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Attack on Titan Analysis: Levis Introduction

Hii guys, this is just my thoughts on Levi's introductory scene bc im rewatching aot atm, pls give me your thoughts and dont forget to like and reblog if you enjoy!!

Levi has, in my opinion, one of the greatest character introductions of all time, not only is it a cool action scene with plenty of gory titan slaying, but it establishes his personality, his motives, his past, and his future all within two minutes.

Firstly, his name is thrown around a lot prior to his first on screen appearance, which establishes him as a figurehead of hope for humanity. This already connects his story to Eren, as he is also seen in this light. Levi is depicted for a very short time in episode 3/4, but he formally joins the show in episode 9, which is what I will be talking about today.

Before he comes flying onto the screen, we see a soldier cry out that Levi will come to kill his titan assailant. This shows that people trust and place their faith in Levi. Levi is at this point in the show a mysterious figure for the viewer, and he responds to the soldiers call to action. This tells us that not only do others trust Levi, but he actually is dependable, this man is not a fraud or a myth. He is real and he lives up to his name. Humanity's Strongest Soldier.

His movements are quick and graceful, almost like a blur on the screen, telling the audience that his skill is impressive and unlike anything we have seen so far from the clunky cadets of the 104th. He kills the titan facelessly, enhancing his mystery. However, it could perhaps say he is almost robotic, acting on autopilot, just a cog in the military machine. Another interpretation could be alluding to his detached nature.

He quickly takes control of what the viewer knows to be chaos. He stops and assesses the situation, before delegating to his subordinates, showing his quick organised thinking. He ensures the injured man will get attention, then takes on two out of three titans on his own. This suggests that Levi often takes on more responsibility than others, accepting people's burdens for them.

Petra tells him to wait, showing he has people who care about him, but he himself doesn't value his own life, or perhaps is confident in his skill. Hange is also introduced in this two minute segment, her erratic and playful behaviour is a harsh contrast to Levi and his cold calculation. Them being introduced in the same scene highlights their bond. 

Levi has an unorthodox fighting style, he spins and even throws his blades. This sets him apart from other soldiers, and it implies it's the reason he is so talented. The resourceful and unconventional behaviour foreshadows his past. Adapt to survive is exactly how Levi operates, a tactic from his life in the underground. His unique methods originate from this period in his life, learning to survive, rather than other cadets who learn to fight. 

He expresses his disgust for titankind, this resentment stems from his traumatic past. He is similar to Eren in this aspect, but is more nonchalant in his hatred. This suggests he is more experienced and more mature, the kind of titan-killer Eren aspires to be. He says "Nobody has time for a crybaby," expressing that he does not tolerate weakness, again, this could refer to Eren, who is notoriously a crybaby. Eren's emotional instability is what sets him apart from Levi squad during the Female Titan arc. 

Another quote of his from this scene is "Let's take it like a man, shall we?" This shows how he asserts control over things others cannot. He is stood on the head of a titan calming hurling insults. When he is done with his extremely efficient kill, he cleans up. This highlights his germaphobia which originates from his past living in squalor below ground. 

When Levi is done, he immediately goes to check on the injured soldier. He cares, but he also prioritises, thinking like a soldier should. Levi is not blinded by emotion, thinking clearly and reasonably where others like Eren might not. Petra looks to him for answers when she cannot save the fallen soldier, reinforcing his role as an emotional anchor for others.

As the man dies, Levi overcomes his cleanliness to comfort the soldier in his dying moments. This scene is particularly profound, Levi accepts the burdens of the dead and promises to carry on their responsibilities. This pertains to all his fallen comrades we don't see on screen and the intense survivor's guilt Levi feels.

There is a moment of conviction when he swears to eradicate all the titans. He sounds the most like Eren here, but it also conveys the immense duty Levi carries. Marked as Humanity's Strongest, he is pushed into being a saviour while watching his friends die one by one. 

Up until this point, Levi doesn't show much emotion other than disgust, but here, he appears visibly sad. Despite his cool exterior, Levi cares deeply about others. He is incredibly empathetic, wanting to know if the soldier was comforted in his dying moments. Finally, Petra confirms that the man is at peace, foreshadowing that Levi will play a role in bringing peace by stopping the Rumbling or killing Zeke and allowing him to be free from his actions. 

Levi's introduction is not just an action scene, it is a carefully constructed moment that reveals his past, his values, and the burden he will carry throughout the story.

If you enjoyed pls like and reblog!! Also pls be nice!! Im always open to criticism so long as it is constructive and respectful <3

creds to @sister-lucifer for the levi dividers

[v4mp1r3b4tzz]

Chainsaw Man: The Impact of Poverty on Denji

Hiii!! These are just my somewhat put together ramblings about Denji and his sad little life, so pls be nice!! Like and reblog if you enjoy!!

In the beginning of Chainsaw Man, Denji lives in abject poverty. His debt is seemingly inescapable, leading him to sell his own body in a desperate attempt to get out of his situation. Not only is his life at risk from the mafia, he's also at risk of malnutrition and illness from his poor diet, which includes plain bread and things he finds in the rubbish. As a result, he is scrawny, despite the physical labour he performs every day. This has been his life for nearly 16 years.

This leads Denji into a survival mindset, his only goal is surviving the next day, and he dreams of simple pleasures like food, shelter and human contact. Denji's poverty is the foundation of his early motivations, shaping his survival mindset and limiting his dreams to basic needs such as food, shelter, and companionship. It appears to the viewer as though Denji can never transcend his condition, a blunt criticism of capitalist society and the inescapable oppression of greed. He is entirely bonded to the debts of his father, and there is no state assistance for an orphaned child. This makes the show as a whole very nihilistic and bleak, seeing the traumatic experience of an innocent child with no support.

Denji's desires could even be considered animal, seeking food and sexual pleasure. He fiercely pursues these goals, citing them as his sole reason for existence. Without constant effort, Denji would die; he is never given an opportunity to rest. So when his motives change from basic survival to more trivial joys, he maintains the same level of determination. Denji's motives are not virtuous or noble, possibly because he has never known friendship or family, which are key for cognitive development. One such example is in fights, he always aims for the crotch. There is no honour or dignity in his actions, driven instead by an animalistic desperation to survive. 

The line between genuine connection and sexual desire is very blurred for Denji. He struggles to define his feelings because he has suffered extreme emotional neglect. For years, his main source of human contact was the yakuza. Therefore, Denji views human relationships as transactional rather than personal. He sees a master/slave dynamic as normal, which makes him easy to manipulate. His lack of proper socialisation and growing up in a hostile environment makes him an easy target for a person like Makima. He views her as a sort of saviour because her abuse is hidden behind false promises. 

Denji has very crass and childish mannerisms, and he has very limited literacy due to his lack of education. This is shown when he uses words such as 'murderate' because he never learned proper grammar. It would be false however, to say that Denji is entirely stupid. He is resourceful and creative, quickly adapting to his situation wherever he is. Combined with his impulsiveness and boyish romantic desires, Denji comes across to the viewer as childish.

He shares these mannerisms with Power, who is also getting accustomed to normal human life. Similarly, Power also has animalistic and crude desires. She shares his lack of proper socialisation, neither of them understand social cues or normal behaviours, and are often seen strangely in the eyes of others. This allows the pair to connect and get along well, despite their ideological differences. One example where this is shown is when Power explains her love of cats to Denji, Denji can relate to her simple joy in felines because he found that same joy in Pochita, suggesting that both characters formed emotional bonds with animals due to their lack of stable human relationships. Furthermore, Power manipulates Denji into helping to save Meowy. Both characters approach the situation with selfish motives, yet the experience builds mutual understanding between them.

As Denji is taken out of poverty and into state ownership, he believes his life has changed for the better. Instead of worrying about his next meal, he eats well every day, instead focusing on his love life. This is a privilege Denji has never experienced before. His newfound 'freedom' sends him down a path of excess, as he spirals into seeking more and more validation through relationships with women. More positively, his new position allows him to develop socially, even if it is through much trial and error. Unfortunately, there is still the same underlying issue. Any discrepancy from him, and he dies. Even though he lives more comfortably, his life is under the same risk, representing the never ending cycle of corporate greed in today's society. Denji is a disposable asset for both the mafia and the public safety devil hunters.

To summarise, Denji's poverty-stricken upbringing has significantly limited his emotional development, making him more vulnerable to manipulation. His behavior often appears crude or impulsive, because survival has trained him to prioritize immediate results over societal norms. While he is under the impression his situation has improved, he is actually under the same risk, making his story all the more tragic.

Anyways thats it from me for today!! I hope you enjoyed and dont forget to like and reblog!!

[v4mp1r3b4tzz]

JJK : Misogyny, Homophobia and Feminism

Hi guys! I've noticed a lot of stuff both in the show and the fandom recently and I thought I would compile my thoughts in an essay as practice for my exams!! Please be nice and give me your thoughts!! Reblogs are very much appreciated 🫶

Firstly, JJK has a wide array of queer coded or canon queer characters. A few examples of this would be Megumi, Kirara, Uraume, Mai, and Mahito. Homophobia is an issue I've taken particular notice of recently. To begin, JJK has a lot of implied queer action going on, from Todo hinting that Megumi might be attracted to boys rather than girls (and being very chill about it too, unslanderable king) , to Gege indicating that Mai might be into girls. Gege also stated that he drew on a BL he likes to write Gojo and Geto's relationship. The addition of queer undertones in the show appears purposeful. Of course, as with any fandom, there are lots of ships. These ships are usually based on real reasons, like story, tensions between characters and emotional connection.

A common accusation is that MLM or WLW ships are 'fetishisation', meaning people assume fans are sexualising queer relationships rather than engaging with character dynamics. The term is often used loosely by some fans, without a clear understanding of what it actually means. The misuse of the term diminishes the issue when fetishisation does occur. A common argument against the very popular ships ItaFushi and SatoSugu is that 'cant two guys just be friends'. This obviously comes from a place of frustration, they see it as platonic, and get mad when someone else sees the same relationship as romantic. Most people who ship either of those ships will be able to see the platonic side, because at the end of the day, its a headcanon. Shipping is inherently down to interpretation, and you can interpret media differently to others. Often, people will promote straight ships like YutaMaki or GojoHime, and use them to dog on queer ships, saying things like "can we normalise straight ships," Straight ships have been the norm for centuries, so framing them as marginalised within fandom spaces ignores the long history of homophobia in society.

This all stems from a lack of fandom etiquette, the concept of 'don't like, don't read' may be familiar with AO3 users, but it carries across all elements of fan culture. If a person doesn't like a queer ship, they don't have to ship it. Another argument is that its 'mischaracterisation', which it usually isn't (especially Satosugu). However, if a ship is mischaracterisation, that shouldn't matter, its an opinion, not a fact. Some people, particularly male fans, use these arguments to dismiss or ridicule fangirls, reinforcing both misogyny and gatekeeping within fandom spaces. 

Kirara, who has recently been in the spotlight, is widely understood to be trans. Shes an excellent portrayal of a very underrepresented community in anime. Some fans seem to have a big issue with this, claiming that Hakari is gay instead. The blatant transphobia shown by these people is deeply concerning, misgendering her out of spite. Furthermore, some  people think its acceptable to comment on her genitalia, making crude comments about how they 'Don't care and they would still crack'. This is completely unacceptable, one of few canon transfeminine characters in mainstream anime and she gets immediately disregarded and objectified as soon as her episode airs.

One thing JJK does excellently is gender ambiguous characters, Kenjaku, Uraume and Mahito could all be considered gender fluid or non binary. Though people still like to hate on trans or trans coded characters, in JJK they are well-written examples of how representation can be integrated naturally into a story. They are accepted by other characters, and their identity is never a point of contention to drive the plot. They are allowed to exist alongside other characters, rather than being ostracised. Despite this, some people will choose to single them out to further a transphobic agenda.

Naoya Zenin is a very controversial character among the fanbase. He's blatantly misogynistic, but people claim to like him because 'hes well written'. This is true, Naoya is a great example of how being raised in a toxic environment can give a person extreme views and deeply embedded misogyny. However, a common opinion is that like Maki, Mai and Toji, "Naoya is a victim too," There is an important difference between a victim of a toxic household, and a product of a toxic household. Maki and Mai were shunned and told they were useless. Toji was ostracised and thrown into a pit of curses as a child. These three are most certainly victims of the Zenin clans abuse. On the other hand, Naoya was constantly put on a pedestal. He lived with extreme privelege, and was always reassured he would eventually be the head of the clan. Naoya becomes an abuser later in live, believing that women are inferior and exist to serve him. Some readers interpret some of his comments as implying sexual violence against Mai, though this remains debated. If interpreted as sexual violence, this would be an unforgivable act, regardless of a person's background.

People who defend Naoya use another argument, that there are other, worse characters in the show. "How can you hate Naoya but love Sukuna or Kenjaku?" Simply put, most women experience sexism on a daily basis, whereas they don't get eaten and shredded by magic powers or get brought back from the dead to participate in a death game. To add to this, both Sukuna and Kenjaku hate absolutely everyone, on the contrary, Naoya hates just women. Others may say that women only like Sukuna because hes attractive, but without his attitude, most JJK fangirls agree Naoya would be pretty cute.

Furthermore one could even argue that Sukuna is actually a feminist character (yes I'm defending sukuna here ik im crazy) Firstly, Sukuna himself actually presents a lot of feminine qualities, during childhood, he was objectified and shunned for being deformed. This could be referring to the idea that women have to be beautiful to be respected in society. Sukuna then overcomes this, becoming the most powerful of his time. Cannibalism is sometimes used in feminist horror as a metaphor for reclaiming agency and power. Sukuna blurs the lines between human and curse, embodying the trope of 'the monstrous feminine' Instead of submitting to his circumstance and trying to survive by following social standards, Sukuna embraced destruction to gain power. This shows a shift in power dynamics we often see in feminist body horror, transforming from prey to predator. Feminist cannibalism is also closely connected to a praying mantis eating her mate, and Sukuna ate his own twin in the womb. This act can be interpreted symbolically, echoing themes in feminist horror where consumption represents transformation and control over one's fate.

Sukuna also shows his feminist side through his actions. He praises Maki for her strength and he also adopts Uraume, who is non binary, indicating that he doesn't care about gender. He is happily willing to fight Nobara, saying that she has lots of 'vitality' he will 'have some fun' A lot of people take this out of context and interpret this as Sukuna wants to sexually assault Nobara. In context, the line appears to refer to the thrill of combat rather than sexual intent. While Sukuna is hedonistic, we see him rejecting the sexual advances of Yorozu, so we can infer he is indifferent to this. In his introduction, he asks 'where are the women and children' The specific mention of women could be an implication of sexual violence, given that Sukuna appears largely indifferent to sexual desire, the line can be interpreted as reflecting his cruelty toward the most vulnerable rather than sexual intent. During Shibuya, Sukuna actually addresses Mimiko and Nanako before Jogo, considering hes from the Heian period, this is highly unusual, perhaps suggesting he once again doesn't care for gender stereotypes. (im a villain not a monster ahh)

Nobara is an kind and confident young girl. Shes decently strong, knows her way around a fight, and yet somehow, male fans still find ways to put her down. The biggest reason for Nobara slander is her 'attitude'. This is rooted in a hatred of outspoken young women. Her personality is similar to Yuji, but while hes 'the goat' shes an 'annoying bitch' Nobara doesn't show romantic interest in her friends, joking that Yuji would get a girlfriend before she got a boyfriend. Perhaps her open romantic desires are off-putting. Nobara has a conversation with Momo during the tournament arc. The message of the conversation was that in society, women need to be perfect to be respected, whereas men just need to be strong. As a result, when people hate on Nobara for her outspoken nature, they prove Momos point. Nobaras character exudes self love, and she doesn't rely on male validation, which often gets interpreted as having a big ego, which isn't the case. Nobara in this scene has a sort of girlboss moment, she says she loves herself when shes pretty, and when shes kicking ass. This is a really nice sentiment, and its great for young girls to hear. However, framing the moment purely as a "girlboss" scene can sometimes overshadow the deeper message about systemic misogyny in Jujutsu society. (a metaphor for women in professional settings perhaps)

Maki is another character brought up in the conversation about JJK and feminism. She overcomes her misogynistic clan and annihilates them. This part of her storyline is empowering and its great, no issues here. Unfortunately, some people sexualise Maki (calling her mommy etc) which is fine in theory as its just headcanon. However, it leads to the feminisation of Yuta in their relationship, people say she is the 'man of the relationship' This implies that women cannot be strong and empowered and feminine at the same time. Before Maki was burned, she was quite feminine presenting, we see her in skirts, legwarmers and with long hair. This is before her awakening, so she was weaker. After she is burned, she starts wearing trousers, showing her arms and has shorter hair. As Maki became less feminine-coded, some male fans appeared to respond more positively to her character. It’s positive that male viewers admire strong female characters, but admiration should not depend on those characters adopting traditionally masculine traits. There is nothing wrong with Maki being more masculine on its own, but its something that's happened with Megumi too.

In season one, Megumi is a very feminine presenting man, notably, he has very long eyelashes. In the latest season, as hes becoming more powerful, hes no longer animated with his eyelashes. This repeated shift from feminine to masculine presentation as characters gain power can reinforce the stereotype of 'woman weak, man strong'  Megumi often gets called a 'potential man' by fans, which implies that because Megumi is more feminine and weaker than he could be, hes not a 'real man'  Yuta also gets slandered for a similar reason, because he relies on Rika (a girl) to protect him, hes 'a bum'  He also presents more feminine qualities. There is a common theme that femininity means weakness.

JJK also attempts to spoonfeed feminism to teenage boys, through Nobara, Maki and Yuki, they show strong female characters. Another way they do this is through male characters. Todo for example, has an obsession with an idol, Takada. His qualities here are very similar to teenage fangirling. Through this, it tells its male audience that the female audience is chill (like nonchalant Todo) Todo also never questions anyones masculinity, and hes also never homophobic, presented through his scene asking Megumi his type, where Todo assures Megumi that its okay if he likes guys. Megumis response to this is also a model answer young boys could look up to, listing emotional qualities rather than physical attributes.

Yuji answers with his type 'tall women with a nice big ass' This makes Yuji relatable to his male audience, but it doesnt affect how he sees women. Yuji is very respectful of women around him. Not only that, but he himself shows feminine qualities, Traits like compassion and cooperation are often culturally associated with Yin—the receptive or nurturing side of the Yin-Yang balance. Yuji has a fairly small ego, and open body language. All of these make Yuji an ideal role model for teenage boys. JJK excels at showing healthy masculinity in an easily digestible and appealing way.

Anyways I hope you guys enjoyed!! pls feel free to disagree but also pls be respectful, interact if you liked it!!

[v4mp1r3b4tzz]

JJK : Misogyny, Homophobia and Feminism

Hi guys! I've noticed a lot of stuff both in the show and the fandom recently and I thought I would compile my thoughts in an essay as practice for my exams!! Please be nice and give me your thoughts!! Reblogs are very much appreciated 🫶

Firstly, JJK has a wide array of queer coded or canon queer characters. A few examples of this would be Megumi, Kirara, Uraume, Mai, and Mahito. Homophobia is an issue I've taken particular notice of recently. To begin, JJK has a lot of implied queer action going on, from Todo hinting that Megumi might be attracted to boys rather than girls (and being very chill about it too, unslanderable king) , to Gege indicating that Mai might be into girls. Gege also stated that he drew on a BL he likes to write Gojo and Geto's relationship. The addition of queer undertones in the show appears purposeful. Of course, as with any fandom, there are lots of ships. These ships are usually based on real reasons, like story, tensions between characters and emotional connection.

A common accusation is that MLM or WLW ships are 'fetishisation', meaning people assume fans are sexualising queer relationships rather than engaging with character dynamics. The term is often used loosely by some fans, without a clear understanding of what it actually means. The misuse of the term diminishes the issue when fetishisation does occur. A common argument against the very popular ships ItaFushi and SatoSugu is that 'cant two guys just be friends'. This obviously comes from a place of frustration, they see it as platonic, and get mad when someone else sees the same relationship as romantic. Most people who ship either of those ships will be able to see the platonic side, because at the end of the day, its a headcanon. Shipping is inherently down to interpretation, and you can interpret media differently to others. Often, people will promote straight ships like YutaMaki or GojoHime, and use them to dog on queer ships, saying things like "can we normalise straight ships," Straight ships have been the norm for centuries, so framing them as marginalised within fandom spaces ignores the long history of homophobia in society.

This all stems from a lack of fandom etiquette, the concept of 'don't like, don't read' may be familiar with AO3 users, but it carries across all elements of fan culture. If a person doesn't like a queer ship, they don't have to ship it. Another argument is that its 'mischaracterisation', which it usually isn't (especially Satosugu). However, if a ship is mischaracterisation, that shouldn't matter, its an opinion, not a fact. Some people, particularly male fans, use these arguments to dismiss or ridicule fangirls, reinforcing both misogyny and gatekeeping within fandom spaces. 

Kirara, who has recently been in the spotlight, is widely understood to be trans. Shes an excellent portrayal of a very underrepresented community in anime. Some fans seem to have a big issue with this, claiming that Hakari is gay instead. The blatant transphobia shown by these people is deeply concerning, misgendering her out of spite. Furthermore, some  people think its acceptable to comment on her genitalia, making crude comments about how they 'Don't care and they would still crack'. This is completely unacceptable, one of few canon transfeminine characters in mainstream anime and she gets immediately disregarded and objectified as soon as her episode airs.

One thing JJK does excellently is gender ambiguous characters, Kenjaku, Uraume and Mahito could all be considered gender fluid or non binary. Though people still like to hate on trans or trans coded characters, in JJK they are well-written examples of how representation can be integrated naturally into a story. They are accepted by other characters, and their identity is never a point of contention to drive the plot. They are allowed to exist alongside other characters, rather than being ostracised. Despite this, some people will choose to single them out to further a transphobic agenda.

Naoya Zenin is a very controversial character among the fanbase. He's blatantly misogynistic, but people claim to like him because 'hes well written'. This is true, Naoya is a great example of how being raised in a toxic environment can give a person extreme views and deeply embedded misogyny. However, a common opinion is that like Maki, Mai and Toji, "Naoya is a victim too," There is an important difference between a victim of a toxic household, and a product of a toxic household. Maki and Mai were shunned and told they were useless. Toji was ostracised and thrown into a pit of curses as a child. These three are most certainly victims of the Zenin clans abuse. On the other hand, Naoya was constantly put on a pedestal. He lived with extreme privelege, and was always reassured he would eventually be the head of the clan. Naoya becomes an abuser later in live, believing that women are inferior and exist to serve him. Some readers interpret some of his comments as implying sexual violence against Mai, though this remains debated. If interpreted as sexual violence, this would be an unforgivable act, regardless of a person's background.

People who defend Naoya use another argument, that there are other, worse characters in the show. "How can you hate Naoya but love Sukuna or Kenjaku?" Simply put, most women experience sexism on a daily basis, whereas they don't get eaten and shredded by magic powers or get brought back from the dead to participate in a death game. To add to this, both Sukuna and Kenjaku hate absolutely everyone, on the contrary, Naoya hates just women. Others may say that women only like Sukuna because hes attractive, but without his attitude, most JJK fangirls agree Naoya would be pretty cute.

Furthermore one could even argue that Sukuna is actually a feminist character (yes I'm defending sukuna here ik im crazy) Firstly, Sukuna himself actually presents a lot of feminine qualities, during childhood, he was objectified and shunned for being deformed. This could be referring to the idea that women have to be beautiful to be respected in society. Sukuna then overcomes this, becoming the most powerful of his time. Cannibalism is sometimes used in feminist horror as a metaphor for reclaiming agency and power. Sukuna blurs the lines between human and curse, embodying the trope of 'the monstrous feminine' Instead of submitting to his circumstance and trying to survive by following social standards, Sukuna embraced destruction to gain power. This shows a shift in power dynamics we often see in feminist body horror, transforming from prey to predator. Feminist cannibalism is also closely connected to a praying mantis eating her mate, and Sukuna ate his own twin in the womb. This act can be interpreted symbolically, echoing themes in feminist horror where consumption represents transformation and control over one's fate.

Sukuna also shows his feminist side through his actions. He praises Maki for her strength and he also adopts Uraume, who is non binary, indicating that he doesn't care about gender. He is happily willing to fight Nobara, saying that she has lots of 'vitality' he will 'have some fun' A lot of people take this out of context and interpret this as Sukuna wants to sexually assault Nobara. In context, the line appears to refer to the thrill of combat rather than sexual intent. While Sukuna is hedonistic, we see him rejecting the sexual advances of Yorozu, so we can infer he is indifferent to this. In his introduction, he asks 'where are the women and children' The specific mention of women could be an implication of sexual violence, given that Sukuna appears largely indifferent to sexual desire, the line can be interpreted as reflecting his cruelty toward the most vulnerable rather than sexual intent. During Shibuya, Sukuna actually addresses Mimiko and Nanako before Jogo, considering hes from the Heian period, this is highly unusual, perhaps suggesting he once again doesn't care for gender stereotypes. (im a villain not a monster ahh)

Nobara is an kind and confident young girl. Shes decently strong, knows her way around a fight, and yet somehow, male fans still find ways to put her down. The biggest reason for Nobara slander is her 'attitude'. This is rooted in a hatred of outspoken young women. Her personality is similar to Yuji, but while hes 'the goat' shes an 'annoying bitch' Nobara doesn't show romantic interest in her friends, joking that Yuji would get a girlfriend before she got a boyfriend. Perhaps her open romantic desires are off-putting. Nobara has a conversation with Momo during the tournament arc. The message of the conversation was that in society, women need to be perfect to be respected, whereas men just need to be strong. As a result, when people hate on Nobara for her outspoken nature, they prove Momos point. Nobaras character exudes self love, and she doesn't rely on male validation, which often gets interpreted as having a big ego, which isn't the case. Nobara in this scene has a sort of girlboss moment, she says she loves herself when shes pretty, and when shes kicking ass. This is a really nice sentiment, and its great for young girls to hear. However, framing the moment purely as a "girlboss" scene can sometimes overshadow the deeper message about systemic misogyny in Jujutsu society. (a metaphor for women in professional settings perhaps)

Maki is another character brought up in the conversation about JJK and feminism. She overcomes her misogynistic clan and annihilates them. This part of her storyline is empowering and its great, no issues here. Unfortunately, some people sexualise Maki (calling her mommy etc) which is fine in theory as its just headcanon. However, it leads to the feminisation of Yuta in their relationship, people say she is the 'man of the relationship' This implies that women cannot be strong and empowered and feminine at the same time. Before Maki was burned, she was quite feminine presenting, we see her in skirts, legwarmers and with long hair. This is before her awakening, so she was weaker. After she is burned, she starts wearing trousers, showing her arms and has shorter hair. As Maki became less feminine-coded, some male fans appeared to respond more positively to her character. It’s positive that male viewers admire strong female characters, but admiration should not depend on those characters adopting traditionally masculine traits. There is nothing wrong with Maki being more masculine on its own, but its something that's happened with Megumi too.

In season one, Megumi is a very feminine presenting man, notably, he has very long eyelashes. In the latest season, as hes becoming more powerful, hes no longer animated with his eyelashes. This repeated shift from feminine to masculine presentation as characters gain power can reinforce the stereotype of 'woman weak, man strong'  Megumi often gets called a 'potential man' by fans, which implies that because Megumi is more feminine and weaker than he could be, hes not a 'real man'  Yuta also gets slandered for a similar reason, because he relies on Rika (a girl) to protect him, hes 'a bum'  He also presents more feminine qualities. There is a common theme that femininity means weakness.

JJK also attempts to spoonfeed feminism to teenage boys, through Nobara, Maki and Yuki, they show strong female characters. Another way they do this is through male characters. Todo for example, has an obsession with an idol, Takada. His qualities here are very similar to teenage fangirling. Through this, it tells its male audience that the female audience is chill (like nonchalant Todo) Todo also never questions anyones masculinity, and hes also never homophobic, presented through his scene asking Megumi his type, where Todo assures Megumi that its okay if he likes guys. Megumis response to this is also a model answer young boys could look up to, listing emotional qualities rather than physical attributes.

Yuji answers with his type 'tall women with a nice big ass' This makes Yuji relatable to his male audience, but it doesnt affect how he sees women. Yuji is very respectful of women around him. Not only that, but he himself shows feminine qualities, Traits like compassion and cooperation are often culturally associated with Yin—the receptive or nurturing side of the Yin-Yang balance. Yuji has a fairly small ego, and open body language. All of these make Yuji an ideal role model for teenage boys. JJK excels at showing healthy masculinity in an easily digestible and appealing way.

Anyways I hope you guys enjoyed!! pls feel free to disagree but also pls be respectful, interact if you liked it!!

[v4mp1r3b4tzz]

How Women Are Presented in The Apothecary Diaries

Hiiii this is my first post on here and i wanted to practise my essay writing for school so i decided to upload this here!!! pls be nice gang and give me ur thoughts if you have any!!

In The Apothecary Diaries, the narrative focuses largely on it's extensive female cast. It is distinguished from more overt feminist media in its subtlety. Rather than imposing the idea of a strong female ‘girlboss’ archetype the show instead portrays women as complex individuals navigating and manipulating patriarchal systems for survival, revealing how societal structures impact both male and female experiences.

At the beginning of season one, the show quickly establishes the rigid beauty standards of the time and how it influences the experiences of the cast. A prime example of this is what puts Maomao at the forefront of the rear palace drama — the poisonous powder. This toxic substance was used by both Concubine Gyokuyou and Concubine Lihua in an effort to create a perfect picture of beauty, pale smooth skin, as was the standard at the time and even now in modern-day China. The use of a cosmetic product to reduce a mother and child to such a state represents the suffocating pressure to maintain beauty at any cost. Lady Gyokuyou, after our heroine informs her of the blight, immediately ceases use; however, Lady Lihua, who lost her son due to the powder, keeps using it, despite the fact she is extremely ill. Her ladies in waiting refuse to throw it out, going so far as to hide the toxin so she can keep using it. This represents how, in spite of her devastating loss, she is expected to remain composed and quintessential. Unfortunately for the concubines in the rear palace, beauty is their greatest asset, and for Lady Lihua to lose that would be to lose everything.

Maomao herself states that she's seen it before, in the brothels, where women “trade life for beauty”. Again, she highlights that no matter your societal rank, a woman's appearance changes how people perceive her. In Maomao's case, she uses beauty to her advantage in the opposite manner. Maomao paints freckles onto her face, an ‘ugly feature’ in ancient China, due to their association with the working class. She does so to avoid attention so she can live a peaceful life, and it is only when her freckles wear off that her life is upheaved. Her kidnappers believed she could fetch a good price. This showcases the correlation between beauty and perception. This relationship goes both ways. Not only are more beautiful women valued for that attribute, but also women are harming themselves to stay that way. Maomao also acknowledges that being invisible is a form of protection, and she purposefully changes her face to become unremarkable.

In ancient Chinese society, a woman's physical appearance can change her social status, and the case isn't much different today. The show may be suggesting here that femininity is more about external presentation rather than personal identity, inner wellbeing, and the autonomy to experience life unrestrained. One character who uses this idea to explore as she pleases is Loulan, who uses mixed trends and styles to deceive everyone and live a double life. Or the Madam of Verdigris House, who used her striking appearance to gain power through the courtesan system. So many characters are forced to act within their means to gain the upper hand, some prevailing and others not so lucky, but it's this show of resilience which makes the female cast so special.

Throughout the show, Maomao uses her past experiences in the brothel to compare with life in the rear palace. One great example of this would be Maomao's own parents. Her mother (Fengxian) was a star courtesan at Verdigris House, and after beating him in a game of Go, Commander Lakan quickly falls in love. At this time, he was too poor to buy her out, so they concoct a plan: he gets her pregnant, which will decrease her value to practically zero, and he will then buy her out. When he is sent away to study abroad, the plan falls through. After giving birth, she has to resort to taking any client because she has no worth. This results in her contracting syphilis, and ultimately it takes her sanity and her autonomy away. This tragedy arises directly from the system which commodifies female bodies. Her downfall is a underscores the idea that a woman's physical worth is directly connected to male perception and sexual demand.

In the red light district, pregnancy destroys a woman's monetary value. In contrast, in the Rear Palace, a woman's entire survival depends on fertility. To bear a son is to secure status; to fail is to risk erasure. Ah-duo lost her uterus during her first birth due to medical neglect and, as a result, lost her fertility. In the end, Ah-duo was removed from the Rear Palace at no fault of her own, simply because her body had no value. The show presents to the viewer the idea that in society, a woman's worth can diminish at any point based on male perception of her use – whether that be through her reproductive abilities or the destruction that pregnancy puts the female body through, deteriorating her value as a sex symbol.

Another way that women are presented in the Apothecary Diaries is through floral symbolism; women like Ah Duo and Fengxian are seen as wilted flowers, women who were once beautiful and revered but have since lost their societal value. However, flowers can also be seen as a way The Apothecary Diaries shows women as multifaceted. This relates to the issue of women in lots of contemporary feminist media portraying one-dimensional characters, where empowerment is often simplified into flawlessness. Taking Lihua, for example, her name means 'pear blossom', which is in Chinese culture a representation for beauty. These seemingly innocent flowers have a double meaning; they also represent fragility in Chinese literature. The flowers are famous for falling fast. This parallels Lady Li Hua's relationship and how her desire to be beautiful is what nearly kills her. Fengxian is represented by balsam, an explosive flower associated with beauty, used to paint the fingernails red. Historically, the plant is used to treat skin conditions, an ode to the damage on her skin post-illness. In general, the floral symbolism enriches each character, revealing their complexity beneath outward presentation. In a society which historically expected women to be subservient and silent, giving them such diversified personalities is actually a great way of opposing the patriarchy. The flowers in the show don't only symbolise beauty and defiance but also impermanence, just like the women of the Rear Palace and in the red light district.

Our main character Maomao is represented by wood sorrel. It has a sour flavour, just like Maomao can be perceived as standoffish or sharp. The plant also has connotations of self-preservation, symbolising how Maomao focuses on keeping under the radar; she just wants to make it home alive. Wood sorrel is also a common plant, perhaps representing her humble origins; it's a weed, growing in tough conditions and neglected areas. This can be read as a reflection of how Maomao can thrive hostile environments due to her self-awareness, kindness and tenacity. One event showing her resilience was running over a kilometre to save a stranger, this behaviour contrasts her detached persona, showing her compassion and determination to help others behind her pragmatism. This is what makes Maomao such an excellent feminist character, because she has flaws and she works within the system to achieve her means, which is to live peacefully and help where she can. By refusing to frame Maomao as a revolutionary figure seeking systematic change, the series suggests that rebellion within oppressive systems can be quiet, personal and strategic. This is represented by Lakan likening her to that hardy plant.

One sentiment Maomao repeats is that some flowers are poisonous; taking into consideration the comparison of women and flowers through the show, Maomao could be implying here that women shouldn't be judged by their sexuality or looks, but rather their character. Many characters in the show reinforce this; Lady Lihua appears stuck up and prideful, but in truth, she is caring and elegant. Lady Gyokuyou is at first simply kind and courteous, but she is really very intelligent and meticulous in creating this image. Lady Lishu comes across as snobbish, but she is really a scared and sheltered child. Lady Ah-Duo strikes as graceful and refined, but at heart, she can be rather tomboyish. The Apothecary Diaries really hammers home the idea that a woman's appearance doesn't tell you her true nature.

This prejudice affects the men too, more specifically Jinshi; out of all the male characters, Jinshi can probably relate to the women the most. He is described as a celestial beauty; flowers bloom where this man walks. He chooses - like many of the ladies in the show - to use this to his advantage. He actively charms and manipulates people to do his bidding with a heavenly smile, allowing him to bypass the rigid structure of the palace. However, his looks also create issues for him. Jinshi embodies the paradox of beauty as a privilege and a burden. He is subjected to lots of harassment and inappropriate attention from both men and women. As a result of this, people also often overlook his competence and intelligence, viewing him as just a pretty face, leading to deep-seated insecurities and his strong desire to prove his worth beyond his appearance. Jinshi becomes a compelling example of the benefits and drawbacks of feminine beauty. Despite his gender, he can use it as a social currency but also face many barriers because of it.

Now, even though Jinshi is also a victim of the patriarchy, he upholds it unknowingly. The Rear Palace, which he manages, creates a culture of institutionalised objectification for women. The Rear Palace houses thousands of women and Jinshi, while empathetic, is inadvertently complicit just by managing the palace. Women are a commodity; the rear palace quite literally buys them in to work there. This creates demand, and as a result, women are kidnapped, just like Maomao. When Jinshi learns of this, he is distraught. He doesn't realise that this even happened, a representation of how men often remain ignorant in situations surrounding violence against women - Jinshi isn't personally malicious, but he's structurally complicit. Men in the show see women being treated as lesser, and even if they disagree, they cannot do anything. Often they don't realise until it happens to a loved one, and then they place blame solely on the perpetrator rather than the system that caused it, whereas women are typically more aware of the violence and thus will actively try to avoid it and immediately understand the motive to escape it. The show never villainises men for this ignorance; it is not their fault, but it handles the subject with nuance. It doesn't lecture the viewer on the patriarchy, it follows a show-not-tell structure in this sense.

Another thing about the show is that men and women may have the same goal, but the means to achieve it is different. For example, Lihaku and Pairin. Lihaku is in love with her; he decides he wants to be with her, and his path is simple: get enough money to buy her out. Granted, that's a difficult task, but achievable if he works hard. Whereas a woman, Fuyou, who is in love must go through more gruelling, humiliating means to be with the man she loves. She purposefully failed when dancing for the emperor, disgracing herself, and then faked insanity so he would never touch her, allowing her to remain pure for her childhood sweetheart, a military officer. Fuyou and Lihaku both pursue love, but the structural barriers they face differ greatly. Lihaku's path, though challenging, is linear: earn the money and set Pairin free. Fuyou's path requires self-humiliation, deception and a performance of madness which could have her executed. Also, the emphasis on Fuyou's chastity for her lover is symbolic again of the value placed upon women's bodies. Women in the show long for freedom; oftentimes they cannot seek it. A woman's desires to love, have meaningful friendships, have security, or pursue her passion are always second to those of a man, and she must find an alternative route to achieve this.

Overall, The Apothecary Diaries presents women as dynamic, exciting characters and traverses varying ideas around a woman's value, her beauty and her character. Its women are neither flawless nor revolutionary, but instead profoundly human. The series presents feminism uniquely, not as a rebellion, but as survival, intelligence and resistance. While the show explores ideas of sexism and violence against women, it never leans to misandry, instead discussing how the system also acts to the detriment of men and also how men can unknowingly uphold the patriarchy.  Ultimately, The Apothecary Diaries considers multiple aspects of feminism and challenges the patriarchal society with nuance and delicacy.

I hope yall enjoyeddddd :pppp

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How is Friendship and Humanity Presented in Attack On Titan

A key element of Attack on Titan is the unwavering humanity of the main cast and how their friendships develop and change them as people. Unfortunately, this is often overlooked in favour of discussing the darker side of the show. Armin mentions taking time to enjoy the "little things", and this is what in my opinion makes the show so enjoyable. The characters of the show constantly display small and large acts of empathy which connect them together. Through these relationships, the series shows how compassion and understanding are what allows humanity to prevail over violence. 

One major example of this would be the dynamic between the veterans, Hange, Levi and Erwin. This trio intermingles well, they all bond over survival and have huge trust in each other. Hange is an excitable, curious person and takes great joy in researching titans. This can represent the inquisitive nature of humanity and the drive for knowledge which has pushed us as a society to advance. Levi holds great respect for Hange. However, his more stoic attitude helps to rein in her chaos. Hange also brings out a more relaxed and less uptight version of Levi, a symbol of their friendship. Levi Ackerman carries deep trauma that extends beyond the Survey Corps and into his childhood. Someone like Hange is good for Levi. This is clear in their often teasing and sarcastic interactions, where Levi even dubs her 'Four-eyes'. These moments between them show the more joyous and playful side of their friendship.

However, Levi would lack direction if not for Erwin, as they have complete faith in each other. Erwin trusts Levi to accomplish any mission. In return, Levi trusts Erwin's leadership and judgement. This is shown during the Return to Shiganshina arc, when Erwin sacrifices himself to give Levi a chance at killing the Beast Titan. Their relationship portrays how people often rely on each other for counsel. Erwin is ruthlessly pragmatic but highly intelligent. Like Hange, he is driven by a desire to uncover hidden truths. Because of this, they work well together and bond over their shared thirst for knowledge. As commander of the Survey Corps, Erwin enables Hange's research projects. In turn, Hange deeply respects his strategic vision, and therefore they do their best to carry it out, shown when Erwin entrusts them with taking over his position after he dies. Overall the trio balances each other out. Although they are more practical and hard-headed than their younger counterparts, their friendship remains deep and meaningful. They found motivation through each other.

Another example of friendship impacting personal growth is Gabi and Falco. This pair starts off as indoctrinated children, knowing only Marleyan propaganda as the truth, but over time, they both learn to see past their prejudices. Falco is much more empathetic than her to begin, and clearly holds a lot of love for her. He stuck with her through thick and thin, wanting to ensure her safety, joining her in sneaking onto the airship. Falco acts as a levelheaded protector for Gabi, who is impulsive and volatile in comparison. He tries to guide her away from her hatred. There are many moments in which this is shown, my personal favourite is at the Braun stables, where Gabi is bitten on the head by a horse, and Falco remarks that there is no horse that would let her ride it. This shows Falco acknowledging the extreme resentment she harbours. However, it reminds us that he still loves her, and is able to joke with her. This does also remind us that they are just children, and this allows us to empathise with the pair, even after what Gabi did.

Eventually, Gabi overcomes her hostility and her true selfless nature begins to emerge. This occurs after she sees the humanity of the Eldian people.  Forced to live among those she thought were subhuman, Gabi realises they are no different from her. The kindness of Sasha's family not taking revenge and instead offering forgiveness forced her to confront her own misconceptions about the Eldian people and change for the better. In the end, they help to stop the Rumbling, doing this out of a desire to show kindness in the same way the Eldian 'devils' showed kindness to her. She found she could connect with these people, and a perfect example of this is a small scene where Levi helps her shoot a rifle during the rumbling. He keeps a hand over her to stop her flying off Falco's back. This portrays her development, but also Levi's too. Over the course of the series, he becomes more of a 'father figure' to the cast. It's small interactions like this which make the show feel purposeful, giving humanity to its characters.

Connie and Jean create a more relatable aspect to the show, both of them are very normal people. Connie is, at first glance, a comedic relief character, but it goes so much deeper than that. Firstly, his humourous nature provides a much needed lightheartedness to the series, especially paired with Sasha. Most importantly about Connie, is how he maintains this outlook, he has an incredible ability to look past betrayal for the greater good. He feels personally betrayed by Reiner and Bertholdt. When his village was overtaken by titans, he claims that a titan communicated with him. Reiner is quick to dismiss this claim. This makes the later revelation Reiner and Bertholdt are the Armoured and Colossal Titans much more devastating, as his family were directly affected. Despite this, he empathises with their position, and overcomes his bitterness, and during the final fight, he places his trust in them again. Connie is a shining example of forgiveness in the show, which is an important step to unity.

Jean's character focuses more on selflessness than forgiveness. Jean starts out thinking only for himself, he plans on joining the Military Police, getting a cushy job, and living peacefully. After his close friend Marco dies, he adopts a sense of responsibility. Marco's name  refers to the Roman god of war, Mars, it symbolises strength and valour. These are qualities Jean adopts after Marcos death, choosing to fight for others rather than himself. Jean also deals with temptations to choose the easy path, by joining the Military Police or becoming a Yeagerist. However, he always ends up choosing the most dutiful path, picking compassion for others over self preservation. One example of Jean choosing kindness would be with Reiner. In the final fight, Jean saves Reiners life, and tells him the reason is "We are Scouts". This represents how despite Reiners betrayal, Jean understands that Reiner has changed and found his way, showing Jeans development. This is sort of a full circle moment for Jean, he now knows what it means to act selflessly. The average person can easily relate to the struggles of both Jean and Connie. Because of this, they ground the show in reality, and demonstrate that ordinary people can make significant moral changes in themselves by becoming more empathetic, compassionate and forgiving.

Sasha is the paragon of humanity in Attack On Titan. She starts off perhaps a bit selfish and immature as a cadet, but she quickly grows and matures into a capable soldier. What really stands out about Sasha is her unwavering love for the world around her, she is capable of seeing past any prejudices she has to see the truth. Sasha is essentially the life of the show. You could easily simplify her to just 'comic relief', but in a show with themes as dark as Attack On Titan, her ridiculous love for food and entertaining nature bring a spark to the series. Sasha, from season one, has this incredible compassion. When she gets caught eating the potato during training, she offers a significantly smaller half to Shadis. This could be just a funny joke, but it actually shows Sasha's hope for the future and her trust in others to also be kind. Of course, this doesn't end well for her and she still gets punished.

Later on, in season 4, Reiner recounts this story to his family when talking about his experience with 'Eldian devils'. The worst thing he can remember about Sasha is that she gave him the smaller half, its a humanising story, and this shows that Reiner has opened his eyes to the truth. The harmless and mundane story perpetuates an entirely different idea of Eldians compared to the Marleyan propaganda. Reiner is traumatised by his revelation. It went against everything he was ever taught. Therefore, he tried to find a reason to not believe it. Instead, he found humanity, and he found it through Sasha. In season 2, episode 6, Reiner says "if only I never knew there were people like this" I think this is a great example of how Reiner's experiences on Paradis with people like Sasha created his immense guilt, changing his perception and overriding his indoctrination.

Not only does Sasha help Reiner overcome his beliefs, she also helps Niccolo. After arriving as a ships cook on Paradis and being captured by the Survey Corps, Sasha gets to try his seafood. Her reaction is tearful, sobbing and immediately praising Niccolo as a genius. She has never tried seafood before, her overjoyed reaction to this foreign experience is a testament to her accepting disposition. Sasha's appreciation changes Niccolo's perspective, deciding to bring happiness to others rather than spew hatred. Their relationship is a sample of how love, even if at first just for food, and empathy for others can break generational cycles of hate.

Sasha's kindness is so impactful that it continues to influence people past her death, changing people's perception of Eldians. Similarly, characters like Armin and Falco also beleive this, using their empathy for others to try and break the spiral of hostility, reinforcing the theme of an enduring humanity. During the Wall Rose invasion, despite being unarmed and afraid, she stepped up to save a young girl, Kaya, from being eaten by a titan. In this scene, Sasha showed bravery and selflessness. Later, Kaya shares her fond memories of Sasha with Gabi. Combined with Niccolo's grief and Sasha's parents choosing to forgive her, these moments ultimately change her worldview. In the end, this conveys one of the key messages of the show, that while hatred is inevitable, its never too late, even after a death, to keep choosing understanding and forgiveness. Sasha brings a certain soul to Attack on Titan which despite initially seeming irrelevant, ends up impacting the plot in many ways.

Ultimately, Attack on Titan demonstrates how humanity persists even in the most brutal circumstances. Through friendships like Hange, Levi and Erwin, the moral growth of Gabi, and the compassion of Sasha, the show emphasises that humanity is found in empathy and understanding. In a world of violence and hatred, kindness and compassion are the key to breaking cycles of hate and finding purpose.

Thank you for reading!! I hope you enjoyed, pls give me your thoughts!! (be nice tho)

[v4mp1r3b4tzz]

How is Friendship and Humanity Presented in Attack On Titan

A key element of Attack on Titan is the unwavering humanity of the main cast and how their friendships develop and change them as people. Unfortunately, this is often overlooked in favour of discussing the darker side of the show. Armin mentions taking time to enjoy the "little things", and this is what in my opinion makes the show so enjoyable. The characters of the show constantly display small and large acts of empathy which connect them together. Through these relationships, the series shows how compassion and understanding are what allows humanity to prevail over violence. 

One major example of this would be the dynamic between the veterans, Hange, Levi and Erwin. This trio intermingles well, they all bond over survival and have huge trust in each other. Hange is an excitable, curious person and takes great joy in researching titans. This can represent the inquisitive nature of humanity and the drive for knowledge which has pushed us as a society to advance. Levi holds great respect for Hange. However, his more stoic attitude helps to rein in her chaos. Hange also brings out a more relaxed and less uptight version of Levi, a symbol of their friendship. Levi Ackerman carries deep trauma that extends beyond the Survey Corps and into his childhood. Someone like Hange is good for Levi. This is clear in their often teasing and sarcastic interactions, where Levi even dubs her 'Four-eyes'. These moments between them show the more joyous and playful side of their friendship.

However, Levi would lack direction if not for Erwin, as they have complete faith in each other. Erwin trusts Levi to accomplish any mission. In return, Levi trusts Erwin's leadership and judgement. This is shown during the Return to Shiganshina arc, when Erwin sacrifices himself to give Levi a chance at killing the Beast Titan. Their relationship portrays how people often rely on each other for counsel. Erwin is ruthlessly pragmatic but highly intelligent. Like Hange, he is driven by a desire to uncover hidden truths. Because of this, they work well together and bond over their shared thirst for knowledge. As commander of the Survey Corps, Erwin enables Hange's research projects. In turn, Hange deeply respects his strategic vision, and therefore they do their best to carry it out, shown when Erwin entrusts them with taking over his position after he dies. Overall the trio balances each other out. Although they are more practical and hard-headed than their younger counterparts, their friendship remains deep and meaningful. They found motivation through each other.

Another example of friendship impacting personal growth is Gabi and Falco. This pair starts off as indoctrinated children, knowing only Marleyan propaganda as the truth, but over time, they both learn to see past their prejudices. Falco is much more empathetic than her to begin, and clearly holds a lot of love for her. He stuck with her through thick and thin, wanting to ensure her safety, joining her in sneaking onto the airship. Falco acts as a levelheaded protector for Gabi, who is impulsive and volatile in comparison. He tries to guide her away from her hatred. There are many moments in which this is shown, my personal favourite is at the Braun stables, where Gabi is bitten on the head by a horse, and Falco remarks that there is no horse that would let her ride it. This shows Falco acknowledging the extreme resentment she harbours. However, it reminds us that he still loves her, and is able to joke with her. This does also remind us that they are just children, and this allows us to empathise with the pair, even after what Gabi did.

Eventually, Gabi overcomes her hostility and her true selfless nature begins to emerge. This occurs after she sees the humanity of the Eldian people.  Forced to live among those she thought were subhuman, Gabi realises they are no different from her. The kindness of Sasha's family not taking revenge and instead offering forgiveness forced her to confront her own misconceptions about the Eldian people and change for the better. In the end, they help to stop the Rumbling, doing this out of a desire to show kindness in the same way the Eldian 'devils' showed kindness to her. She found she could connect with these people, and a perfect example of this is a small scene where Levi helps her shoot a rifle during the rumbling. He keeps a hand over her to stop her flying off Falco's back. This portrays her development, but also Levi's too. Over the course of the series, he becomes more of a 'father figure' to the cast. It's small interactions like this which make the show feel purposeful, giving humanity to its characters.

Connie and Jean create a more relatable aspect to the show, both of them are very normal people. Connie is, at first glance, a comedic relief character, but it goes so much deeper than that. Firstly, his humourous nature provides a much needed lightheartedness to the series, especially paired with Sasha. Most importantly about Connie, is how he maintains this outlook, he has an incredible ability to look past betrayal for the greater good. He feels personally betrayed by Reiner and Bertholdt. When his village was overtaken by titans, he claims that a titan communicated with him. Reiner is quick to dismiss this claim. This makes the later revelation Reiner and Bertholdt are the Armoured and Colossal Titans much more devastating, as his family were directly affected. Despite this, he empathises with their position, and overcomes his bitterness, and during the final fight, he places his trust in them again. Connie is a shining example of forgiveness in the show, which is an important step to unity.

Jean's character focuses more on selflessness than forgiveness. Jean starts out thinking only for himself, he plans on joining the Military Police, getting a cushy job, and living peacefully. After his close friend Marco dies, he adopts a sense of responsibility. Marco's name  refers to the Roman god of war, Mars, it symbolises strength and valour. These are qualities Jean adopts after Marcos death, choosing to fight for others rather than himself. Jean also deals with temptations to choose the easy path, by joining the Military Police or becoming a Yeagerist. However, he always ends up choosing the most dutiful path, picking compassion for others over self preservation. One example of Jean choosing kindness would be with Reiner. In the final fight, Jean saves Reiners life, and tells him the reason is "We are Scouts". This represents how despite Reiners betrayal, Jean understands that Reiner has changed and found his way, showing Jeans development. This is sort of a full circle moment for Jean, he now knows what it means to act selflessly. The average person can easily relate to the struggles of both Jean and Connie. Because of this, they ground the show in reality, and demonstrate that ordinary people can make significant moral changes in themselves by becoming more empathetic, compassionate and forgiving.

Sasha is the paragon of humanity in Attack On Titan. She starts off perhaps a bit selfish and immature as a cadet, but she quickly grows and matures into a capable soldier. What really stands out about Sasha is her unwavering love for the world around her, she is capable of seeing past any prejudices she has to see the truth. Sasha is essentially the life of the show. You could easily simplify her to just 'comic relief', but in a show with themes as dark as Attack On Titan, her ridiculous love for food and entertaining nature bring a spark to the series. Sasha, from season one, has this incredible compassion. When she gets caught eating the potato during training, she offers a significantly smaller half to Shadis. This could be just a funny joke, but it actually shows Sasha's hope for the future and her trust in others to also be kind. Of course, this doesn't end well for her and she still gets punished.

Later on, in season 4, Reiner recounts this story to his family when talking about his experience with 'Eldian devils'. The worst thing he can remember about Sasha is that she gave him the smaller half, its a humanising story, and this shows that Reiner has opened his eyes to the truth. The harmless and mundane story perpetuates an entirely different idea of Eldians compared to the Marleyan propaganda. Reiner is traumatised by his revelation. It went against everything he was ever taught. Therefore, he tried to find a reason to not believe it. Instead, he found humanity, and he found it through Sasha. In season 2, episode 6, Reiner says "if only I never knew there were people like this" I think this is a great example of how Reiner's experiences on Paradis with people like Sasha created his immense guilt, changing his perception and overriding his indoctrination.

Not only does Sasha help Reiner overcome his beliefs, she also helps Niccolo. After arriving as a ships cook on Paradis and being captured by the Survey Corps, Sasha gets to try his seafood. Her reaction is tearful, sobbing and immediately praising Niccolo as a genius. She has never tried seafood before, her overjoyed reaction to this foreign experience is a testament to her accepting disposition. Sasha's appreciation changes Niccolo's perspective, deciding to bring happiness to others rather than spew hatred. Their relationship is a sample of how love, even if at first just for food, and empathy for others can break generational cycles of hate.

Sasha's kindness is so impactful that it continues to influence people past her death, changing people's perception of Eldians. Similarly, characters like Armin and Falco also beleive this, using their empathy for others to try and break the spiral of hostility, reinforcing the theme of an enduring humanity. During the Wall Rose invasion, despite being unarmed and afraid, she stepped up to save a young girl, Kaya, from being eaten by a titan. In this scene, Sasha showed bravery and selflessness. Later, Kaya shares her fond memories of Sasha with Gabi. Combined with Niccolo's grief and Sasha's parents choosing to forgive her, these moments ultimately change her worldview. In the end, this conveys one of the key messages of the show, that while hatred is inevitable, its never too late, even after a death, to keep choosing understanding and forgiveness. Sasha brings a certain soul to Attack on Titan which despite initially seeming irrelevant, ends up impacting the plot in many ways.

Ultimately, Attack on Titan demonstrates how humanity persists even in the most brutal circumstances. Through friendships like Hange, Levi and Erwin, the moral growth of Gabi, and the compassion of Sasha, the show emphasises that humanity is found in empathy and understanding. In a world of violence and hatred, kindness and compassion are the key to breaking cycles of hate and finding purpose.

Thank you for reading!! I hope you enjoyed, pls give me your thoughts!! (be nice tho)

[v4mp1r3b4tzz]

How Women Are Presented in The Apothecary Diaries

Hiiii this is my first post on here and i wanted to practise my essay writing for school so i decided to upload this here!!! pls be nice gang and give me ur thoughts if you have any!!

In The Apothecary Diaries, the narrative focuses largely on it's extensive female cast. It is distinguished from more overt feminist media in its subtlety. Rather than imposing the idea of a strong female ‘girlboss’ archetype the show instead portrays women as complex individuals navigating and manipulating patriarchal systems for survival, revealing how societal structures impact both male and female experiences.

At the beginning of season one, the show quickly establishes the rigid beauty standards of the time and how it influences the experiences of the cast. A prime example of this is what puts Maomao at the forefront of the rear palace drama — the poisonous powder. This toxic substance was used by both Concubine Gyokuyou and Concubine Lihua in an effort to create a perfect picture of beauty, pale smooth skin, as was the standard at the time and even now in modern-day China. The use of a cosmetic product to reduce a mother and child to such a state represents the suffocating pressure to maintain beauty at any cost. Lady Gyokuyou, after our heroine informs her of the blight, immediately ceases use; however, Lady Lihua, who lost her son due to the powder, keeps using it, despite the fact she is extremely ill. Her ladies in waiting refuse to throw it out, going so far as to hide the toxin so she can keep using it. This represents how, in spite of her devastating loss, she is expected to remain composed and quintessential. Unfortunately for the concubines in the rear palace, beauty is their greatest asset, and for Lady Lihua to lose that would be to lose everything.

Maomao herself states that she's seen it before, in the brothels, where women “trade life for beauty”. Again, she highlights that no matter your societal rank, a woman's appearance changes how people perceive her. In Maomao's case, she uses beauty to her advantage in the opposite manner. Maomao paints freckles onto her face, an ‘ugly feature’ in ancient China, due to their association with the working class. She does so to avoid attention so she can live a peaceful life, and it is only when her freckles wear off that her life is upheaved. Her kidnappers believed she could fetch a good price. This showcases the correlation between beauty and perception. This relationship goes both ways. Not only are more beautiful women valued for that attribute, but also women are harming themselves to stay that way. Maomao also acknowledges that being invisible is a form of protection, and she purposefully changes her face to become unremarkable.

In ancient Chinese society, a woman's physical appearance can change her social status, and the case isn't much different today. The show may be suggesting here that femininity is more about external presentation rather than personal identity, inner wellbeing, and the autonomy to experience life unrestrained. One character who uses this idea to explore as she pleases is Loulan, who uses mixed trends and styles to deceive everyone and live a double life. Or the Madam of Verdigris House, who used her striking appearance to gain power through the courtesan system. So many characters are forced to act within their means to gain the upper hand, some prevailing and others not so lucky, but it's this show of resilience which makes the female cast so special.

Throughout the show, Maomao uses her past experiences in the brothel to compare with life in the rear palace. One great example of this would be Maomao's own parents. Her mother (Fengxian) was a star courtesan at Verdigris House, and after beating him in a game of Go, Commander Lakan quickly falls in love. At this time, he was too poor to buy her out, so they concoct a plan: he gets her pregnant, which will decrease her value to practically zero, and he will then buy her out. When he is sent away to study abroad, the plan falls through. After giving birth, she has to resort to taking any client because she has no worth. This results in her contracting syphilis, and ultimately it takes her sanity and her autonomy away. This tragedy arises directly from the system which commodifies female bodies. Her downfall is a underscores the idea that a woman's physical worth is directly connected to male perception and sexual demand.

In the red light district, pregnancy destroys a woman's monetary value. In contrast, in the Rear Palace, a woman's entire survival depends on fertility. To bear a son is to secure status; to fail is to risk erasure. Ah-duo lost her uterus during her first birth due to medical neglect and, as a result, lost her fertility. In the end, Ah-duo was removed from the Rear Palace at no fault of her own, simply because her body had no value. The show presents to the viewer the idea that in society, a woman's worth can diminish at any point based on male perception of her use – whether that be through her reproductive abilities or the destruction that pregnancy puts the female body through, deteriorating her value as a sex symbol.

Another way that women are presented in the Apothecary Diaries is through floral symbolism; women like Ah Duo and Fengxian are seen as wilted flowers, women who were once beautiful and revered but have since lost their societal value. However, flowers can also be seen as a way The Apothecary Diaries shows women as multifaceted. This relates to the issue of women in lots of contemporary feminist media portraying one-dimensional characters, where empowerment is often simplified into flawlessness. Taking Lihua, for example, her name means 'pear blossom', which is in Chinese culture a representation for beauty. These seemingly innocent flowers have a double meaning; they also represent fragility in Chinese literature. The flowers are famous for falling fast. This parallels Lady Li Hua's relationship and how her desire to be beautiful is what nearly kills her. Fengxian is represented by balsam, an explosive flower associated with beauty, used to paint the fingernails red. Historically, the plant is used to treat skin conditions, an ode to the damage on her skin post-illness. In general, the floral symbolism enriches each character, revealing their complexity beneath outward presentation. In a society which historically expected women to be subservient and silent, giving them such diversified personalities is actually a great way of opposing the patriarchy. The flowers in the show don't only symbolise beauty and defiance but also impermanence, just like the women of the Rear Palace and in the red light district.

Our main character Maomao is represented by wood sorrel. It has a sour flavour, just like Maomao can be perceived as standoffish or sharp. The plant also has connotations of self-preservation, symbolising how Maomao focuses on keeping under the radar; she just wants to make it home alive. Wood sorrel is also a common plant, perhaps representing her humble origins; it's a weed, growing in tough conditions and neglected areas. This can be read as a reflection of how Maomao can thrive hostile environments due to her self-awareness, kindness and tenacity. One event showing her resilience was running over a kilometre to save a stranger, this behaviour contrasts her detached persona, showing her compassion and determination to help others behind her pragmatism. This is what makes Maomao such an excellent feminist character, because she has flaws and she works within the system to achieve her means, which is to live peacefully and help where she can. By refusing to frame Maomao as a revolutionary figure seeking systematic change, the series suggests that rebellion within oppressive systems can be quiet, personal and strategic. This is represented by Lakan likening her to that hardy plant.

One sentiment Maomao repeats is that some flowers are poisonous; taking into consideration the comparison of women and flowers through the show, Maomao could be implying here that women shouldn't be judged by their sexuality or looks, but rather their character. Many characters in the show reinforce this; Lady Lihua appears stuck up and prideful, but in truth, she is caring and elegant. Lady Gyokuyou is at first simply kind and courteous, but she is really very intelligent and meticulous in creating this image. Lady Lishu comes across as snobbish, but she is really a scared and sheltered child. Lady Ah-Duo strikes as graceful and refined, but at heart, she can be rather tomboyish. The Apothecary Diaries really hammers home the idea that a woman's appearance doesn't tell you her true nature.

This prejudice affects the men too, more specifically Jinshi; out of all the male characters, Jinshi can probably relate to the women the most. He is described as a celestial beauty; flowers bloom where this man walks. He chooses - like many of the ladies in the show - to use this to his advantage. He actively charms and manipulates people to do his bidding with a heavenly smile, allowing him to bypass the rigid structure of the palace. However, his looks also create issues for him. Jinshi embodies the paradox of beauty as a privilege and a burden. He is subjected to lots of harassment and inappropriate attention from both men and women. As a result of this, people also often overlook his competence and intelligence, viewing him as just a pretty face, leading to deep-seated insecurities and his strong desire to prove his worth beyond his appearance. Jinshi becomes a compelling example of the benefits and drawbacks of feminine beauty. Despite his gender, he can use it as a social currency but also face many barriers because of it.

Now, even though Jinshi is also a victim of the patriarchy, he upholds it unknowingly. The Rear Palace, which he manages, creates a culture of institutionalised objectification for women. The Rear Palace houses thousands of women and Jinshi, while empathetic, is inadvertently complicit just by managing the palace. Women are a commodity; the rear palace quite literally buys them in to work there. This creates demand, and as a result, women are kidnapped, just like Maomao. When Jinshi learns of this, he is distraught. He doesn't realise that this even happened, a representation of how men often remain ignorant in situations surrounding violence against women - Jinshi isn't personally malicious, but he's structurally complicit. Men in the show see women being treated as lesser, and even if they disagree, they cannot do anything. Often they don't realise until it happens to a loved one, and then they place blame solely on the perpetrator rather than the system that caused it, whereas women are typically more aware of the violence and thus will actively try to avoid it and immediately understand the motive to escape it. The show never villainises men for this ignorance; it is not their fault, but it handles the subject with nuance. It doesn't lecture the viewer on the patriarchy, it follows a show-not-tell structure in this sense.

Another thing about the show is that men and women may have the same goal, but the means to achieve it is different. For example, Lihaku and Pairin. Lihaku is in love with her; he decides he wants to be with her, and his path is simple: get enough money to buy her out. Granted, that's a difficult task, but achievable if he works hard. Whereas a woman, Fuyou, who is in love must go through more gruelling, humiliating means to be with the man she loves. She purposefully failed when dancing for the emperor, disgracing herself, and then faked insanity so he would never touch her, allowing her to remain pure for her childhood sweetheart, a military officer. Fuyou and Lihaku both pursue love, but the structural barriers they face differ greatly. Lihaku's path, though challenging, is linear: earn the money and set Pairin free. Fuyou's path requires self-humiliation, deception and a performance of madness which could have her executed. Also, the emphasis on Fuyou's chastity for her lover is symbolic again of the value placed upon women's bodies. Women in the show long for freedom; oftentimes they cannot seek it. A woman's desires to love, have meaningful friendships, have security, or pursue her passion are always second to those of a man, and she must find an alternative route to achieve this.

Overall, The Apothecary Diaries presents women as dynamic, exciting characters and traverses varying ideas around a woman's value, her beauty and her character. Its women are neither flawless nor revolutionary, but instead profoundly human. The series presents feminism uniquely, not as a rebellion, but as survival, intelligence and resistance. While the show explores ideas of sexism and violence against women, it never leans to misandry, instead discussing how the system also acts to the detriment of men and also how men can unknowingly uphold the patriarchy.  Ultimately, The Apothecary Diaries considers multiple aspects of feminism and challenges the patriarchal society with nuance and delicacy.

I hope yall enjoyeddddd :pppp