he's thrown into a locker room conversation with a bunch of guys who have never once seen a woman as a person, and doesn't relate to them. Colin's not joking and having fun with these men. We very purposefully do not see his reaction after he delivers the 'I would never court her' line.

Colin is uncomfortable around them, but he needs their help to make it up to Will, someone who was kind to him and who he looks up to. He has the mask on so firmly in that scene, it's physically obvious to see. If you compare his reactions around Penelope to his reactions around Fife, it's stark. With Penelope he's open, his eyes are soft, his expression is curious and kind, his shoulders are relaxed. Around Fife he's closed off, eyes hard, muscles tense. Who can blame him? He's acting. He's acting just like he's acting around Jack.

When we look at Colin as a whole character, we get insight into his actions and they make SENSE. The things he say that hurt Penelope are things that are actually defending her- Colin saying he wouldn't court her to those men in particular, is an act of caring. He is defending her in that scene. When a debutante is only good for being 'wed, bed, and bred' in their eyes, Colin saying no, that Penelope is worth more than that, that his connection to her isn't forged on wanting to fuck her, or exploit her, or treat her as a sexual object, is radical. Because anything else, ANYTHING else that he says that isn't an outright denial, puts Penelope in danger. He can't let them believe that the woman he cherishes so deeply he cannot even ENTERTAIN the idea of not talking to her is out here being ruined by his hands.

And when we see it that way, we see that, in reality, of all the men in the series, Colin is the one who has been kindest to his love interest. Colin is the one who has defended her, the one who has stuck his neck out for her, the one who has cared for her with absolutely no expectations of sex or romance in return.

Colin's relationship to Penelope is beautiful, and sure, she can be upset that it isn't in the exact shape she wants it to be, but I think if she takes a step back and looks at it more objectively, if WE take a step back and look at it more objectively, Colin has only ever gone into it with a big, earnest heart. Not PERFECTLY, of course, he isn't perfect, but with the best intentions, and with as much honesty as he can.

And I don't know why we don't celebrate him more for it

#colin bridgerton #polin #penelope featherington #lord fife #bridgerton #once again i am first and foremost a colin apologist #but also like. . .he really does deserve better #he's in this city with all these ain't shit men around him #you think fife has EVER apologized to a woman???? #cho??? #most of these men are viewing women on the marriage market as meat #at the very least colin sees penelope as a human being #he listens to her he appreciates her he tells her openly that he cares about her #there is not one man who has treated a woman with this much tenderness without already being romantically interested in her #and that should be CELEBRATED not demonized

[sigridstumb]

Get out of my own way

There's a phrase that is new-ish to therapy models, one that I look at entirely askance because what is now termed "pathological demand avoidance" is what I have spent my life knowing as "self-sabotaging dumbass." In most of my life, I manage to avoid being a self-sabotaging dumbass. But in one area, that of cultural trends, it sometimes sets in. Usually to my loss and detriment.

It's just that, when I am barraged with a whole bunch of people all loving a thing at the same time (Tumblr amplifies this a LOT) it *irritates* me. This is asinine, and it makes ME the asshole were I to voice it, because oh my god, Sigrid, people love what they love! Do not squash joy in this parlous existence! But internally I resolve to never watch or read or listen to the thing in question.

Why? I dunno, because sometimes I am a self-sabotaging dumbass!

At any rate, after months of being vaguely irritated with the INTENSE love people have for Dimension 20 (it's not you! It's me! I have a problem! You go on and keep loving the shit out of what you love!) I finally saw a TikTok clip of the show Game Changer. And Brennan Lee Mulligan was hilarious and brilliant.

So, I sought out the show, Game Changer. Spouse and I both really enjoy it, and agree that Brennan is our favorite. I figure out that to watch more episodes, I should subscribe to Dropout.tv. I do, and suddenly realize that Brennan Lee Mulligan is that guy from Dimension 20 that everyone loses their goddamn minds over.

Oh. Oh!

I, with a sense of letting down some internal moral code and a pervasive feeling that I am doing something shameful, watch the first episode of Dimension 20: Fantasy High. It is, as literally everyone (not literally, obviously) already knows, very very good.

I am hooked! I have become One Of Those People! And, Sigrid, the only thing keeping you from enjoying this all along was your own self-sabotaging dumbassery!! Argh!!

ANYWAY.

For those of you who do not know, you are one of Today's Lucky 10,000.

Firstly, Dropout.tv is a comedy troupe formed out of the wreckage of College Humor when it imploded. There is a core group of, I'm not sure, 12-20 people, and they invite guests. The group does a variety of different web tv shows, some of them game shows, some skit comedy, and a great deal of table-top role playing game based improvisational theater. The members are actors, impressionists, writers, voice actors, musicians, and very skilled improv comedians.

Dimension 20 is the umbrella name for the 30-ish different TTRPG campaigns they have filmed. They play in different genres, there are a handful of GMs (though Brennan does a LOT of them,) and the player group composition shifts around a lot. In later seasons, there are nerd celebrity guests.

We, the viewer, are watching people play AD&D 5th edition. That's it, that's the show.

Except it is not at all the show! Here are some points I was not expecting:

- The production values are great. The props, the miniatures, the sound effects, the models of the combat areas, it's all great. It's the dream TTRPG set-up of my teenage years. - The people are voice actors. They are fantastic. They inhabit their characters, and it is fantastic to watch. Also, Brennan Lee Mulligan as GM does all the non-player characters. He does voices for ALL of them. - These people are all IMPROV COMEDIANS. Whatever the others say, they roll with it. Unexpected things happen constantly, both because of the dice rolls and also just because players are unpredictable, and everyone picks up the event and carries on. - They are actually playing a game, so much of what happens in controlled by rolls of dice. And everyone is pretty damn good about this. They make it work, they make the plot continue, using whatever the dice has given them to work with. They are SO much better at it than any of the gaming groups I was in! - The episodes I have seen so far are all good-natured in vibe. The people playing want everyone to have fun. They want the GM to have fun, the players to have fun, and the audience to have fun. There's no sniping except in the most friendly way, there's no sulking about bad rolls, there's no vibe-kills that I have seen.

Anyway, if you like improv comedy, if you like voice actors performing SF/F plays live, if you like other people's TTRPGs, Dimension 20 might also be for you.

#Dimension 20 #brennan lee mulligan #pathological demand avoidance #pda #pda autism #actuallyautistic #autistic #ttrpg #dropout tv

[aihoshiino]

chapter 150 thoughts!

Chapters Since The 143 Kiss Happened And Went Entirely Unacknowledged And Unaddressed Count: 7…. ttttttechnically? they don't actually mention that the kiss happened, so i'm counting it…

ladies, gentlemen and those who know better, our long national nightmare is finally over

after… literally I've lost count of how long it's been since we had some proper Aqua introspection, our landmark chapter 150 is almost entirely dedicated to putting us back in Aqua's head (quite literally!) and sort of catching up with him. Some things about Aqua that have been mostly only communicated through showing over telling are explicitly told in text and i'm ngl, there's one or two things where seeing textual confirmation of them got me barking like a fucking dog. Overall, while the pacing of the start of this arc has been bit clunky and this chapter itself isn't free of that either, it actually feels like things are moving and meaningful characterization is happening which after the Movie Arc is a bit of a luxury lol.

As usual, I want to gush about Mengo's art before I touch on anything else. Setting the majority of this chapter in a dream sequence allowed her to do some incredibly fun things with the staging and imagery here. Aqua in that eerie void with his feet drenched in blood… Aqua and Gorou still stuck in that hallway where Ai died, while Ruby has managed to take steps to leave… It's so fucking good.

There were some absolutely top tier Kanas this chapter, too… her little baby tantrum in flashback and that gorgeous final page of her… But I'm getting ahead of myself.

While I described this chapter up top as being communicating things about Aqua, it very much feels to me like it's also serving as closure for Gorou, both in the sense of him as a person and resolving the posthumous arc that he's been going on as part of Aqua. This chapter at last draws a clear and explicit distinction between the two, that Aqua is no longer Gorou, even if he might have been built on the foundation of his identity. Gorou is even described as a 'role' that Aqua has been compelled to play that Gorou himself is now urging him to step down from - he is offering to relinquish Aqua's future back to him… if that's what Aqua wants.

This was how I'd initially read the relationship back in my 143 review - that 'Aqua Hoshino' created from Gorou, his core values and driving ideals, but 18+ years of living a whole new life in a whole new social role, meeting people and having experiences Gorou would never have and literally having a different body and brain in the process have made him different and the sum total of those differences is the person we call Aqua Hoshino. This chapter seems to lean into this interpretation, casting them as a pair of briefly intersecting lines that once crossed but have now diverged onto their own paths.

I also just really liked the dynamic that they were shown to have this chapter. Whenever we've seen this conflict externalized in the past, Gorou has always been this frightening, overwhelming presence whose existence actively prevents Aqua from having any kind of happiness or peace. Here, though, they have a much less adversarial energy, which is a really nice reflection of Aqua being able to gradually start pulling himself out of the shit he's been stuck in. Gorou almost feels fatherly or big brotherly here, not just in how he behaves in regards to Sarina-as-Ruby, but for Aqua, too.

But……….. okay, I'll stop dodging around the elephant in the room now lol

After over 25 chapters of very deliberately avoiding putting us in his headspace, 150 finally puts the ball in Aqua's court vis-a-vis the AquRuby tension and he answers in a way I think would be pretty hard to walk back: That Ruby is his precious sister and that's it. That her feelings for him are the result of her projecting Gorou onto him, chasing a ghost that is fading from this world and that she does not actually love him. Whoof.

This was another thing where seeing it in text felt pretty great. I'd caught pretty early on that there was a weird divide in the way the story was handling the AquRuby dynamic - namely, that there wasn't an AquRuby dynamic and all the supposed ship development of it was largely happening in retrospect, beefing up the intensity of the GRSR relationship and having Ruby express her feelings to Gorou-through-Aqua. When the idea of Aqua and Ruby romance was floated, by contrast, it was always treated like a gag. With the Movie arc being as much of a mess as it was, it was hard to work out what the intentionality of that was (if there was any to begin with) but this seems to make it about as clear as it can be: neither Gorou or Aqua have any had any feelings of that sort of Sarina-through-Ruby and neither of them want to pursue romance with them.

Once again tapping into my powers of Claire-voyance, I already know a lot of people are trying to insist that this is Aqua lying to himself or 'settling' and that he does secretly want a relationship with Ruby for reals! but that really isn't how it comes across to me in the art. He's calm, speaks straightforwardly and without hesitation and makes his point pretty clear. We know how it looks when OnK character lie to themselves and this isn't really it. It would also just be strange for that to be the case when this is a scene about Aqua starting to consider the idea of moving past the things that hurt him and live out his future with someone.

And who that someone is… seems to be coming into focus, but I don't think we'll be getting there quite yet.

I will say that for as much as I liked this as a chapter and as a goodbye for Gorou… it kind of doesn't really make a lot of sense as a resolution for his guilt lol. This chapter frames things in such a way that centers his guilt on Sarina and that seeing her live her life as Ruby has given him some catharsis over it. This is a sweet idea but… that's, uh, not how this was framed anytime prior! When we've seen Gorou intrude on Aqua's happiness before, his self hate and his guilt all center on Ai's death and his inability to save her. The last time we saw him in this capacity in 95, that's what he was saying with his whole chest: that he deserves to suffer as punishment for Ai's suffering, Ai's death. I'm sure that knowing Sarina is living on as Ruby was very cathartic but… it has nothing to do with Ai! Why is this being framed as narratively resolved in this way?

Like… if I chew on it a bit, I can make it make sense: since chapter 1, Gorou has been pretty open about projecting Sarina onto Ai, processing his grief that way and imagining her living vicariously through Ai's success. The idea of Ruby doing the same by continuing Ai's legacy and keeping her radiance alive being the thing that gives him release over Ai's death is interesting and I can understand it emotionally, it just feels like a weird unexplained leap for the narrative to make. I was talking to a friend about it, trying to work it out by externalizing it, and they theorized that this was always the intended endpoint of Gorou's posthumous arc but that the story had drifted in the middle section and Akasaka hadn't quite realigned them. This makes a lot of sense to me and I wouldn't be surprised if it was the case.

I will say that it really bugs me. I've already talked about the ways Ai's importance to the twins as their mother has been gradually downplayed and diluted as the Movie Arc has gone on. In my original post, I attributed this to Akasaka trying to amp up the intensity of the GRSR -> AQRB relationship in a soap opera-y sort of way, but given that this chapter seems to shut down AquRuby, I don't really know if that's the case. In general, Ai has been treated as sort of narratively 'resolved' as of 137, as if that chapter was the capstone to her posthumous character arc and while that might be the case for Ruby… I really don't think it is for Aqua!

It's possible that this is intentional. Aqua still has a shitton of work to do on unfucking his relationship with Ai and the ways his view of her, as implied by the Movie Arc, is warped by his grief. I could see this final stretch of the story being primarily about that - after all, this chapter is about confronting Aqua with the binary choice of revenge or love. In a lot of ways, this has always been what he's struggling with but putting the ball this firmly in his court establishes Ai's death entirely as his own trauma that he has to work through on his own. After all, Aqua might have confronted Gorou in this chapter, but there's a certain someone we also saw in chapter 95 that Aqua hasn't dealt with yet…

I'm talking about Kana, obviously! (ducks thrown tomatoes)

I don't have a ton to say about the AQKN romance setup in this chapter other than… yeah, I kinda saw this coming! It's interesting to see Gorou, the representation of Aqua's guilt and self destruction, be the one to so directly confront him and push him towards trying to find some happiness with her. Aqua quietly noting that he knows the things he likes about Kana and he knows that moving on with her makes a lot of sense - but what makes this especially interesting is the way it mirrors Kana's own reflection on her relationship with Aqua at the end of the chapter.

I like that a lot of the AQKN moments the two reflect on are just… mundane, everyday instances of the two of them stumbling through life together. I've seen a lot of people say AQKN is 'boring' or 'flat' because it lacks the drama of AQAK or AQRB but honestly, I feel like this is what makes it work (when it does work) - their relationship, whatever form it takes, is a safe and quiet space where they can just exist outside the drama and transactional utility of so many of their other relationships.

That said, while those montages mirror each other, what makes them interesting is their divergence point. Kana decides to commit to choosing 'love', with that absolutely gorgeous full page panel, but Gorou hands the knife - the symbol of the violence that blighted Aqua's life - back to him and makes it clear that love or revenge, the choice is now entirely in Aqua's hands. We don't see what he chooses, but… if Oshi no Ko really is a story with a happy ending, I think it's a foregone conclusion. And that makes me really happy.

Not that it's happening anytime soon, lol. I'll be very shocked if Kana's confession doesn't result in a rejection from Aqua, at least at this point in time - there's too much else going on in the story for this to be the right place for Aqua to commit to Kana. She's still an idol, after all and Kamiki is still around. The bets I'm placing right now are that AQKN are going to get their resolution, whatever form it takes, at the Dome concert during or after Kana's graduation.

As for their date… Call me cynical, but I also don't see it going particularly well. After all…

Aren't we forgetting somebody?

#oshi no ko #oshi no posting #onk spoilers #chapter reviews

[justatalkingface]

You ever notice how quirklessness shouldn't exist in My Hero Academia. It doesnt add anything to the story. if you gave izuku a quirk that allowed him to change the colour of his hair or alter the number of freckles he has on his face, nothing in the story would chang.

Him being ostracised wasn't because of him being quirkless but because he was seen as a creepy otaku who kept personal notes on other people's biology.

People telling him he can't be a hero despite his dreams could just as easily stem from him having an extremely mundane quirk.

Other than Izuku no other characters seemingly faced any problems from being quirkless. Mirio was still extremely capable when he lost his quirk and was still able to continue on at UA without losing his status as one of the big 3. Melissa Shield didn't face any issues because of her quirklessness.

the worst thing to happen was to Pixie-Bob and that was the Wild Wild Pussy Cats decline in the rankings because they, objectively speaking, couldn't perform to the same standard as before.

The MLF aren't anti qurikless so much as they are anti weakness, wanting to be able to freely use their quirks with some kind of Might makes Right mentality.

Quirklessness only serves the purpose of making Izuku an underdog and that could be easily replicated with a mundane quirk. There is the whole only quirkless people can weird OFA thing now but that has been retroactively added to explain why the quirk isn't being given to someone else.

In a world that values quirks above all else being Quirkless should be a massive deal. Quirklessness should have a huge focus in my hero academia just from implication alone that 20% of the population is "biologically inferior" to 80% even if that inferiority in most cases is extremely negligible, but preceived biological superiority over meaningless differences has caused devastating wars in real life.

Melissa Sheild, despite who her father is, despite the quality of her work, she should face issues for being quirkless in a field that doesn't require a quirk at all, her work seen as somehow inferior with her needing to put in twice the effort for half the exposure.

Mirio and pixie-bob should have been blindsided by their newfound treatment for being quirkless.

But quirklessness doesn't really matter in canon MHA it's only there to showcase a Zero to Hero story with the main character.

20% of the entire world's population is quirkless, if its the same number as our own (low-balling cause its 200 years in the future not the present) at 8 billion then there is roughly 1.6 billion naturally quirkless people in the world. An absolutely massive demographic of people.

Yet there is only 4 quirkless people in the show, with 2 being made quirkless via special bullet or had their quirk stoled by AFO.

I genuinely believe that the concept of people being quirkless is so meaningless that it actually hurts the story and that the show, as it is presented in canon would be better if 100% of the population has quirks.

TLDR: Nothing is done with quirklessness. It's redundant, underutilised and meaningless. Anything quirklessness truly does for the story can be replicated by mundane quirks. I have no idea why the concept of quirklessness isn't explored and wonder why the author wrote about it at all.

Hmm. Beyond wanting to defend early Izuku, there's two ways to look at this: Quirklessness form a lore perspective, and as a story element.

The thing is that, lore-wise? Quirkless makes sense as a thing. Quirks are, what, only a couple hundred years old? Not only that, but the way that they escalated both in power, and commonality? If I had to guess, Quirks probably became 'common' maybe... a hundred years ago, and then things escalated to now, where Quirks are the standard. There's a place within the foundation of the setting itself for there to be a small population of people who are 'normal' in a world of abnormals.

Beyond that, I saw this in a fanfic somewhere and I haven't forgotten this concept: 20% is for the population as a whole. But, if you were to break it down by ages? Quirkless, in all likelihood, is an 'affliction' of the old, because Quirks are always more plentiful and powerful in each newer generation. The reason why we see all of three Quirkless people in story (beyond Hori laziness) is that, in all honesty? Izuku, Aoyama and Melissa are probably the last of a dying breed; within a generation or two, max, I'd expect will be no more Quirkless people born (you know, if the Quirk SIngularity, as in one or two stupidly powerful beings, don't accidently the human race, or people broadly become so powerful to the point where they become ungovernable and society collapses (or if, as some people theorize, Hori just doesn't axe Quirks somehow at the end of the story)).

Tying this back into Izuku? Well, first off, 'Izuku the creepy otaku' fanon really isn't a thing. The, at times infamous, notebook? It's called 'For My Future, Hero Analysis'. Bakugou is offended by it, and burns it, because their a sign of Izuku's ambition to be a hero, which he hates because he loathes Izuku. There's nothing there about... like, his classmates, as far as we can tell, there's just the idea of Izuku even vaguely possibly going near heroics, which would besmirching Bakugou's 'origin story', and thus it must be put down. That's what offended him, and no one else even cared about it.

(And, while I'm on the topic of this kind of fanon, even if you didn't actually bring it up: Izuku the stalker, or Izuku following around Bakugou is also bullshit. When they were little, little kids they were kind of sort of friends, and Izuku followed him then, as part of a group, but after the Quirks came in Bakugou turned on Izuku. Every time we've seen them since he was, what, five? Izuku is avoiding Bakugou, to the best of his abilities, which is complicated by them being in the same class. When they were in the same area he was always cringing, ducking, curling up, all defensive behaviors, because Izuku doesn't want to follow Bakugou, he's afraid of him, and for good reason.

Until well into their time in UA, Bakugou is the only one to initiate any sort of interact with Izuku, and Izuku only responses to him.)

Like, I'm looking at Chapter One right now: the reason all the kids are bullying him? Beyond Bakugou, the most popular kid in school with the same energy as the game winning quarterback the faculty panders to, actively bullying him and everyone following the leader? Izuku is weak, helpless to resist Bakugou's words (which are backed by technically illegal force, as they all know), and is basiclly getting above himself by daring to dream of being a hero when he has no Quirk. Explicitly, the bullying is focused around his Quirklessness.

I mean, hell, there's at least one mediocre Quirk in the room with that kid with the long fingers; while it's more useful than your freckles example, he's really not going to be a hero off a Quirk like that. Yet, the teacher says that everyone wants to be a hero, and everyone cheers... except Izuku, who is trying not to get noticed. I doubt anyone thinks Long Fingers Kid can ever be a hero, but he can dream that apparently universal dream, the same way most kids dream of being rich and famous, even if the know that they'll probably never be any such thing. Izuku, though? He's not allowed that dream.

Meanwhile, there's Aoyama, who we don't get much information on because Post War, but apparently his life was so miserable that his parents basiclly sold their souls to AFO just to get him a Quirk and thus societal acceptance.

Melissa Shield is an outlier on that dynamic of 'Quirklessness is something that society mocks and beats down on', because she's happy and apparently well adjusted, but there's some things about her which throws that metric off; most fundamentally, she's not from Japan. We don't know what it's like in the U.S., but we know that MHA Japan seems unchanged (bizarrely so, you'd really expect all these upheavals and advanced technology to cause more major changes), beyond Quirks and Heros, from our Japan, and from my understanding (though I'll admit I'm hardly an expert) Japan is generally less accepting of those who fall outside of societal norms, and more tolerant of things like bullying. Whatever it's like to be Quirkless in the U.S. could just be... nicer, than what it's like in Japan, which is canonly shit by all accounts.

And, while we don't see much of her life, the fact that her father's first instinct is to comfort her is telling that it is seen negatively there, at least to some extent. So, with all that in mind, I don't see Melissa as disproving the 'Quirklessness is bad' concept, she's just specifically lucky in not being around a Bakugou, along with being in what is likely to be a more welcoming environment in America and I-Island, along with the fact that we literally don't know her life. For all we know she was bullied for it to some extent, and it just wasn't as bad as Izuku had it.

The fact her work is more accepted than it should be... again, we don't actually know what American/I-Island society is like; maybe she did have to jump through more hoops, and we don't see it. Maybe she 'earned' her place a while ago, and was accept despite her Quirklessness because she's that good. Maybe her scientist father lends her legitimacy/protection from such things. There's a lot of ways to explain that off, but if I'm being honest I don't think that's something Hori actually put thought into, so I'm not surprised her backstory and what shaped her is unknown/more or less non-existent.

On the other hand, Mirio is in a completely different situation than someone born Quirkless, because he had a Quirk. He was a hero, he has a history of success, and had that taken away from him. Of course he's going to be treated differently!

He was normal, is the thing, and so from that lense the natural thing people would think of him isn't contempt for a lesser, but pity. If you look at Quirklessness as a disability, than while Izuku has, what, a birth defect(? Not really sure there's a good example to use, here), Mirio is a veteran with a missing leg.... though, again, after he loses his Quirk he's put on a bus until he gets it back, and even then he's barely there, so... we don't actually know how he was treated.

And all of that brings us to the other way to look at Quirklessness: as a story element. This is the end where so many complaints come from, and it's clear it's an element Hori dropped, and wanted to be forgotten, a long time ago. I've said it before, but MHA is a story with the bones of a completely different story in it; so much of early MHA is built around a lower key, lower power leveled dynamic, in the same vein as the one shot with the older Izuku who never gets a Quirk, one that was rapidly phased out for the newer flashier story... but it was never removed properly, and it suffers from that incomplete separation.

It's the same reason that Izuku gets through the Sports Festival largely with his wits, but not too long after he goes on the field trip and the only way he can deal with Muscular is with raw power, even though (as pointed out by @kingvamps a while ago in a comment) he has, like, a designated weak spot in his eye, literally a, 'hit here to beat him' area, which could have been used as the way a much weaker (Quirkless) Izuku could have beaten his much stronger opponent (if, admittedly, a version that is maybe less overwhelmingly powerful than what we see in canon), perhaps with some help from Kota: because the Sports Festival still has those bones from the original story, planned around that dynamic, where Izuku was presumably Quirkless, and so has to solve his problems with his mind, where by the time we meet Muscular we've completely moved past that into the new story, where, if it was possible, Izuku was never really Quirkless at all, and even if he was it never really mattered to him. Now let's watch him punch good!

(For the record, I'll point out that around that time period is where we transition from Bakugou having some (not enough) consequences to his actions/attitude, to his attitude suddenly being great and awesome, and isn't it funny how that works out?

You can see the bones, again, where Bakugou being a bad person was actually relevant in some earlier draft of MHA, until we reached the point where he was either written out of the story all together, and thus Hori was writing him without that guideline, or his role just became much more important and had to be altered accordingly, and so he, and how people reacted to him, changed out of nowhere to the new standard that has continued from then onwards.

The fact that Izuku's Quirklessness and how it affected him, and his traumatic backstory as a whole, would reflect negatively on Bakugou if it was focused on at all, who at that point seemed to be promoted in the manga's storyline is probably connected on some level to the fact that those factors also stopped being relevant. Though, admittedly, I doubt that that's the only reason why Quirklessness was phased out of the plot, I don't think it's an insignificant reason for it either. While this is technically correct and relevant, it's also something I think is a bit too off topic, so I'll leave it at this for now.)

You're right that, in this final product we've been given, outside of one or two chapters that could have been edited, there's no actual relevance with Izuku originally being Quirkless. It is, for all intents and purposes, a useless story element... but it shouldn't be. There is so much potential to exploring it, so much that could have been done to develop Izuku, Bakugou, and just the setting as a whole, that could have made everything deeper, and more interesting, and one of the biggest problems with the story is this, that a fundamental part of the main character was deemed inconvenient and abandoned.

#ask #bnha critical #mha critical #bakugou critical #izuku deserves better #quirklessness #the lack of quirkless development

[chronicbeans]

I'm currently looking at Lucifer and wondering how exactly he's going to develop in the whole plot of Hazbin. Not necessarily PLOT development (example: getting past Lilith, getting closer to Charlie, etc.), more like personality traits that are either going to be revealed or developed overtime.

(Okay this got a lot longer than I expected, so um... here's a read more lol. I guess this is a sort of character development inference...?)

I really like the idea that every character in Hazbin has good and bad traits, despite being in Heaven or Hell. For example, we have Angel Dust. He's a nice person, but he does have problems opening up to people (understandable given his past), as well as giving into bad vices and pushing people away. So, we've seen Lucifer's tendencies of neglecting to connect with others, but being a good person and genuinely wanting connections, especially with his daughter.

HOWEVER, I am interested in whether or not they are going to do anything with the fact that he is the Sin of Pride. I've seen a few mention how the other Sins we've seen are a bit of the opposite of their sin. Ozzie is the Sin of Lust, but unlike how a lot of people would probably view the embodiment of lust, he values consent and can make genuine romantic connections. Queen Bee is Gluttony, but does care that people at her party do not overindulge to the point that they get hurt.

However, for many of the Sins so far, they do engage with their sins in their own way. Ozzie still does indulge in lust, just while caring for every party's consent (thank God he's not a Valentino. We love that for Ozzie). Queen Bee does indulge in vices like drinking and partying to what could be seen as a negative extent, with what seems to be her limit being that no one gets hurt. Otherwise, it seems to be fair game for her.

So, for Lucifer, I'm loving how we all see him as a total Smol Bean. So far, he is a total Smol Bean. However, I'm totally anticipating SOMETHING that might be like... a bombshell for our depressed blorbo's character. Specifically, that something may be a few prideful/narcissistic tendencies coming through. Like him trying to get more attention on himself, now that he's finally taken a step out of his workshop and gotten some attention from not only his daughter, but her friends.

He may not be like "YO I'M FUCKING AWESOME GUYS LOOK AT ME" sorta prideful, but maybe more of a "Guys I'm so awful and I feel horrible and I have so many problems give me comfort" sorta... well, not really prideful, but more so manipulative and attention seeking. Possibly without even knowing it, either, considering how him and Charlie seem similar in being well meaning so far. So, if he does development a sort of manipulative tendency in order to get attention towards him, he may not even realize that's what is happening. He might just think "I feel bad and have to complain. After all, I know my family and her friends can help cheer me up!"

I think it'd be pretty interesting, at least. Like, so far, Lucifer is the complete opposite of what you'd expect the Sin of Pride to be. He's depressed, self-conscious, and has probably been isolating himself from everybody that COULD give him attention for years. However, much like the other Sins are still the embodiment of what they represent, he's still the Sin of Pride. He probably still engages, or will develop ways to engage in traits you'd see in pride. So, him using his pre-existing traits, whether unintentionally or not, to get attention would be interesting to see. It'd still keep a lot of his character together while showing that he can still have flaws that are unlikeable. (It'd probably also put into perspective Charlie's line about him only really when he's bored or needs Charlie to do something. Like, it could be that he just isn't good at talking to people, including Charlie, but it could also be linked to his identity as the Sin of Pride if his personality does go this route).

#hazbin hotel #hazbin hotel lucifer #hazbin lucifer #lucifer hazbin hotel #lucifer morningstar #Haha idk what this is #character analysis #Story inference? #Idk but I needed to spout my nonsense

[comradekatara]

i never thought of modern au katara being a writer, but that's so fitting and i love it. do you see any parallels between her journey learning waterbending in canon with her gaining confidence as a writer in your au? ex being dismissed bc of all the disrespect the art of writing gets irl, meeting haru and being mutually inspired/ working with jet and having a fallout? i know there's a fine line between narrative parallels in aus and like, contrived shit like katara being the last mcr fan or smth

not the last mcr fan 😭 but yeah!! it feels like the very natural connection between her being the show's narrator and the way storytelling and narrative is such a crucial aspect of her identity, culture, the way she sees the world, and survives. i think her being an investigative journalist who travels and reports on various crises and exposes corruption and inequality, but also writes more personal essays on her own experiences, or even just writing about media and art and fashion and sports and the stuff she enjoys. historical monographs, journalistic exposes, personal essays, poetry, fiction, maybe even like. a children's fantasy series. truly, she can do it all!

however, unlike waterbending, i don't think it's the kind of thing she would aspire to excel at since childhood. i actually think that she wouldn't really try hard in any academic pursuits for most of her childhood/adolescence bc she doesn't feel like she'll ever be good enough anyway, so what's the point. she's like "i only learned how to read when i was five and i don't understand number theory i must be some kind of ignoramus." the prospect of actually being very smart in many ways (including academically) just totally eludes her. because in a mundane world like ours, where bending does not exist and there is no such thing as a chosen one, it is sokka, not katara, who is the shiny, special wunderkind, and katara is the one who compensates by excelling in areas that sokka does not (namely, athletics, activism, and art). so mapping those arcs into this world actually inverts a lot of their dynamics in the sense of what and who is valued.

obviously katara does nonetheless struggle with being valued as a waterbender (by the nwt, by sokka himself, by the fire nation) and has to work incredibly hard to prove herself, so the idea that she's never underestimated or undervalued in the show isn't entirely accurate, but there's definitely a sense, at least within her family and tribe, that she is the world's specialest princess, and although i still think she'd be kanna's favorite and cherished as the baby of the family and beloved by aang in modern au, she isn't deemed inherently worthy and special. because she isn't a waterbender, she's just a normal girl.

sidenote: i do actually think a lot about how katara and sokka both undermine each other out of jealousy, like it's just not sokka calling katara a freak for playing with magic water, katara is constantly dismissing and undermining sokka in a way that's like. hang on. does she think she's....punching up?? like i do think katara probably carries resentments about not being as smart and special as sokka and compensates via her bending in the same way sokka compensates for his lack of bending via his other skills. they are constantly caught in a cycle of trying to be worthy of being the other's sibling, with the ultimate result just being that they are both incredibly gifted and accomplished in their respective areas (azula and zuko also sort of have this going on, but it's less mutual, because azula's skills are valued and zuko's are not, whereas both katara and sokka possess valuable skills that make them special to their community).

anyway. as for katara's journey to becoming a writer, i think she would write for fun as a kid but never show it to anyone, not even aang. and then occasionally she'll hand in an essay for school that she actually put effort into, which is very rare, because she only puts effort in when she's genuinely interested in the subject, but sometimes she'll put in a lot of time and research and effort just to prove the teacher wrong, which is when she truly shines. and some of her teachers can actually see that she has a lot of potential when she actually allows herself to be vulnerable and her passion seeps through the page, but she never really pays attention when they try to tell her that she's talented, because she just assumes that they're only being nice to her because they know that she's sokka's sister and feel an obligation to praise her by association. so it's only when she gets to college, and enters a world where sokka simply does not exist, that she realizes that she has merit of her own as a writer, thinker, and student.

she begins writing essays for various school publications, and after a while starts publishing them online, and then eventually in legitimate journals. it takes her a long time to actually establish herself as a career journalist, because she doesn't have the luxury of just writing full time, but eventually she's established enough that she actually publishes a book of essays, and goes on a book tour, and is invited to speak at various universities and events. and then one day, during a talk at a college, she says, "you know, there's hope for everyone. i only learned how to read at the age of five. but i went at my own pace, and eventually found my calling." and the moderator is just like "uhhh.... that's actually above average??? you're basically just saying you've always been smart." and katara. shuts down for a second while she attempts to process this information before she just goes, "WHAT!!!!!!!!!!!!!!!!"

#surelyjtemple #asks #modern au katara working as a barista for her entire 20s and being addicted to twitter and being a massive jock #and always dragging her friends into supporting various causes and going to protests with her #and being really into fantasy and romance novels and getting into fights with her history teachers and and and #she is so important 2 me. -_- #modern au #katara #katara&sokka #fyi: he taught himself to read when he was 2. katara just assumed this was the norm her entire life.

[zeep-xanflorp]

a hill i'll die on: rick and morty is NOT about nihilism.

okay well it is, but not in the way most people think.

i was in the fandom in the height of the 'to be fair you need to have a very high IQ' era, but before it became ironic. i watched so many youtube video essays on how r+m was an enlightened commentary on the absence of meaning in life, and how finding any sort of purpose was a lie we tell ourselves so we don't give up.

people at this time loved to latch onto rick as an example of what they strive to be, but they failed to realise that the show is NOT praising rick. it's making fun of him, and people like him. it's pointing out his flaws.

at this point, i don't think this is news to anyone but, rick is a massive hypocrite. if he doesn't care about anything, then his actions would make no sense. he would find no value in his connection to morty, he wouldn't deal with the family treating him as they do. but despite his assertions and his best efforts, he is a sentimental old man. he is still ruled by his emotions even though he knows that they 'don't matter.'

he's an addict; someone so tortured by his past that he must numb himself. someone with incredibly low self-esteem (disguised by his artificial narcissism), someone who sees no value in his life and only persists out of spite. does that sound like the state of someone who is comfortable with the idea that nothing matters?

nihilism is a trap that so many people fall into. there is a lot of comfort you can get out of the idea that nothing matters. because yes, that means that you will be forgotten and that your life has no intrinsic value, but that also means your problems are not as big as they might seem. it gives you a certain freedom to live the way you choose and an excuse to not focus on the negatives.

rick is such a good example of where this worldview can lead. in a character like this, who should theoretically be free of any attachment, we can see that he is still miserable. and maybe the worst part is that he views any attachment as negative and irrational. he thinks it's holding him back from being the 'rickest rick' as he describes in s6's premiere. he both yearns for connection and rejects it, which leads to a vicious cycle of self destruction. ultimately, he feels that he doesn't deserve to find meaning in a universe stripped of purpose.

so what am i trying to say here? the show does not promote nihilism, but instead offers a solution: existentialism. the difference lies in the details. while nihilism rejects any sort of meaning, existentialism says that everything matters on a relative scale. that we create our own meaning in life. that if something matters to you, you should not reject that because the universe 'doesn't care' about humanity. instead, you latch onto it because the value you find in anything is real entirely because it's important to you. you have the authority to create your own purpose and there's nothing wrong with that.

it's an individual's responsibility to find purpose. and yes, that is terrifying, but it's doable. don't torture yourself for existing. hold on to what matters to you, and don't let go. regardless of how small it seems. if it works, then it works.

--if nothing matters, why would you help me? [...] --okay... you matter. to me.

#rick n morty #rick and morty #r&m #rnm #rick sanchez #rick c137 #nihilism #existentialism #i could go on about how this looks in s6 but i think i'll save it #rick

[karistiltskin]

what if i said "but I would die for you in secret" but imagine merlin and arthur.

peace lyric analysis as merthur:

"Our coming-of-age has come and gone

Suddenly the summer, it's clear

I never had the courage of my convictions

As long as danger is near

And it's just around the corner, darling

'Cause it lives in me

No, I could never give you peace"

OUR COMING-OF-AGE?? okay, listen. as we know, arthur's coming-of-age moment is linked to his coronation. He literally has an episode called "The Coming of Arthur" parts one and two (S03 E12-E13). it's arthur becoming king and merlin starting to finally feel like he's getting somewhere with their destiny because of arthur's crowning. this is our setting. we're now in the after.

"I never had the courage of my convictions as long as danger is near" SHUT UPPPP SHUT UPPPP like actually oh my god. as long as danger is near is so so sick and speaks so loud. merlin absolutely does have the courage of his convictions and just to clarify, collins dictionary [colin morgan ;) ] states it as the confidence to do what you believe is right, even though other people may not agree or approve. BUT when arthur is in danger he does not do the "right" thing. he listens to the giant lizard instead or gaius (still love him) and does anything, anything, to make sure arthur doesn't get harmed no matter what.

rip morgana and getting poisoned.

rip mordred's entire existence.

although arthur attracts danger, merlin attracts just as much. and merlin is magic. (ugh, I'm getting sad and the only reason i won't cry is cause i'm in the middle of a lecture. a nighttime lecture). merlin can never give arthur peace because he is everything arthur was conditioned to hate. arthur can never give merlin peace because he's a king with expectations from Camelot and neighboring kingdoms. aka they can never be peacefully together without the threat of danger from them both and towards their relationship.

"But I'm a fire, and I'll keep your brittle heart warm

If your cascade ocean wave blues comes

All these people think love's for show

But I would die for you in secret

The devil's in the details, but you got a friend in me

Would it be enough if I could never give you peace?"

merlin lights arthur fires. that's it. that's the tweet.

merlin is also arthur's closest friend and confidant. he definitely gets arthur to see other perspectives on a situation and makes sure he remains compassionate and fair. for example, that look arthur gave merlin in S05 E11 during kara's trial?? my god. or the episode where arthur killed that one king's son under the influence of his uncle, the sleaze.

THEY WOULD DIE FOR EACH OTHER IN SECRET. NO ARGUMENTS. they've proved episode after episode again that they would no questions asked. people who don't know them just go "he's just a servant" or "you would choose him over your kind?" (ouch) not knowing the depth of their relationship. but yes. yes they would. and they would not have a single regret. they would deny the hell out of it but the proof is in their actions.

but you got a friend in me yes ma'am they do.

and it would be enough. it would. do they need a reminder that they were both born in mind of each other? that it was written since the beginning of time? that both of them have their own personal demons that instead of running away they'd take care of each other instead? that they're the most important person for each other and nothing can split them apart because they've grown to trust each other so much that their souls have intertwined? two sides of the same coin? other half of my soul, as the poets say???

"Your integrity makes me seem small

You paint dreamscapes on the wall

I talk shit with my friends

It's like I'm wasting your honor"

from arthur's pov he knows merlin is better than him. the way he interacts with people, his morals and values, his humbleness, just everything really. he pretends to be mad and upset about it but there's such deep admiration in it that he's actually self-aware.

dreamscape (google) definition: a landscape or scene with the strangeness or mystery characteristic of dreams

arthur finds merlin so strange!! so strange and mysterious.

the walls: i read this one fanfic on ao3 called "The Tragedy of Godhood" by Lilmia_Casand (read it!! it's so good. short, but beautiful) and the summary states:

"Merlin had gotten better at controlling his magic over the years, but it still spilled over, as if he were the source instead of someone calling upon it. It seeped into the castle walls, into the stone floors..."

This was the first thing I thought of (this quote stuck with me, it got bookmarked) and i couldn't have said it better. here's a play by play: arthur lives in a castle. the castle has walls. a lot of walls. he sees these walls everyday. the walls are familiar. the walls stay. the walls are forever. he can't imagine the castle without his walls.

walls = life/the future

magic is part of merlin's mystery because he's essentially hiding HIMSELF.

(does this make sense? no, prob not but bear with me)

there's an air about merlin where when you think about him, you realize you actually don't know much about him. he's a mystery. you know his jokes, you know where he's gonna be at whatever time of day (not the tavern, contrary to what arthur thinks), you know his favourite food. you don't know about his parents, you don't know why he saved arthur at his first feast, you don't know why he stays around.

arthur reflects on this and realizes it one day when merlin starts to become unavoidable in his mind. then he thinks, 'i really know nothing about this boy.' over time, merlin stays by his side, always, and arthur is so dependent on him that he starts worrying if he'll ever leave and if not him, camelot (he has abandonment issues 100%).

also see: S01 E10

hence, "you paint dreamscapes on the wall" is arthur saying, "you're the biggest mystery i've ever met and you make me wonder what every day will be like with you. will you be here tomorrow? and the day after that? until I'm married and have children who will favour you over me? will you be here to see them? to see me? i can't see it through the haze. i can't see you through the haze."

moving on—fuck that was so much longer than it needed to be—arthur and merlin talk shit about each other ALL THE TIME it's hilarious. and they know the one "bad" thing they talk about doesn't define their entire character because they hold each other in such high regard but... well...

(they definitely have regrets after)

"And you know that I'd swing with you for the fences

Sit with you in the trenches

Give you my wild, give you a child

Give you the silence that only comes when two people understand each other

Family that I chose, now that I see your brother as my brother

Is it enough?"

they both go all out for each other but with a focus on merlin, he goes ALL. OUT. it's war with him. nothing is half-assed. he fights, and fights, and never takes it less than seriously. but he also is there at arthurs lowest moments. when they're losing and when arthur is feeling too much or has too much on his shoulders. he's there. through it all.

merlin will give arthur anything he asks. he's already given him the purpose of his life and has hidden his magic until arthur's dying day because he thought that's what arthur needed and thought he would never accept him as he is so he gave it up.

but he's also given arthur the best thing he has. a friend. understanding. communication without words. souls recognizing souls, so much that the silence may be quiet but words are being exchanged through that same silence.

also, speechless eye conversations that range near the line of sexual tens—

then in the last line, merlin is saying: your people are my people. your burdens are my burdens.

"But there's robbers to the east, clowns to the west

I'd give you my sunshine, give you my best

But the rain is always gonna come if you're standing with me"

this goes both ways!! the only difference is that arthur's is visible and merlin's is hidden. explanation: arthur no doubt has enemies, it's not a secret. being a king and a target from the magic community, that man is almost getting killed everyday. it is not a peaceful life. he knows that. but nonetheless, he has shown merlin his best before—merlin is literally the reason he reaches the best person he can be, like the growth omg—so he knows he can give it but he knows there's a lot of baggage (external and internal) that comes with being with him.

as for merlin, his enemies are a secret. and they're dangerous. arthur faces some of those same enemies but from the product of what they've created, not them personally. no, merlin goes head-to-head with the people who curse/try to kill arthur. and he gives arthur a version of his best (he still has to keep many many secrets) but even if it's limited it's still genuine. although his secrets, his late nights, and his pure exhaustion are a part of him as well. and you can't have sunshine without rain.

okay ,WOW, i'm wrung out. it feels incomplete so i might add additional things later on but for now, enjoy.

once again, thank you if you read this, thank you bbc merlin, and thank you taylor swift.

(notice how i didn't use the word love once)

#merlin #bbc merlin #bbc merthur #peace #taylor swift #taylors version #folklore #merthur #merlin x arthur #merlin emrys #merlin fandom #merlin and arthur #morgana #lady morgana #queen guinevere #king arthur #knights of the round table #camelot #lancelot #percival #sir leon #sir elyan #gwaine #arthur pendragon #colin morgan #bradley james #katie mcgrath #angel coulby #merlin wizard #warlock

[cody-00]

Immortality and Boredom: Euclase Analysis

Note: this has been taken from my Twitter thread, but there's some edits I've been wanting to make, and generally multi-platform access is a good thing, especially here with how tags work on this site as well the amount of Euclase metas already present here.

It feels a bit academically awkward to base this analysis off of Western philosophy knowing the series' Buddhist influences, but the former's concise terminology helps illuminate the series without any evident conflicts. Conveniently, I have only needed to base this thread off of one source: "Immortality and Boredom" by John Martin Fischer and Benjamin Mitchell-Yellin.

If one believes that immortality necessarily causes boredom, Fischer and Mitchell-Yellin have observed two notable ways in which one could make this argument. One way, coined as "content-boredom", argues that immortality would eventually exhaust the supposed finite amount of desires that would drive a person to live (Fischer and Mitchell-Yellin 355). This is partially shown through the Lunarians. Their desire to pass on stems from the resignation that they have done everything that could bring any sort of pleasure. The Lunarian's problems regarding immortality do not stem from content-boredom, for there is a more existential component present, but it is a real factor. Content-boredom is limited to the Lunarians, for they, outside of Kongo, have lived much longer than anyone else.

The other way to argue immortality that causes boredom is to say that an immortal life would not be constrained by time, and, therefore, lack a certain urgency. Lacking the energy to actualize one's desires and complete projects would make life dull. This is labeled as "motivation-boredom" (361). While perhaps not as intuitive argument as content-boredom, motivation-boredom is an application of the common practice of procrastination at its most extreme. Where one may put off a task until the last possible moment despite wanting and knowing that they should have started that task earlier, people who support the idea of motivation-boredom believe people can and will put off everything indefinitely since there is no last possible moment. Motivation-boredom is best substantiated through the Earth Gems, but most importantly, through Euclase, an elder gem who displays more apparent control over the Earth Gems as the series progresses. Showing how this is the case is what the real meat of this post is.

First of all, Euclase's role in demonstrating motivation-boredom is something only Euclase can properly do. The other elder gems (i.e. Yellow Diamond, Padparadscha, and Alexandrite), are caught in problems regarding immortality that are outside of boredom. The same reasoning applies to Kongo.

Ironically, they acknowledge the idea that immortal existence fundamentally differs from mortals in a psychological sense, but they (through their own admission) ultimately seem unaware of how motivation-boredom affects their judgments. Before any budding criticism comes to mind in how the previous tweet is phrased, Euclase does only mention that an immortal being's sense of danger being distorted—not necessarily an immortal being's sense of urgency being distorted. However, the following paragraphs should demonstrate the compatibility and sometimes interchangeability between the two traits. Euclase's distorted sense of danger is actually rooted in Euclase's distorted sense of urgency.

Relative to other gems in the series, Euclase's conversations take a lot of focus on temporality. There are many examples. In fact, Chapter 4, their first major appearance, foreshadows this tendency. The third image shows a juxtaposition between Euclase and Phos in valuing time.

Another example early in the series (one in which credit goes to Shamu, for he pointed this out during our note-taking process of this video) takes place during Chapter 7 when Jade reports that Euclase dropped their schedule and is in need of more time to reassign roles for the future. The reason is indirectly linked to Phos, which hints at how Phos will impact Euclase’s future.

Euclase, contrasting from the Lunarians, values the benefits that come from the lack of urgency. With infinite time comes the infinite opportunities for conflicts to resolve. The earliest moments where this sentiment shows itself is through Chapter 41 and Chapter 58.

While a bit digressive for this analysis, Euclase's word choice incorporates time once more to compliment Phos' condition by returning from the moon in Chapter 58. There is an irony here in that Euclase's support for the idea that a lack of urgency eventually will towards positive outcomes through patience is vindicated through Phos. Euclase's encouragement to Phos could have only happened through the systemic neglect that Phos is under.

Chapters 60 and 61 display where motivation-boredom's consequences start to directly impact the plot. Euclase recognizes the threat Phos poses but fails to enact any action outside of sharing their suspicion to Jade and expressing an ambiguous threat towards Phos. Euclase failure here stems from two reasons. One is that Euclase misreads the identity of Phos. Lapis is a gem known for their analysis paralysis. Euclase, by believing Lapis has the most control over LaPhos, assumes that Phos would not follow through any plans with such haste. Furthermore, by predicting their actions through the Lapis-colored lens, they fail to consider what would happen if really is Phos in control, a gem that carries human-like tendencies to carry out tasks with an urgency.

The second reason originates from Euclase's inability to detect time constraints. Notice the juxtaposition between Euclase and Phos here: the threat not only fails to prevents the gems departing for the moon but actually hastens the result.

Even though Euclase manages to prevent a few gems from leaving the moon, it's a pyrrhic victory, suggesting once more how Euclase's inability to feel urgency causes negative results. Consider Rutile, whom Euclase successfully prevents from going to the moon. Rutile could have served as a pivotal piece in preventing the departure to the moon, for they were the only one to consider disseminating Phos’ plan to Kongo. Instead, Rutile’s psyche starts to take a turn for the worse in the series. Euclase’s failure here is multilayered.

Euclase starts to recognize urgency more due to Phos. Kongo's pending request for a self-imposed exile forces Euclase into action. Why Euclase feels compulsion to stay on Earth is slightly outside the scope of this post, but Euclase's argument for staying on Earth lies in identity and its connection to time. Note that Euclase's urge to make up each other's shortcomings results from Phos' actions as well as Kongo's response being tied to the relationship future life forms and the present day.

The scouting mission in Chapter 69 implies that Euclase's natural state is one that tries to maintain a state that avoids urgency when they can. Pad's analysis, considering their constant state of inactivity, suggests that Euclase's character has been unchanging for a while. The threat of Phos does urge Euclase and the Earth gems to respond with a defensive plan, however, as seen in Chapter 70. The following interaction between Phos and Euclase centers once more on time.

Euclase's decision for everyone to rest after the night raid lies upon the premise that relationship between Phos and the Lunarians is currently one of dysfunction. Urgency to act only comes when the danger is immediate and the time constraints are evident for Euclase.

When Phos is separated for 220 years, Euclase once again approaches the problem under the assumption that the amount of time to solve all the conflicts with Phos is not constrained by time. The following chapter shows Euclase's belief that Phos no longer endangers their safety; the small amount of motivation they have to ask Kongo to pray is caused not out of sympathy for Phos but instead of out consideration of the possibility that that Lunarians might invade.

While Euclase's reasoning to delay cleaning up during Kongo's birthday party may have justifiable reasoning, it does show how motivation-boredom even plays a part in casual situations.

Upon recognizing danger from Phos' imminent invasion, Euclase's response is to buy time, which seems rather indicative that their response to urgency is infinitely delay whatever causes urgency.

Through Alexandrite's action sequence, due to the positioning of Euclase at the start of the sequence compared to the other images, it almost seems as if Euclase is trying to delay inevitable danger by using their companions to buy time.

Based on Euclase's previous actions, their reasoning for their negotiation plea towards Phos expresses sincerity. However, as time has proven before, Phos shows that they need to be the danger in order for goals and desires to be reached. Euclase's shortcomings show that becoming immortal does not mean everything can be put off until later.

When wondering why Euclase fails to get anything done later in the series, a serious factor to consider is the influence of motivation-boredom. Euclase's passivity may not be entirely based on intentional callousness, for their existence and their relation to time distorts all decision making, and living as they have distances themselves from a perspective like Phos' and reinforces those distortions.

To wrap everything up, Houseki no Kuni frequently criticizes immortality. Does the depiction of both kinds of boredom claim are aspects that necessarily happen to those who have immortality? No. In a sense the two types of boredoms oppose one another, yet they coexist in this story. However, having these two kinds of boredoms correspond to a respective immortal species shows how these criticisms could happen to those who are immortal. Additionally, unlike content-boredom within Houseki no Kuni, motivation-boredom does not directly lead to unhappiness for reasons concerning the lack of energy to fulfill desires like its supporters suggest. Instead, the manga shows that those in power who lack urgency due to their immortality can lead to excessive and idle conservatism and eventual, destructive consequences by not recognizing and responding to time-sensitive issues. To me, that sounds more like a warning rather than a criticism.

The paper summarizes both types of boredoms, but interestingly, they reject these two concepts as sufficient reasons to oppose immortality. Originally, before making this post, I did not think either forms of boredoms had any merit, but analyzing Euclase has shown me that immortality would, while not necessarily causing motivation-boredom, a distortion of urgency within projects that would require it, thereby risking to harm one's quality of living. Furthermore, for supporters of content-boredom, reading "The Makropulos case: reflections on the tedium of immortality" by Bernard Williams may interest you. For supporters of motivation-boredom, I cannot say I have read them, but Fischer and Mitchell-Yellin's response on content boredom is based off of Todd May's "Death" and Martha Nussbaum's "The Therapy of Desire".

Fischer, John Martin, and Benjamin Mitchell-Yellin. “Immortality and Boredom.” The Journal of Ethics, vol. 18, no. 4, 2014, pp. 353–72. JSTOR, http://www.jstor.org/stable/43895884.

#euclase #land of the lustrous #hnk #phosphophyllite #kongo sensei #houseki no kuni #rutile #hnk meta