[2]
Now that Ashura is finally Defeated he has (thankfully) opted to stop strangling the life out of Fai with one hand and murdering everyone he loves with the other - just in time to have Emotions! Aren’t we lucky!
I’m going to dive right into this but what I need to get out of my head first is a discussion of CLAMP trends, because it’s hitting me over the head and ruining all my flow.
So let’s do a couple of comparisons - but with spoilers for X/1999 and Tokyo Babylon (so if you want the Tsubasa content but not the spoilers, skip to the next post. You won’t miss anything). This is essentially Tsubasa version of what happened with Subaru and Seishirou (and presumably what would have happened with Fuuma and Kamui), but with large thematic changes that I quite appreciate. In both, we have the caring and sympathetic magic using main character who is forced into suffering and tragedy by his opposite - the darker magic user who uses his power for mass murder, but who loves the main character in a twisted selfish way and wants only to be killed by them. In the end, the darker magic user dies, and it’s sad and tragic and the main character will continue to suffer for the rest of their life because of it. But! The darker magic user truly did love them, in the end, in their own way, so it’s framed as tragic.
I appreciate that all concerned parties have shown up in Tsubasa previous to now, so the parallels are both fresh in the narrative and absolutely intentional by CLAMP. The difference is that in Fai’s version Ashura is his father figure rather than his lover, and I (personally) tend to like this quite a bit better. You have all the emotional suffering but without the Tragic Gay Ending being the cornerstone of the relationship. Also, and most importantly for me, it allows space for Fai to heal. Where Subaru and Kamui were going to suffer for the rest of their lives (if the world wasn’t destroyed), Fai’s romantic interest still lives, so he has a long life ahead of him where he has time to recover and heal and grow as a person.
I lean much more into this changed version of the same story pattern because it’s still dark and heartbreaking but it sticks with what I tend to think of CLAMP’s overall maturation in storytelling. Instead of bleak and hopeless tragedies with a tiny (tiny) upshot at the end, now they deal in the same kind of tragic heartbreak but with a much deeper appreciation for hope and cultivating a more optimistic view of life and love and recover. It gets to pull at all the same emotional notes but it’s far less oppressive, and I think it shows a marked change in the kind of story CLAMP want to tell as time goes on.













