i put on both my yaoi and my incest goggles before i consume any piece of media and this is why my textual analysis will always be more enlightened and factually correct than
Word of God/movie backstory aside, it suddenly came to me that there is one other gap of knowledge that has probably contributed to a significant part of the alienation between Touga and Nanami, and it's something that existed throughout all of Nanami's life, so it's given that she wouldn't truly notice it: Touga knows they're adopted, Nanami does not. I think that makes a big difference.
Touga's backstory is bound not to be the exact same as the movie (After all, Nanami isn't even there with him), so I'll let myself speculate a bit. Their biological parents could have died, they could have abandoned them or sold them, or the siblings could have been removed from their care, and unless Nanami was brought in later to wherever Touga was, it's safe to assume that he spent at least 5 years with his original parents. He has memories of a different family, and of losing that family. Nanami doesn't even know about any of it. She doesn't realize there is a side of her brother that she never got to meet.
"Blood" is very important to Nanami. Blood is what Nanami uses to try and reassure herself that the parents who are cold and distant to her, and the brother who's grown cold and distant too, have an eternal unbreakable bond. It's very brittle though. Nanami constantly fears being replaced, discarded or harmed by her family. Most often by Touga, who ironically, happens to be her only blood relative there.
Her anxiety can be very easily explained by her experiences with how she was treated growing up in the Kiryuu household, but I do wonder if there's some subconscious parts of her that tap into these knowledge gaps too. I already felt like it was there, in the way her love for her brother is as protective as it is possessive, and how to protect him from harm, be it real or perceived, she can go feral, often shooting wildly at whoever she thinks is to blame, always hitting the wrong targets; and so maybe, I thought, it is possible that her anxieties are also tied to these repressed early childhood memories. Ones of once having a family, and then losing that world, being thrown someplace unfamiliar. Vague mostly forgotten memories fueling her fear of abandonment, working like a constant little nagging at the back of her head signaling to her how little blood ties really matter in the end.
"Blood" doesn't matter to Touga in the same way. He doesn't hold into a rose colored view of it. He knows by experience how easily those ties can be severed, how fickle they are. That's why when he found a little girl in a coffin, a little girl who spoke of there not being anything eternal, of how those you care about are bound to leave you, and questioning what's even the point of living then, he couldn't give her anything. He couldn't save her. He didn't know the answer for himself either.
I think everything that could be said has already been said regarding Charles’s Monaco win. But I’m just… Wow. It’s so surreal.
Having followed him for several years now, witnessing the hope and subsequent disappointment as yet another chance to win his home race slips away… The heartbreak and helplessness of 2021 and the anger and frustration of 2022… It’s Charles’s dream fulfilled and Charles’s accomplishment but I feel like it’s personal for so many of us who’ve endured all of those emotional rollercoasters and setbacks along with him, invested in his quest to reach for something he yearned for so deeply. We’re all sharing in it now, Charles’s emotions a reflection of our own; disappointments into delights.
The funny thing is, I was completely calm once he secured pole on Saturday, in a way I rarely am, especially when it comes to racing. It’s hard to describe but it was just this serenity, this gut feeling that today is the day, and that there won’t be any more upsetting surprises. That this is the weekend where that chapter of the “curse” ends, where history is made, that this is where the path was leading all along.
It wasn’t really until Charles crossed the finish line, until that team radio, that inflection in his voice, the way he evidently teared up, the way he ran into his team’s waiting embrace and the way he spoke about his father that it hit me, the emotions, the sheer magnitude of the feat – so straightforward at first glance but heavy with the weight of expectation, longing, past disappointment. The palpable relief on the podium, the way he could finally close his eyes and just drink it all in. Maybe it played out exactly the way he had imagined all that time, maybe it was different, maybe it was better. But it was, in some way, fated.
i think miquellas curse is more then just eternal childhood. i find it very interesting that it seems none of his plans ever came to fruition, the hailigtree never became an erdtree, the eclipse didnt happen, his knights sword was never given to a knight, he was torn from the trees womb, malenia failed to defeat radahn in caelid. i think his curse then is a wider reaching thing that causes both him and all his work to stay in an infant state. in the same way malenias rot causes things to decay around her miquelas eternal childhood effects everything he does too.
🤔🤔🤔
I have to say that I think you are right anon.
I have my own theories but personally, I see that Miquella has been fighting and uphill battle since the very moment that he was born. Not quite on the same physical sense as Malenia, but more in regards to how he is being purposefully stunted from achieving his true potential.
What makes Miquella so interesting to me is just straight up the existence of Unalloyed Gold; a metal so pure that it can purge the meddling of an Outer God. And as we can see, by looking deeper into what's truly going on, is that several Outer Gods are all vying for power in the Land Between. And amazingly the only one that has the power to truly put a stop to their meddling; is Miquella.
Miquella has faced resistance all his life from the looming presence of the Outer Gods. Be it the Rot that has a strangle hold on his beloved twin sister, the Greater Will which dominates the Land and terrorizes those it deems lesser in the eyes of its Order, the Frenzied Flame which slandered the Grand Caravan and wishes to burn the world to ash, or the Formless Mother and her Avatar Mohg, who has left Miquella's body as nothing more than a withered cadaver.
Miquella has been fighting an uphill battle against the Outer Gods since day one, and he is without a doubt the biggest threat to every single one of them. And that is precisely why they fear him, and wish to make him weak.
But at the same time: Miquella has vowed to become exactly what it is that the Outer Gods fear of him.
And all he needs is a Tarnished that is too stubborn to die to make his plans come to fruition.
Edit:
Okay so in terms of Malenia, she too was stunted from birth.
Like, if Miquellas whole deal is is his intelligence/faith, then Mals whole deal is her dexterity/strength. Malenia was purposely stunted with the fact that the Rot hinders her physical growth and strength, along with the fact that she is constantly losing her body/limbs to the Rot, and that she is in an eternal mental battle to make sure that the Rot does not claim her mind/very being.
Miquella and Malenia are two halves of one whole, and both of the Empyrean Twins are hindered from achieving their full potential thanks to the bullshit of the Outer Gods.
But regardless of the Outer Gods meddling, Miquella and Malenia have managed to rely on each other to enhance their strengths, and cover their weaknesses, so that they can make their ambitions come true.
Aces don't care about aro specific problems unless it can be made mostly about them. Aces and aroaces don't care about aroallos unless it can be mostly made about them.
I am happy that the aspec community overall said "we're not doing aphobia in 2024" but in light of the post I just reblogged a bit ago, nobody actually gives a shit that aromantic ALLOSEXUAL (cishet aro) men were the ones directly attacked here.
I don't think I've seen a single aroallo flag come up in all this aro positivity junk. I thankfully am seeing aromantic flags, but I'm seeing a lot of aroace related commentary too. Hell, I've been tagging ace tags on posts already tagged as ace tags bc it seemed important. But the attack was on cis aroallo/aro het men. Not aroaces.
I love how Christianity was like don’t have sex with anyone only the person you’re going to love forever. So then we went out in the world and tried to find a person to love us forever but lots of people wouldn’t love us at all if we wouldn’t have sex with them. So then we came to feel that no one would ever love the real us, just as we were, without sex attached. Sex was the most valuable thing about us and the real us, sans sex, was not only unimportant, but unlovable in its entirety.
oh. my...I literally have so many emotions going through my head right now. I finally got volume 37 in the mail today...and I read it WAY to fast. I'M GOING TO CRY 😭😭
I might post some manga panels in the volume later if I'm feeling up to it. 🫡🫡
So going back and forth about Leander I was wondering how quick you caught on to his scheming. Because I first I didn’t like him but I didn’t really have a reason why I just didn’t. But upon rereading his dialogue I was like hmmmmm
Oh man, I clicked like. maybe three lines in.
I have what my friend affectionately dubs an 'evil-dar'. I may not be able to tell you exactly why someone's fucked up, but if I see them and I immediately like them- they fucked up.
Probably, I think the earliest sign for me, was the emphasis on performing.
A pair of gilded boots stride across the tabletop.
"Seriously, you dogs? Again?"
Scattered laughter and cheers rise from the audience. I drag my eyes upwards... a well-dressed man stand on the table in front of me, his broad shoulder framed by the thick lapels of a trench coat.
"This really is the last time, alright?"
This time, when he speaks, the audience falls silent, as though bewitched by his magnetic presence or rich, low voice. But nothing is as captivating as his smile. He beams at the crowd around him, a performer on his makeshift stage.
"Don't blink, or you'll miss it."
These were the bits the immediately drew me in, the bolded bits. And it's the bolded, italicized bits that immediately made me go 'he's hiding something, and it's horrific, and I want to know more.'
Gilded boots in a downtown pub; carefully designed, likely expensive in taste, and yet he's in the slums- the place where people pull a face when you mention going there. It doesn't say cheaply gilded, or with a fancy design- it's just gilded. It's intentionally not giving us much, but telling us something important- this is a man who is conscious of his appearance. Of how he looks, how he presents, right down to the design on his boot. And he cares enough to throw money at it. If it was just from his upbringing, he wouldn't maintain them, wouldn't still have them today. We don't have a word describing how put together the boots are, how well maintained, but we do immediately get told that he's a performer. It's highly likely that they are chosen and maintained intentionally.
"This really is the last time, alright?" is tasty tasty to me. How will this be inflected, when voiced properly? Is this an establishment of boundaries, from a man placating his pack of puppies? A certain firmness there, that indicates that his word is law here; he's not joking this time? Or is it a man caving to the pleads of his people, throwing them another bone to keep them satisfied in between working on other schemes? Either way, this is a man who has power and is prone to indulging people; and indulging them in a way that indicates he is above them. Whether intentionally or not, consciously or not, this is the stance it takes- to me, at least.
The audience is bewitched by him, the mage. His charisma is high, he's generally liked and adored, and that means he's a man who can get away with a lot of shit. He can work a crowd, appeal to masses and individuals as one, and makes them all feel special- whether they're all together or by themselves. This gets emphasized a lot later, too, and in a lot of his profiles and lil details, but this is when I knew that. He knows how to work a person, and that usually comes from trauma or social ambition, and either way- I'm interested and hungry.
The fact that they outright state he's "a performer on his makeshift stage" makes me so ravenous alksjgldsjgl. The table is his stage, the pub is his stage, heck! The whole town is his stage and he's performing nonstop the entire time we interact with him. Fake or real, undecided- but performing nonetheless. A performance doesn't have to be dishonest, but it is intentional. And intentional means that there's a goal to be achieved- grand or otherwise.
And then there's the warning.
Three lines in (damn, I was right- literally three lines of dialogue from him).
"Don't blink, or you'll miss it."
Such an enticing statement, always. It's so easy to miss, his flashes of soul under the performance. The moment in the pub, later, when he's content to leave the chaos to reign until the player turns to him for help (and then he sighs, like he didn't want to, wasn't planning to, but who was he to let down a new audience member?). The moment of flat on his face, when you refuse his hand, and he grabs you anyway, determined to pull you into his web, into his puppet show. You could be a valuable piece- a fresh pawn off the woodcarver's table, and unblemished, yet, by the rest of the city. The moment when he looses his composure slightly, unaware to what extent Kuras had seen you during your examination.
There's so much there that sold him to me immediately as a favourite, as a schemer, as someone to watch out for because they've always got a knife three inches from your back, and that is super attractive, but man.
Yea, three lines of dialogue in, and I knew.
As my friend said, I have an 'evil-dar'. asdlkjlgsjg if I like the character, she knows 9/10 times, they're definitely fucked up in some way aslkjdklgsdg
Death was an unavoidable constant, one he’d seen and faced throughout his career within the Silvermane Guards. Both before and after becoming the Captain, he’d seen countless Guards leave the city and not come back, seen the vigils held in their honour, names he barely recognized.
It was different, though, being the one who didn’t return home, the one leading an expedition to their death.
Sampo was… Sampo was a blessing, really. The last person Gepard expected to save him, to tend to him for days on end, to worry about him and comfort him and distract him. Gepard knows he would have been dead out there, frozen with his Guards, if Sampo hadn’t found him by chance. He knows he would’ve, should have died there, left to bleed out alone by that monster.
In that old house in the middle of nowhere, Gepard had realized at some point Sampo was just delaying the inevitable. When the pain didn’t recede, when he realized his wound wasn’t healing properly, when the shivers and shakes and hot-cold flashes set in, he’d realized he wasn’t ever going back to Belobog.
He made peace with it at some point. Maybe welcomed it, in some dark, dismal recess in his brain that he refused to acknowledge. Killing the fragmentum amalgamation was meant to be the last of him, one last act to avenge his Guards and keep Sampo alive. He didn’t want to die, but he had figured he had done what he needed to, after that.
Waking up again shocks him to his core. He shouldn’t be waking up.