are we talking about the same character who was willing to die for her in order to give her a chance

Not everyone is going to survive ACO3

I’m sorry for this.

I’ve seen a lot of posts talking about the neat, predictable little ships SJM has organized for her characters at the end of ACOMAF, and the fact that they seem predictable and that this is SJM we’re talking about really makes me think that not everyone will survive. I’m going to organize the post based on how likely I think that the character will die (excluding villains because this post is about character deaths that we won’t cheer at), going from least likely to most likely.

Feyre, Rhysand, and Cassian:

Given their healing arcs in ACOMAF, I think that it’s unlikely that either Feyre or Rhys will die, and since Cassian got injured at the end of ACOMAF, I think he’s going to survive ACO3.

Lucien, Elain, and Nesta:

Lucien, Elain, and Nesta all have a lot of development to go through in ACO3, and SJM has said that Nesta especially is one of her favorite characters to write. That said, given how quickly the mate bond affected Lucien, I definitely think that he would die for Elain, and that Elain would die for him or one of her sisters. If Elain does die, it’s going to be heartbreaking because it’s Elain. Think of how surprising it was when she wished for all of the mortal queens to go to hell. Elain dying in order to protect Nesta, Feyre, or Lucien would be unexpected but completely in character for her at the same time, and I know that I would cry buckets of tears over the gentlest sister giving her life to protect Feyre and Nesta and the two of them growing closer after her death, and before I get too off-track, I also think that Nesta could die like that– protecting Feyre, Elain and Lucien, or Cassian. However, Elain and Nesta still have a lot of development to go through, so while they could die, I don’t think it’s too likely, and Lucien deserves better while also potentially having to take over the mantle of the Spring Court when if Tamlin dies.

Amren and Mor:

Clearly, we still need to learn about what exactly Amren is (I have no theories tbh), and what better way than on her deathbed? Kidding, but Amren’s arc in the next book could easily be one where we learn who and what exactly she is in preparation for her ultimate sacrifice. Amren is “thorny” on the outside, but on the inside, she’s loyal af to the Court of Dreams, and I have no doubt in my mind that she would die for any of them if she needed to. Mor is also incredibly loyal to the squad, and if she does die, I believe that it would be for Az and Cassian. The two males are so important to her, and her offering them the chance to live as they offered her hundreds of years ago. While both Amren and Mor are high risk characters, at least in my mind, none is more high-risk than…


If I make it through this without crying, it’ll be a miracle. Az is a loyal, dangerous-looking teddy bear, and he would die for any memeber of the Court of Dreams, even Amren. However the character I see him as most willing to die for is Cassian, because Cassian nearly died defending him, and from a writing perspective, it would form a really nice parallel between the two of them. HOWEVER, if he dies before him and Mor confess their feelings for each other, I will not be ok. I won’t be ok if any of these characters die, but especially Azriel. Fear-mongering rant over; I’m so sorry.

Tl;dr Azriel is the character most likely to die in ACO3 because of the parallel it would form and the hearts it would break, but there’s a chance that several of the other characters could die as well.

anonymous asked:

Since you've talked a lot about "why Ouma is not Komaeda", would it be okay if I asked you what your take is on Saihara's differences with Hinata?

This is a really fun question, actually! I’ve talked about how Saihara is his own character, as well as his differences from Naegi and Hinata on a more general level, but I don’t think I’ve ever gone into explicit detail about how different he is from Hinata.

I’ve seen a lot of people raise complaints about Saihara’s similarities with both previous protagonists. With Naegi, the accusations are that both of them are “weak” or “ordinary,” but with Hinata the accusations are generally more directed towards the fact that both of them as protagonists are far more depressed than someone optimistic like Naegi, and both of them struggle with issues like their own self-image. However, the reasons for why they grapple with these things are quite different.

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anonymous asked:

I'm out of songs to listen to, and I am probably bothering you, but also requesting a list of your fave Starset songs, and what they remind you of. (I want a lot of SW feels-y songs please!!) Thanks :)

A list of my favorite Starset songs? How about the full tracklisting of both their albums? :D

More seriously (in tracklist order, because I couldn’t rank them…), Down With The Fallen, Telescope, Dark On Me, The Future Is Now, Point Of No Return, Satellite, Frequency, Die For You, Ricochet, Starlight, Unbecoming, Monster, and Telepathic. Still a very long list, but at least it’s not just “all of them!”

For a more specific breakdown of why:

  • Down With The Fallen - it starts with respirator and heart monitor sounds. Hmm… *cough*Vader*cough* The lyrics are very Vader as well. “Turn away from all that I know, burning this bridge behind me.” Plus, all the talk of being fallen. And “Light the way and I’ll follow where you go,” is him talking to Luke.
  • Telescope - This one is less specifically for a character, but I can see the first verse as Luke on Tatooine pre-ANH, looking up at the stars and longing for his father. The second verse is after they’ve met and both know the truth. “I find you in the night” is when Luke goes to him on Endor. But the chorus is more Anakin and Padmé. My tag for them is from there: “in the light of all the stars aligned.”
  • Dark On Me - This one is obviously Luke and Vader. My tag for them is from this one. It’s hard to tell which one would be singing. It would kind of trade off line by line.
  • The Future Is Now - Very Vader, longing to have Padmé back, but also calling to Luke. “With the full force of a dying star, I will find you, if you’re near or far, wherever you are.” The line “I have half a life to rewrite” I see very much as Vader deciding to save Luke in the end of ROTJ.
  • Point Of No Return - This is pretty much Vader’s theme song. “There’s a memory of how we used to be, that I can see through the flames.” “But I can’t go back.” “The ashes call my name.” “Embracing the fear, chasing the fight,” “the bridges are burning, the heat’s on my face, making the past an unreachable place.” “I know, this is the point of no return.” It’s basically the end of ROTS, and not just Mustafar, but from the moment he cut off Mace’s hand, that was the first bridge he burned, and it all went up in flames (terrible pun intended) from there.
  • Satellite - Vader and Luke. “My satellite, I am here tonight. Shine your light and set me free, take the darkness out of me, shine on me.” It took Luke and his Light and love to free Vader from the darkness. “Far across the emptiness I walk the night, and search the silence in the dark you left behind. I seek the stars above the worlds to be the guide, they are pale against the light in your eyes.” This could be Vader talking about Padmé or Luke after he jumped at Bespin.
  • Frequency - Vader and Luke, again. Is anyone surprised? After Bespin, when he’s trying to contact Luke and find him, and Luke’s having none of this. “And now the silence screams that you are gone, you’ve tuned me out, I’ve lost your frequency.” He messed up, he lost his chance to have his son at his side (or so he thinks). There’s also memories of Padmé: “Left inside a half life, irradiated memories, these memories, they never leave.” And of course, the consequences of him turning to the Dark Side to try to save her: “I’m in the shallows, stuck in the gallows, I tried to save you now I’m swallowed.”
  • Die For You - I’ll give you one guess for this one! This one mostly goes both ways. The first bit, “I will run alone tonight, without you by my side,” is very Vader to Luke. “I know inside, the walls you hide behind, and I saw the truth inside the real you,” is Luke to Vader. The pre-chorus is Luke to Vader: “Because I know you’re lost when you run away, into the same black holes and black mistakes … when are you coming home?” Luke just wants his father to break free and come with him. The chorus itself goes both ways. “Even if the sky does fall, even if they take it all, there’s no pain that I won’t go through, even if I have to die for you.” Luke was willing to risk death to try to save his father, then willing to die when he refused to kill Vader. Then of course, Vader returns this and actually does die for Luke.
  • Ricochet - Both Padmé and Luke to Vader. “But when I send my heart your way, it bounces off the walls you made, ricochet.” And of course when Vader asks to see Luke with his own eyes, just one time: “But I’ve been dying just to see your face, and all I wanted was to say goodbye.”
  • Starlight - Rogue One! For something different. :) For one thing, the first word is “Stardust.” Then the ending: “Farewell, the void is calling. Don’t fear for futures and dreams. They’re fleeting, retreating. It’s okay, I promise.” They all die, but they don’t have to worry, because they accomplished their mission. “I’ll turn, I won’t look away, I’ll stay here,” is very Jyn and Cassian at the end.
  • Unbecoming - Also Vader’s theme song. “I lost myself inside the night, and flew higher than I ever had … I clipped my wings and fell from flight to open water and floated farther away from myself.” He turned to achieve a goal, but his fall destroyed any chance he had of saving Padmé and instead was the catalyst for her death and the destruction of who he had been. “There’s no dreams in the waves, only monsters, and the monsters are my only friends.” He didn’t get what he wanted by turning, and now all he’s left with is Palpatine, his new slave master, and painful, haunting memories. “Cauterized and atrophied, this is my unbecoming.” Again, the destruction of who he had been. And then of course, Palpatine rubs it in: “And you laugh as I search for a harbor, as you point where your halo had been … there’s no angel in you in the end.” Palpatine betrayed him, pretending to be a mentor and a friend, someone who could help, but destroyed him in the end.
  • Monster - This song is fittingly right after Unbecoming on the album. If the last song was about how Anakin unbecame himself, then this is about what he became as Vader, thanks to Palpatine. His reconstruction after Mustafar: “Under the knife I surrender, the innocence yours to consume, you cut it away and you fill me up with hate. Into the silence you sent me, into the fire consumed.” Palpatine and the Empire is all he has left: “You’re the pulse in my veins, you’re the war that I wage … will you cage me?” “Can you change me from the monster you made me?” Palpatine built the Empire by manipulating and using Anakin/Vader: “This is the world you’ve created, the product of what I’ve become. My soul and my youth, seems it’s all for you to use.” Vader regrets ever letting himself be fooled and manipulated into losing everything, but he can’t free himself of Palpatine or the darkness: “If I could take back the moment I let you get under my skin, relent or resist? Seems the monster always wins.” He’s lost everything. “My heart’s an artifice, a decoy soul. Who knew the emptiness could be so cold? I’ve lost the parts of me that make me whole. I am the darkness, I’m a monster.”
  • Telepathic - Back to Vader and Luke. “And if I had my way, I would run to the rescue.” This is both Vader, wanting to keep Luke from the Emperor, and Luke, wanting to rescue his father from the Emperor and the Dark Side. Vader wants Luke to join him, “You can run, you can run away, but I will wait in the dark for you. Should’ve never felt this way, cuz you’re the sun and I’m just a moon.” Luke is so full of Light, and Vader is just a reflection of who he used to be, a reflection of the person he can see in Luke. “I’m in the dark ‘til you light the way, cuz I’m see through. You can read my mind.” He can’t break free until Luke shows up and guides him back. Even though he tries to say it’s too late for him, Luke can see that for the lie it is and see to who he really is.

So this got longer than I was expecting it to. But there’s some Starset/Star Wars feels for you!

anonymous asked:

Do you think female Astartes have to happen, do we need them?

Short answer: Kinda but not really, we have a lot of amazing female characters 40k and Fantasy. The fact how people almost ignore all these female characters but then turn around and demand more female characters pisses me off. That, and while I would like to have some female Astartes, I also know they may be possible physiologically but not with how the Imperium functions currently. There are also other smaller problems that get in the way. It’d be nice, but I wouldn’t be sad if it never happens.

Long answer:

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Once More with Feeling

I’ve been discussing with @hysyartmaskstudio

All of the final match ups within Rue that are lining up for what right now seems to be the end of the arc. I suspected that Ui would be the one to face off with the white suits, but I could never really think of why until this chapter hit. Thematically how would Naki, the white suits, Miza, and Tsukiyama, parallel to characters they’ve never even interacted before that make up the current fighting force against them, namely Ui, Fura, Kuramoto and Bujin. 

The moment Tsukiyama appeared though, the secret became clear. As Matsumae learned in her last stand, it’s all about feelings. 

Aogiri and the CCG members present provide a stark contrast in how they present their feelings, and how those feelings motivate them to fight. 

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Puella Magi Madoka Magica, Shingeki no Kyojin, and Why They're Closer Than They Look


  • The way both series smash the expectations of their respective genre
  • The same core theme that both stories hang their narrative on
  • The striking similarities between several characters
  • What this similarity could mean for some of Snk’s greatest mysteries, as well as the eventual fates of the 104th and Survey Corps

(A warning: from here on out, there will be abundant spoilers for both series- and for SnK, that means the manga. Don’t read if you’re not entirely up to date on both.

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Analysis of Historia Riess /Krista Lenz (snk)

In this post I want to analyze one of the most hated, sometimes beloved, and long ago ignored character whose internal dilemma results to me quite interesting and believes it should be analyzed.
This more than about conspiracy theories regarding snk possible future events will be more alike to psychoanalysis of Historia Reiss/Krista Lenz social factors that affected her, the reasons behind her actions (which as we all know are not the best) and possible purpose in the manga.

Starting by the fact that they are two characters in here and the question of who is the alter ego o who and how did it all started? As Julio Cortázar says in his work A Certain Lucas in the 10th chapter of the first part “Jekyll knows very well who Hyde is, but the knowledge is not reciprocal. Lucas thinks that almost everybody shares Hyde’s ignorance”. This is why I would like to analyze each personality of Historia Reiss as an independent one, none of the personalities or characters will have a relation with the others till the end. For this I will start with Krista Lenz, then I’ll move on to Historia Reiss during her childhood, and finalize with the Historia of the current chapters.

You can read the characters/personalities analysis in the order you wish.

Note: For the analysis I am using psychological facts and ideas, but I won´t give emphasis to this one’s till the end of the post. THEY ARE SPOILER HERE If you haven´t read the last snk manga chapter, read it, cry and then come back hehe ;D

1. Krista Lenz: Who is Krista and when is she actually present?

Krista Lenz is this cute pretty girl who joined the survey corps for reasons unknown. She is sweet and kind, always positive and willing to help others. It sound like a too perfect girl, doesn’t it? She is mostly happy; her emotions clearly play a big role in her life. This kind of behavior is constant and it has no alteration during the begging of the series. Plus, she owns a very passive personality, one that in certain cases means the hiding of feelings as insecurity, inferiority or internal anger.

I could talk about countless examples of Krista being positive minded and charitable – a good ones are the chapters of Castle Utgard (chapter 37, 38 and part o 39); how she is constantly trying to give safety as the carrying woman she is, proving her owning of this stereotypical perfect lady look that people seem to either like or simply be ok with. Nevertheless it is on these chapters that Ymir makes visible to use the gloomy side of Krista we are all interesting to hear.

(As Eren says, to him it seemed kind of plastic or unreal; this is a clear hint of how Krista was probably hold by certain rules either she or someone else created – by being this something of rules and not morals, it makes evident the fakeness Eren was talking about).

Going back to the moment Krista took the decision of joining the survey corps, which was also the first time tears were shown in her eyes - Yes, she is human, and humans are allowed to cry; but this is Krista, the cheerful goddess who walks on the living terrain, it is not expected to see her cry for a “personal” decision.

Could this be and intend to proof her soft and sensitive personality? Or is she trying to be socially accepted by adopting the same emotions of the ones who surround her- just looks and Sasha and Connie, they are the best ;D

Or is it the idea of dying too strong for her? 

Ymir, who in this case would work as our eyes, since she is probably the person who knows Krista better than anyone else, says something very interesting in chapter 39 when Krista propose this heroic death of fighting together.

I quote “It´s not like you really want not to die… you always thinking what way you could die so that you get praised for it. Am I wrong?” probably not. Plus, as she said back then in the beginning to the moment Ymir is making reference to “Why´d you even stay if that put you on the verge of tears”.

Indeed, the idea of dying is not new to Krista, but why is it so constant for her? Using Ymir words as main information basis, Krista is this girl in search of an honorable death, of one that brings her the respect she desires.

This is understandable, of course, who wants to die because of a banana? I believe no one, imagine yourself in the sky full of people with interesting stories about their death and you sitting there thinking on how your story resume is a damn banana. Ñe, not nice. That is what Krista is looking for, she does not want to be forgotten as a no one; she wants a name, an identity, to be remembered and respected.

Remember the flashback of Krista and Ymir in the snow?

Krista was going to die in order to “save” a man who was almost death with cero chances of surviving; the only thing left was a known death, that someone found his body and brought it to his family so his material existence did not disappear in silence.

For Krista this man was her ticket to her goal, one of sacrifice for the brother.

In resume, Krista is this girl that appeared at the begging of the series and died in the middle; ones whose life is ruled by certain norms of acting chosen by herself; being nice, sweet, kind - the perfect lady everybody would admire and remember. Lenz has a desire for an image, a reputation based on following the rules, even if this meant suffocation (to recover what they took from her – see the images above). Krista, in look for an end to her misery – as she is repressing her emotions -, decides to die. But not as any regular individual would do, she pursues an honorable death, if that’s not the case, a death with impact, a death that does not pass unnoticed; a death and a live she could only achieve by being someone else and not herself, someone “perfect” (which, as we all know, is not possible).

2. Historia Reiss during childhood: Who is this little girl and what could we have expected form her on the future?

Historia Reiss is a little girl, one who lives in a small farm located within a nobleman’s (Lord Reiss) territory. She is a bastard - illegitimate child (sorry if I offend anyone, but I love the world bastard too much and will keep using it) -, her mother is a common peasant, ones who despite owning an amazing beauty, spends most of her time in silent reading a book; in difference from Historia, who despite her young age spend her time doing house work; she does not interact that much with her family or neighbors, it is not that accepted socially (apparently), still she does not seem to need it either, for her that’s “normal” – sounds like the beginning of a Disney movie, doesn’t it?

It is not till the moment Historia learns to write and read she realizes the contrast between books and her daily life. Who is the one living inside a fairytale? Of course not the common fairytale we listened at when we were 3 years old, but to the gloomy ones of the Grimm Brothers.

Historia, by not having the life her book describes, tries to pursue this reality (ex. When she tried to surprise her mom by hugging her): as expected it did not turn out as she thought, however for a couple of seconds her world was the same from her books, and that was enough for he. She does not understand the idea of hate and care yet, for her it was a simple act of touch. Some people find this stupid or terrifying, but it is not, actually it is just a very good example of the role of innocence in a child’s brain.

The interesting thing here despite Historias´ discovering of how her world is not one people would write novels about (inside the snk universe), is how she implies this to her own existence. For her, the problem is not outside of the farm, it is inside of her: her existence is not constantly present for others individuals unless it is about house work (grandparents) or distraction (neighbors), therefore it will never be written in a piece of paper. Still, thanks to the innocence and happiness of her age, Historia finds herself, animals, house work and books with the power of giving her glimpse to a different world and roles to play enough ingredients for a life.

As the character we talked about before (Krista Lenz), Historia is positive minded, there are no gloomy thoughts in her world; maybe getting to the solution or goal is not as easy as she would like to, but knowing the answer or possibility exist (in this case the books would be a prove) is enough for her.

But Historia was not a lone, or at least that is what her mind is unable to remember. Frieda is her half – sister, she by taking a more maternal figure in this story, teaches Historia how to read and write, becoming someone precious to Historia and even a role model.

As in the panels above, Frieda is also the one who will encourage moral in Historia and not just farm work. She teacher her how to be more “lady-like”: a contrast between the world´s cruel reality, a silver lighting of kindness to the people around her, as (I quote) “just with the love of the others working together could be possible”.

Even though it is implied that Historia will forget all of that, what she learns is still in her mind; as reading and writing, there would be also morals or values regarding lady behavior.

Despite the cruel reality Historia could have faced, she will still be worried for being a lady as her sister taught her (she is her role model at the end). Historia could have probably grown to be this beautiful farmer with kind heart who, unfortunately, few people had luck to meet (if it has not being by the fact that her mother was killed in front of her eyes and her father rename her with a new identity – Krista Lenz).

In resume, Historia is just as any little innocent girl, one with big eyes looking for positive ideas as she tries to accomplish the farm work by behaving as a lady too. The gloom of the world is not actually present for her, there are distraction all around and roles from books to play; a little girl inside a fairytale – one who finished quite fast if you ask me.

3. Historia Reiss in the current snk chapters: who is Historia and what are her priorities?

Historia is different to both personalities we saw before; in her case it seems to be some dislike for this good girl Krista, for this exception of the real hopeless world she lives in. Rather than empty, she is a mind rational affected by the gloom of reality; or as Eren says “a stupidly honest regular person” (I don´t know you but this phrase of his is like sdjhgkjsdgsk :3 hehe).

Historia is also someone who would rather stay lost in her own thoughts than chatting with different people or worrying for the will of others; as in her own perspective, there are too many things to think off regarding herself than the sake of the ones who surround her.

Still, she is not a robot with no happy feelings; she has some sense of gratitude too – as she has grown with a negative perspective of society, the only hope on humanity she actually have would be the people she met when she was still a little child and things could had been solved (since the people she met not long ago as Ymir ended up breaking her heart, they made choices for themselves and not others). Because of this plus her father mind manipulation (you bastard) Historia is going the complete the biggest mistake in her life: avenge her only hope of changing the life she had (Frieda) by killing the only person she opened up besides Ymir and who is probably more similar to her than she beliefs.

4. Who is the alter Ego of whom?

“Jekyll knows very well who Hyde is, but the knowledge is not reciprocal. Lucas thinks that almost everybody shares Hyde’s ignorance” – Julio Cortázar, a Certain Lucas (sorry I love this idiot too much, hehe). In other words, Historia is aware of the existence of Krista, but the knowledge is not reciprocal, as Krista is not aware of this other character, she is an alter ego.

They are different kinds of egos as states (ex. An strict boss and loving mother); for this case, our definition of alter ego would be the creation of an external individual a certain person does within themselves in order to relate with by seeing it as an ideal (Ladock).

If we link the three personalities we just analyzed into one, Historia´s childhood ideal would had been something similar to what Krista is. Historia (the one of the current chapters) on the other case, is the complete contrast, she does not even like or admire Krista (since chapter 50.5 when she renounced to such possibility), as the existence of someone as Krista Lenz is considered impossible to Historia.

If we follow the dots; Historia is this girl who lives in a farm, full of house work, loneliness and ideals of life found in a book. Such thing is untouchable for her, a dream she is not allowed to live. Then, one day her father gives her the opportunity of achieving this ideal and she takes it; yet this decision was more an obligation in order to achieve survival. For this, she uses the last pieces she has got of innocence and hope to become Krista Lenz.

She is now going to live the life of her books by going back to what she was before – innocent and positive minded – yet better, because now she is going to be a lady by “nature”.

Still, all this lady acting has not have sense for her, they are rules instead of morals, something she has to follow in order to have a new identity and respect, so in her death she is remembered as a bless form god and not a curse of destiny.

Krista starts to become unable of following her “morals”, getting sick of such acting and deciding to die, because at the end that’s all she actually wants, to stop this story in a good way, as a book would end. ´Cause that’s all Krista is, a character of a book, something unreal, impossible.

Krista dies (in theory) and Historia takes place, though she has been present in the whole manga actually, suppressing her true ideas and emotions by playing a role, believing this would give her the live she wanted.

Something change and others maintain the same; at both ages Historia felt some security inside her thoughts; with difference that as a child she had a positive mind and ideal, now she is rational minded, being able to face the reality of her world without silver lightings.

5. So what is her dilemma? A pursue for an ideal of good perfect girl that only exist inside books. Achieving this would mean to Historia the proof that a happy life is indeed possible for her: a caring mother, friends, respect, and recognition, being someone people would miss or remember. But this does not fit in Historia´s minds, because she is rational, she is no longer positive minded or innocent, she is now aware of the gloom of the world around her and has no interest on making the difference, because this would mean being Krista Lenz: unreal, reject her own existence as people did before by resigning to her name.

Historia is aware that this lady-like woman is something she would never achieve. It is a poisonous desire: it kills her and her ideal. Historia “dies” the moment she renounces to herself and become Krista Lenz, executing the desires of the ones who drove her to this – not existing. And she won’t be able to recover herself till the moment she kills her ideal, accepting its impossibility and forgetting all her earlier beliefs.

6. Purpose in the manga:

So, mi favorite part but also the one I fear the most haha.

Anyhow, having on mind all the things we just talked about and the recent events in snk; Historia is both a symbolism of hope and human-puppets in shingeki´s universe.

If am not wrong, almost every character has some faith for defeating the titans (mostly fed by rage, still there is hope; they all have hope for something, which has always surprised me as indeed snk world’s in terms of bio and politics is not an utopia. Historia is the representation of hopeless: how so much positivisms and expectation can drive us to the complete contrast. We don´t know if they would be a chance to save humanity, but remember the original end Isayama planned? The one in which literally everyone died? Well, if that was the case, it would be quite better sweet. Maybe I am going to crazy with this, but it’s like when you have a crush on someone and then puff! he is the worst guy on earth and you feel as crap for being so naïve. Maybe Historia felt this way as well. Or maybe it is more of hope loss than disappointment, as that love you will never be able to achieve (yes, I am not lucky in this romantic crap) but yeah, she is the representation of a little kid thrown to an apocalyptic world.

As in the recent chapters, her Father has been literally using her as a desperate measure; he is playing with her mind and memories so she does the biggest mistake in her life. He tells her sorry and everything to then inject her some blood and transform her in a monster she is not ready to control. Plus, some while ago I read a post of how “naïve” Historia could be right now, as her sister had mental powers, and probably she wasn´t that nice with her; and in the case she was a beautiful living human that loved her little half sister, everyone in the Reiss family new (apparently) the fact that Frieda went constantly to visit Historia, so this could have been planned all the way through. Historia did not work for the Reiss as she was a bastard, so they throw her away; now they need her and decided to recycle her: with all her traumas and doubts, using them as a way to manipulate her mind on their favor. Probably Lord Reiss considers Historia a joke right now, and a very useful one.

All this manipulation Historia is living is a representation of the whole (well, most of) the people inside the snk world are living; the scouting legion and all seems a way of entertainment to the ones who know the truth and that what they are doing is probably hopeless. Humanity has become the joke of a mistake or way of control (we still don´t know completely why the titans exist). We are like Historia – ok, them -, a puppet fighting for an impossible cause with innocent eyes full of faith; and the ones who already now the truth and had accepted it, hide their knowledge to then act supper rational and realistic, similar to Historia, no?


So yep, this was the analysis haha. Hope you liked it! If you have any thoughts please don´t hesitate to let me now! By a reblog, message, question, post whatever you want! Sorry if I had grammatical mistakes, English is not my mother language so yeah that´s all, thanks for reading ;D


Why “The Impossible Girl” is My Favourite Arc

(Requested by and dedicated to taiey – happy holidays, love!)

Even as I write this I can’t help but recall that I’ve loved many other story arcs on Doctor Who, particularly in Moffat’s run. Still, the ones which come to my mind first when I consider other potential contenders for the “title”, so to speak, tend to be more related to long-term character development – particularly Amy’s and River’s growth throughout their episodes on the show – than to “traditional” instances of extended storytelling as found in the often season-long story arcs which characterise New Who. Moreover, I am writing this before the airing of The Time of the Doctor, so we are hardly at the end of Moffat’s time on the show.

But whatever the future will bring, “The Impossible Girl” will always remain at least one of my favourites though, for a variety of reasons. I believe it to be an incredibly smart way of introducing the first “proper” new companion in the Eleventh Doctor era after he loses the Ponds. Clara is a compelling, wonderful character and both Jenna’s and Matt’s acting contributes considerably to my enjoyment of this arc. Moreover, the whole storytelling benefits from a much tighter execution than is usually the case in Moffat’s writing, although I like the existence of continuing story threads throughout the entire era. But my main reason for loving Clara’s arc is the successful play with the audience’s expectations of what a Moffat era storyline looks like and the ultimate subversion of tropes we had become accustomed to. Clara Oswald, the mystery, the woman with the thousand monikers (“the girl who can”, “the woman twice dead”, “soufflé girl” and “the impossible girl") turns out to be… just Clara.

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CARYL - Romantic Altruism

Carylers talk a lot about why we ship Carol and Daryl together, why we think these two would perfectly enhance each other’s existence in the world in the world they are living in now and why it is that we believe they are so compatible together.

The first and biggest thing that comes to mind has always been something that I think is at the core of both Carol and Daryl and something that is not just essential to how they relate to each other but is a trait that in essence makes them better for both one another and the whole group as well. It’s a quality that they’ve carried within before the world changed and it was exactly the destruction of that world that allowed them to express that part of them in ways that would elevate who they were in each other’s eyes and the eyes of everyone who was around to both witness it and benefit from it’s expression.

What I am talking about is not exactly romantic in itself but it is at the core of all the LOVE Carol and Daryl so fervently and unselfishly bestowed on each other (in ways sometimes hard to recognize) and the group who often times took it’s expression for granted or worse rejected it without finesse or thanks.

- feelings and behavior that show a desire to help other people and a lack of selfishness
- unselfish regard for or devotion to the welfare of others
- behavior by an animal that is not beneficial to or may be harmful to itself but that benefits others of its species

Both Carol and Daryl are completely and utterly altruistic when it comes to dealing with each other and their pre and post-apocalyptic “families” AND one can even say that the ZA “event” and the individual “freedom” they gained through it could have been an opportunity to reel that instinct in BUT on the contrary that part of their being got stronger.
As their lives got harder and danger became more imminent, their bonds with this “new family” got stronger and as such, their innate need to protect and care for the ones they “belonged with”, started to shine even brighter.
The reasons to “protect” piled on and the motivation behind almost everything they did started to take an altruistic self-sacrifice pattern.

The way Carol and Daryl expressed their instincts to shield and “take care” of people were of course different and influenced by the skills they happened to have BUT the reasons “why” they did everything followed a very similar “greater good” pattern.

One of the biggest factors in the CARYL bond is the aspect of unconditional understanding and deep recognition of each other. Daryl and Carol accept one another without judgment and give each other the “freedom” to explore the person they might have become or wanted to be had they come from a “happier” place.
They “see” each other for who they truly are and both have demonstrated the understanding of each other’s “altruism” before so in turn it’s something they would appreciate in a relationship as well. Daryl knows there is nothing Carol wouldn’t do to protect the ones they love and Carol understands his inner need to find “worth” in putting others first.

When Rick tells Daryl that Carol killed two people without being “sorry” he automatically and unhesitatingly rejects the idea because he knows that if she had done it then she did because there was a good reason for it and that there is no way she’d walk away from it unaffected. When she reunites with the group he reiterates that by accepting her silence about it, he doesn’t pressure her to talk or delve deeper in the issue by asking for an explanation and makes it clear that all he wants to know is if she is “allright”.

“We ain’t dead! What Happened, Happened. Let’s Start Over…With Each Other.”

Daryl can see that she is hurting, struggling with what she was forced to do and just as he told Rick he can see that her cold-detached persona “ain’t her”. He doesn’t need to know the why because he knows that her reason was motivated by wanting to protect the others and him.
When Rick told him about the banishment he didn’t question WHY SHE DID it BUT he did ask WHY RICK DID IT!
With Carol, however, the only question that stands any weight with him is “Are you ok?”

Carol saw Daryl’s need to “belong” perhaps even he, himself, did and certainly before he would have even considered owning up to an inkling of it. She saw that his drive to search for Sophia was as much about finding her as it was about him proving his “worth” to the group. Throughout the season she reinforces that with “you’re just as good as them”, “you earned your place” and goes as far as giving him hope that she believed Sophia would be found even after it became obvious to her that a “happy ending” was unlikely.
He needed to look to feel closer to the group and to bridge the distance his rough approach created with others who didn’t give enough time for his true nature to shine through.

Carol recognized Daryl as “good” right away and she knew that he needed to have a role in order to start believing it himself.

Daryl finds his personal worth through doing for others just as Carol did BUT where her “care” was shown through her emotions and menial tasks around camp, his altruistic side was expressed through his skills as an expert hunter and tracker.

We know that even at the quarry when he seemed to have very little emotional investment in the group, he still shared his “kills” to help feed everybody. He didn’t hesitate when the walkers attacked and risked his own life to save people that didn’t act like they even “liked” him, let alone want him to “belong” with them.

Daryl had almost no interactions with Sophia and yet he was willing to go comb walker-infested woods for the mere chance that she might have survived. Rick himself heavily implied that Daryl was “free to go” once they found the farm but despite the obvious “hint” he continued searching and almost died in the process.

Carol started out at a very meek, broken place BUT we saw right away that when it came to Sophia she was more than willing to sacrifice herself and risk Ed’s violent wrath if it meant protecting her child. She had no physical skills to speak of but she refused to be a burden to anyone and therefore took every opportunity to contribute to the group whether through cooking, laundry, emotional support or even dealing with the “feral” version of Daryl.

Regardless of the hardships Carol transformed herself into something stronger and even more resilient with every painful moment she had to endure and chose to do whatever it takes to protect her family and the people she loved.
Karen and David were a threat so she put them down and absorbed the emotional and physical cost that act brought to her life.
When Lizzie killed Mika she killed her to protect Judith even though it tore her apart to do it. Rick abandoned and exiled her yet she went into Terminus to save him and the others, fully accepting that she might be turned away regardless of the outcome of that mission.

Everything Carol did in Season 4 alone had a deep altruistic theme and while showcasing the level of both physical and mental change this woman has gone through, the message was one and the same - sacrifice for the greater good and doing for others.

Daryl Dixon fought the big fight when the Governor attacked and despite the fact that Rick ultimately betrayed him by sending Carol away without his input, he put his personal pain aside and stood by him when the time came to defend their home and family.
Separated from the others in the wilderness, Daryl while obviously enthralled in grief and loss protected Beth, made sure they found food and shelter and even took the time to teach her to protect herself. He devolved a bit, of course, without the others but ultimately he acted out of his innate need to “protect” a family member.

After Beth was taken he joined Joes group but resisted their ways of life and once the confrontation came to a head with Rick his true nature came bubbling through and Daryl offered his own life in exchange for Rick, Carl and Michonne. He was willing to sacrifice himself and die to save them because that’s who he is and that’s how he shows his “altruistic” tendencies when it comes to protecting those he loves and cares for.

I often think that it is drive to be “useful” and to do what needs to be done which is so evident in both Carol and Daryl, is also one of the reasons even non-shippers associate them as a “duo” or a “team” when they are together. Their mission and purpose has always been the one and the same and that is to “protect” and “care for” the group to a degree that hasn’t been shown with some of the other characters. When it comes to them it’s always been a “no holds barred” kind of approach because their deeds are always selfless and more often than not meant to benefit the group as opposed to just themselves.
In reality a lot of what they do in the long run actually ends up hurting them individually and personally but because there is nothing self-serving in their personalities that is not a concern they allow to come into play.

In terms of CARYL this part of who Carol and Daryl are is both beneficial and harmful in a way because there are instances where their personal happiness is trumped over everyone else they feel comes first. That being said we do have clear examples where both Daryl and Carol have naturally shown that they value one another in ways that surpass what they feel for the group.

Carol openly threatens Merle with retribution if he harms Daryl fully knowing how dangerous he might be and Daryl doesn’t hide his anger or sorrow from Rick after he banishes Carol.

Even though Rick continues to repeat “she did it for us” Daryl doesn’t question that aspect of it whatsoever because he knows it to be true, the only thing he objects is Ricks interpretation of what that makes Carol to them.

He knows the why and understands the why, his frustration is that Rick thinks the WHY changes who Carol actually is now.

What Rick doesn’t know is that on the contrary Carol has been that all along and Daryl has known it along because he himself is exactly the same way.

The “protective” instincts for CARYL this season appear to be moving away from the group a little more and there is a definite progress of the direction changing more towards one another.

Daryl has spent time without Carol and faced what his reality looked like without her in it AND now after the emotional reunion between them, coupled with his not-so-subtle reaching out mode it looks like Daryl is ready to protect Carol over anyone else.

The mere fact that the show has taken the liberty to show that Carol is going through an emotional crisis as a direct consequence of her personal altruism and Daryl’s own recognition of it tells us that the story will be bringing them closer together once again.

She wants to leave while he obviously wants her to stay…not just with the group but specifically HIM!

I think in the upcoming episodes their innate need to protect and save the others will come into direct conflict and collision with their innate desire to protect one another first.

We know that Norman Reedus has repeatedly said that Daryl will do anything to keep Carol specifically “alive and safe” and that ultimately at the end of the day Carol is Daryl’s “girl”, all of which implies that a situation is coming where something will make it clear that Carol comes first where Daryl is concerned.

And that moment will probably kill of us!

CARYL On My Lovelies - The Best Is Yet To Come