Sasuke Fan Sakura Fan SasuSaku fan, Sakura and Sasuke haters and antis dni, Nature lover, History and Political enthusiast, Grunge and Punk lover ,Tvd, The Originals fan Klaus Mikaelson is King😌😌😌😌
Sasuke Uchiha and Daenerys Targaryen operate in completely different narrative worlds, yet they mirror each other in structural ways that become clearer when you focus on agency, loss, and the way each of them resists the systems that shaped them. Both are written as “exceptions” within their respective lineages, not by being disconnected from their heritage, but by reacting to it in ways that actively break expected patterns.
The first major parallel is how both characters are formed through inherited violence and collapse of family systems. Sasuke’s identity is shaped by the destruction of the Uchiha clan and the emotional rupture that follows, while Daenerys is shaped by exile, the collapse of House Targaryen’s rule, and the violent history embedded in her name. In both cases, lineage is not a source of comfort but a structure of pressure that defines how others perceive them before they even act.
Where they diverge is in how they process that inheritance. Sasuke does not function from emotional emptiness or repression; rather, he is deliberately guarded and selective, shaping his outward expression as a controlled interface between inner intensity and external threat. Daenerys, meanwhile, is far more openly empathetic, but her empathy is consistently filtered through the burden of responsibility and survival. Both are emotionally deep, but they manage emotional exposure in opposite ways: concealment versus expression under pressure.
A key parallel lies in their relationship to control systems. Sasuke moves against the shinobi world’s structural logic—hidden villages, clan hierarchies, and institutional manipulation—because he comes to see those systems as complicit in personal and collective harm. Daenerys, similarly, moves against entrenched political hierarchies—slavery, feudal power, and inherited monarchy—because she recognizes them as perpetuating suffering. Both are anti-systemic figures, but they challenge systems from within the logic of those systems rather than outside of them.
Another important convergence is the idea of “choice versus conditioning.” Sasuke’s actions are often misread as purely reactive trauma responses, but more accurately, they are shaped by deliberate interpretation of lived experience. He is not driven by numbness; he is driven by meaning-making under extreme loss. Daenerys, similarly, is frequently misunderstood as being driven by power, when much of her arc is about choosing to act differently than what her Targaryen lineage would predict. Both characters resist being reduced to deterministic outcomes of their pasts.
Their most striking parallel is in how they relate to power. Sasuke seeks power not as domination but as protection and self-determination, operating under the belief that vulnerability without strength leads to irreversible loss. Daenerys also engages with power as a tool rather than an end—she uses authority, armies, and eventually dragons not simply to rule, but to restructure environments where she believes suffering is normalized. In both cases, power is instrumental rather than purely aspirational.
However, they differ in how their moral frameworks are externalized. Sasuke’s morality becomes increasingly internal and self-referential, shaped by personal conclusions rather than collective validation. Daenerys, on the other hand, externalizes morality through liberation narratives—her identity as “breaker of chains” is reinforced by how others experience her actions. One becomes inwardly codified; the other becomes socially validated through impact.
Both characters also carry a persistent motif of “home” that is never fully attainable. For Sasuke, home is not just a place but a rupture point in time—the Uchiha clan as it existed before collapse becomes an emotional anchor he can never return to. For Daenerys, home is symbolized through the recurring image of safety, belonging, and stability that contrasts with her constant displacement. In both cases, “home” functions less as a location and more as an unresolved psychological destination.
Their narratives also parallel each other in how others misread them. Sasuke is often misinterpreted as emotionally blank or repressed, when in reality he is hyper-aware and selectively expressive. Daenerys is often misread as either inherently destined for tyranny or unconditional benevolence, when her arc is actually defined by conditional leadership shaped through crisis response. Both are flattened by external interpretation that fails to account for internal complexity.
Another shared structure is their relationship with followers. Sasuke does not cultivate traditional loyalty; those around him are drawn to his conviction, even when they disagree with his methods. Daenerys similarly gathers followers not purely through coercion, but through perceived legitimacy, protection, and transformative promise. Neither operates as a conventional leader in the sense of institutional consent—they function more as gravitational figures than administrative rulers.
Where the contrast sharpens again is in emotional expression. Sasuke’s restraint is strategic containment: emotion is present but tightly regulated and rarely exposed without consequence. Daenerys’s emotionality is more openly accessible, but it is constantly tested by political necessity and moral compromise. One internalizes intensity; the other navigates intensity through external responsibility.
Ultimately, the parallelism between Sasuke and Daenerys rests on a shared core structure: both are characters written to resist the inherited logic of their worlds. Sasuke rejects the shinobi system’s manufactured narratives of loyalty and sacrifice, while Daenerys rejects the Targaryen legacy of cyclical conquest and domination. They are both “breakpoints” in their respective genealogies—figures who do not simply continue history, but interrupt it.
At their deepest level, both characters are defined not by what they inherit, but by what they refuse to accept as destiny. Sasuke’s journey is a confrontation with how meaning is constructed after irreversible loss, while Daenerys’s journey is a confrontation with how power can be redefined after systemic collapse. Their parallelism is not in temperament, but in structural function: both are narrative agents of refusal, reshaping their worlds by challenging the scripts written for them.
Make sure to read my Naruto reading order if you are interested in reading Naruto
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even when fic authors like sasuke or are sympathetic to his traumas, most sasuke-centric/SNS/SS fics are incredibly condescending toward his character lol. he's often characterized as a misguided, manipulated, and overly emotional person who needs the guidance of konoha/naruto/sakura to "fix him" when in reality it's konoha that needs fixing (read: abolition) and naruto and sakura who need to be radicalized against the state, and if not radicalized then taken down in pursuit of revolution.
im not even saying sasuke's methods are completely correct (although i dont hold that against his character, since kishimoto has a well-established pattern of writing antagonists that oppose the genocidal colonial-imperialist state as cartoonishly violent and "insane" in order to make naruto/konoha appear even remotely reasonable and morally defensible). but his canonical analyses of the shinobi system and awareness of how it needs to be brutally destroyed are easily 10 times more grounded in his class interests as a genocide survivor than those who claim to want to save him from his "hatred."
like cmon now the next best example is naruto, whose reaction to the truth about the uchiha massacre is "noooo why does sasuke hate konoha" and "im gonna die with sasuke so that in the next life he'll be free from being an uchiha." the bar is so low. like sasuke is self-sacrificial, hyper-independent, and downright suicidal, and still nobody in canon knows what's better for sasuke's well-being than sasuke himself.
it's actually kind of insulting how yall act like konoha/naruto/sakura can do better for him and do better than he can. but then again, canon does the same exact thing so im not really surprised lmao
WHAT makes people think that kakashi “you’re a soldier not a child you need to get over it and be loyal to the village” hatake would be a better more wholesome father figure than fugaku “itachi gets good grades you should try to be more like him” uchiha.
Both Vergil and Sasuke Uchiha are characters shaped by early catastrophic loss, identity collapse, and the psychological aftermath of trauma, but the key similarity between them is not just what they experience—it’s how they reinterpret vulnerability as something that must be controlled rather than eliminated. Their responses are not identical, but they are structurally parallel: both transform emotional pain into discipline, self-definition, and a relentless pursuit of power as a way to prevent helplessness from ever repeating itself.
Vergil internalizes his trauma as a failure of weakness. The loss of his mother and the destruction of his family identity lead him to conclude that human limitation itself is the problem. From that point forward, he constructs a worldview where control, strength, and demonic power become synonymous with safety. His emotional life is not absent, but heavily suppressed under layers of obsession with mastery and transcendence. For Vergil, vulnerability is something to be eliminated through separation—from others, from weakness, and eventually from his own humanity.
Sasuke’s development follows a different emotional logic even if it arrives at similar outward behaviors. The massacre of the Uchiha clan fractures his worldview and creates a deep mistrust of external systems, but rather than becoming emotionally detached, he becomes highly self-contained and selectively expressive. A key distinction is that Sasuke is not emotionally repressed in the strict sense; he does not lack emotional awareness or feeling. Instead, he is guarded and strategic with emotional expression, operating under the belief that vulnerability can be exploited in a world defined by betrayal and power structures. His restraint is not emptiness but control—an intentional filtering of what he reveals, not a denial of what he feels.
This creates an important divergence in tone between the two characters. Vergil increasingly equates emotion with weakness and distances himself from it as an existential principle. Sasuke, however, does not reject emotion itself—he rejects dependence and the risks that come with it. His actions are not driven by indifference, but by deeply held convictions formed through personal loss and observation of the shinobi world. Even when he isolates himself, he remains internally responsive, and his choices consistently reflect that he is acting from strongly felt emotional truths rather than emotional absence.
Where they converge more clearly is in how both construct self-sufficiency as survival. Vergil isolates himself because he believes relying on others leads to loss and weakness. Sasuke also chooses solitude, but less as a rejection of connection and more as a way to prevent external systems or attachments from influencing his sense of justice and direction. In both cases, isolation becomes a method of control—but for Sasuke, it is more conditional and ideological, while for Vergil it becomes increasingly absolute.
Both also pursue power as a response to powerlessness, but with slightly different end goals. Vergil seeks transcendence—an existence beyond human limitation altogether. Sasuke seeks control over circumstances that once rendered him powerless, especially the inability to prevent loss or manipulation. Power, for both, is not simply dominance; it is psychological insurance against repeating foundational trauma.
Both Vergil and Sasuke also struggle with the concept of humanity itself. Vergil often views his human side as weakness even though his humanity is what gives his life emotional meaning in the first place. Sasuke similarly attempts to suppress empathy, affection, and emotional dependence because the shinobi world taught him those feelings lead to suffering, yet his inability to fully sever bonds repeatedly reveals that compassion and attachment remain central to who he is. In both cases, the narratives treat emotional connection not as weakness but as the thing their characters are desperately trying—and failing—to escape.
Another key similarity is that both characters express care indirectly rather than verbally. Vergil rarely articulates emotional vulnerability openly, yet his actions repeatedly reveal unresolved attachment to Dante, Nero, and his family legacy. Sasuke behaves similarly throughout Naruto, where his care is communicated through protection, sacrifice, silent observation, and restrained gestures rather than open emotional expression. Both characters are emotionally guarded to the point that others often misunderstand them as uncaring, even though their actions consistently reveal the opposite.
Both also embody the archetype of the tragic prodigy. They are extraordinarily gifted from a young age and defined by exceptional ability, but their talent isolates them further because people project expectations, fear, and symbolism onto them rather than seeing them as emotionally wounded individuals. Vergil becomes consumed by the legacy of Sparda and the pursuit of demonic perfection, while Sasuke becomes consumed by the legacy of the Uchiha clan and the burden of revenge. Their genius therefore becomes intertwined with alienation rather than fulfillment.
Both characters also carry internal dualities, though expressed differently. Vergil’s split between human and demon literalizes his conflict between emotion and control. Sasuke’s duality is less metaphysical and more psychological: his desire for revenge and independence exists alongside persistent, if restrained, emotional bonds to others. Crucially, those bonds are not erased by trauma; they are continuously managed, resisted, and re-evaluated.
Another similarity is how both narratives revolve around reconciliation with the self rather than simple redemption. Vergil’s journey eventually forces him to confront the humanity he spent years rejecting, particularly through the separation into V and Urizen, which externalizes his fractured identity. Sasuke’s journey similarly forces him to confront the emotional reality he tried to deny, especially through his final confrontation with Naruto where he can no longer maintain the illusion that severing bonds erased his attachment to others. In both stories, healing begins only when they stop treating emotional connection as weakness and acknowledge the parts of themselves they tried to suppress.
In the end, Vergil and Sasuke are both characters whose arcs revolve around the same foundational contradiction: they seek absolute strength in order to escape pain, but the very humanity they try to suppress is what ultimately gives their lives meaning. Both begin as characters consumed by grief, isolation, and obsessive self-control, yet their narratives gradually reveal that true strength does not come from emotional detachment or transcendence over others, but from accepting vulnerability, connection, and the parts of themselves they once viewed as weak.
people that have difficulty squaring "the uchiha are a clan of elite soldiers with an extremely story-breaking kekkei genkai" with "the uchiha are a marginalized group" are funny because skill in combat does not automatically make one politically powerful.
if you have combat prowess but no political representation. if you have a powerful kekkei genkai that is generally activated by trauma but no support system. if the ruling class villainizes you with ableist, eugenicist rhetoric and puts you in a ghetto to control and monitor you. if the ruling class has affixed your value to your ability to serve the state's interests to the extent they would rather kill off every one of you than allow a justified coup to "disrupt" the negative peace of their violence-commodifying state.
that makes you a body exploited for labor by the military state 🤷🏻♀️
the way orochimaru's character is written is so transmisogynistic. fuck you, kishimoto 😐
(gonna refer to orochimaru with they/them pronouns, since they use "watashi" as a first-person pronoun, which is generally gender-neutral in formal contexts and feminine in casual contexts)
when orochimaru is first introduced, they are disguised as a woman in order to sneak into the chuunin exams and manipulate sasuke. throughout the original series, they are coded as a predator, whether it's through "seducing" vulnerable young children to their side or outright kidnapping and experimenting on them. and then the boruto anime confirms orochimaru is non-binary? yeah, fuck this "representation" lol.
meanwhile, jiraiya, who is literally a sexual predator who makes naruto use the orioke jutsu, is a protagonist. 🙄
Vergil loves his brother and it’s the reason he falls
I think we’re all familiar with the ending scene of dmc3 and the consequences it has on the timeline, for both Vergil and Dante, as well as everyone else. Vergil’s fall is honestly one of the most heartbreaking scenes in the series and it’s probably also one of my favourites. Especially since there’s so much in this sequence of events that reveals some big things about Vergil’s underlying character, things he’s normally way more held back or vague in showing.
Throughout dmc3 Vergil is generally a more antagonistic force, hellbent on breaking the Temen-ni-gru seal and claiming his father’s power. He appears so focused on that goal; he doesn’t even seem to mind having to cut his own twin down for it.
Until you take a closer look at the whole situation and especially the end scene, which recontextualizes everything quite drastically…
At the beginning of the fight on top of the cliff in the underworld, we have these certainties presented:
One, the Force Edge is in Vergil’s hand, but he holds only one amulet, missing the other that would be needed to unlock the sword. Two, Dante has the other amulet. Three, they’re at an impasse.
When Vergil asks for the amulet, we get a pretty standard squabbling sibling exchange with Dante not willing to give it up. It seems clear as to why Vergil wants the amulet; it’s all that’s needed so that he can finally get the power he’s been craving for so long. When Dante asks what Vergil is going to do with all that power, we get this.
A shout of, “You’re wasting time!”, and Vergil immediately moves to attack.
That seems… a bit uncharacteristic. Up till now, Dante has always been the more aggressive party in these fights, and he is generally the one who goes for the first stab, may it be verbal or literal. But hey, Vergil is impatient since he’s so close to his goal, it’s understandable.
Only, it’s not that. Or, it’s not only that.
This fight has an actual time limit and Vergil is very aware of that. Once the player beats Vergil in the game, everything rumbles in the following cutscene, and Vergil finally reveals what’s been going on the entire time.
With the amulets split, the portal is closing. They’re both in danger of being stuck in the underworld if they don’t do something.
But the words of warning fall on deaf ears, since Dante is committed to this fight, is fully set on stopping his twin, uncaring or intentionally ignoring the consequences. Even if he has to kill Vergil…
Then there’s the last exchange of blows, and it’s shown that Vergil can’t bring the same determination to the table.
His swing goes wide, goes over. Even with a different sword than his usual, he should surely have been able to hit his target, right? If he wants to, that is…
At this stage it becomes crystal clear that Vergil’s heart isn’t in it, that he won’t go as far as to kill Dante to get what he wants. Especially since he never truly wanted to kill Dante at all. But Dante is committed to this and doesn’t seem like he’ll stop until Vergil is dead.
Dante, who just this night awakened and opened up to his own demonic side. Dante, who with absolute certainty is not suited to be stuck among demons. Dante, who belongs in the human world not the demon world.
Vergil does not want Dante to stay in hell.
All avenues however seem blocked. Dante won’t give up, not with Vergil in possession of the Force Edge, not with Vergil still here. He won’t listen to his brother’s instructions to leave through the steadily closing portal, and Vergil is too wounded to beat him, to take the amulet or to force him through the portal himself now.
That means there’s only one thing left to try. Vergil must remove himself from the equation so that Dante would lose his reason to stay here, he has to end this fight and hopefully in a way that won’t kill him. Lucky for him there’s a perfectly nice cliff right in front of him.
Vergil lets go of Force Edge, either through losing his grip thanks to the agony of being bisected, or, in what is a somewhat calculated move. As a swordsman and a victor of countless battles you would think Vergil could keep a hold of his sword no matter what wounds he received…
The amulet falling off certainly isn’t planned, and he’s definitely not prepared to leave that behind. It’s his. Force Edge is alright in Dante’s hands, it belongs to a son of Sparda, but the amulet is his. So he grabs it.
All that’s left is to fall off the cliff.
But Dante sets after, even with the Force Edge right there, so Vergil spells it out fully to make his brash twin finally understand.
One last cut, one last strike to disabuse Dante from chasing and then it’s over. Vergil tips over and falls into the unknown.
Vergil takes a dive into danger, into possible death, just to assure that Dante won’t be stuck in the underworld. In his mind that’s an alright exchange to make…
And sure, there’s the speculation that reaching the underworld was always one of Vergil’s goals, next to gaining power, so that he could finally take on Mundus and get revenge for their mother’s death.
It’s kinda supported by how Vergil knew immediately what he was dealing with when he saw those three glowing red eyes, he must have done his research. And then there’s also the way he was so very focused on Temen-ni-gru to gain power, since it also has the inbuilt advantage of being an access point to hell. Keep in mind, he’s been hunted ever since the attack by Mundus’ demons, and Dante recently had trouble with them as well (timeline refresher). So it would make sense that upon learning Dante is still alive, Vergil focuses a lot of time and energy into eliminating something that continuously threatens them both.
After all, protecting Dante seems to be one of his main goals. He’s the older of the two, he has to take responsibility. May it be through awakening Dante or gaining enough power to kill Mundus, or just making sure that Dante has the chance to live in the human world… It’s his responsibility.
So yeah, Vergil was really set on Dante not getting stuck as well.
Here’s some additional proof in regards to that, taken from 'The Trinity of Fates', an official handbook.
In conclusion:
Vergil fucking loves his brother, okay? Even if he’s an absolute idiot about showing it.
He doesn’t want to kill Dante. Even after everything, Vergil still cares for his twin, so much so that he’s willing to protect Dante to his own detriment. It was never a question of would he, or could he, Vergil from the very beginning doesn’t want to see his little brother dead!
Not when he found him alive after previously having lost him.
And that willingness, that determination, to safeguard Dante, is what finally causes Vergil to lose years of his life to their family’s archenemy. As well as being the reason both of the brothers go through so much regret and pain over the following decades.
Not the smartest move, but at least dmc5 gave us a happy ending for this story. They both deserve it.
Thanks for reading till the end, I know this was a long one. Big thanks to @prototypelq for helping me streamline this post!
All in all I just really wanted to highlight how much Dante means to Vergil, and has since the very beginning, even if he’s sometimes too stubborn for his own good to recognize it.
Luckily Visons of V covers him finally having that realization! Only took him a few decades!
Also, hope this clears up a bit why I write Vergil the way I do. He’s a dumbass who cares more about his sibling sometimes than his own well-being. A bit of a softy at his core, even if he’s very very bad at showing it...
At least it makes for some great stories.
If you like this, feel free to reblog, and if you have any thoughts of your own, have at it. I’m very curious to hear what you all think of this!
Something I find ironic and fitting, Zabuza the cold blooded kil, Rogue Nin, and Demon of Mist shows far more humanity by actions ( started a coup to stop the Bloodline purges in Kiri, took in Haku while at first seeing him as tool, came care about him, and was planning on killing Gato as soon he got paid for the job) then Konoha Shinobi like Kakashi.
yeah zabuza, while not perfect, at least has some fucking dignity as a human being lol and acknowledges that haku deserved better. there's something tragic about the disconnect between his heart and actions, he's completely aware his relationship with haku is fucked up, but he has no idea how to be better, he was never taught how, and by the time he outwardly admits it, it's too late for them both. meanwhile kakashi is just like, the shinobi world sucks, that's not my problem tho :P anyways, sasuke be a perfect living weapon for konoha and put your government-assigned comrades above your need for justice, or else youre a bad person and falling into the darkness. kakashi is just so offensively dull and indoctrinated
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