#weakness analysis

[clover0101]

haruka and what each animal on his case represents, an analysis

before we begin, general CW for the issues haruka's story deals with (neglect, child abuse, animal death, etc).

Throughout the MVs, animals play an important role in Haruka's story. I think each of these represents a part of Haruka, both how he perceives himself and how he wants to be perceived. Even if Haruka presumably has numerous animal victims, the ones most emphasized are dogs, fish, and rabbits.

1. RABBITS

Haruka is seen on many occasions with his bunny plush. It’s so important that it appears not only in Weakness and Undercover but also in graffart’s collab, where each item is importan on the character's story in one way or another (like mahiru and the mantis). I see it as a toy from his childhood that he’s very attached to.

The fact that it’s specifically a rabbit is interesting to me, as the rabbit is a prey. If we go to the unique point of view of Japanese culture, rabbits are also quite related to the moon. The lunar cycles are also an important symbol in weakness, showing white, blue and finally red moons over a red sky. The origin of the relationship between rabbits and the moon is debated between admiration as they are perceived as objects of fertility and health because of their reproduction, or a legend that spread from India:

"a rabbit can't tolerate seeing people die and jumps into the fire to become food, then Indra rewards him for his sacrifice and takes him to the moon."

The theme of self sacrifice and the ultimate reward one receives for it is reinforced by Taoism, where the hare, like the moon, dies to be reborn and represents immortality. More popularly, rabbits are also associated with good fortune. It being white also points to innocence, and in turn to the pursuit of something that upon attainment brings discovery, an idea popularized by Alice in Wonderland. Even if it's more seen as a weak and tender animal, it has also been culturally represented as cruel and capable of aggression, closer to what Haruka is than the role of merely a prey. Haruka wants to be seen as weak prey that the strong hunt, to be pitied and loved for it. To be perceived as someone to be protected, as he cannot defend himself, but this is contradicted by his own actions both in weakness and throughout milgram. The prey becomes the predator and gives way to the next animal;

2. DOGS

The dog is universally a symbol of loyalty and the effort it takes to form a training bond between a wild animal and a human. Dogs are seen accompanying men and being obedient to women.

Dogs are perceived as creatures that love unconditionally and are capable of giving everything to protect those they love.

In terms of personality and behavior, they are the closest animals to Haruka, who accepts and actively seeks to be guided and to be faithful for someone, to be used to feel useful and not abandoned.

Even if they are domestic, the dogs whose breeds are distinguishable are large dogs, considered to be hunting dogs. Haruka being represented as a dog also creates a parallel with kotoko, who is represented by a wolf.

Haruka being represented as a dog also creates a parallel with kotoko, who is represented by a wolf. Dogs are the friendlier, "clean" version of wolves, domesticated to be obedient, while wolves maintain a certain solitary air of independence and savagery.

However, whenever a dog is featured on screen it is accompanied by loud instrumentals and rather graphic visuals. In Weakness, child Haruka accepts and expresses affection towards the animal, who apparently is suddenly injured and runs away from him into a forest, where he is disoriented and confused. Haruka follows its footsteps and ends up seeing his hands in horror, realizing that he's the cause of its injury.

The perspective of present Haruka isn't so different, who now attacks it, destroying it until the only remains are the necklace it was wearing, ultramarine liquid and eyes, which I consider represent the opinions of others and looks that judge him.

I think the fact that this dog bleeds the same color as Haruka's is a not-so-hidden hint at the fact that, in a way, Haruka is ending up with a part of himself (this time a bit smaller, not being human yet) to escape people's judgments.

There are also many sayings that by mistreating someone, "you are treating them like a dog", like an animal, something inferior, but that still sticks to what the human wants and believing all their words.

In AKAA, we see that instead of being a mix of at least two dogs, they're now separate entities and different breeds that dissolve as Haruka sings about being reborn. Again, dogs often appear in stories as spirit guides, helping humans enter and exit the realm of the dead safely, representing a middle ground between life and death. Dogs are followers of their owners, not leaders, and no matter how close a bond they form with humans, they are rarely recognized as equals to us.

3. FISH

Most of the similarities between Haruka and fish are presented visually, with Haruka being a passive spectator of his own life, observing others from behind something akin to a glass wall that separates him from normal people. He's constantly surrounded by water drowning, and in one scene is even presented at a fish-eye angle, being watched by his mother.

In AKAA we can see two specific species of fish.

Yellow bobfish: they're very complicated fish to keep in aquariums because they release toxins when stressed and are naturally solitary once they reach adulthood, it's not recommended to have more than two in the same tank because they are territorial and aggressive among their own species, however it's friendly and sociable with fish of other species. It responds to stress with aggression and attacks its own kind (in this case other weaklings) just like Haruka.

Clownfish: they usually inhabit anemones, forming a mutualism in which they find shelter and food. Toxins from anemones don't affect them as they develop immunity to them throughout their lives to eventually live in them. Anemones benefit from clownfishes cleaning its tentacles. Clownfish often eat parasites and are also known to steal more food from anemones than what they give in return. They are also capable of changing sex from male to female. Seeing this particular species depicted tells us a lot not only about haruka, but about his relationship with Muu, as for the first time it's not depicted as a mutual need, a codependency that endangers their lives if they become separated, but a mutually beneficial relationship where both can exist separately, but live much more comfortably by relating to each other in this way.

Extra: Insects (specifically butterflies) and parasites.

The symbolism of transformation and metamorphosis is so present that it even took the title of both voice dramas. Caterpillars can only wriggle and are no different from any worthless worm, but after a season, they manage to transform into a butterfly: beautiful, admirable, much more memorable and lovable. Having been forgiven and meeting Muu, Haruka manages to "fulfill" his metamorphosis and become someone he believes is better. Still, from what is shown in AKAA, it doesn't seem that Haruka is entirely happy with this change happening - the monarch butterflies represents ambition and perseverance, but it seems to be rejected by haruka, who crushes it in his hands

Haruka longs for this transformation, but is unable to fully accept it happening. I think it's because no matter how much he changes and wants to be someone else, he can't get rid of the disastrous image he has of himself, or he has forced himself not to change so as not to be disliked even more by others.

Now, Kotoko is an important figure to Haruka despite not interacting much. It highlights both his codependency (or mutually beneficial relationship) with Muu as much as the fact that he assimilates a parasite.

This is a point I've made several times before, but Haruka's way of socializing is based on taking parts of others and melding them on himself, especially women. It started by stealing his mother's necklace and taking it as his own, continues by killing Mirai and stealing what he lacks, and ends now in a much more obvious way with Muu, imitating her personality, accepting her accessories and the clothes she chooses for him and even copying her sprite pose a bit.

If he had become closer to Yuno and Mahiru, I'm sure he would also start imitating their behaviors in one way or another. Haruka lives by taking parts of the women he surrounds herself with, and he seems to want to take something from kotoko as well, but it's still unclear what he wants.

What does all of this have in common?

Not only is the theme of change and rebirth prominent, but every animal that Haruka comes to hurt relates in one way or another to his desires, thoughts, or parts of himself. Figuratively, we can say that Haruka's case is about him eliminating and hiding every part of himself, until he murders his human victim, Mirai, who at the same time is the closest and most prominent part in him, with whom he wishes he could reconcile and exist together, accepting each other - for, unlike his other victims, Mirai is often presented as a friend and someone Haruka misses. I have yet to write Mirai's analysis on its own, so whether she is also a part of Haruka or not and whether all his kills are figurative is up to each one's choice, I tend to wander between both sides because I like both scenarios. In a less figurative way and taking the case more literally, these facts are simple trivia and interesting symbolism to consider when analyzing Haruka.

#milgram #haruka sakurai #milgram analysis #Weakness analysis #Akaa analysis #Analysis #I'm **SHAKING** DO WE ALL SEE ALL OF THESE HARUKA AS QUEER - GNC - MTF HINTS??? #I HOEP WE ALL DO!! #Twt moot infected me with the haruka MTF disease and now I see it everywhere #There are a lot of queer motifs on haruka's story it drives me actually insane. It's so visceral #Anyways I hope you guys like this #It's been a lot since ive last posted an analysis and I really wanted to talk about this #I also want to write something specifically about Mirai and all of the possible interpretations she could have inside haruka's story #Both as a real person and an ideal concept

[agentc0rn]

He dared to fly high and beyond

With a will that burned hotter than the sun itself

Outstretched his hand

Just to feel a modicum of its light

Longing to possess its brilliance, power, legacy

Enveloped and overwhelmed

His wings of crystals cracked and he fell

Down into the heart of the sea

Just before the tides claimed him

From the skies, came down them

and reached a hand for his.

#pokemon sv #pokemon dlc #pokemon fanart #pokemon sv dlc #the indigo disk #my art #pokemon #kieran pokemon #rival kieran #pokemon kieran #trainer kieran #the hidden treasure of area zero #sometimes our greatest strength is also our greatest weakness - unknown #Icarus’ fall teaches us the importance of finding balance in our pursuit of greatness - also unknown #When I was writing down the tags in my other post it hit me that Kieran is literally Icarus but with a happy ending #I feel enlightened about this #I have a big soft spot for Kieran as you can tell with all the analysis #art and animatics of him - such a special boi #pokemon scarlet and violet

[comradekatara]

i’ve always kind of assumed that lo and li are azulon’s younger twin sisters and that’s why they were foisted off on azula, because she’s also a younger sister to the crown prince. but the fact that we never actually see them firebend is strange, because it implies either that nonbenders are instructing one of the greatest firebenders in the world, or that they are firebenders who simply do not firebend. and i think that the latter is more interesting, because it reflects how their position as elderly women devalues any firepower they might provide to the empire, passive and subdued even as they train ozai’s favorite weapon.

they are the ones to most overtly illustrate azula’s precarious relationship to femininity, after all. for example, noting the position of her hair after she successfully lightningbends in “the avatar state,” or emphasizing azula’s beauty when they introduce her in “the awakening.” and it’s clear that azula doesn’t really like them, dismisses and avoids them whenever she gets the chance. she can’t even tell them apart. their very existence is almost a humiliation. a reminder to azula that this is who she is destined to become once she lives past her usefulness. not the imperious azulon, her namesake, raised above on a fiery dais, but his sisters, insignificant and functionally powerless.

so of course “almost isn’t good enough,” of course “one hair out of place” is a failure. the only way azula can prove her worth to the empire she has devoted her entire self to in a way that matters is, perhaps, by being perfect, by being better and stronger than the discarded women who came before her. but that, too, is a delusion, that any amount of excellence will reward her in a way that compensates for the erosion of her very humanity. and yet, it’s all she has to cling to. so she gives it her all to excel within a system that will never really care about her because she has deliberately been made incapable of imagining an alternative. of simply recognizing the system for the failure that it is, conceptualizing a world beyond the bars of her gilded cage, and leaving.

#SHES SO ANTHYCODED 😭😭😭😭 #azula #lo and li #azula&ozai #azulon #analysis #and someday together we’ll shine… if you even care . #this was supposed to be a 2 sentence post about lo and li btw 🥴 #ALSO to be clear im not shaming her for not leaving #azula has no concept of ‘leaving’ that is not a) in disgrace or b) in a bodybag #im saying that she CANT because ozai’s psychological and physical abuse is so potent and effective #and that’s not her fault at all #just to be clear #in my mind i am so anthypilled that im like yeah everyone understands the mechanisms and psychology of abuse #what it means to be end of the world #and also just how azula has completely internalized the logic that the only way to survive is within this framework #she’s not weak or foolish for not being able to imagine a different path #which is very obvious to me. but i realized that might not be obvious to everyone. so.

[beaulesbian]

[egghead spoilers, up to chapter 1110]

Sanji's humanity & Zoro's strength

(or lack thereof) - a theory of possible conflict between Luffy's wings before the end of Egghead arc. Long post ahead. Like.. very long post.

So the new chapter had a very interesting new "banter" between Sanji and Zoro, but no, actually just Sanji, because there was no usual back and forth quips followed after.

Yes, this whole post started because of these few panels: (" ...!!")

After rereading the chapter more times I realized, Sanji's not even speaking to Zoro or knows that Zoro can hear him. He's talking about Zoro, and calling him a burden to the team.

Which is just baffling to me? (fair, maybe I'm looking too much into it and next chapter it would be explained in different way) but for now, I need to put this out there and make my own small (long) theory on this.

There's lot to be said about the word burden here, and I will get to it later in the post, but for now, let's start with Sanji and his eyebrow!

It wouldn't be a perfect story if Oda didn't tangle threads of each respective characters from multiple arcs before and brought them up together later on during one of the most difficult times when Strawhats and Luffy are facing off with so much danger (reminds me of Sabaody but in a very different way).

In this instance Sanji's past could be brought up again, something that started worrying him since his fight with Queen in Wano, and especially given that his left eyebrow has been changing its shape quite a lot during the run of the Egghead arc.

Here's just few panels throughout end of Wano up to current Egghead chapter, where Sanji' left eyebrow is in the focus on the pages:

Chapter 1029 was the first part where Sanji was thinking his body might be undergoing some changes he couldn't control -broken bones insantly healed, stronger and faster than ever before, due to him beforehand using the Germa suit which possibly triggered this sort of superhuman modification he wasn't really aware of until then. When he realized he couldn't remember certain memories, he panicked, thinking he might be changing into something similar like his brothers, a scientific weapon created by his father. The worry and panic was all the more present because he thought he hurt someone without his knowing, and that'd slowly take away his kindness and sense of humanity. (Too bad I hoped the changes his body might be undergoing would only be realization of his non-cis gender status, but maybe that's still on the table for sometime in the future.):

^In this second panel his face is on purpose shadowed, which was the last time he was shown in that chapter,

and only again was in chapter 1031 - where his eyebrow changed:

and it takes him to think about Luffy and what his purpose would be if something so important of him would change. He knows why Luffy went after him in WCI, he knows what values are important for Luffy and his crew, and of course he doesn't want to be reminded of his family and his brothers and act as they did. He chooses the humanity, the kindness that Luffy loves in him.

Even to the extent to call Zoro and make a deal with him - to kill Sanji if anything would go wrong with him. "If I'm not in my right mind, I want you to kill me." That much trust he has in Zoro to protect the crew and Luffy!

Of course Zoro wouldn't do anything reckless without a good reason, but part of their banter and understanding each other would be to promise something like that - echo of Thriller Bark and the range of how far Zoro would go to take on someone elses pain. It's a promise to win their separate fights, but also this was something that Sanji put out there for Zoro to take notice of. (I will come back to that later.):

(still the "bad eyebrow" - he had that the whole chapter 1031).

After his fight with Queen (where it was also cleared what his actions were and weren't), he was only shown two times until he woke up, and both times he had his eyebrow back on good side.

1036 & 1044 (hearing Luffy awaken his powers):

All the way up to Egghead he seemed to have his eyebrow drawn this way, and it started to change only during fights -

ch 1075, still good eyebrow, tho.. ehh this behavior.. whatever:

ch. 1078, protecting his crew from Seraphim, bad eyebrow:

in between chapters 1090 - 1105 (most of which were flashbacks and Sanji nor Strawhats were shown) he appeared with his typical eyebrow:

and it changed again in ch 1107 - when he was again protecting Bonney / fighting against Kizaru:

interesting was chapter 1108 where he's standing between Saturn and Vegapunk, and he's describing Saturn with "he's less and less human by the minute" while his own face was obscured, (I mean.. interesting choice of words and what character said it, huh?):

and the next page he still has the bad eyebrow:

in chapter 1109 it's back on his typical side, where it continues from previous chapter of Sanji carrying Vegapunk- so at some point it must have shifted back (and I'm curious if these changes would be noticable in the animation). At this part he's watching how Saturn is summoning the other Gorosei to Egghead:

Which leads me to the point from above with Zoro.

chapter 1110 and their interactions (for me) was just off. I like their usual banter and bickering, it's funny (if it's in the manga and contained to few panels to make sense, not so much in the anime, but i'm not going into that now), but the thing to call anyone of their crew a "burden" just doesn't fit right. (Especially after WCI... c'mon Sanji, and especially to someone like Zoro, who's always the first one to think about the crew.)

I would understand it if he laughed along with the words to elevate their seriousness, or said something like "Finish it up, Mosshead, we need to get moving." but no. He calls him a burden. And again as I mentioned, it pretty much could have been even Sanji not realizing Zoro can hear that.

These words (in my opinion) were chosen on purpose for multiple reasons:

First we have the Zoro vs Lucci fight that goes on for a while in the real world - in the One Piece world it might be just few minutes - plus we don't know how tough were the fights with the Seraphim which let others be injured.

When Lucci attacked, Zoro immediately thrown himself with him away from the rest of the crew. Zoro was possibly stalling with the fight for time to leave. I feel he could have finished that fight earlier but that wasn't the point. The point might have been to hold him back from his crew.

also this was possibly the only fight after King where Zoro could test the limits of his powers and haki, just like Luffy in the Udon prison in Wano was basically training, this (and the Seraphim fights we haven't seen) could be something similar for Zoro.

Some people think that just because of these characters getting new powers it means they already understand how to use them/how it works, but that's usually not the point of how stories go - there can be progress and there can be setbacks, growing up but also falling back down, which makes the stories more interesting.

The words that Lucci used against Zoro were basically the same thing that Sanji said to Zoro few chapters later:

Amongst them he pointed out the Strawhats inability to cut off one of their own out of their crew to save others - like Lucci left Kaku behind just chapters before this fight when he attacked Vegapunk and Stussy (and Sanji trapped Kaku in the bubble prison). It's a play on very different characters and how they think and act to show clearly how they different they are.

The words burden or dead-weight really stood out, already when Lucci said it in chapter 1107, and the fact that they were targetting Zoro - someone who always blames himself (in his mind, not usually out loud) for not being strong enough, and someone who always has protecting his crew at the first place, was interesting in the connection to Sanji repeating basically the same words in the latest chapter.

I will probably make a different separate post only focusing on Zoro and his fear of being weak, but for the purposes of this post, just to pick a few moments where it's important in the manga:

One of the first time I've noticed how much Zoro keeps berating himself with words like "not strong enough" "too lax" "still too soft" "if I'd been stronger/ faster/ better..."

was just after Little Garden arc, where he almost cut off his ankles just to keep fighting. Time after time the crew encounters strong enemies and Zoro gets a new understanding how far up is the limit that he has to reach to keep the crew safe, so he keeps training. ch. 129:

When Luffy went to fight Crocodile and Zoro was worried and kept training on the way to Alubarna, this banter between Sanji and Zoro felt typical between them - it's about the two way street, the back and forth (that's why that new chapter and insult from Sanji feels so foreign, there's no reply, not quip back - only silence and some sort of determination, which isn't good nor bad, just.. weird.) ch. 179:

and after the final fight of Alabasta, possibly one of the first times I really started paying attention to how much it gets to Zoro, this question of how strong he needs to be. (along with what possibly was one of the first introduction of his haki and how he began training the Observation haki, disguised as meditation in the terms of the early manga) ch. 213:

Thriller Bark was one of the biggest arcs in this sense of Zoro and his protectiveness towards the crew and Sanji knows that - he knows what happened there, he even wanted to sacrifice himself in stead of Zoro for Luffy (but this is beside the point here, and I talked about it in other post before).

Zoro took on himself Luffy's pain, and after that arc he still went right to train as soon as he could despite being still injured, ch. 490. "still too weak!"

which goes through to Sabaody arc.

Chapter 510 until the end of that arc is just painful to go through again. Luffy was worried for Zoro and didn't know the scope of his injuries, while Sanji knew and was concerned in his own way too - that is another thing of how they care, sometimes wordlessly but there is that understanding of what to mention or not. ("Burden" still shouldn't be one of the words to use between them, not that far into the story.)

Now - fast forward to Punk Hazard where one of similar moments played out - Zoro telling Luffy not to goof around because they got in the New world and needed to take things seriously.

It was one of those small moments where Sanji was actually one of the few people shown with reaction to Zoro's words and his urgency, ch 678:

Sanji saying "He's so tough on himself" really puts into perspective how he sees Zoro - he knows what he's been through, and knows to what extremes he's willing to go to protect his crew.

He's definitely not someone who would carelessly call Zoro "a burden" even in the time and place and situation they found themselves on Egghead, if anything, he was supposed to be one of the first ones to know how serious is Zoro always about protecting the crew. (Even in the beginning of Egghead, Zoro stayed at first on the Sunny because "who will save them when they will need saving.")

There's few others scenes and parts where Zoro questions his worth and strength, especially in later Wano, calculating what needs to be done so they have strength to face off with Kaido, ch 980:

and later against King, ch 1033 "it was my strength that was lacking!" while unlocking his Conqueror's haki, still unknowingly:

The fact that it's been happening pretty much since the beginning of the story - how Zoro views himself as not strong enough, yet persisting in always getting stronger and protecting his crew - means so much for what character Zoro is and how much he values and loves his crew (just like all the other Strawhats in different ways), and also, as I've been catching up so quickly with the manga, there's been that hope for some call out of this behavior, to poke it where it hurts, to see what would happen if someone turns those words Zoro possibly feels in his mind against him out loud. And that's kind of what's been happening lately - and I'm curious what impact will this have on both Zoro personally and on the other Strawhats, depending who will be around for the conclusion.

Zoro is one of the few strawhats really thinking about the future, plans and what they need to still fight through, carefully calculating what his opponents might be doing, how strong they are and how much of a problem it would be to go through them.

And Sanji normally understands that, he knows how Zoro works and the other way around, that's why he still protected him when Zoro was injured, (if anything, in this moment Zoro could have been something like hinderance or annoyance to Sanji, yet he never said something like that), ch. 1015:

Even on Egghead, where there was temporary truce with Lucci and Kaku, Zoro pointed out how to recognize the Seraphim's weaknesses, and apologized for 'wasting their stamina' - again, calculating on his strength, ch. 1077:

Zoro isn't just fighting for the sake of a fight, he does have his dream and does know what's important to focus on (he himself always keeps the crew in focus when it's important!)

So it's difficult to have a conclusion about the whole Zoro vs Lucci fight without knowing what is Zoro thinking - hopefully in next chapter we will have more info on it (that is number 1111 - Zoro's birthday and bounty! so I hope it will be a big focus on Zoro again). But even beside that, it was obvious in such short time two people around him suddenly called him a burden to his team - something he takes very close to his heart and mind, something that will hopefully have some consequences for us to see and read, because as Oda is choosing words definitely carefully to have the right impact, two very similar words like "burden" don't seem like a coincidence.

To wrap this up - with Sanji telling this to Zoro felt different than their usuall banter, and as I said before - maybe because Sanji wasn't even speaking to Zoro. At the same time, on Wano Sanji gave Zoro a clue that somehting was happening with him, the fact that there was a panel with just Zoro's ear twitching and then being silent, thinking, and not replying to Sanji with anything that would hint to us about his state of mind, and it could mean he's also aware of some difference in Sanji's acting.

The way he says this reminds me of the what Sanji was thinking during his fight with Queen - "what would be more useful to Luffy, regular flesh-and-blood body? Or a cruel, cold emotionless warrior of science." Even for this small part of seeing him speak with Jimbei and hearing what Zoro was up to until then, he speaks without almost any emotions beside anger? Even with his eyebrow not indicating the change, precisely, it doesn't have to be connected in this way, except physical fights, but there could be something still changing within Sanji to make him act this way, a way that really isn't something we've seen before. I think if in next chapters he speaks to Nami, Robin or some other woman without his typical over-the-top pleasanteries, it could indicate how much of a problem this could be for the Strawhats.

So we have Sanji's need to stay human and kind, the pact created with Zoro to kill him if anything felt wrong; and we have Zoro - someone who's biggest purpose from the beginning was to protect the crew and Luffy, while many times we've seen him question his own strength, and now two people in the span of like 5 minutes in the One Piece time are calling him a burden.

It will be interesting to see if this is heading towards a clash or conflict between Luffy's wings while Luffy needs the support to fight / flee from the Gorosei.

To end this too long post, I feel it's very on point for One Piece not to have a sole focus on just one character going through it™ in one arc, but it's always a few crumbs here and few hints there. This sort of conflict would be perfect to deal with both of Zoro and Sanji's respective fears - because this is very much about fears in their minds, while at the same time if they can resolve this, it would only strengthen their crew once again.

#upssss this got really long but im happy with it now. and can stop thinking about it for the next week yay #honestly i just want to talk more about zoro and his fear of being weak like.. please oda.. i know youre putting something together #one piece #one piece spoilers #zoro #sanji #roronoa zoro #op spoilers #egghead spoilers #one piece ch 1110 #mine #gif:op manga #gif:op meta #one piece theory #one piece meta #one piece analysis #zoro one piece #sanji one piece #monkey d. luffy #rob lucci #long post #one piece 1110

[iamhereinthebg]

Seeing Akane reacts so strongly seeing Kako being destroyed was already a big shot at my heart but Mirai and Akane protecting each other absolutely annihilated me in the last chapter.

Akane is a character who is really blunt about his opinion and stands his ground, he said right away in his introduction chapter how strongly he hates the clock keepers, and insists on how much he isn't like them.

In this new arc, he is forced to face this part of him he doesn't want to acknowledge since the beginning, he has been forced to do it a lot since the grim reaper arc (and I think it's really starting to get to him but this is for another day)

Aoi Akane, the human forced to be a supernatural who hates his contract and the clock keepers so much he wants nothing to do with them. But what does he do when fighting Tsukasa? He keeps the latter's attention on him so the threat can't get to Mirai.

Akane is mortal and human. The only mortal clock keepers and supernatural, and he still risks his life to protect Mirai. The yorishiro of the clock keepers yes, but mostly Mirai.

He shifts his attention from Tsukasa to her because he knows what she represents for the clock keepers and he waits for the moment to let her free, even if it results in him getting hurt.

Akane is the character of the cast who shows the most how he loves life, he definitely doesn't want to die. We can see it in how he defends himself, his last movement in this fight being one of protection (and fear). Something he has been doing more since coming back a second time from the far shore. Even if he doesn't want to die, he is still at his core a nice person. He is distressed at the idea of death, disappearing for good, no matter who it may concern in the end. Finding a way to protect Mirai (and the yorishiro) goes before his own safety.

And then Mirai gets the blow for him. She knows it means Tsukasa will get the yorishiro. Kako has been the mystery the most alarmed about the yorishiros being destroyed by Hanako. But Mirai, n°1, who knows how dangerous it is for another yorishiro to be destroyed for the land, sacrifices their seat number, herself and what is supposely the most important thing to them, for Akane.

Akane is a proactive character who rarely stops in his actions. Even when Aoi was "dead" he was activaly searching for a way to bring her back and when he learned she was gone he was quick to try to find a way to go where she was. When he stops, it's because he is physically unable to move. But here, even if he is still concsious and has Time's power he doesn't do anything, like he is the one being stopped in time, unable to move on from Mirai's body.

Mirai may be made of gears but it's been clear since the beginning that she has a real attachement to Akane. Wearing the name he gave her like a medal, jumping on him whenever she can, having a personality where she clearly has fun when he is present, and actually being the one noticing him on his first day at school.

And what does it mean after all for a yorishiro to be sacrified to protect something else? That maybe Akane is in the end more important than what the yorishiro represents for the clock keepers.

If this follows the pattern of a lot of mysteries it may mean that Mirai and Kako have strong regrets/resentment towards the story/person behind their yorishiro.

It's kind of beautiful in the end to see Mirai sacrifiying their past and future to focus on the one representing the present.

#toilet bound hanako kun #mirai #aoi akane #this is just me being delulu and putting tons of images #some glimps on Akane's character there is SO MUCH strange stuff happening with him since he's back from the far shore he doesn't seem ok lo #I won't go into the 'yes but t's strange how much they don't care about the yorishiro' #'it's maybe because it's not the real one' #'Mirai may not be the one noticing him in chap 25' etc #just to focus on what we have for now even if I am wrong because I get to be delulu about them and I think it's great like this #not an analysis or something just my thoughts and some hcs tbh #I am weak for them #the three clock keepers #jibaku shonen hanako kun #jshk #tbhk #tbhk spoilers #jshk 110 #tbhk 110 #jibaku shounen hanako kun #ramblings #I don't wanna get my hopes too high tbh (I assume next chapter will be the Yugi twins) #but I really hope we will have some answers about his duty and the clock keepers at one point #if it's still relevant and not just something said for nothing before the joke that is chap 109 #I wrote this late for reasons too just wanted to post it before chap 111

[ghostatas]

Thinking time thinking time. Philza guiding team Bolas yet not physically being there has me braining but I have class in 10mins so i need to be quick.

Philza hasn't been really doing much really, mostly because if stream times and taking acre if the rest of his team an what not. And he's only been on one day but.

But.

What if its because he physically can't? His wings are fucked and he doesn't have his backpack anulymore so his balance is FUCKED. He's alright enough to run and do light work, but fighting is off the tables. Some days it's hard to even get up.

Can you imagine how helpless he feels? Because he's philza, a caretaker. The one almost everyone turns to in times of need, the reliable one, the one who can protect them. He should be able to protect them.

But no, he can't, because his wings are fucked and he can barely stand straight. In this position hes vulnerable and basically useless. And with the added weight of being leader? Oof.

But in his own way, being leader helps, even if it's stressful. Because if he can't move properly, at least he can contribute somehow, guiding his teammates and providing his endless old man wisdom and knowledge. It makes him feel lighter, even with the added burden.

The rest of the team constantly reassure him and voice how they appreciate him- because they absolutely would be lost without him lol (I mean have you seen them? Charlie literally asked for a guide on how to minecraft lol). The team don't view him as a burden at all, and are extremely grateful for him. They even made a cane for him to make it easier to move around. It was hard for Phil to accept the help, but he eventually accepted it thinking that he would be more of use this way (and it warmed his heart. A lot. Man's a softie)

#uhhh theres so much more i could add but i have class lol #team bolas is so precious and insane #im team green gay ninjas but they have a special place in my heart #featuring philza and his eternal internalised hatred for himself and weakness #you hate to see it #qsmp #qsmp philza #qsmp purgatory #qsmp analysis #qsmp team bolas

[angelsdean]

people will say stupid things abt dean winchester everyday. the good thing is we can just say "that's dumb" and keep on being so good and sexy at media literacy. and loving dean winchester.

#sorry but why are people projecting their personal experiences with shitty family members onto dean winchester ?? #all while ignoring canon and people literally pointing out that their takes and interpretations hold no weight #like everyone is entitled to their Headcanons. but that's all they are. and no one is required to share your personal (bad) interpretation #and also ppl need to understand that no one is going to bring their headcanon into actual analysis and discussions abt canon #also analyzing canon thru your headcanons and trying to twist canon to fit what you believe while ignoring anything that contradicts it #is bad media analysis point blank. and people having actual discussions abt canon are gonna rebuttal #and debunk your claims if you have a weak argument with little support #again. headcanons are fine. do whatever you want forever in your personal sandbox. #but don't bring unsupported headcanons into discussions abt canon and present them as fact. #because they're not #and also stop acting like dean winchester is your shitty dad / uncle / brother / ex / whomstever #vic.txt

[petrichormore]

Also I just had a Thought about ElQuackity’s second death.

We know that cc!Bad really wanted q!Bad to lose a life in the explosion, and therefore to some extent q!Bad also wanted to die but…

But Bad wasn’t holding a totem like ElQuackity was and well, a totem presumably repairs any lethal damage done to its user’s body - just enough to keep them living and nothing more - so ElQuackity must’ve still been heavily injured and near deaf from being blown sky high even after popping a totem.

But Bad wasn’t holding a totem, and he also got caught in the middle of the explosion alongside ElQuackity - the difference is that none of the wounds Bad sustained healed at all. Bad survived the initial explosion on 2 hearts (which is insane) and then was attacked by ElQuackity who brought him down to half a heart - HALF A HEART - before Max finished him off. One more hit and Bad would’ve gone down, and I don’t think ElQuackity would’ve given him the chance to get back up.

Except as ElQuackity was slowly but surely killing him, Bad barely fought back. He swings his sword half-heartedly a couple times, but out of those attempts he misses quite a few.

My Thought? Maybe it wasn’t just that q!Bad wanted to sacrifice himself and that’s why he didn’t fight back as q!ElQuackity ignored q!Max in favor of trying to kill him - maybe it was because he physically couldn’t defend himself. Maybe he was too injured, maybe there was blood in his eyes and he couldn’t see. Maybe he couldn’t hear past the ringing of his ears and couldn’t think past the spinning of his head. Maybe it was all he could do to stumble backwards away from q!ElQuackity (which he does if you watch his POV - he stands there stunned in the aftermath and then turns just in time to see q!ElQuackity slam into him).

Maybe it was all he could do to just blindly call out to q!Max for help and hope he heard it.

#my headcanon is that q!Bad was okay with dying in the explosion because that’s a pretty fast and flashy death #but he wasn’t okay with being slowly beaten to death by ElQuackity in a giant crator after the fact #which is why he tries to backpedal away as elquackity is attacking him #and that’s why he screams at max ‘kill him you need to finish him’ #it’s not a ‘do it max hes weak nows your chance’ #it’s a ‘you need to get him off me right now because I’m about to collapse and if he’s still alive when I do he’ll murder me in seconds’ #this is all just headcanon by the way i know that q!bbh did kinda intend on dying and that definitely played a factor #qsmp #qsmp analysis #q!badboyhalo #q!elquackity #qsmp elquackity #qsmp badboyhalo

[citylighten]

#writeblr #simblr #ts4 storytelling #ts4 storytellers #ts4 story #i'm VERY curious 'cause i'm listening to a youtube analysis talk about poor writing from an indie creator #and i feel like writers go through so much work in getting their stories right and finding their story so yes weak points exist #esp if you don't have people who are reading your work behind the scenes and giving feedback or if you're just trying to get to the next #scene the best way possible! #feel free to reblog

[quietbreeze97]

So, I think we can now feel 100% sure that Alastor HAS made a deal with someone, but not only do I now think it could be someone other than Lillith since she's up in heaven (but it still makes the most sense) - I also think it's very clear Alastor does GENUINELY care about Charlie and has been helping her and others not just for his own gain, but because he can. And THAT is what's driving him mad, and whoever has him in chains most likely doesn't want him getting attached or feeling sympathy for others.

He's been asked to do somebody's bidding, that's for sure, and part of the reason he'll have made a deal in the first place is to gain even more power for himself, hence why he's latched onto Charlie, daughter of THE most powerful overlords in Hell. His own agenda does certainly come into it and I believe he started this for selfish reasons, but now he's allowed himself to care too much, which is not only sending him crazy because it's changing him as a person, but he may well be terrified of the consequences based on whoever's controlling him.

His line in the finale song, "Sorry to disappoint", made me think he was certainly addressing his captor, not himself. He's SCARED AS FUCK, and that's making him lose it.

#this is just nonsensical rambling based on incoherent thoughts so i hope it makes sense #i'm so intrigued by alastor's lore and need to know EVERYTHING #i love that episode 8 showed us he's not entirely invincible and he has great weakness that he refuses to show #i want to squeeze him #this man may be a sadistic demon overlord but he's suffering and has shown potential to be redeemed #he deserves love :(((( #hazbin hotel #hazbin hotel spoilers #alastor the radio demon #hazbin hotel alastor #ramble #thoughts #analysis #character analysis #alastor

[red-moon-at-night]

An Analysis of Haruka’s MVs: Distance and Disability

Hello! I’ve recently fallen down the rabbit hole that is Milgram and I have been itching to make some completely normal and sane analysis posts. My silly alternate title for this was gonna be “Things About Haruka’s MVs That Just Make Sense: A Hyperfixation-fuelled Analysis”, because honestly my autistic brain has been having a field day over here.

I am in awe with just about every single music video in this project; the animation is incredible and each one packs so much carefully laid out information. But I have been rotating Haruka’s in my head constantly since I first watched them, and I have a lot of Thoughts. Not about whether he’s guilty or innocent/forgiven or unforgiven. Not about whether or not I can justify his murders. Just some straight up imagery and symbolism analysis, through the lens of disability.

Haruka’s disability has not been specified, but I am confident we can at least say he is neurodivergent. I feel like the cultural differences in names for several things e.g. ‘learning disability’ vs ‘learning difficulty’ will just invite unnecessary drama, and is a little pedantic. What does matter here is that Haruka's experience as a disabled person is heavily intertwined within his story and his motives. 

So, without further ado... let’s get into this!

Trigger warnings/TW: I will be discussing ableism, eugenics and harm towards disabled people. Everything else will be related to the music videos ‘Weakness’ and ‘All Knowing and All Agony’, so any triggering content within them may also be mentioned. Read at your own discretion and stay safe!

Disability: some brief (important) historical context

It is only within the last few decades that those who are disabled have been ‘seen’ for the first time. A modern society is (ideally) expected to be built to include and accommodate for disability, and to acknowledge disabled people’s existence. But for many countries (even the ones making steps outlined above) this is still not the case. For a very, very long time, globally, that has not been the case.

For most disabled people, society makes it very clear that they are a burden to it and are better off not existing. 

I’m going to make this section as succinct as possible because...it’s heavy stuff. But it’s important, and I want you all to get the gist of what I’m saying. The weight of it.

Let’s highlight a piece of history regarding IQ and eugenics, surrounding the publication and subsequent worldwide reception of ‘The Kallikak Family: A Study in the Heredity of Feeble-mindedness’ by Henry Herbert Goddard in 1913:

“In 1927, it was used as evidence in the case of Buck v. Bell, which culminated in a Supreme Court ruling that the involuntary sterilization of ‘mentally defective’ persons was not unconstitutional in the United States. By 1938, thirty-three US states had passed laws allowing for the forced sterilization of women with learning disabilities and twenty-nine had made sterilization  compulsory for people who were thought to have genetic conditions. Many European countries followed suit: Denmark in 1929, then Norway in 1934, and after that Sweden, Finland, Estonia, Iceland, Czechoslovakia, Yugoslavia, Latvia, Hungary and Turkey.”

— Limburg, J. (2021) Letters To My Weird Sisters: On Autism and Feminism, p. 126

This history of a ‘sterilization law’ includes Japan, who between 1948 and 1996 enacted the Eugenics Protection Law which “authorised the sterilization of people with intellectual disabilities, mental illnesses or hereditary disorders.” According to the government, about 25,000 were sterilized.

SO. It’s important to bring this up. To establish how much disabled people are not wanted, just from their governments. Let alone society. To this day, disabled people are hidden away from the public by families that are ashamed of their existence.

Japanese culture values collectivism, and maintaining the harmony of a group...to the extent of excluding those that don’t fit into the mould. That are different.

The question is: where do they go? The ones that are publicly rejected?

Haruka and The Curious Case of Distant Waters

Okay that’s enough of the heavy real-world stuff! Time to delve into some...*checks notes*...heavy fictional stuff. Fun!

Haruka’s MVs prominently display themes of distance and separation through the motif of water, specifically being submerged underwater. 

The name Haruka reinforces this concept as the specific kanji used (遥) translates to ‘distant’, ‘remote’ or ‘far away’. As there are many, many kanji choices for the name (including but not limited to: ocean/sea, eternity/permeance, clear/distinct/obvious, and spring/growth/cherry blossom) it feels like a particularly cruel and intentional choice to go with that one.

Through the exploration of this motif, we can see the extent in which Otherness/the state of being ‘Other’ drives Haruka to great lengths to close the distance and escape it.

What I noticed throughout both MVs (particularly AK&AA but note the beginning scene of Weakness), is that whenever Haruka looks at himself in a reflective surface (e.g. the vanity mirror, the fish tank), water either begins to rise and overwhelms him, or is already there and he appears submerged:

I think this is the “All-Knowing” part of AK&AA. He knows he’s different, and he knows there’s a huge ocean between him and his peers, his family, everyone. A disconnect when trying to listen and understand, but also when trying to be understood by others and listened to himself.

You know when you submerge your head in water, and your hearing gets all muffled and incomprehensible? And have you ever tried speaking underwater? You can’t, because if you open your mouth you’ll drown. It’ll just come out as bubbles rising to the surface.

I also think the bubbles symbolise rising tension, between what he wants and what he currently has. Bubbles are everywhere in these MVs, even in places where they shouldn’t logically be? Such as this scene, following the line “don’t wipe me out, don’t wipe me out”:

Immediately pans up to Haruka gasping for breath, droplets of water rising from...somewhere. For about a split second, and they’re gone. 

This boy is really going through it. I’m getting an ‘emerging from the ocean before I drown’ vibe from this one folks. When the line that follows this scene is “I can’t stop, I can’t stop”, what I’m REALLY hearing is “I can’t stop (killing) or I’ll drown”. This is his lifeboat, pulling him out from the depths of being neglected and hidden away, into the spotlight.

Some interesting images from Weakness in relation to that (of spotlights):

Anyways, onto the next point:

Blue to Orange: Water to...Nectar?

So, the orange liquid. It’s clearly representing blood, but I don’t think this is just a “danganronpa pink blood” situation of censoring/getting this video onto youtube without restrictions.

I think it’s most likely honey, specifically nectar.

The etymology of the word nectar shows its compounds translate to “death” and “overcoming”. Nectar is also called the drink of the gods, so it would make sense for it to be a ‘death-defeating’, immortalizing liquid.

For Haruka’s victims to contain nectar is very interesting. It reinforces that necessity to kill, to take the life of another, to sustain himself. To overcome the ‘living death’ he is experiencing by being hidden away from society. 

This is his means of escape from drowning.

However, as we all know, things don’t turn out great for him. By the end of AK&AA Haruka is rejected once again by his mother, after which the door is shut (the light with it is gone too) and we’re met with this imagery:

The nectar floods the room, engulfing him much like the water from earlier. 

There are many things we could take from this. One being that the nectar-gathering/killing-spree has clouded his vision; it’s so sweet, so sickly sweet and he’s addicted to the taste of attention, even if it’s very bad attention. 

Who else has honey imagery in their MV again?

Oh, right. 

Anyway, the nectar/honey situation could also be representing submerging into an even further level of distance. All that murder is gonna push people away, despite his motive being to close the gap between him and normal people. The 'ocean’ has lost clarity and become a maddening, delusional substance. After all, there is a type of honey literally called ‘mad honey’ known for its medicinal and hallucinogenic properties.

That’s enough about honey, though. Let’s move onto less unfortunate... oh, sorry, what was that? *checks notes*...Ah, yes. I meant to say, let’s move onto even more unfortunate symbolism:

The Necklace

So, this necklace. Haruka steals it from his mother’s belongings, and is his only material, physical connection to her. It is taken on the declaration of “making (her) love me again” and getting her attention once more, now he is no longer a child but a teenager closer to adulthood (at least, that’s what I consider the ‘shirt with a vest sweater and tie’ to represent. child him = the blue polo, teenager him = this one, adult him = an amalgamation of his teenager clothes).

I wasn’t sure if this was an opal or pearl/mother of pearl, but I’m leaning towards opal from the other depiction of it in Weakness:

Opals are fun because they can symbolise both good luck and bad luck, usually to do with whether it’s your birthstone. There’s something to be said of Haruka’s belief in his ‘misfortune’ and the superstition surrounding these gemstones.

But they are even more interesting for the powers they supposedly have; in medieval times the opal was considered the ‘patron of thieves’ for their ability to grant the wearer invisibility.

There is a deliciously sad irony to Haruka’s theft with that titbit of information.

Now, if this isn’t an opal, and it’s a pearl/mother of pearl there’s still some fun interpretation to be had! A little less sad, even. Pearls invoke strong imagery of the sea, of purity, and of a connection to the maternal. If this is the last thing he has relating to his mother, I can see this necklace representing a lifeline when he’s deep in the ocean. A reminder of why he’s doing all of this killing, and who it’s for.

His mother’s attention (or the idea of having a mother at all, any mother) is his driving force in life.

Speaking of that...

So We Really Need To Talk About That Fish Tank: AKA, Why Haruka’s Mom Wins ‘The Worst Parent of The Year’ Award

This fucking fish tank.

Okay, I’m gonna start by saying: I don’t think this is reading too far into things. When it takes an animation team months, sometimes years to create a 3-5 minute music video, and one as detailed as this...you don’t just wing it. There are storyboards, there are key frames and there are choices made down to the smallest of details.

From the sheer volume of animal/insect/fish décor that resides in the Sakurai household, you bet I’m gonna pay attention to what type of fish are in that fish tank.

For one thing, they live in saltwater. This is a marine tank, aka the harder choice of aquarium to have. I mean, way, WAY harder. For the experienced only.

These fish right here? One is a clownfish, and the other is a yellow boxfish.

Boxfish are a nightmare to keep alive. This article goes into more detail than I will, but all you need to know is: if there was ever a fish out of all the fish you could possibly want in your tank, this is the one to avoid like the plague.

They release deadly toxins when stressed, as a survival instinct. Boom. All your fish are dead. They need to eat a shit ton of food, but are notoriously clumsy swimmers and slow eaters. Boom. Starving, stressed out boxfish. Boxfish either dies from starvation or dies from stress and toxins.

For Haruka’s mom to have not just one of these fuckers, but a tank consisting ONLY OF MULTIPLE BOXFISH AND CLOWNFISH...

This is a high-maintenance tank. And it shows how much time and effort, how much care she puts into the things she loves.

How neglectful she is as a parent of a disabled child in contrast.

There’s something about the last scene between Haruka and his mother that reinforces this for me:

Haruka’s relationship with animals and himself: AKA, “why don’t I just become the damn fish tank?”

Let me backpedal a little bit. This subheading will make sense in a minute.

So, like I said earlier we have a lot of décor in this house relating to insects and fish. We also have a lot of pets. Both living and dead, taxidermized creatures in one household, proudly on display.

I think this may have created some confusion for Haruka regarding the value of animals being alive or dead, as in his perspective his mother values both equally. The fish in a tank may be full of alive creatures, but they’re still on display as if it’s artwork. Isn’t breaking the glass of a framed picture of a fish equal to breaking the glass of a tank with a ‘picture of living fish’?

(This isn’t to say Haruka is clueless to the impact of his actions, nor to justify any harm to animals. I just find the train of thought to be intriguing.)

So when considering these ‘objects’ are proud trophies of his work:

This is a carefully arranged display, which by the way, doesn’t contain a single fish. In fact the only piece of that moment visible here is the...large piece of driftwood? Okay. Keep that in mind.

We proceed into Haruka’s mother opening the door and seeing her son, for the first time in any of the MVs. Note the way they composed this shot:

I’m obsessed with this scene. The blue eye framing Haruka, with a literal fishbowl effect on him...

He is the goddamn fish in the aquarium now. His mother’s full attention is on him and him alone, with only the dead animals, the books, the lamp and the driftwood as window dressing to this wonderful display.

Doesn’t it just scream “Look at me! Look at what I did, mom!” to you?

That blue spotlight is on him once more. He is not just drifting deeper into an endless ocean, but contained in a vessel to be stared at.

One Last Observation

I didn’t know where to fit this in but I think the end feels appropriate.

His clothing here:

Is a frankenstein-esque mash up of clothes from his younger years. He wears this throughout AK&AA, and as I mentioned before it signifies him as an adult. However, I should clarify what I mean here as Haruka says “he thinks he’s 17″ and “doesn’t care about his age”. So... not an adult, but on the cusp of adulthood.

But I think he actually does care about his age, and quite a lot too.

This outfit feels symbolic of refusing to let go of the past, and of himself as a child. He’s literally grown out of his clothing, but he still clings onto it. He’s attached to the past because it not only contains his happiest moments, but the change from being loved to becoming neglected.

As a disabled person, you’re often treated with a lot more forgiveness when you’re younger. That is to say, some people don’t realise that children with disabilities grow up into adults with disabilities. There is a point where even support from medical and social services drops off like a cliff edge once you turn 18.

The ill-fitting clothing in this context becomes more than a reflection on Haruka’s feelings, and extends to reflecting society’s feelings on disabled adults ‘refusing to grow up’.

I don’t blame Haruka for holding onto his childhood like this. He’ll be even less publicly visible and seen once he is no longer a pitiful child, but a ‘weird’ adult in ill-fitting, children’s clothes.

#milgram #haruka sakurai #analysis #weakness #all-knowing and all-agony #symbolism #disability #*drops this onto the fandom like a ton of bricks* hi i'm new here pleasure to meet u #oh man I finally finished it... this is a very (and I mean a VERY) long post asdfghjkl #I'm pretty happy with how it turned out though! I got most of the things I wanted to say and point out down #believe it or not there was actually MORE I could've said but I think tumblr may have crashed on me if I did that lmao #particularly to do with Weakness as I focused more on AK&AA here. but anyways #I love how morally grey everyone is in this series! It makes for some really fun analysis! #it's so so nice seeing a disabled character in such a position too and not just 'is a cinnamon roll' or 'the devil reincarnate' yknow #I debated leaving in the real-world history stuff but I think it sets the tone of my analysis pretty well and shows the importance of-- #--haruka's disability not as a justification of his actions but as a vital backdrop to his environment and struggles

[clover0101]

Weakness - Haruka Sakurai analysis

aka: rewritting my old analysis because I missed so much visual clues and I don't know how to cope with that

(CW: themes of neglect, ableism, animal cruelty and other sensitive topics ahead)

Water is a fairly recurring symbolism in the two videos we have to date. A way of representing that Haruka, in the situation she finds herself in, is drowning. Dying by drowning is for many one of the most agonizing and desperate deaths. By trying to breathe, asking for help, talking or struggling you only make your own situation worse, little by little losing the energy to keep trying until you let yourself go. This time, the water falls on him like a strong wave after seeing himself in the mirror, remembering what life was like for him as a child and knowing that those days will never return.

The blue light in the video literally represents 'being the focus of attention'. Haruka, as a child, was. He received the love of his parents and his basic needs were met. From a certain point in his life (presumably as he entered his teens, around age 12) his family began to leave him behind. Haruka was very close to his mother, so he was especially hurt by her. And why did this happen in the first place? Haruka is a neurodivergent person, his specific condition is up for interpretation, but it's clear that he struggles with learning difficulties. As he entered his adolescence, his condition became much more evident, denoting that he would not be able to do what others can, thus causing rejection and mistreatment by his parents.

We can see in shots like these that Haruka, even when present in the family environment – living in the same home, sharing the same space – always takes the position of a spectator. Someone who, despite having tried everything, is not capable of influencing the world enough for these efforts to bear fruit. It seems that there is something separating him from everyone else, from his family, from those who should love and support him. As if he was looking at them through a glass wall (or from inside a fish tank, as we will see in akaa (?)

Something that is also important is that the video makes a clear separation between Haruka from the present and the one from the past. The child is shown as someone happy and innocent, never acting to harm anybody, however, present Haruka carries all the negative feelings and subsequent bad actions. Haruka seems to be envious of his past self, even pushing him out of focus so that he falls and drowns, just like he is now. My interpretation is that when we see Haruka interacting with himself as a child, we are actually seeing how he interacts with the girl who appears later in the video; her victim. The reason why he is shown as himself in Weakness is because Haruka projects onto her the happiness he felt at her age. His parents' neglect may have started shortly before or with the birth of his sister. Haruka mentions in his interrogation that his name was chosen because his mother wanted a girl. Having a daughter, and also one without any condition that hindered her development, led her to give all her time and attention to her, and to completely leave Haruka aside, because the more he grew, the more it became clear that he could not function as a “normal person” could without any special treatment or attention. His childish or incapable attitudes were normal to see at the age of a child, but when they persist during adolescence they become annoying for his caregivers. Ableism and ignorance leads many people to be negligent when having autistic children or with some type of developmental problem that makes their upbringing difficult, culminating in abuse instead of looking for tools and help to handle the situation correctly.

This sequence is particularly interesting to me because the well she falls into is not something "real" as such, but is made up of scratches and drawings that Haruka himself made. Haruka longs for roles to be reversed, even if it means condemning her to suffer the same as him. But this suffering that he pushes her into is not genuine. They are circumstances made by his mind that will never come true, because Haruka will continue to be ignored; and before that truth Haruka sinks again.

The translation of the original video is a bit inconvenient in my opinion because it's difficult to extend due to grammar errors (?) so I'll be using this fanmade translation to complement some things.

The fireworks event is particularly important because Haruka mentions it as something he remembers well. It's possible that, due to his condition, he was unable to attend such event (or, for example, see the fireworks during a celebration) because he's sensitive to loud noises and cause him anxiety and discomfort. "The future correct, unfairly, chose the wrong me." Haruka sees himself with his sister because he wishes he could be there with her, enjoying this special event. He thinks that if they were both the same age, or if he was a "normal person" everything would be better. If he didn't have this condition, he would like to be able to get along with his sister and be friends, which would be possible if only he was able to "do the things that others can do without trying." Again, his life passes before him without his decisions or thoughts having any real importance. It is repeated through the chorus that Haruka wants to be pitied. He wants to be seen completely, with everything and the weaknesses that have been blamed on him throughout his life. He just wants to be accepted and loved even with those flaws, without having to make an effort to be someone he is not or to fit into what is "normal" for others.

The flowers that surround Haruka are yellow garden roses (although after looking up they seem quite similar to Golden Celebration or Graham Thomas, but I can't tell for sure). The meaning of yellow flowers and roses varies; in a more positive lens (in this context not so much) it could reflect the desire to communicate or take action to achieve a goal. Yellow is also popularly associated with envy, jealousy, and betrayal. According to color theory, being exposed to large amounts of yellow in a room or space can be irritating – so it could also reflect how Haruka is perceived by the people around him as someone that's better to treat in "small doses", because living with him daily is suffocating. Taking action, along with jealousy, fit well with the next sequence, where Haruka reaches up to reach for the girl and kills her, and is then seen laughing on top of her body. That's when for the first time in the video Haruka is the focus of attention. However, it was all a nightmare. This would reflect how little by little Haruka is thinking that the only way to get back what was taken from him is by hurting others, but in the end he sees himself scared with his own thoughts. For now, he wouldn't act to make them a reality.

Another symbology reflected in Haruka's drawings becomes much more evident; eyes watching him after doing something he knows is wrong and his different perceptions of his mother, during his childhood (first image) and in the present (possibly second image, though I'm not sure if that's his mom). Haruka has this tendency to draw people or things he sees as villains like that, like he also does with the family dog.

The following sequence has been the cause of my nightmares and my suffering both when watching it and when writing this essay. We are presented with what would be Haruka's first murder, the victim being precisely the family dog. What stands out above all is the fact that not only does Haruka's home seem to have an unconventional structure to say the least (?), but even though it's implied that the dog ran off into the forest, there are details that go against this, the most notorious being the pieces of wood on the floor that remain as a constant. Another interesting detail is that the outside world looks more like a collage or something artificial created by the mind of someone who doesn't know how it really looks. This may suggest that Haruka and the animal did not leave the house, which I also find credible given the symbology seen later in AKAA, where Haruka spends most of the video locked inside a small room unable to see what is outside or even go out.

While little Haruka looks for his dog following the tracks he left behind, at one point he looks at his hands and sees them covered in the animal's blood. He then switches to revealing that the perpetrator of the crime is the current Haruka, who even looks horrified after realizing what he has done.

This part of the lyrics especially expresses a lot; “You complimented me on being crazy”, aka, the only thing Haruka's mother acknowledges that he does well is being crazy, to which he replies “thank you, I'll do my best.” He wants to be the best at the one thing he's told he does well, which is kind of sad in my opinion (?) “How many times do I have to do this to be seen as a human?” The hostile environment in which he grew up has led Haruka to believe that he's much less than a person, and that this is the only way for him to put himself on the same level as others, to be recognized. Only if he becomes despicable would he be able to be seen again. "I have become a victim, my loneliness was wanted (by you)" his mother kept him isolated from the world, knowing the damage it did to him, because Haruka is seen as a disappointment. He's a victim of abuse, and tries to convince himself that his motivation for doing what he does is acceptable as a victim.

Now, when Haruka is face to face with the corpse, the flash of blue light over him is present for the first time in the video. However, it doesn't cover him completely, only illuminating a part of him. It's here when he realizes that of everything he has tried the only thing that manages to capture the attention of his environment is this. It's the only thing that worked out, and quickly his options narrow down to just that. Because, as he mentions in his second voice drama, what else could he have done?

During the bridge Haruka is standing, crying. His tears come out of his right eye, the one that his hair covers, so it may represent how his suffering has been ignored or conveniently obscured/covered so as not to be recognized. The fireworks are back in the background. This time, the blue light is drawn on him with crayons, along with the silhouettes of various people and eyes watching him. It's what Haruka longs to achieve.

Haruka tries to reach his mother again, but he fails and she disappears along with the light. "Even if I keep trying (to hide it), it's already broken." Her relationship with her was broken from the beginning, wanting to have her back are and will always be wishes in vain, because he won't be able to make her turn and look at him again. Using just the fanmade translation as a base, this line could also refer to himself. How trying to hide or change his flaws is never going to repair the kind of person he's become, or on a more fundamental level, how his condition is the part of himself he considers broken, and for obvious reasons he can't get rid of it. “The things that are not here (or that I do not see/see), the ones that you don't need, do they still exist somewhere else? (Or are they just a dream?)” I interpret this line as Haruka trying to make sense of his own existence. Unloved, unneeded and ignored, he tries to see other possibilities – to see if he might still be able to exist in the same world as everyone else, perhaps finding a normal life that meets his wishes. It's as if he's asking permission to continue breathing the same air than others. (who else does that in their video- oh no mu kusunoki from the hit series MILGRAM please get out of my house) In the end, Haruka gets tired of watching, longing, and wishing. He decides to act, attacking his sister and suffocating her. Now, being over her corpse, the focus of attention is entirely on him. Even if he's reproached, hated, or disapproved of, he is fine with it. Because in the end he achieved what he wanted.

#haruka sakurai #milgram #haruka #sakurai haruka #analysis #weakness #all knowing and all agony #weakness analysis #milgram analysis #help me #i didnt sleep last night writing this #hope people like it... #i hate harukas mom

[modernchillthings]

I wanna talk about Weak Hero Class because I saw this on twt where Hyunwook talks about Sooho's relationship w Sieun and it's making me cry.

So basically I wanna talk about Sooho and how, for the whole show, he always emphasizes not crossing the line. From his first introduction of his fight with the baseball team, he told the dude that he crossed the line so he punched him. But before that he was mostly fighting in self defense and his attacks weren't too harmful (playful smack with a book for example). I think for Sooho, 'crossing the line' means harming someone severely and with malicious intent. Like those baseball dudes had intent to harm, sure, but Sooho never saw it that way and was even being playful. But the moment the baseball dude acted with the intent to really harm Sooho with the bat, thats when it was 'crossing the line'

The next instance was at the end of ep1 when Sieun was about curb stomp the shit out of Youngbin but he stopped him. Idk why he didn't stop him before that (if he was asleep through that then wtf..how??) but let's assume he woke up during the fight. He probably let Sieun handle it for a bit because he might have recognized how Youngbin deserved that but knew that if Sieun went any further, he would've been severely hurt. (Yeah he got a broken nose but he looked fine by ep 5 or 6 and STILL didn't learn his lesson so...if Sieun kept going, he would not have been walking around and shit)

Even when he was training Sieun, Sooho told him to run instead of 'finishing off' the opponent (which Sieun ignored obviously)

Every fight scene with Sooho before ep 7 have been either in self defense or defense of others and to me, I never saw it as him fighting just to fight or hurt but more to assist or defend. He's never sought out violence or harmed others maliciously...until Sieun got hurt.

(I would analyze all of Sooho's fight scenes but I don't have the words to articulate it and this post is getting too long)

We can also argue that he was defending Sieun when he lined up all the bullies and punched them in the gut one by one but Sieun wasn't there to witness this and I don't think he ever found out. Like this Sooho wanted to HURT those dudes. He wanted them to feel the pain that Sieun felt. Still, the Sooho in ep 7 was a vengeful one. The moment he saw Sieun and was hiding his cast from him, Sooho was on a path of revenge.

Then he sought out Yeongbin and broke his fingers and arm and was sending really threatening texts towards Bumseok. If I watched that scene out of context and without subtitles, I would assume Sooho was the bad guy. And then when he hit Bumseok, he probably would have kept going if it weren't for that other ufc dude interrupting. And tbh, I feel like the only fight that didn't cross the line was w that dude bc it did kinda feel like a spar for Sooho, like they both even wore the gloves. Like I don't think Sooho came in there wanting to hurt that dude, only Bumseok, and it was more like a sidequest for him. If the other bullies didn't get in the way, Sooho deffo would have won then he probably would've reverted his attention back to Bumseok.

But the moment he crossed that line, Bumseok decided to cross that line as well and then in ep 8, so did Sieun (until he faced Bumseok in the end and held back but that's another thing)

Idk what I'm really getting at here, just know that Sooho's fights in ep 7 were to HARM others intentionally whereas the fights before were not and maybe you could say it cost him his life (I know he's not dead but....yknow..)

#yeah this was so incoherent #idk if I'm making sense but this is my mind rambling #bc this show is ruining my life #IM SO SICK AND TIRED OF HAVING THIS SHOW OCCUPY MY MIND 24/7 #anyways everybody should watch Weak Hero !! #suffer with me #weak hero class #weak hero class 1 #choi hyunwook #ahn sooho #park jihoon #yeon sieun #analysis

[comradekatara]

so on a scale of aang (killing is always wrong) to katara (killing is a statement) to sokka (killing is a tool), where would the rest of the gaang + ozais angels go?

toph is hard to pin down because she’s the only character who ever actually kills people outside of the context of war. and i don’t know if she even realizes what she did, because she’s 12 and the adrenaline rush of discovering that you can actually metalbend probably supersedes any logical reasoning in that moment, but like, she did just leave two guys to die a gruesome death in a metal box. so i do think it’s more nuanced that simply saying, “to toph, killing is fun and flirty,” but like, there is a not insignificant part of her that will gladly kill as a means of asserting her power over others and individual autonomy, and has no compunctions about killing those who threaten her autonomy specifically, as it is such an acute point of trauma for her. but also, she’s twelve so like, she’ll probably develop a more nuanced approach to that quandary as she ages.

zuko’s stance on killing is mostly that he’s happy to outsource that violence and then take credit for it as long as he personally doesn’t have to get his hands dirty. like he’ll hire an assassin but won’t bring himself to admit that “end them” means “kill them,” or he’ll threaten to kill zhao and then try to save his life at the last minute. he wants aang to kill his dad but would never actually kill ozai himself, just as he wants katara to kill yon rha, but would never actually kill ozai himself. and i’m sure zuko thinks this is all because he’s a coward who simply lacks the capacity to be ruthless and effective (like sokka), but actually it’s symptomatic of zuko’s greatest quality, which is his inherent sensitivity, his queasy stomach for violence, his predisposition for gentleness, the fact that he actually struggles to deny his own inclinations and simply submit himself to a logic of brutal death and destruction. he thinks it makes him weak, but the fact that he actually has a desire to do the right thing and be a good person despite it all is truly his greatest strength.

azula is always operating from a place of survival because it was impressed to her from a very young age that she exists in a world that is unforgivingly cruel, and it is kill or be killed. she does not want to die (which is quite possibly one of her greatest points of deviation from sokka, but i digress) so she wholeheartedly submits herself to this logic, and unlike zuko, who struggles to erode his own humanity even under the threat of violence, azula is very good at becoming something “monstrous” (her words) out of fear, can contort herself into any shape necessary as long as the threat is tangible enough. so obviously azula approaches killing in the same way sokka does, no surprise there. murder is a tool to achieve her ends, to ensure her own safety and survival. it is simply a mechanism of war. but unlike sokka’s view of it, she also believes that the strong kill the weak because the weak deserve to die, and that logic she inherited from ozai.

we never see suki actively kill anyone, but she does threaten to feed sokka to the unagi, so like, even if she is (probably) joking, i don’t think suki is flat out against killing. i think she’ll kill if she absolutely has to, but would also prefer not to because she clearly values and holds a deep appreciation for life. but also, whenever there is a gap in our textual understanding of suki, i usually just fill it in by being like wwkd (what would kyoshi do), so maybe that’s why i just said. who knows

mai always makes an effort to never actually stab people with her blades, but rather pin them in place. that said, whether this is because a Y-7 cartoon simply isn’t allowed to depict blood or if it’s because mai is genuinely that attuned to not seriously hurting the people she throws knives at, i’m not entirely sure. i like to think that mai doesn’t actually want to hurt people, because like zuko, she is naturally inclined towards sensitivity and gentleness, but i think there’s also a part of her that would lock people in a metal box if she could. i think the best way to summarize mai is thus, excitement is valuable (including the heat of battle), but killing is unpleasant.

ty lee has actively refined a technique that makes her extremely dangerous without ever actually having to cause long-lasting damage to someone physically (psychologically is another story). yet another W for ty lee air nomad heritage theory, but i digress. ty lee is smart enough that she never actually has to be personally responsible and culpable for killing anyone ever, but she is also submitting to and enabling the violence of an empire for the sake of her own survival, so it’s not like she’s not complicit either. so to ty lee, killing is also a tool, but one she personally doesn’t need to employ, which is a comfort to her.

iroh (technically you didn’t ask about him but he’s fascinating so i can’t just leave him out) used to view killing as a tool, and now views it as an inviolable taboo because it took him like over 50 years to recognize the inherent value of human life and the grief of losing a loved one. so it’s not that he grew up in a “kill or be killed world” that fostered his need to kill to ensure his survival, but simply that he grew up in paradigm that dictated that “killing is the path to attaining glory” and he was good at killing, and thus glorious. but then he experienced the consequences of that worldview firsthand, and had to completely recalibrate his own logic of conquest and domination. and so now he’s still capable of violence in equal measure, but is less willing to exercise it for purely shallow, destructive reasons. yay..??

jet actually does think that killing is fun and flirty. anyone who disagrees with him deserves to die because he is simply right about everything. sokka? closet fire nation sympathizer, obviously. guy he met on a boat who said “hey im not really interested in joining your child militia”? well he’s probably the prince of the fucking fire nation (okay he was right about that one but he had no way of knowing it so). he watched the rough rhinos burn down his house and murder his family with a smile on their faces, and a part of him that day calcified and decided that the only way to truly reclaim his power was to beat them at his own game. so he does everything in his power to control the people he can, to control his narrative, to refine his logic in a way that makes him the uncontested hero no matter what. but in truth, it’s quite simple: he wants power because he has none.

haru exists somewhere between “killing is a statement” and “killing is a tool.” killing is a tool because it functions as a statement. killing is a statement because it functions as a tool. violent resistance is necessary by any means necessary, but you know, in a nice way. he’s basically just the model of the “good” colonized subject who fights for collective liberation instead of personal empowerment, so it makes sense that he’s introduced before jet as like the emblem of what katara should do (how she should fight, what she would fight for) versus what she shouldn’t. which is like, perhaps a simplistic reduction of “good” vs “bad” methods of resistance into “our noble collective action” vs “their senseless terrorism,” but like. lol. what can you do

#turtles-alltheway-down #asks #analysis #toph #zuko #azula #suki #mai #ty lee #iroh #jet #haru #put the main three who matter here above and then the rest below the cut #sometimes i forget that zuko is a good character bc yall are so annoying about him…. but then i remember #i also need to talk about more at length about how azula rationalizes that the weak deserve to die thru ozai for MULTIPLE interconnected #reasons that I didn’t have time to get into here #and also just azula’s relationship to ozai in general #but im putting off actually writing that bc it is. genuinely devastating and i don’t wanna #anyway!!

[buttercupshands]

Chapter 419 Analysis or "How to make allies not pawns" a helpful guide from League of Villains (part 2)

This is now a second part of Tomura character analysis.

With chapter 419 being probably our last time seeing Tomura for a while, since we need to learn what happened with Aizawa now is time to remember that not only bad things exist it Tomura's life.

Warning of spoilers to the whole manga to the point of chapter 419! All of the warnings from My Villain Academy side of manga are applicable

So like... mentions of death, killing other people, manipulation, emotional abuse and many more!

This is Part 2 - See here for Part 1 of this depressing mess

With AFO being so sure that he knows better and actually controlled every single part of Tenko's life creating a Symbol of Fear without any redeeming qualities or even hope for saving after he destroys him. There's one thing that AFO still doesn't understand about Tomura and never did - and that's his allies, or the League of Villains that he created.

Even Kurogiri, being a Nomu who's views do not stray from what AFO thought was important didn't exactly understand what did Tomura think about his allies quick to assume that he thought of them as pawns all the was back in the Training Camp arc. With Tomura making game examples to explain the situation, he still didn't think of LoV as just pawns on a desk, like AFO does.

At the time of USJ arc there weren't many people Tomura called this, which could make you wonder how much it was just AFO's plan rather than Tomura's with him never worrying about those other villains yet getting so worked up over losing Nomu not only because he was strong enough to defend him from All-Might, but treating his defeat as something that must be avenged.

And that was long before Stain even entered the picture, the first of three people who greatly affected Tomura's view of his own motives alongside AFO's manipulation of literally everything else.

Tomura was terrified of fighting All-Might seconds before this and yet as this goes on it's becoming more noticeable - Tomura doesn't care for his own fear or worries as long as he's fighting for someone else's good. Not so different from how Izuku is ready to disregard himself for the sake of others, resulting in many injuries and being so close to dying so many times.

It never was a secret that Tomura is highly dependent on others to keep himself from losing confidence, or even will to fight, getting either too anxious to continue without anyone's reassurance.

And while AFO's "help" was mostly given only with some kind of lesson as we saw in "Tomura Shigaraki: Origin", with AFO literally sitting there, saying how Tenko is weak for not killing but showing some restrain instead suffering himself, never actually helping or comforting him. Only offering what he deemed nessesary for his own plan of making Tenko kill those thugs not caring that he's feeling sick from those hands.

But in USJ it's not AFO who's there with Tomura, it's Kurogiri, who was shown to still have some care that Shirakumo had that even Aizawa and Mic couldn't argue that it's similar to how Shirakumo couldn't just leave a kitten in the rain. No matter the responsibility that it would bring with taking a little one in.

A helpless little kitten that didn't get the help it needs from anyone else. Sounds way too familiar.

This never was a direct order from AFO other than he needs to "tend and protect" for Tomura, which can mean anything from just looking out when Tomura's sick, or protect him from any tread like someone trying to kill him.

Not helping him getting over his anxiety to fight or helping him and guiding him to do better as a leader of the League calming him if it got out of control. Which is somewhat opposite to the way AFO deals with Decay and Tomura's temper - letting him destroy anything even the hands that he gave him, just offering new ones when he succeedes and never really caring for his pawns, he can always get new ones.

And surely not asking if Tomura's well the first thing while talking to Heroes.

Which then leads us back to how Tomura never viewed anyone that he chose as pawns calling them his allies, with the word '仲間' which can even be translated as friends in needed context, but usually used as comrade or ally when Tomura says it. And the same thing is usually translated as "friend" when used by Twice.

In any case Tomura never once doubted his allies since he saw them as reliable, even if his first meeting with Toga and Dabi went so wrong that Kurogiri had to stop them from killing each other.

Up to the point of Training Camp AFO describes as him teaching Tomura to be independent which was at that point too far from the truth than he thought. If Tomura begging for AFO to leave with them is any indicator he actually was even less independent after All-Might almost caught them, making him doubt his own worth as a leader. Even if AFO's defeat finally let him think and wonder about himself and his past.

AFO believed that Tomura just knowing how to recruit people would suddenly make him great at using those new "pawns" which was proven wrong by Overhaul no so long after that. Showing how Tomura believed the same thing AFO did as well, fully trusting his judgement of anything including himself, all the while parroting what AFO says without fully understanding what it means.

Only after losing both Magne and Mr. Compress arm does Tomura slowly start making progress in becoming someone more than AFO tells him to do. Even if as we see in part 1 it used Decay as the ground to make it stable since he believed it was his quirk. And yet.

Even if Tomura didn't simply instruct his allies how to choose who to recruit, he never blamed them for it. On the opposite, when Twice was hard on himself after bringing Overhaul to them Tomura just looked at them for the first time without a hand on his face, or even on himself at all, showing how he trusts them as much as he would trust himself and believes that they can do it.

Taking off hands of his family would mean not relying on the conflicting feelings that they bring into the picture, something AFO would very much dissaprove, since he was now like an equal to everyone in LoV instead of being above them. He

And with this instead of making them blindly trust his decisions and following him from fear or adoration like people had been following AFO or Overhaul, he instead was an equal to them both in failure and victory that wasn't even all that guaranteed yet.

Each one of them had their own somewhat selfish goal that just seemed like they were just using each other without any worry being each other's pawns. Or maybe that's just how AFO would see them.

Yet it doesn't explain why did Toga care for Twice's trauma response of not having his mask on, since he already did his part and all that they both needed to do was done. But LoV was never about following orders or giving them, expecting for the pawns to follow without question. It was about a leader of the group that would stand up for his allies while allowing them full freedom, except when they needed to also accept that something is needed to be done for their own sake.

Like following Overhaul for a while all for cutting off his hands leaving him with nothing. Did that sound like something reasonable to do? No! They literally lost their chance at having sushi instead of just living at some abadoned building all the while occasionally searching for money or food, stealing and killing just to survive all while Tomura was just... waiting.

Nothing was really stable at the start of what we call My Villain Academia and yet no one from the LoV left while their state was... bad at the very least. No matter how AFO was teaching Tomura he was still left mostly waiting for something to happen rather than doing something to change the situation himself.

Sure, Tomura now was a famous leader of League of Villains that suddenly needed to be stopped rather that underestimated like before. But that was in the future, now LoV was laying low on funds and slowly Tomura showing his face became the norm, with him usually never wearing hands around LoV.

And with Tomura becoming more and more comfortable around LoV, the LoV itself was becoming more like a place that had one core value that accepted anything else added without anyone wondering about the past of others, like Compress said. Just some selfish people, who still followed their own needs first.

And yet somehow Toga, who joined just because she loved Stain and disliked how life was too hard found her place in the LoV alongside Twice who just needed to be trusted and trust in return. If Tomura only followed what AFO deemed to be the best way to lead no one would actually feel like they're accepted in the LoV as much as they were.

Goal or no goal Tomura succeeded even without having the whole world at the palm of his hands by just never pressing anyone to actually follow him - if they wanted to they could've just left here and there, but since they chose to follow he did what he thought was the obvious best - let his allies do what they wanted.

Which was okay for someone like Toga or Dabi who were either already comfortable by just being allowed to be themselves or being free to plan their own things for their own goals.

But not exactly that for Spinner. Who was instead literally searching for someone to show him what to do, not so different from Tomura, who still only followed whatever 'his Sensei' deemed worthy for him to look into, like letting Kurogiri go find unknown "power" that AFO left along with contact with Doctor.

And while Spinner was not fine with still being hollow even while following Tomura pretending that it's the same thing as following Stain... all it took for him to look differently at how exactly was Tomura thinking was the last real "barrier" that there was - Tomura basically spilling his whole backstory and motivations mostly for LoV to listen to, since Doctor was just testing Tomura's will all according to AFO's plan.

And after that it didn't took too long for Spinner to now follow Tomura, even if it was still not the time to really see the 'warped horizon that was waiting for them'. And yet in times where Tomura still showed some doubt over his decisions - that one old trait of his showing up like it was always at the back of his head not so different from USJ, only thing changing that Tomura got better and better at not letting his emotions control him so easily.

Since the price of that would literally be lifes of his allies.

And neither that or using their emotions to his own benefit was ever in his plans, contrast to AFO manipulating Tomura to do just that. Letting his emotions consume him completely just for his own goal and for his own sake. But as a person who was so familiar with this Tomura still was adamant at NOT allowing something like this to happen to his friends allies.

Effectively creating a bond between all six of them, including Toya that in the end kept them together until the very final arc, with Spinner keeping what Tomura would've thought and with him waking up and calling Machia to get LoV first and foremost Spinner did understand their's leader wishes, as well as Twice's who literally died for his friends.

With all that happening in the War arc the moment AFO returned with both being in control of Tomura's body and just abadoned anything that Tomura would care for like leaving Mr. Compress and Machia behind just to punish him for not getting OFA or not even caring to show any actual respect for Tomura's wishes. Instead showing how little he actually cared for anything but his own good.

But while AFO made so many pawns that he could change like gloves at any given moment, threating them and manipulating them with his power and quirks, Tomura only had 6 allies who stayed after AFO was caught and who were willing to die just to live the life they wanted.

And AFO couldn't give them that.

Even if Decay isn't Tenko's quirk and even if he has so much guilt for killing without it being a little bit justified by it...

LoV still followed him as a person who allowed them to live as they please and so what they want, not some all-powerfull overlord but an ally and a leader who had his flaws and fallings.

#bnha #shigaraki tomura #tenko shimura #league of villains #bnha manga spoilers #bnha analysis #character analysis #character study #kurogiri #toga himiko #twice #dabi #spinner #mr compress #and All For One can go to hell I won't tag him again #with the Kurogiri part you may notice how I just want to see Kurogiri actually helping Tomura #it's either him or mr. compress now #and yeah the fact that both Twice and Himiko died remembering LoV was painful #AFO calling Tenko weak all the while he himself didn't make any lasting good empression like that on anyone #while Tenko just was like 'yeah my friends need something they'll get it' #insert that one page where he literally just got them sushi first thing after becoming a new MLA commander #how dares AFO call Tenko pitiful if he literally did his best with what he had #all the while AFO just made his life insufferable for him to be angry and hateful #and yes I didn't call them family or friends for the most part since the canon INSISTS that Tomura is saying allies #which is a really neutral way to say friends imo #I'm still thinking about a Tangled crossover with LoV like Tomura literally got his only taste of freedom with LoV by his side #bnha 419 #my villain academia #five years later and it's still the best arc of MHA #an honestly it's more of a ch 418 analysis

[blueskittlesart]

do u have any navi thoughts from your oot replay

i've been waiting to answer this until I actually beat the game in my current playthrough because navi is another one of those characters that i think of in like a "set" with several other characters who serve relatively the same thematic purpose; in this case that purpose being the "mother" character, and i wanted to have all the characters in that set fresh in my mind. it's notable that while oot shows us very clear and consistent instances of the ways in which the adults of hyrule fail to protect their children, there ARE several adults who DO go out of their way to both oppose ganondorf and protect and nurture the children under their care. All of these characters are adult women, and all of them explicitly help the children out of some sort of parental responsibility or sense of duty towards them. in this group I include link's late mother, impa, nabooru, and navi.

all 4 mother characters, despite being adults or adult-coded, reject the inaction mentality which characterizes other adults in the game. they become either direct supports or shields to their children from the conflict the world has to offer them, and they are always explicitly punished for their interference--link's mother is killed trying to protect her son, impa's village is burned, nabooru is brainwashed. The mother's fatal flaw is that she will protect her child above all else, even in a world in which children cannot truly be protected. however, with the exception of link's mother, these characters manage to persist even in the face of her punishment, and this is where I think navi becomes the exemplary character.

Navi, after a lifetime of being link's only support system, the only adult in his life he could truly, consistently count on, receives her punishment at the hands of ganondorf--in the final battle, she is pushed out. she is unable to reach her child. she cannot protect him. However, BECAUSE link has grown up with her at his side, he is strong enough to take ganondorf down. and when ganon rises again, navi is there to support link, promising not to leave his side, and the intuitive targeting of that battle (a mechanic which navi is inherently tied to!!) makes it a cinch to win. Navi, and the other mothers we meet, are a reminder to the player that the world doesn't HAVE to be the way it is. Their persistence when punished, their insistence that their children ought to be protected, is a reminder that good adults do exist, and that good adults raise good children. link and zelda are able to win in spite of the adults who refused to help them, but also BECAUSE of the adults who DID. It's a reinforcement of the core theme of oot--that childlike idea that the world SHOULD be good and fair and if it isn't, it should be changed until it is. The mothers of oot are examples of what the world COULD be, reminders that it is possible to grow up without losing hope or growing bitter, and they are examples of the next step for the children they've raised to change the word--to continue fighting even in the face of punishment, to refuse inaction, and to foster that same hope and persistence in the generations to come.

#one thing i've really been noticing this time around is the specific way in which navi's targeting works #because even though other 3d games have that targeting mechanic navi's targeting is noticeably different #in two ways. the first being that she specifically targets weak spots in enemies almost as if she is pointing them out to link #and the second being that she is capable of targeting things link himself doesn't see #whether it be invisible enemies or triggers that are out of his reach or scarecrow points or whatever #it's really reminiscent to me of the way you teach problem solving skills to a kid. you see them struggling with something and beginning to #get frustrated and you say 'hey let's look around. do you see any solutions?' and if they can't see the solution themself you might point #and say 'hey what's that?' just to get their attention on it and help facilitate that train of thought for them #because like in most other games targeting is sort of assumed to be link's own intuition in battle #and therefore it will usually allow you to focus on one enemy within a swarm of them but it won't explicitly light up the weak spot for you #navi does that for link because she's essentially the mother teaching her kid how to problem-solve. #and when she's taken away in the final battle link is able to fight anyway BECAUSE she put so much time and effort into raising him #that he no longer needs her to facilitate that problem-solving process. he already knows how to beat ganondorf #because he's done it with her before. and that's exactly the mother's role in her child's life #protect him and raise him as best you can so that when you can no longer be by his side he isn't afraid. #foster that sense of justice and encourage him to keep fighting to change the world even when it seems unchangeable. #god. ocarina of fucking time #zelda analysis #asks