called it before they interacted

Mista and Trish Romance, is it Canon? DEEP ANALYSIS AHEAD

While I was re-reading Vento Aureo (mostly to find some good Giorno and Mista stuff for my analysis on their relationship..still need to finish that eventually) I also wanted to explore Mista and Trish’s relationship, since a lot of Jojo fans assume they got together after the end of Vento Aureo.

I love and respect Trish’s character wholeheartedly, she is one of my favorite female characters in Jojo. As a confused 15 year old girl, she was able to develop her stand and contribute to the team, even though she was surrounded by violent criminals trying to kidnap her (and a father who wanted her dead). With that being said, a lot of Jojo fans assume she and Mista are a canon pairing, because of their interactions after they switched bodies, and because of that one image of Trish grinding on Mista in Jojo Agogo. In fact, when I read the shitty b&w scans of VA, I thought that too, especially when I kept seeing that Jojo Agogo cropped image of them dancing, being posted everywhere.

But when I saw the entire image, and looked through all the other Jojo Agogo poses (this book is a riot, there’s one scene of Killer Queen being groped and lifted up by The World), I realized right away that this was just a glamorous fan-service thing Araki made. I mean..there are Squadra members participating in this dance party (look at Fugo and Risotto, they are being so gay..despite having never met each other in the story) and though I’d like to think they all just randomly stopped fighting, invited Fugo back, and started a dance party (before the Squadra members got killed)..it’s safe to say this has no real basis in the canon story.

So what do we know about Mista and Trish’s relationship from the canon narrative? Well, he likes to check out her “goods” in the earlier chapters of the story…and that’s all we really know in terms of his attraction to her. Mista is a bit of a lech so that isn’t surprising at all, I mean he lets Giorno put his hand in his pants to help him “aim” his pistol, and the story notes that Mista, before joining Passione, called out to women.

After that….there’s barely any interaction between Mista and Trish. In fact, it seems like he just completely loses interest her. In that scene above, he is upset.while staring at Trish’s tatas..because he fears the boss will come after him for looking at his daughter like that. After the gang betrays the boss, he has free reign to pursue her without worrying about that anymore, but he chooses not to.

In fact, he decides to join Bruno because he wanted to be second in command after the boss is killed, and because he trusts Giorno’s judgement..he doesn’t want to do that for Trish’s sake (which is the opposite from Bruno’s motives, who acted in the heat of the moment by protecting her). By that point in the story, he seems to not care all that much about Trish in a “romantic” context, and focuses his attention on a certain blonde haired “protagonist” instead. If he truly was interested in her, he would try to talk to her more..but he never does…at all..until they switch bodies.

(after Notorious BIG fight from the group pose they do when the plane is landing, notice how Trish is just standing off to the side and these two are cuddling wtf lmao).

When they switch bodies because of Silver Chariot Requiem, everyone is freaking the fuck out because they aren’t in their original bodies. Trish has the most over the top reaction to this. Right away we learn that she doesn’t find Mista attractive at all. Also when Mista touches Trish’s boobs while he is in her body, his reaction is, “why the fuck do i have these!?” not “oh my god i have boobies hell yeah!!” Also poor Mista, he is upset that she thinks he is some hairy smelly freak of nature. And honestly, I would yell at Mista too and tell him to stop touching me, if I was in her position as well.

Here, the most important part, is Mista saying, “You think I really want to touch you?” He’s affirming that he’s not really interested in her that way by asking that rhetoric question. It could also be him just acting defensive, but Mista is a straightforward kind of guy, he says what is his on his mind and doesn’t think too hard about situations…in fact that is a huge aspect of his personality. Which is why when he said that, I believe he was being honest towards the way he felt about her in that point in the narrative.

Also when Trish runs to Giorno, who is in Narancia’s body, Mista says “Now you really want to die huh” and I busted out laughing. If that isn’t some kind of weird overprotective comment (implying he means: don’t you dare touch my giorno) I don’t know what is. I highly doubt that Mista is saying Giorno would harm her, because that is out of character for Giorno’s personality, he never hurts people, not even in a comical way, unless they are morally bad in his eyes. Both Trish and Mista know this about his personality. At that point Mista was getting sick of her criticisms, and when she runs to Giorno, that was the final straw for him haha.

But it’s not all bad between them! Once they get back to their original bodies, they have such a cute moment together omg. I loved these scenes, poor Mista was feeling self conscious about his body odor, and Trish tells him that she misses it! Now from that line alone, I definitely can understand why people assumed they may have gotten together after the story ended. However, Trish says his fingers are still freaky..which is basically her reaffirming that she isn’t attracted to him in that way (remember, she said his fingers were dirty and hairy earlier). And Mista doesn’t take that to heart, hence the super cute moment they have when they laugh (reminds me of the weird things me and my friends do when we laugh off awkward situations as well).

In fact, Hato and Joshu, who are brother and sister in Jojo part 8 (jojolion) have an exact same moment where they turn to each other and laugh, mimicking Mista and Trish’s pose in that final scene. (ugh I WISH I had that saved, it’s adorable).

(in the final cover pose, Trish turns away from the surviving members, while Giorno and Mista touch hands. The hand touching symbolizes their fates are tied together. Meanwhile, Trish’s pose follows the direction of Bruno’s extended leg, symbolizing she is going to listen to his advice for her: which is to restart her life after they defeat her father.)

Having looked through all of their interactions, I don’t think, by the end of Vento Aureo, that they were interested in each other romantically. However, I can see them becoming close friends. All we really know about Trish after the story is over, is that Bruno gives her his house to live in and wishes for her to go to school in that area. (imo Trish and Bruno have a much deeper meaningful connection with a potential romance, I can do a meta post on them if yall want that)

Also, in Purplehaze feedback (the novella about Fugo rejoining passione, which imo is canon because the jojo games think it is, the Japanese fans love it, and Araki gives it his seal of approval by adding his own illustrations on what the characters look like in the book) Trish is a popstar, that strays from passione. In a radio interview, she refers to them as “a group of friends” that she “owes a debt to.” Giorno then says the following to Fugo:

“In Venice, you said we didn’t even know what kind of music she liked. Now you do.”

He raised the glass to his lips, took a sip, and put it back on the table.

“We didn’t help her with this, you know. We don’t do that any more. She got the recording contract on her own merits.”

And with that, he moves on to talk about Fugo’s betrayal. If Trish were still very close to them, Giorno would have mentioned it right away, because he was trying to make Fugo feel guilty for abandoning them. However, it seems like she isn’t and to me, that is OKAY. Though Trish proved herself by fighting with the crew, at the end of the day, she isn’t a gangster, so why would she stay close to them? I’m sure she contacts them and maybe visits them from time to time, but passione is still a violent organization, despite Giorno’s good intentions. They are mobsters that violently pursue underground drug trafficking and dangerous stand users. For a popstar, that is not good publicity.

Now I’m not saying you can’t ship those two, please ship away! I love seeing fanarts of them, but in terms of canon, based on what we have so far, I highly doubt they get together romantically. 

If you guys want to see me do more meta posts on jojo characters/relationships, I’ll do it, give me some suggestions!

permanent starter call for mutuals only, 

as i cut down on drafts, i realize – i have so many of you i’ve still not interacted with. like this post, and it gives me permission to write up anything anytime be it starters or memes or poking you for plotting purposes. ( please read my rules before interacting )

Apparently in Japanese folklore Benkei was a warrior monk known for his great loyalty towards Minamoto no Yoshitsune, who was in his youth called Ushiwaka.

I bet you these two are bffs.

Starter Call: Friendsverse GV 

I let Fox fall to the wayside a little during the GV event I mean it was Louis centric and I had limited time don’t judge me so like this you’d like a current timeline thing from Fox or hmu if you want some pre-fight-establishment stuff. 

Also I updated my Potential Connections Post to add a few to Fox and to note which were taken and still open so come at me if any strike your fancy!

@svndancer LIKED FOR A STARTER!


How curious. This was someone that Hayseed had only seen in the outskirts of the nearby forests, hanging around trees and speaking to some of the birds nearby. He had no idea as to if she truly spoke their language, or if she were simply chatting with them just as he did. He’d speak to his crows often, as that would keep them from eating all of his corn, and it would often keep them from eating bits and pieces of him as well. Sometimes, they just liked to sit and listen to whatever he had to say, as if they understood his troubles. It was nice, to have someone like that….even if they were just birds.

It was still something to talk to.

Today was odd, though. For whatever reason, the young woman was taking a path through the cornfield. She’d never done so before. Was she curious about him? Hayseed thought so, and that’s what he decided to go with. His instincts told him to drop into scarecrow mode, either falling onto the ground or going limp on his cross. In a few seconds, the scarecrow had decided to take the ladder option and went limp on his cross, beginning to wait for this women to come to him.

Hayseed was somewhat excited for this. He was struggling to keep himself from twitching in place out of the excitement rushing through him, but he knew that he had to stay still.

Stay still, Hayseed. Wait for the perfect time. Wait for it

MAINS CALL. if we’ve had a thread before ( and preferably interacted ooc ) and you want to be one of my go-tos for plots and threads, give this post a like. i’ll shoot you a message, and we’ll talk abt things. i just want to work on developing relationships and characters in a more coherent way! 

10

“The Regulatory Bureau say we’re just around for show. We will prove our true strength right now.”

Carta Issue || MS Gundam Iron Blooded Orphans ep.19
more Napollya rambling

So I re-watched the movie last night, and I’ve been thinking about those credit scenes, in which you see glimpses of their confidential files, and in which the rawest, ugliest bits of their characters are laid out (and this is related to why I think Gaby Teller is poorly written, because she is without essential flaws, but that will be a subsequent rant about misogynistic writing in general.) Anyway, Napoleon is a gambler, and addict, a con man, a thief. In other words: a liar. Illya’s chief flaw, of course, is what his file calls “violent personality disorder.” In other words: a psychopath. I’ve talked before about how interaction with Napoleon leads to his first psychotic episode that a) occurs because he does NOT want to commit violence, and b) ends in something other than violence. (We’ll come back to that last point.)

At issue here is how each man helps the other begin to resolve their chief character flaw — or at least, begin to grapple with it. Because Napoleon is a liar, and every iteration of him as a person — art thief, spy, man of the world — is just him being a liar, because that’s what lying liars do. They create a persona and then inhabit it, and Napoleon’s persona is the sophisticated confidence man who “prefers to work alone” and needs nothing and no one, whose sense of personal integrity is elastic at best, and who certainly feels no loyalty to anyone, anything, or any idea other than himself. He is not a nice man. He is not a particularly good man. It is not a particularly good man who ditches Illya in that boat and swims to shore, then sits there — in one of the film’s most hilarious sequences — calmly eating a sandwich and some warm chianti while Illya literally goes down in flames in the background. He even starts to drive off, because of all the victims of his lies, there is none greater than Napoleon himself. He has lied to himself about who he is, because the lie to oneself is the chief and greatest con of all, and he’s mastered it. He is Napoleon Solo, and he doesn’t care about anyone, because that will just weigh you down, and he won’t tolerate so much as a speck of lint on his jacket. So he starts to drive off, leaving Illya to certain death.

Only he can’t, quite. 

You can see the moment when it happens: Is this who I am? Of course it is, what you are talking about, just drive! But… it’s not who I am, is it? You can see the moment when he accepts that he has been lying to himself; he is not the person who can drive away, dammit. He wishes he were. But he’s not, and he accepts that, and he drives back, launching himself into the water, because when Napoleon decides to do a thing, it will not be done by halves.  

Illya helps him stop lying. 

From that point on in the film, there is a realness to Napoleon that Cavill plays beautifully. He has been stripped of the ability to lie to himself, and while he still lies to others with perfect ease — he wouldn’t be much of a spy if he couldn’t — he can no longer lie to himself. He is a person with loyalties, and he does care what happens to other people, in particular this strange and provoking man who has made him start to question every assumption about himself and the world he has made. 

And what of Illya?

He does not lie to himself, and never has. He is a person of extraordinary honesty and directness — Napoleon’s true foil. But he has other problems, a lot of them. And for the first time, like I said above, he experiences a psychotic episode because he DOESN’T want to kill, and not because he longs to. But even more importantly: for the first time he has a psychotic episode that does not end in someone getting hurt. Napoleon just quietly ripped the lid off the box he has been trapped in, and he did it by tossing him his father’s watch, by reminding him that a world of actual loyalties, of true integrity, of real connection, lies behind the shadow world of politics and espionage that is their day job. That moment of connection is his way out of his prison of psychosis, like the moment of rescuing Illya was Napoleon’s way out of his prison of lies. And even more beautifully, one moment is the direct cause of the other. When Napoleon stops lying to himself, and allows himself to form connections, then he does things like retrieve Nikolai Kuryakin’s watch for no other reason than it is important to Illya. Seeing Napoleon’s connection, and his willingness to own it, defuses the psychosis in Illya. And that connection — that ability to connect, rather, that willingness to admit the capacity for connection lay within him — that was because of Illya. Illya sets the whole loop in motion. 

These two deeply flawed men can only be healed by each other, and can only be whole with each other. That is just basic cinematic exposition. That is exactly what the film is saying. Now, as a fangirl and a queer-eyed reader, naturally I am going to extend that connection sexually, which is my prerogative as an imaginative viewer. I’m not saying the film itself connects them sexually. I am saying the film creates their deepest emotional bond with each other, and makes it perfectly clear that there is ONLY ONE PERSON who holds the key to unlocking each of them from their private hells. Call it a romantic connection, call it a soul bond, call it the deepest form of brotherhood, it doesn’t matter — at the end of the day, they are the piece that makes the other whole.  

Villain Ship Call

This is a villain ship call. Primarily I’m looking for partners in crime for Evie. An evil ying to her evil yang. This can be romantic or platonic. I am open to both. I really just want people to be terrible with. This can be both in group{which would actually be v exciting and give me lyfe} and/or indie. This is a completely open call; whether we are mutual or not/ have interacted before feel free to like or reblog.