It really pisses me off that naberius tern, who trained his whole life to use the rapier, will never know that Gideon, who nearly beat him, only trained with it for three months
But it really makes me sad that Aiglamene, who kept disarming Gideon in three moves during training and declared her up to the standard of the worst cavalier, will never know she disarmed Magnus Quinn, a perfectly respectable cavalier, in three moves.
Saw lots of posts touching on this topic and decided the axes for me are: truly understands who House is <- -> maintains a delusional fantasy version of House toward which they apply their emotions + hates House for who is/who they think he is <- -> loves House for that
Not perfect, complete, or inarguable (whatever's going on with Huddy cannot be contained by a mere arrow, and Thirteen is everything at once) but a starting point for how I think about these characters.
Kutner 100% understands House's soul but is too busy playing World of Warcraft to do anything with this information. Chase instinctively understands House and cannot decide what it means. Foreman understands House but hates understanding House so he acts like he doesn't but he does but no if you saw him empathizing no you didn't!
Feel free to add on! Also if anyone has the brain energy I currently lack, an image ID would be much appreciated <3
I keep seeing posts on my dash about how House and Wilson are definitely having sex but Iām so Alfiepilled that I canāt help but think āyou people are wrong. this is the dynamic of two people who absolutely arenāt having sex and thatās part of the problemā.
***This post contains heavy spoilers for the Ryugenzawa Arc and the Nodoka storyline through Chapter 384. English scans read left-to-right and Japanese scans right-to-left. Sorry!***
In chapter 275 of Ranma 1/2, Ranma tells a rival for Akane's affections to "take care of her" before leaping to almost certain death. Pretty standard stuff, a staple scene of action movies everywhere, right before the hero sacrifices himself to save the girl he loves. Except that the macho bravado of the moment is subverted by the fact that Rumiko Takahashi renders Ranma's physical form, in this scene, as a beautiful, sorrowing girl.
Sapphic overtones aside, this moment has stayed with me because it holds the series' ideas about gender conformity, and specifically masculinity, up for inspection. Throughout the series, Ranma is preoccupied with being a "real man" and is famously out of touch with his emotions. Most of the time this character trait is played for laughs, but the series does hold a fair number of moments when Ranma expresses genuine vulnerability, and oftentimes Takahashi draws Ranma going through these scenarios in his girl form.
Before I go further, it is worth mentioning that I am by no means claiming Ranma is in his girl form any time he displays emotion or moments of vulnerability, or that vulnerability is the only kind of emotion girl-Ranma displays. Rather, I am saying that Takahashi, as a storyteller, often makes use of the gender swap device to heighten the emotional impact of a scene and that, moreover, the emotions that Ranma bodily expresses as a boy often differ in their association with gendered attributes than the ones he expresses as a girl. As a boy, Ranma expresses anger, belligerence, confusion, comically rendered fear - all "active," masculine-coded feelings. On the other hand, during moments of sadness, uncertainty, acquiescence, or some sense of loss, when they are not played for laughs or as a setup to a gag, he is often drawn as a girl. Even though Ranma is constantly trying to return to being a "real" man, Takahashi repeatedly undercuts the idea that this is a good and worthwhile thing to aspire to.
I won't get into what makes a "real man" here, but it's pretty easy to pick up on; as it turns out, the rules of heteronormative Japanese masculinity are a lot like the American ones: boys don't show weakness, boys don't back down or admit when they're wrong, boys don't show sadness or fear, and above all they don't eat girly stuff like yogurt parfaits.
Takahashi gets around the rules of masculinity by having Ranma embody vulnerability in a female body. This is both a loophole and a subversion. As a girl, Ranma is now "allowed" to show certain emotions, just like he is "allowed" to eat parfaits without inviting social judgement when in his female body. But since his gender identity remains male, he is still a boy eating the parfait, having these emotions. What makes his female-bodied vulnerability interesting is how it later affects his ability or willingness to express "un-manly" emotions while in his male body.
So, to return to Chapter 275: The thing is, Takahashi could have easily drawn Ranma as a boy in this panel. It would have been easy to insert a shot of him turning back into a boy via a Magically Appearing Kettle. As I stated earlier, this scene could have played like a macho action movie, with one guy "handing over" his girlfriend to another guy before sacrificing himself. And if Ranma were in his boy form when saying this line, it would definitely strengthen that read. You can easily imagine him delivering the line with a kind of macho stoicism and fortitude. But he doesn't. He delivers the line in his girl form, and whatās more Takahashi ramps up the ante here and draws him as downright beautiful. His features are exaggerated to emphasize femininity, with a small, rounded face shape and a delicately pointed chin. Ranma's eyes are huge, and light reflections take up most of the pupils, giving them a luminous appearance. This panel directly follows two shots of Akane and Ranma gazing at each other without speaking, and because the line is delivered so quietly, paired with Ranma's hyper-feminine appearance and expression, it locks the reader into the emotional intensity of the moment. In this moment, we're not thinking about Orochi. We're looking at Ranma mourning the loss of his relationship with Akane.
Remember that Ranma is under the understandable, if mistaken, impression that Akane has effectively tossed him over and chosen Shinnosuke as her new beau. This scene is not subtle about reinforcing the misunderstanding. Shinnosuke kept pace with Ranma in rescuing Akane from Orochi, he's sitting right next to her as she wakes up. In this panel Ranma is accepting and respecting what he thinks is Akane's decision to be with someone else, and this setup makes Ranma and Akane's reunification in the next chapter all the more impactful and romantic.
Ā Without this panel, would we have gotten that final scene ā surely one of the loveliest in the whole series ā of Ranma mentally rehearsing all the things he wants to say to Akane and reaching for her hand? I would argue no. While Ranma was plenty upset after Akane first slapped him and shedding his feelings all over the place, in his boy form he expressed himself angrily, petulantly, and childishly - and that was when he wasn't repressing his emotions altogether. That's not the behavior of someone who possesses great emotional maturity. It is only after this scene that he is able, as a boy, to speak sincerely. And I would argue that it's largely because of his vulnerability in this scene that heās eventually able to at least try to connect emotionally with Akane without hiding behind a lot of bluster and insults.
The tug of war between machismo and vulnerability comes to the fore even more strongly in the long Nodoka subarc that runs through the second half of the series. In a nutshell, Ranma's long-lost mother reappears in his life and is eager to reunite with Ranma, but with a catch: if Ranma hasn't grown up to be a "completely manly," then both Ranma and Genma will be held to a promise to commit ritual suicide. By conventional definitions, Ranma, obviously, is not 100% male and, faced with the prospect of literal death, meets with his mother as Akane's made-up cousin "Ranko," all the while dreaming of the day he can reunite with Nodoka as his real self.
The chapters involving Nodoka are gag-based and comical, and largely turn on ever more preposterous scenarios in which Ranma must constantly switch between his male and female bodies. One of the more serious arcs in this subplot involves Kumon Ryuu, a boy who impersonates Ranma and moves into Nodoka's house after convincing her he is her son. Ranma, of course, fights Ryuu in order to reclaim his name and identity. This arc is poignant and, unlike most other Nodoka arcs, played mostly as a dramatic storyline, because Takahashi makes no bones about how much Ranma loves his mother. This is the one relationship that Ranma wants and pursues without any kind of bluster or contrariness. He doesn't pretend that he doesn't want to see Nodoka. He doesn't rebuff her with rudeness or insensitive remarks. Ranma makes it clear that his mother is important to him and that he will go to extraordinary lengths to be in her life and have a connection with her.
Although Ranma ultimately defeats Ryuu in combat, there are two panels show how much of a pyrrhic victory this is. After the battle, Ranma get punted into a water trough (as one does) and, in his girl form, hides behind a pile of rubble while Nodoka confronts Ryuu.Ā We see clearly how dejected Ranma is in this scene. Even though he is drawn in the foreground, Takahashi makes him look small next to the mound of dirt, and the way he is positioned, hunching down, hugging his knees, makes him look even tinier. He just looks really lonely and really sad, listening to his mother speak so gently to a boy who is not himself.
In the second panel, Ranma, still sitting in the same position, now looks even tinier, as the panel is drawn from an aerial perspective with Ryuu in the foreground and Ranma in the middle ground. Ryuu advises him to tell Nodoka the truth before departing for good. This is such a heartbreaking conclusion to this arc: Despite the physical and inner ordeals he has endured for his mother's sake, in the end he is reduced to hiding himself away, unable to either reveal himself or speak the truth. Emotionally, this is one of Ranma's lowest points, and once again, because the rules of masculinity preclude Ranma from expressing sincere dejection in a male body, Takahashi makes use of his female body and emphasizes his smallness to visually convey his emotional state.
Unlike in the Ryugenzawa arc, Ranma's display of vulnerability in his girl form doesn't lead to an emotional breakthrough in his boy form, as he remains a girl for the rest of the arc, which concludes on the next page. But it is striking that Ryuu, an antagonist and total outsider to Ranma's long-running drama, should be so insightful into the whole situation. He doesn't tell Ranma to 'man up' or to find a cure. He sees what is outwardly a forlorn girl and says, simply, 'tell the truth.' Whatever beliefs Ranma has about the "right" way to present himself to his mother doesn't matter. The truth is what matters. For his part, Ranma absorbs Ryuu's advice without a word, and it is perhaps telling that although it will take another 85(!!) chapters before the Nodoka subplot is finally resolved, Nodoka only appears in three more storylines in between. This moment is really the beginning of the end for this whole rigamarole.
This scene also shows how exhausting it is to keep up the ruse. It is stressful to have to pretend to be someone else in order to keep a relationship with a loved one. It must also be so emotionally taxing to be thwarted every time you work up the nerve to tell the truth, just as it must be to have terror of the consequences of outing yourself almost involuntarily override your desire to connect.
And indeed, it all comes to a head in the subplot's concluding arc. Ranma, in his girl form, finds himself continuously confronting Genma, who as usual wants to prevent him from revealing the truth to Nodoka, and running away from Nodoka herself. Finally, Genma knocks him out, and when he regains consciousness he hazily sees Nodoka bending over him, holding a water kettle. Instinctively, Ranma splits the kettle open with a leg slash, only to discover it is empty. Ranma and Nodoka face each other for a moment before Ranma runs off.
The only way I can describe Ranma's expression in this panel is "devastated." The position of his eyebrows really makes this a unique expression. Whatever boy Ranma's mental state, be it confusion, smugness, or shock, his brows are usually furrowed downwards, suggesting dominance, control, and assertiveness. Here, however, they're arched much less sharply, opening up his whole face.
As he runs away, Ranma expresses fear that his mother has discovered the secret to his transformation. That's certainly a reason to be devastated. However, I also read this moment as being the horrible, worst-case culmination of all the stress Ranma has been under so far. He has become so panicked and worn down that he is lashing out, however inadvertently, at the one person he is desperate to please, and once again Takahashi uses his female form to visually communicate that Ranma is at his lowest emotional point.
But all is not lost! Somewhat beautifully, Takahashi shows that girl Ranma is also a conduit of positive vulnerability. In the next chapter, Ranma (still in his girl form) wakes up from a nightmare and immediately has to evade an attack from Genma. Genma reminds him that if he tells Nodoka the truth, both of them will have to commit seppuku. It's the same old go-around; we have seen this exchange before, and we know what's coming next: Ranma's going to declare that he's going to meet his mom anyway, and Nodoka will show up, and Ranma will reflexively chicken out and turn into his girl form.
This time, however, Ranma does something unexpected. He says, with a smile on his face, "Dad...I wanna stop lying already." He looks completely at peace, and it's clear that following the harrowing confrontation with his mother, Ranma's outlook has irrevocably shifted. His desire to reunite with Nodoka is finally more powerful than his fear of death, and he will accept whatever consequences may come, so long as he can meet with his mother honestly.
In contrast to how he is drawn in the Ryugenzawa arc, Ranma's face here is almost a blend of masculine and feminine features. His jawline is stronger and his eyes sit higher on the face, giving him a less exaggerated, delicate look. If his boy and girl forms were combined into one body, this is how he might appear, and his harmonized features reflect the resolution of his inner turmoil.
Once again, in a world where kettles of hot water can and do appear out of thin air, Takahashi could easily have had Ranma deliver this line in his male form. I think that she doesn't because it is important to show Ranma breaking the cycle of deception and evasion that Genma has trapped him in up until now. He's not responding with aggression this time, but rather with peace and acceptance and a new-found moral conviction. He dials down the energy; he's not doing this anymore. This is, as much as anything, an assertion of independence from his father's influence: Ranma has found his own way forward and is no longer going to let the terms of his relationship with Nodoka be dictated by fear and cowardice.
The payoff comes in the arc's climactic scene when Ranma, now in his male body, rescues Nodoka after she falls off a cliff. Mother and son are finally reunited face-to-face and, in a really touching detail, Ranma's long-awaited reunion plays out totally differently than how he has fantasized. Instead of being a cool and composed tower of manly virility, welcoming his mother into his manly arms, Ranma starts to cry and clings to Nodoka while burying his head in her shoulder. It is a pure, cathartic, completely unmanly display of emotion, and this time Ranma does it all while in a male body.
Amazingly, Ranma goes even further in trying to express himself. We see his inner monologue as he urges himself to tell Nodoka that he was Ranko, and even starts to say so out loud before he is stopped by - of course - Genma. This is a critical character development moment because, having just performed a heroic rescue, he quite honestly doesn't have to tell the truth. He could have hustled Nodoka back up to safety and just tried extra hard to remain male for the rest of the day. But he commits to his own words: He wants to stop lying. He wants to present his whole self to Nodoka, and that includes the non-masculine parts of his identity.
In the series, so much of the characters' time is preoccupied with policing gender conformity, which is not unsurprising for a gender-bender series. Ranma is inundated with comments about how a man should behave and he shouldn't behave, how he should think and how he shouldn't think, which emotions are appropriate and which ones are not. Ranma puts himself into a bind because for the most part he subscribes to this model of masculinity, and indeed until relatively recently he was nearly the perfect embodiment of it. But being "100% manly" just sends Ranma into a vicious cycle of misunderstandings and arguments and isolates him from the people he loves. The hard lesson he learns is that when he actually taps into "weaker," "unmanly" feelings, he's able to break out of this unproductive cycle and move forward to achieve his goals.
Although Ranmaās quest is to regain his manhood, we are not meant to cheer on Ranma's displays of machismo. The takeaway from Ranma's moments of vulnerability is not that it's ok to show emotions so long as you appear to be a girl. It is that heteronormative masculinity is so restrictive and so repressive that it cuts off outlets of healthy, human emotional expression. It is both futile and harmful to keep chasing after a type of masculinity that isn't really realistic to embody and still retain a sense of an emotionally whole self. Ranma isn't just a tough guy. He has deep reserves of sensitivity. He is sad sometimes. He feels heartbreak deeply. He is a boy who just wants his mother.
i've said it before and i'll say it again, but it's really neat how similar wen ning's and lan xichen's rants (at jc or wwx respectively) are
a usually reserved and mild-mannered character
going apeshit for the first time
on behalf of their loved one
who, as they think, is being horribly mistreated by the target of their rant
(even though the loved one endured some great hardship for the sake of the target in the past)
and so despite knowing that the target isn't aware of their loved one's suffering
(and the speaker themselves being involved in inflicting that suffering)
"WELL THEY SHOULD FUCKING KNOW ABOUT IT, THEN"
they deliver the truth in the most accusational way possible
to make the target feel bad and leave their loved one alone and stop causing them harm
while, crucially, not knowing that the target cared about their loved one just as much
and, whether or not it was their goal or they just wanted to hit someone with a steel chair, resolve a decade-and-a-half old misunderstanding between the target and their loved one
"he'll never tell and you'll never ask, FINE THEN I'M DOING IT" is such a funny character motivation too. not their circus but they've had fucking enough of the monkeys
on the offchance there are people who have never seen mob psycho reading this post i feel like i need to clarify that this is a character who:
- is a conman pretending to be a psychic using a real psychic (the real psychic is 14) (he pays him 300 yen (about $2.60) for his services)
- has literally one adult friend. his other two are a middle schooler and an evil ghost that fucking hates him
- is extremely skilled in a number of fields (photo editing, massage therapy) but chooses to pretend to be a psychic because itās more interesting
- once single-handedly de radicalized an entire wing of a terrorist organization by telling them they were acting like children and needed to get real jobs
- has never lost rock paper scissors
- got drunk off of literally lemonade with no alcohol in it
- got exposed as a fake psychic on national television and was subsequently cancelled on twitter
- reacted to a terrorist organization of people with literal superpowers taking over the city by saying they should call the police and not moving to action until he learned that fire insurance wouldnāt cover the damage to his office
- got trapped in a purgatory dimension for 28 days because he couldnāt suck up his pride and admit to his newly hired employee that he had no idea how to get out
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