What's Wrong with Izzy Hands?
There's so much Discourse™️ lately about Izzy and damn, battle lines have really been drawn. No matter which side of which line you stand on, though, one thing is clear: there's something wrong with Izzy.
This is clear because he spends the entirety of S1 furious and struggling, when no one else does. Everyone else has moments of struggle, sure, but they also have moments of other things, like love or friendship or success. Not Izzy. Izzy never wins.
The Doylist reason, I suspect, is that Izzy is Ed's antagonist and they need him to run counter to Ed at all times in order to move the story forward. But to do that, he needs a Watsonian reason to be failing all the damn time. And I think I've maybe figured it out?
He boils people down to archetypes, then treats them that way regardless of what they do.
Ed is not a man who can both love a good maim and fancy a fine fabric, he's Blackbeard, a legend and a monster. Stede is not a starry-eyed rich man who is catching on in How To Be A Pirate 101 surprisingly quickly, he's a namby-pamby who has seduced Blackbeard and ruined him. Lucius is not a scribe hired for his artistic and calligraphic skills who is also so charming he's gotten it on with half the crew, he's a work-averse slut who can't do a single job right. Ivan and Fang aren't emotionally rich crew members who support Izzy and each other, they're henchmen who ask too many questions.
Izzy never once treats anyone else as a whole person. He never sees nuance or subtlety, never accepts that a person can contain contradictions or hold conflicting desires, never believes that there's anything more than what there appears to be on the surface. So when the people around him do recognize those subtleties, when they treat each other as whole people in ways that don't agree with Izzy's stereotypes of them, he becomes outraged. Which is like, all the time, because all of those people are people and none of them will ever consistently be a single archetype.
And that, I think, is where his redemption will lie, if it happens. I think it will have to start with himself, because I think he sees himself the same way—first mate to Blackbeard and god as far as the crew are concerned. He thinks he has no purpose or desire outside of that box, even though we the audience (and many people on the ship) can see it very clearly. Once he sees that there's more to himself than a single archetype, he'll be forced to recognize that there's more to everyone else as well. Then and only then will he be able to start building actual relationships with people.
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kiss of the divine
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To the people saying "Jason wouldn't have jumped into tartarus for Piper, like Percy did for Annabeth" as a way to demean him. Jason, plunged into the sky from the grand canyon to catch Piper in the first few pages of the lost hero without even knowing who she was, and without the knowledge that he could fly. so he basically jumped to his death attempting to catch her. In the first few pages of his journey, he didn't mind dying to save Piper, and ironically, that's also what he did in the last few pages of his journey. Y'all just be making the most out of pocket claims abt jason fr
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//i wont say (im in love) plays in the background//
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Really fucked up that, when they’re young, Patrick and Art are SO tactile with each other, so comfortable sharing the same space. Art lets Patrick touch him and move him and physically overwhelm him and easily acquiesces to it, if not outright enjoys it.
Then in the present, they’ve been so far out of each other’s orbit for so long, held such animosity that when they have their moment alone in the sauna, Art physically recoils from Patrick’s close proximity! It’s so painful to watch because even as Patrick’s goading him, it’s so obvious he wants to be able to get back into Art’s space. But Art has erected all these walls around himself, he refuses to give Patrick an inch or even admit to missing how close they used to be!
AND THEN we see Art and Tashi later and he wants her to hold him, to be gentle with him, and just TOUCH him. Like, he does miss that kind of close physical contact! He either doesn’t know how to ask for it or is uncomfortable being that openly vulnerable. Worth noting that he pretty much always defers to Tashi in regard to initiating physical intimacy (with their first kiss, though he does state his desire, SHE has to be the one to make the first move). And it seems pretty obvious that Tashi herself isn’t comfortable providing that intimacy, whereas Patrick actively seeks to provide it (the hug/forehead kiss after their win together in the early years, dragging the stool closer to him).
Art has tried very hard to act like he doesn’t need physical affection and even though his discipline and devotion to Tashi has made him a stronger tennis player, it’s made him a hollow person, which, in turn, has kept him from becoming a GREAT tennis player.
All of this, of course, is why the ending hits so damn hard.
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sometimes I think of all the on-the-surface warm, well-meaning but deeply ineffectual advice and attention john gives harrow through harrow the ninth (make some soup and get some sleep! get a hobby! don't be so hard on yourself! self care harrow! as long as I need take no actual responsibility in this relationship whatsoever I would have loved to be your dad!) set up against the stark truth that with his other hand he has been staging her attempted horrific murder again and again and again like a living nightmare on the logic that it will 'put her down or fix her'. and then I find that I wish there is a hell. a special hell where twitch streamers turned necromantic death emperors go
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shiv was not being altruistic nor intellectually self-interested when she voted against kendall. that was pure raw visceral desperation to maintain some semblance of dignity that she felt kendall being ceo would shred her of. sometimes people do not act in other people’s best interests or their own best interests. sometimes people do the wrong thing for the wrong reasons just because it feels like the right, the only, thing to do. shiv could not let kendall be ceo. she just couldn’t. not because she wanted to sacrifice herself to “stop the cycle,” not because she made a calculation and decided tom was her best interest — because the thought of kendall being ceo and acting like That the rest of their lives when shiv earned that job, she fucking earned it, that was too much to fucking bear. watching him sit in dad’s chair, conduct that vote, grin with entitlement and cockiness and certainty — seeing that elicited a visceral painful all-consuming sensation not dissimilar to overwhelming nausea that, summed up in two words, would simply be: fuck. no. she couldn’t live with that. she just couldn’t. it’s not kind. it’s not smart. it’s just human. painfully, destructively human. because sometimes, that’s all there is to it. not just for shiv, but for everyone. god knows roman and kendall have had those same feelings, made those same self-destructing yet necessary-feeling decisions throughout the show. why does it have to be different for shiv? why can’t she be painfully destructively human, prone to impulsive ill-conceived viscerally felt actions, like everyone else? why are we incapable of allotting her the same nuance and humanity (the good and the bad), the same trauma-informed self-destructive life-ruining hamartias, as we do her brothers? why can’t we fit a whole woman in our heads?
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a really defining moment of aang and sokka’s relationship is that sokka literally lets himself get beat up for aang’s amusement and entertainment like a day into knowing him. like he is literally letting aang drop him onto the ground from a not insignificant height over and over again just to see aang smile and laugh. he is putting his own safety and physical wellbeing at risk because it makes aang happy. and there’s a lot we could get into here about how sokka fundamentally views himself and his body as a vessel through which to provide services to others instead of a whole human being in his own right, but what matters for the purposes of this post is that it’s very immediately established that sokka will do anything to see aang enjoy himself, to the point that he will quite literally put up with physical abuse without complaint to make aang happy. so when people are like “it’s crazy how sokka is so smart and yet loses all his braincells whenever he’s around aang,” it’s like yeah, teenage boy adhd2adhd communication will do that, but also a large part of it is sokka contorting himself into an image that he thinks aang will appreciate, because he knows just how valuable preserving aang’s childhood joy and laughter is.
and what’s beautiful is that through actively becoming this person for aang’s benefit, he also actually starts to internalize the sentiment. through the process of letting himself be silly and goofy for the sake of making aang happy, he also absorbs some of that sillygoofy happiness and regains some of his own childhood joy and laughter and sense of wonder he truly thought he had lost forever. he’s not just helping aang retain his childhood, but aang is also helping sokka regain his sense of humanity. the sokka of book 3 is someone who enjoys “wacky, time wasting nonsense” and throws beach parties, a far cry from the sokka of book 1 who thought fun and joy were luxuries no one could afford. his selfless love for aang is also self-affirming, helps him to embrace aang’s point of view, to love himself slightly more than he otherwise would have. because to love aang is to necessarily let kindness into your life; it’s to learn how to be free.
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got him off-balance!
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desmond & friends modern day assassin sequences…..I miss you……..
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hot take ??
the only reason people say that "mafuyu and tsukasa have nothing in common" when presented with mafukasa parallels is because they equate mafuyu and tsukasa being similar to "tsukasa has depression" because the fandom equates mafuyu's personality to being depressed and nothing else.
it doesn't help that people (primarily younger people in the fandom) who DO believe in mafukasa parallels end up making the mistake of portraying tsukasa as depressed because as of right now he is not (although it's possible he was in past because of his Very Unclear Middle School Backstory but that's irrelevant)
anyways, mafuyu and tsukasa are narrative foils because their core personalities are built off of the concept of wanting to make the people around them— especially their families— happy.
they both developed personalities at a young age based on someone they looked up to. for tsukasa, it was seiichi amami's performance that inspired him to be a star— a hero that could cheer anyone up. for mafuyu, it was her mother taking care of her that inspired her to be a nurse— and you can see the similarities from there.
for mafuyu, her identity would first come into conflict when her mother expressed her want for mafuyu to be a doctor— suddenly, "everyone's" happiness didn't match what she wanted to do, leaving her in a state of disorder and eventual depression.
for tsukasa, his identity was something he nearly forgot in its entirety at the start of the main story— becoming arrogant and fully absorbed in a hero persona, forgetting the kind person he truly is. furthermore, his current character arc seems to be foreshadowing that what "being a star" to him is going to be called into question— maybe it is something more than just being the main character that saves everyone.
their insecurities are incredibly similar.
in mafuyu's first mixed, mafuyu feels insecure towards ichika because unlike ichika, she feels as if her lyrics have no genuine meaning to be expressed to other people— despite them being her very real feelings. this is brought up again in her second mixed as well.
in tsukasa's third focus event, something similar happens. when watching seiichi's performance, he thinks that his acting is "real" and feels inferior towards him, which is ironic because tsukasa has been method acting this whole time. when tsukasa is acting out rio or bartlett or really anyone at this point in the story, it's not just those characters— it's a reflection of his traumas.
just like mafuyu, tsukasa undermines his passions he's poured his feelings into because someone else's work is more genuine in his eyes.
now, then, foils have many similarities and parallels (and i could honestly list a lot more), but how i define them is that they usually have some kind of major branching difference that MAKES them foils.
for mafuyu and tsukasa it's pretty straightforward.
mafuyu's people pleasing behavior comes from external expectations and pressures— her mother's demands.
tsukasa's people pleasing behavior comes internally, from himself— if he can't meet his own standards, if he can't be the perfect big brother or the perfect star, then he is nothing.
and even then, there's some overlap.
tsukasa's behavior was indirectly encouraged by his mother praising him for being a "good big brother" over the phone instead of asking him if he was okay while home alone.
mafuyu's terrified to be herself around other people because she doesn't want to worry or bother them— she doesn't want to be a burden— and projects her mother's expectations onto them, not realizing that they would prefer the real mafuyu if they knew the truth.
and the concept of mafukasa being foils is most perfectly and blatantly portrayed in these two cards.
mafuyu, the marionette, sitting limp on the floor— puppeteered by her mother's demands and donning a mask to hide her true self.
tsukasa, the jester, standing above everything else— puppeteering silenced plushies— his feelings. he's not being completely honest with himself, and he doesn't even realize it.
mafuyu has cut her strings and ripped her mask in half. she has acknowledged her true feelings and expressed them to her mother, even if she had to run away in the end.
tsukasa has not yet cut his.
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I have been thinking about the blackening (as one does)…
…and it’s so interesting to me, the penalty Shen Qingqiu is faced with should he not decide to yeet his disciple into hell.
Account termination. Instant death. Sent directly home to his already-long-dead body, and that’s it for the villain of the piece who outright refuses his villainy. The protagonist needs a blackening for the story to continue, and Shen Qingqiu is going to provide it or get written out of the narrative. Either way, Luo Binghe is going to lose him. Either way, this is a turning point.
I wouldn’t claim that this is the intent of the penalty, but it fascinates me that the System has, potentially, backed the plotline into a corner - because Binghe still stands to be blackened even if Shen Qingqiu took the other choice.
Think about what that would look like, to him. He’s at the Immortal Alliance Conference, and everything is going wrong. He’s been outed as a demon, and not just a demon - the top tier of demon, as bad as it gets from the perspective of a righteous cultivator. His beloved teacher, the person who has been kindest to him and opened his home and heart to him, is standing there with his sword in hand, deciding what he’s going to do about what must look, to him, like a horrific betrayal. Binghe is apologizing. Binghe is begging for his life.
Shen Qingqiu hears him. Maybe it shows on his face, or in his voice, that he already knew; maybe there’s no hint at all, but Shen Qingqiu is suddenly talking quickly with an abrupt sense of urgency that Luo Binghe is having a hard time keeping up with. Telling him he’ll be wonderful - telling him he’s the best. Telling him the world will be his, with emotions cracking through that aloof mask that Binghe has never seen on Shizun’s face before, and it’s terrifying for reasons that Binghe cannot identify.
(He will, later. When he has time to think, he’ll realize it sounded like a goodbye.)
And then Shen Qingqiu is bleeding. And then Shen Qingqiu is on the ground. And then Shen Qingqiu is dead. There’s no countdown for Binghe - there’s no System, there’s no warning, there’s no answers.
Luo Binghe is a heavenly demon in the middle of a conference sabotaged by demons. Luo Binghe is alone. His fellow competing disciples are scattered, some dead or injured. The Peak Lord of Qing Jing Peak, the second in command of Cang Qiong Mountain Sect, maybe the only person he loved and who loved him back, is dead at his feet. No one will believe him if he says it isn’t his fault.
(He can’t believe it isn’t his fault.)
What choice does he have but to run? The last heavenly demon the cultivation world went up against has been sealed under a mountain for years, and one of the people responsible for that is probably looking for Shen Qingqiu already. They’ll be looking for him, too. There isn’t anywhere to hide; there isn’t any time to mourn.
There isn’t even enough time to ask why. Why again.
There is no closure waiting for him, because there is nothing to explain what happened. It just is.
It would be a different kind of blackening, certainly - less intense, probably, less of a warping, desperate thing. But how many times can one person have all the love and safety in their world torn out from under them before it starts to show? Before they just don’t allow things like love and safety to touch them, because that’s the better option?
Interesting to consider that, simply by offering the choices it did, the System rigged the story to guarantee that Luo Binghe would end up in hell (deliberate or not).
Interesting to consider that, even if Shen Qingqiu made what might have seemed like a kinder choice, there was every chance it wouldn’t have been.
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