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Something this season of Invincible has been doing that I find interesting is how it's engaging with the Superman archetype in the specific context of his role as the quote-unquote "top superhero-" what happens when "superhero" is enough of a demographic that you've got a bunch of moderately powerful ones, but then you've got one who's basically so overwhelmingly powerful compared to all the rest that from the perspective of the people in charge of planetary security, he's basically the only one who matters. There have been several subtle beats this season about how holding that position is distorting Mark's interactions with everyone around him without him even realizing- Robot leaves the Guardians not because he necessarily thinks Mark is right, but because he thinks it's important to stay on his good side. The Powerplex subplot has Scott's coworkers at the GDA expressly state that Mark is being granted infinitely more leeway by Cecil than anyone else would be, because he's their only plausible answer to the Viltrumites.

What's interesting is how they've made Rex the site of a lot of this. One of the first scenes of the season is him complaining about the needing constant adjustments to the hack-job prosthetic he was issued after the Lizard League debacle, juxtaposed against the bajillion dollar bespoke machine that was built for no purpose other than training Invincible specifically. When they go out into the field together, Rex is perfectly in his element against a single street-level opponent, but when Multipaul jumps him, Invincible has to pull his ass out of the fire via intense meatgrinder violence. It isn't a coincidence that in the same episode where (Debbie's boyfriend) Paul realizes the gulf between the impact his job has on the world and the impact that Mark and Oliver have, with Debbie assures him that it's okay to be normal- Rex gets his fatal crossing-the-Rubicon moment by refusing to retire with Rae.

Rae can read the writing on the wall here about the power scaling of the story she's in; capes like Invincible and Immortal brush off everything the world can throw at them, but she and Rex are gag characters- a couple extra bodies who, in the best case scenario, are somewhat useful to have around, and in the worst case scenario end up in the hospital for months at a time before getting stitched up and thrown back into the fray so the GDA can wring a little more utility out of them. But even though his lifestyle is very clearly going to get him killed, Rex refuses to quit because being a superhero- even a middling one- is all he has going on. He's never going to be as relevant as Invincible because he's nowhere near as powerful as Invincible, but if he doesn't keep throwing himself at the same kinds of problems Invincible does, he'd be nobody. He'd be Paul. Is being Paul worse than dying? Well, we're gonna find out in a minute

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TAKING A CLOSER LOOK AT THE JEDI ORDER IN STAR WARS CANON, PART IV [A Meta/Reference Guide on AO3] Aka, SO WHAT DO THE JEDI SAY AND DO IN THE ACTUAL CANON? This is the third part in my series of Jedi Culture and Teachings in Canon, where I have officially crossed the 100k after four years of working on this project, everyone congratulate me! And also send me prayers and strength because I still have something like two dozen novels to comb through and probably half a hundred more comics. So what's the point of all this? Well, first of all, I enjoy doing it, it's surprisingly fun to collate all of these citations! But it's also meant as a reference guide for if you want write meta about the themes and actions of the Jedi in the narrative or if you want some ideas for what's in the canon for wordbuilding so you can write fic or build further on what's already there! Do what you want with it, babes, I put all this together so you don't have to dig through 500 different pieces of Star Wars to find out if they tell you whether or not Jedi younglings have ever tried to toast a block of cheese with a lightsaber. (Spoiler alert: They absolutely did try it and it was a disaster and I love every one of those hellion younglings.) This is a guide to pretty much anything I could think of as relevant to the Jedi--worldbuilding on how the Force feels to use, descriptions of the Jedi Temple, any school classes the Jedi had, attitudes towards the Jedi from the public, why the Jedi decide to join any given conflict, all the swear words they use, anything I could get my hands on regarding Jedi healing--all of it is put into these guides and this is another 25k+ of reference for you to nerd out about if you want. The guide is broken down into seven sections as before:

How the Force Works

Jedi Culture & Philosophy & Teachings

Jedi As a People

Psychic Space Wizards Doing Psychic Space Wizard Things

Jedi Temple (Living Quarters and Dining Halls!)

Jedi Outreach, Politics, and the Bigger Galaxy

Jedi, Buddhism, and Everything Else

The Beginning of the Overarching Plot and Conflict

In a sense, the Harvest Festival feels like the end of an era in the story. Major story beats are resolved, new conflicts and plot points are presented, and there’s a shift in focus. I’d say the most important question in this first part of the series is whether Iruma wants to stay in the underworld, so with that finally answered, the story must evolve to continue. While Iruma is still the focus, other character like the Misfits and some teachers start gaining more independence, having their own storylines. There’s also a slight tonal shift as the plot gearing up mandates a bit more seriousness and creates a sense of urgency. Since I’ve already covered those aspects in previous sections, I now want to take the time to cover some new conflicts and plot points.

The Demon King prophecy already sets up Iruma to be the next demon king, so it’s not as if this is new information, but there is a key difference. A prophecy is something magical and beyond interference, making it seem like Iruma was coincidentally stumbling into its criteria, but this is an event created by a specific person, likely Delkira himself or someone operating on his orders, and we know that Sullivan served him directly.

The purpose is purportedly to find the “least demon-like demon,” but the criteria to find the legendary leaf seems less concerned about that and more concerned with finding a human. All the necessary traits are natural to Iruma as a human, and the final form of the legendary leaf is a cherry tree. It’s as if the person who created the festival wanted to bring humanity into the underworld. Sullivan is a very good grandfather, and I would never diminish that, but he’s definitely hiding things, including his real reason for bringing Iruma into the underworld. When Iruma tries to question the cherry blossoms, Sullivan cuts him off, establishing that line of questioning as off-limits, but also showing that it, and his role in everything, will become relevant later. He’s an increasingly suspicious figure and I genuinely don’t believe that Iruma fitting the prophecy is a coincidence considering both Sullivan’s connection to Delkira, and his own ability to meddle in the demon world.

Delkira’s involvement is proven by his appearance once the legendary leaf blooms, surrounding Iruma almost as if capturing him, perhaps representing Iruma now being in destiny’s clutches. There are a couple ways the line “So, it’s you?” can be interpreted. It could simply be in regard to the one who grew the legendary leaf, but I’m less inclined to believe that considering multiple people were involved in that while Delkira only appeared to Iruma. The other option, and the one I’m in favor of, is that Iruma’s been chosen, and whatever part of Delkira that was released recognized that. Delkira doesn’t show up that often, but he seems to have strong feelings on what the underworld should look like, so there’s a good chance that he purposefully disappeared as part of some greater plot. A plot that now includes Iruma.

Wrapping up this arc, the demons shaping up to be the main antagonists of the series return in a truly bone-chilling fashion. Iruma’s declaration was a powerful moment, but right at the end, those same words take on a sinister meaning, now haunting every subsequent chapter until the other shoe drops. The one thing that Iruma can’t let anyone know without compromising his safety is now in the hands of the enemy. An enemy who isn’t opposed to killing and eating him. Whatever they’re cooking up, it’s clear that this secret is part of their plans and it’s only a matter of time before Iruma gets exposed. However, Iruma’s words “because I’m human” spark the next big theme of the series. I consider everything from the first chapter to the end of the Harvest Festival as sort of part one in terms of story development and themes. Up to this point it’s all about Iruma discovering what he wants, after this he knows, so the focus changes. The next part is concerned with secrets, things not said or seen, and it all centers around the core lie of Iruma’s identity.

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Lied

By now, the elephant in the room has probably grown about three stories, but don’t worry, there was no way I was going to forget Lied when he plays such a crucial role in this arc. A lot of the scenes he’s in covers all the different sections I created like character development, trauma, and undemonlike behavior at the same time, so I decided that instead of trying to break it all apart, I’d just give him his own section where he can fully shine. Every arc and self-contained story in m!ik will focus on Iruma and, usually, one or more additional character(s). Prior to the Harvest Festival, the characters bearing the weight of the story were Iruma (obviously), his adopted family (Sullivan and Opera-san), and his two closest friends (Asmodeus and Clara). Shorter stories would branch out, and many of the Misfits had their chance to shine in specific scenes of larger arcs, but in the Harvest Festival, Lied, someone outside Iruma’s family and the trio, becomes one of the most important characters, second only to Iruma. This is first brought to attention by how the Misfits are positioned in ensemble shots. Like the one above, Lied is placed front and center, drawing the readers’ attention.

When looking back on the purpose of the legendary leaf, a lot the focus is on what it means for Iruma’s future. It’s worth considering since it provides greater insight into the mystery behind Delkira, and therefore the overall plot, but we shouldn’t overlook that half of the challenge was completed by Lied. I’d say that based on this arc; Lied may be the least demonic of the actual demons. That’s not to say he isn’t at all demonic, but his defining characteristic is antithetical to demons. Lied harbors the greatest concentration of any character in the series, and it develops further in the same arc where Iruma masters a weapon unfit for demons because of how much concentration it requires. It’s not just a random trait either; that level of focus is essential to using his bloodline magic, so in order to be a better demon, Lied has to develop undemonlike qualities. Paradoxical sure, but true, nonetheless. So, his concentration is abnormal, but paired with his love of the thrill, Lied’s an absolute monster. Honestly, I have trouble categorizing Lied’s gambling and demonic or undemonic, and at this point I’m thinking it’s a mix of both. Risking his life for fun is undoubtably demonic but pushing forward when the going gets tough is decidedly not.

And that goes into what Lied enjoys. I find it hilarious that the other three afflicted Misfits were forced to confront their life-long traumas and Lied just got turned down by his crush, but that’s part of what makes Lied a likeable character. At the end of the day, he’s just a teenager with normal teenage problems. The rest of the Misfits are too, but a lot of them have these larger-than-life problems and backstories, so Lied balances out the dynamic by reminding everyone that they’re all just teenagers going to school and living life. We also have to revisit his concentration one last time, but now from a different angle. I’ve previously described how it’s impressive that the Misfits were able to overcome failure and frustration since that sort of dedication doesn’t typically come naturally to demons, but it does to Lied. Rather than balking at stress (something demons try to avoid to prevent entering a wicked phase) Lied enjoys being under pressure, making him quite the formidable opponent.

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Undemonlike Demons (The Misfits)

Undoubtably, the Misfits have only gotten stranger compared to their fellow demons under Iruma’s influence, but all of them, for some reason or another, ended up in the Misfit class before meeting him. Personally, I feel that rather than changing them, Iruma’s presence has amplified traits they already had. It’s an interesting contrast to the main villains of the series, who want demonkind to return to their origins, which, in their minds, seems to refer to rampant violence and anarchy. The question, therefore, becomes one of nature. Are these traits typically unassociated with demons actually natural, or will the villains prove to be correct? I guess the answer is obvious considering we know Iruma will be the demon king, but what’s important is how we get to that conclusion.

We’re consistently told that demons only do what’s interesting to them. Balam is confused when Iruma talks about his improvement in studying. Archery isn’t suitable for demons because of the concentration it requires. Basically, demons are fixated on their own best interest, preferring immediate enjoyment and progress over slow and painful development. However, during the Training Arc the Misfits are put through near endless suffering and failure, pushed past the breaking point where most demons would’ve given up. Yet, these kids got a taste for success and used their frustration to power through in order to meet the expectations of their tutors. Many of them discovered the satisfaction of improvement while studying for their exams, and that, along with their life-or-death escapades, seems to have laid the foundation for their immense growth, which is considered abnormal in demon society.

Asmodeus maintains a perfect demonic image most of the time, so it’s hard to find moments when he can be considered undemonlike, but there are certain aspects of his character that we can look toward within this line of thinking. While Azu rarely lets himself be a regular kid, under Iruma’s influence he’s far more emotionally volatile and does things out of simple enjoyment instead of success and is willing to participate in activities he’s uninterested in for his friends. Ranking up is a huge deal in demon society because the higher your rank, the higher your place is. Yet, due to his fixation of Iruma (which at this point is out of pure devotion instead of personal benefit) Azu completely disregards societal norms. His love for Iruma is also what snaps him out of his wicked phase. I want to talk about his wicked phase on its own though (spoiler warning ahead.) Wicked phases are as close as most demons get to a true “return to origins” and therefore serve as an outburst of desire and emotion. It’s not necessarily a representation of their morals or real personality, it’s more of a release.  As much as I’d love to wax poetic about the beauty of its destruction, the real undemonlike qualities of Azu’s wicked phase are revealed in the Heartbreaker arc when we learn that fire isn’t his bloodline magic. That means that even when he entered his wicked phase, which is specifically describes as a freedom from inhibitions, he maintained the self-control to keep it under wraps. Using his bloodline ability would give him an edge in combat, but Azu repeatedly forgoes the easier route, choosing to limit his power where every other demon would win at all costs.

Again, Goemon is an absolute sweetheart. He’s dedicated to the people around him and to strangers, helping them at his own detriment, a concept we were told in the Walter Parc arc that demons don’t understand. There’s never any mention as to why he wants 100 allies, so it seems like the point is just to have others in his life. It’s no something he can just stop doing either. Instead, getting involved in other people’s business is part of who he is, making this undemonlike trait a core aspect of his character.

Jazz is the ultimate example of not giving up when things are tough. He literally lost and decided to keep going. Sure, part of it was revenge, but it was also to help his fellow classmates despite not being strictly necessary for him. Allocer is able to use Jazz’s influence to his advantage, and makes significant gains, but ultimately sees no point in winning without him. In the same situation, I’m sure many demons wouldn’t make the same choice.

Additional examples of Misfit students not using all their advantages include Kerori, Goemon, and Agares. Kerori can’t bring herself to use the beasts that she worked with during the festival despite the bump in points it would give her. Goemon and Agares did receive additional points for helping their fellow students, but it’s clear from their reaction that they genuinely didn’t expect it, meaning they acted out of the kindness of their hearts.

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Chapter 123 (Words I Couldn't Say)

It’s rare that I can pinpoint a favorite chapter in a manga, but I’ve poured over this series like a religious scholar for about two years, so I can confidently state that my favorite is chapter 195. Yeah, I know that isn’t the chapter I’m supposed to be talking about, but I’m not going to lie for points. If you search irumeanie on tumblr, a good half of the posts that show up are mine, so there’s really no point in trying to make myself look better. However, I can also state, with equal confidence, that the most important chapter in the series (as of now at 262) is 123, when everything that Iruma had been repressing up to that point can’t be held back any longer and bursts free. I mentioned earlier that the Harvest Festival contains what I believe to be the most emotionally cathartic scene in the series, and this is what I’m talking about. Despite how expressive he is, Iruma really isn’t that open with his feelings. I’ve already discussed how Iruma lacked desire or ambition early on in the series, but there have been other similar incidents such as at Walter Park when it takes several pages for Iruma to understand he’s upset, indicating severe emotional repression. Overcoming this repression is Iruma’s first major step in his overall character arc, which occurs in this chapter (conveniently titled “words I couldn’t say”) meaning that by the end of the Harvest Festival he’s entered a new leg of his journey. And it shows. The Iruma we see post-Harvest Festival is fundamentally different than the one we see before. He voices his desires proudly and is even referred to as having bottomless greed, while retaining his kind nature, which is all possible because of this one chapter.

Orobas has a tricky ability. The initial illusion is bad enough, but the greater the opponent’s trauma is, the higher the likelihood is of having lingering effects in the form of more illusions. Both Jazz and Clara’s experience with Orobas’ illusions only last a few pages and just end with them shaken up. Iruma faces the illusions for almost the entirety of three chapters. After he falls from the shock of seeing his parents and hurting his leg, the illusion shifts, getting closer to his true fear. It starts with Asmodeus and Clara abandoning him for being human, accusing him of lying and basically saying that everything he did was fake. Next, it’s Kalego that appears and tells him that as a human, he doesn’t belong in the underworld. Then finally his grandfather and Opera-san enter, the two demons who originally knew about his identity, who rescued him and gave him the home he never had before. And just like the others, they send him back to his parents too. It’s not just one more illusion. He sees at least four, not counting the horrific monsters that the illusions eventually shift into. What Iruma is facing is 14 years of non-stop trauma with the added fear that the relief he only just got from it will be ripped away from him.

Trapped in his worst nightmare, Iruma is forced to confront the feelings he’s been trying to hide his whole life. He spent his whole childhood alone without any meaningful connections and was fine with it because all he could do was focus on survival. Reading between the lines, what Iruma is saying is that he convinced himself his feelings didn’t matter, and he did this for so long that even when he found a loving home, he subconsciously continued to keep his true emotions buried, hardly recognizing them in himself. But, faced with the prospect of losing everything he’s gained, of returning to that unending isolation, Iruma can’t stop himself from breaking his self-imposed rule.

“I’m lonely.” For all his complexity as a character, Iruma can be broken into just these two words. Everything he’s been repressing and everything that’s driven him thus far in the story is encapsulated by the intense loneliness he lives with, and it’s delivered in the two most heart wrenching panels. No amount of danger is going to make him give into despair, his defense is too well trained, but the threat of losing everything while completely isolated breaks him instantly. He could ignore it when he had nothing to lose, but now there’s so much he wants to hold onto that he can’t handle being alone again. And that brings us back to Iruma’s desire to belong. He voices this desire a few different ways, from embarrassing to grandiose, but the true feelings behind it boils down to what he say in that second panel. The sense of belonging he yearns for stems from his fear of being left behind, tragically demonstrated by the focus pulling out to show his curled form, looking tiny in the large open space. It’s shown that his parents left him alone all the time until they needed him again, so it’s only natural that from the very depths of his soul, Iruma would fear his newfound family and friends no longer wanting him, but he also feels like he shouldn’t voice this fear, which ended up amplifying that aching loneliness.

Ultimately though, this is a hopeful series, and one final illusion of Bachiko reminds Iruma of what he learned during his training. Technically, this panels are from chapter 124, but it’s a continuation of chapter 123, and the positive parts of this series are just as important to cover as the negative. It’s important that Iruma didn’t give into despair. He remembers his training as an archer, and that he can pierce through all his hardships, so he stands up even as he’s still in tears and his leg is killing him, because all he wants is to stay with the people he cares about.

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Trauma (Iruma)

Until this arc it felt like Iruma’s childhood was swept away, only brought up as a joke. To be fair, this is a comedy series, and those jokes are funny, but it felt like the series wouldn’t be living up to its potential without a more serious look at how Iruma’s upbringing affects him. Then, I reached the Harvest Festival, and all my expectations were met and exceeded. This event was finely crafted to perfectly simulate the environment Iruma grew up in, with the vastness of the forest, the need for survival, and the overwhelming isolation, causing his repressed trauma and emotions to gradually rise to the surface as the festival dragged on before finally exploding in what I consider to be the most emotionally cathartic scene in the series.

During Iruma’s training scenes (both in the Training arc itself and flashbacks), the matter of his parents is brought up casually, like it had been previously. While this aspect of his childhood had already been well established, moment like this still serve as important indicators that Iruma still thinks about what he went through. It’s also a reminder that Iruma grew up with parents that only saw him as a useful tool for chores and as a source of income. I also want to draw attention to the number of near-death situations Iruma had been through prior to living in the underworld. That scene occurs when Bachiko has Iruma fire off arrow after arrow at the very least over 100 times, meaning that there were probably hundreds of instances, starting from a very young age, where Iruma almost died. Between arriving in the demon world and starting the Harvest Festival Iruma had only been in legitimate mortal peril maybe three times, which is comparatively like a vacation if you think about it.

Iruma’s survival instincts are also expanded upon. Even living peacefully, Iruma retains his natural instincts to avoid all danger and uses this ability to his advantage, but that same peace prevents us from knowing what his exact mental state was before getting surprise-adopted. The Harvest Festival fixes that by placing him in a similar environment that causes him to unwillingly revert to a purely survival-oriented mindset. This ends up revealing a lot about Iruma, even explaining some of his quirks that seemed more outlandish, such as emotional repression to the point of not recognizing feelings like desire or anger. It also shows that his so-called “overwhelming crisis evasion capability” (heralded as the ultimate defense mechanism) is what his survival mode looks like while operating at its lowest capacity. His peak survival mode is represented by an amorphous black blob whose simplistic design conjures the idea of returning to base instincts. As specifically stated, Iruma has been operating like this for most of his life, relying solely on his base instincts and foregoing everything else, which would account for his lack of understanding even relatively simple emotions.

Now let’s get into the cause of Iruma’s trauma. To date, this is the longest they make an appearance, and even then, it’s only as an illusion, so we still don’t know practically anything about them. However, I would argue that it’s unnecessary to learn about them outside of their impact on Iruma, because this is fundamentally a story about Iruma’s self-discovery and him finally learning how to be human. Since they were the main obstacle to his natural development, their own thoughts are less important to the narrative. While Iruma does later say he’s not afraid of his parents, that ends up feeling more like a comparative statement when taking his immediate reaction upon seeing them into account, as well as how their faces are never shown, giving them a more nightmarish quality even compared to the other illusions. There’s a level of control that they’ve instilled into him that genuinely makes Iruma feel like they could whisk him away from home. Sullivan is easily one of the most powerful demons in the underworld, yet in Iruma’s trauma-addled state, even he isn’t an obstacle to the whims of his parents. This harkens back on Iruma’s inability to say no, born from years of psychological manipulation that can be seen in the question “aren’t you a good kid who always does as he’s asked?” His parents wanted someone who wouldn’t cause trouble and do whatever they wanted, so they taught him that saying no was wrong and that he’d only be praised if he did as they asked. So, while Iruma has gotten more assertive in the underworld, due to the years of damage inflicted by his parents, there’s a legitimate concern that he’d be powerless to go against him.

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Trauma (The Misfits)

Believe it or not, the trauma I’m discussing is not from the training arc, but I’m sure some Underworld therapists will be making money off that in the future. Luckily for the Misfits (and unluckily for fans desperate for any information, anything at all, a single crumb), only four of them get targeted and of those four, only three of them are forced to deal with actual trauma. However, the two non-Iruma cases are rich in character insight, so it’s worth the time to look at them in-depth.

In order to tackle trauma, the character Orobas (not pictured) is introduced. He’s someone who’s envious of the Misfit class, and therefore the perfect target for outside forces to manipulate. His bloodline magic also makes him the perfect candidate to take on the class almost singlehandedly. For various reasons, every misfit ended up in a class for outcasts of the demon world, and that’s not a position you’d typically find yourself in unless you were dealing with something, so trauma was a good weak point to attack. It’s essentially a narrative tool that easily provides an in-universe explanation for why certain traumas are being addressed when needed without coming across and clunky.

For someone who was sadly missing (kidnapped) during the training arc, quite a bit is revealed about Jazz during the Harvest Festival. During Walter Park, we learned that Jazz’s family values skill above all else, to the point where the weaker party is in the wrong no matter the circumstances, which is how his older brother is able to get away with being a living nightmare. In that arc, a lot of what was shown was how Jazz was treated, while this arc highlights the effects that treatment has. Their dynamic could be taken as simple sibling rivalry, but his first expression upon seeing the illusion of his brother speaks volumes, and there’s no getting around the description of Orobas’ ability specifying “greatest fears” paired with images of Jazz dealing with his brother. But just this alone doesn’t truly deepen Jazz’s character. No, it’s what finally gets him to react. He’s able to keep himself relatively calm under the onslaught of his brother’s antics, but as soon as he’s called inferior, he snaps. This harkens back to his family’s focus on skill, confirming the suspicions that Jazz doesn’t have a lot of value in his family, as it’s clearly something of a trigger for him. There’s also the implications of “version of me” to consider. Jazz doesn’t want to be thought of as lesser, but he also doesn’t want to be like his family. He’s shown to be a caregiver, acting as the older brother figure to the rest of the Misfit class out of his desire to be different from his brother. As a reminder, these are all illusions of Jazz’s fears, so that specific word choice comes from his own feelings, indicating a fear of not just being inferior, but also anything like his family.

Clara’s trauma was established early on during her introduction when the only way she could interact with others is if she gave them whatever they wanted in exchange, as if her company is only worth what can be gotten out of it. Since Iruma and Asmodeus are her first friends, it stands to reason that she’s gone her whole life prior to meeting them not forming close bonds with anyone outside her family, so it’s understandable that she’d fear losing that connection. While not much new information is given, this scene does help establish that trauma can be eased by friends and family, but not erased entirely.

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The Harvest Festival

Some may say it’s odd to craft a 58-slide presentation on a series that doesn’t even have an official translation for the language I speak, but even though I rely on our lord and savior Misfits Scans, I can honestly say there’s not another series that brings me so much joy. I would like to clarify that I made this out of my own free will, I’m simply the type of overachiever to answer a fairly easy question with a presentation so long that it needs sections and subsections. Considering its length, I invite anyone reading to skip around. I’ll be covering my overall opinions, the training arc, character development, trauma, chapter 123, undemonlike demons, Lied, and how the arc fits into the overarching story. Hope you enjoy :)

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What do people think of Tanya? AKA: Actually, a lot of people agree with Lehrgen

Summary: WHOOOOO BOY. You know it’s going to be fun when my subsections have to have their own subsections. Briefly, there is the Good [people who like Tanya both personally and professionally], the Bad [people who like/love Tanya professionally but not personally], and the Ugly [people who ideally, Tanya will never speak to, look at, send mail to, or be in the general vicinity of ever again]. 

I would say most people fall into the “Bad” category - they recognize her value as an officer, sometimes to a worshipful degree, but on a personal level range anywhere from thinking she’s a creepy child to actively disliking her. Unfortunately for Tanya, the people that fall into the Ugly category are as a rule higher-ranking than the ones in the Good category, and most people in the Bad category seem to like her specifically in her military role, and it is questionable they’d want her as even a coworker outside of that, let alone as a friend.

The Good

People who’re in here: People who have only ever heard of Tanya in the context of the Silver Wings award, people she interacts with in the Imperial Navy; rando soldiers; someone kinda high up in the later-war Eastern Army command; Ugar

People who only know her from Silver Wings:

V1/C1

Describes the nice aura people would see in someone who wins the Silver Wings.

The Navy

V3/C2

A naval officer does assess Tanya as having a predatory look, but doesn’t seem to think particularly badly of it, he just notes it, and then says “Degurechaff was a fellow soldier he could be proud of, which was why he extended his hand in utmost seriousness to wish her well.”

Rando Soldiers

There’s no real good single quote on this, but over time Tanya comes in to reinforce various units and leaves behind various impressions, ranging through Good, Bad, and Ugly, but anyway, there almost have to be low & middle ranking officers and soldiers who are presumably nothing but grateful to Tanya for rescuing them, even though we never get much of anything from their perspective.

Others

A superior officer of Tanya’s in Eastern Army command, in V5/C1, gets a transfer request for Tanya’s unit and reflects he is sad to be losing her.

Ugar - I don’t have down any specific pieces, but IMO it comes across in the LNs that Ugar is generally well-disposed to Tanya and doesn’t have the positive professional/negative personal thoughts that most other people close to her do.

The Bad

People who’re in here: Tanya’s academy/war college instructors, the 203rd battalion & later Kampfgruppe, Zettour, Rudersdorf, Generic Superior Officers, Romel, Lehrgen’s professional opinion

Tanya’s Academy & War College Instructors:

V1/C1

Tanya’s zeal during academy scares her instructors.

V1/C4

The instructors scrawled “abnormal” across the top of Tanya’s file.

“In the academy, we were told over and over – and, for some reason, over again – to love our troops. Weirdly, now that I think about it, I feel like they emphasized this the most when talking to me.” <= Tanya…you’re…you’re so close.

V1/C5

Mentioned that some teachers in the academy are on Lehrgen’s side of the What The Fuck Do We Do With Tanya debate.

V3/C5

Romel’s summation of her personnel assessment notes that at least on paper, the academy and the war college gave good overall evaluations of her.

203rd Battalion:

V1/C3

[Visha] “The moment she turned her icy cold eyes on us like we were objects to be appraised, I shrank from her in spite of myself. People might laugh at me for being afraid of such a little kid, but those eyes reminded me of the way a cat looks when it’s playing with a mouse, which creeped me out”

[Visha] “I was different from Lieutenant Degurechaff, who could calmly nail fleeing soldiers in the back with optical sniping or explosion formulas. I was relieved because I wouldn’t have to shoot.”

V1/C5

[Visha] “Was she an agent of the devil or of God? It had to be one or the other. Ahh, I can’t believe I have an ally more horrible than the enemy. She’s not human. I would bet my life on it. Me and a few others saw it once. During training, one of our teammates dropped like he was dead. The captain gave him a good kick, and before we knew it, she was back on his feet. I had been staring into the abyss of death myself…the captain heaped abuse on me. But I know, I saw it: she charged into the avalanche to save me. Even after my friends told me that she tossed my busted body aside like a used rag, I believe. She is definitely a good commander, even if I’m not sure about her as a human being. Of course, we all laugh and bad-mouth her…if the captain is an apostle of God, then only the devil can possibly exist.” <= in good news, Tanya, you are currently winning on your quest against Being X and mostly making people believe that he’s the Devil for allowing you to exist!

V2/C1

[Weiss] also refers to Tanya as a vampire

[Weiss] thinks Tanya is arrogant

[Visha] “her thought is That’s so low, Major.” <= this is in response to Tanya pulling out her child voice to announce they were going to bomb Dacia’s factory.

[Weiss] “Weiss has only known her for a short time, but even he can pick up the displeasure his superior doesn’t bother hiding. Her mood is as dangerous as nitroglycerin. When Weiss quietly takes a step back, everyone discreetly follows suit. Nobody wants to be so close to Major von Degurechaff when she’s irritated.”

V2/C5

[Grantz] “If the devil exists, it has to be our instructor, the commander of the 203rd Aerial Mage Assault Battalion, the legendary Major von Degurechaff. The way she smiled. The way she looked at us like we were maggots. The way she seemed thirsty for blood. I’d believe she had tried to kill a rebellious underclassman or crack his skull open. If I screw up on the battlefield, she’ll definitely kill me. That’s how threatened I felt by the instructor who just had to also be my advisor…I wanna cry.”

[Grantz] “This was the major who had once said during a speech at the academy that deadweight should be killed…This is crazy. No one said it aloud, but it was the look on everyone’s faces. This was a nighttime mission to abduct enemy soldiers…Magic Second Lieutenant Warren Grantz realized he was shaking. My survival instinct was screaming. I wanted to avoid the war, the combat, the killing. I was hesitating. But one glance from Major von Degurechaff was enough to subjugate that instinct. She was far more terrifying…I was so terrified I hardly felt like myself anymore…How could the major just calmly sing a hymn?”

[203rd banter] Visha asks if anyone wants to trade places with her so she doesn’t have to be with Tanya all the time, and Weiss and Grantz are not itching to take her up on the offer.

V2/C6

[Grantz] Is really, really bothered by how chill Tanya seems to be about Arene.

V2/C7

[Weiss] Reflects on all the horrible things Tanya has put him through, but ends his reflection on the note that he understands why it was necessary to prepare them for war.

V3/C5

“Apparently, the troops serving directly under her thought she was a great field officer” <= Romel re: Tanya’s personnel file

V4/C5

“‘Please have the 203rd be part of your Kampfgruppe. All of us in the battalion wish to continue serving under you.’”

Tanya doesn’t get what she wants, is then pissed, and it gives off weird abusive-parent vibes where all her children try to flee and not be present, and for the ones who have to be (Weiss & Visha), they take it by flinching, cowering, praying to God for Tanya not to explode, etc.

V5/C4

[Visha] “Reality is far too unreal. She’s crazy. There’s something strange about her…The colonel cackled – no, she giggled, smiling like a child. It was positively surreal to see her eyeing the enemy with her tender gaze and licking her lips. She snickered, but what was so funny? She was terrifying…Dripping red liquid. Pink things that used to be humans, flying everywhere. And opposite that scene was a beaming little girl. It was so surreal, it made more sense for me to suppose I had gone insane. No, maybe I really did go insane. The sight of my superior officer nodding with satisfaction and beginning a confession of her faith was horrific. I didn’t get even a glimmer of madness from her beautiful, innocent eyes. They were the eyes of a stubborn servant of logic, full of pure reason. But that’s what was horrific: those eyes stuck on that doll-like face.”

V5/C5

Tanya has some good banter with her Kampfgruppe soldiers and it seems like everyone’s getting along.

V8/C4

T: ‘Are you saying you throw yourself into the slaughter purely, justly – sane and sober? Don’t make me laugh. That’s a broken man talking. Going to war after downing some liquid courage with a grimace is much more human.’ He frowns for a moment, perhaps thinking to argue back, and then whines, ‘So are you drunk, then, Colonel?’ <= yes, a random officer from Tanya’s Kampfgruppe just asked if she was drunk and that’s why she’s always throwing herself into battle so excitedly.

V8/C5

T: ‘Glad you’re safe, Lieutenant.’ V: ‘Thank you, ma’am. That said, I would have rather you spared me from getting caught up in that attack.’ T: ‘What choice did I have?’ V: ‘What is that supposed to mean?’ Serebryakov puffs her cheeks out in a pout, which is surely a sign that she’s feeling better. <= Tanya, Visha wanted you to apologize, not excuse yourself, damn!

Zettour

V1/C5

“He doesn’t know whether they should praise her original ideas or call her insane.”

“Apparently, she hasn’t forgotten that she once said she wanted a battalion. She, a first lieutenant, to a brigadier general…something liable to provoke antipathy? She’s already done that.”

“The smirk on Tanya’s face reminds Zettour of some unpleasant rumors he’s heard about her.”

V2/C5

Zettour both remains horrified that Tanya was able to speak so frankly about a world war, yet he is sympathetic to the fact that she could do it because she understood what would happen.

V4/C3

Tells Rudersdorf that he “unwaveringly trusts” her military decisions.

V4/C5

Tanya comes to Zettour to request better units than he’s given her. He finds the request beyond arrogant, seeing as how pressed they are for men, especially for the fact that this is shortly after the Moscow situation and her battalion has “gone too far and been a handful”.

“Somehow, he didn’t think there could be that many damaged kids in the Empire like this young teen back from the battlefield. And actually, regardless of how he felt about it as a soldier, personally, the idea of interacting with them was terrifying.”

“But Degurechaff was unfazed and inquired about their experience with killing people. She saw people as products, and she was asking if they had been tested – that was the nuance. Could such a completely utilitarian view of people even be taught? Certainly, the army is an organization that pays attention to individual functions. Substitutability and cost consciousness are two factors hounding everyone. But can you really judge a human being by those criteria alone?…That innocent face and her straight back made her look something like a surreal doll. Doesn’t…Doesn’t anyone think this is strange?”

Zettour is mentioned to have originally had the same doubts about Tanya as Lehrgen, but after her performance he claims he is ready to “swallow any pill, no matter how bitter” (I think working with Tanya being the bitter pill) to win the war.

Zettour gives Tanya a little discretion to commandeer some equipment, she takes a lot of discretion. Zettour sort of laughs at off saying “this was Degurechaff” but does also mention that Tanya’s actions “amounted to a borderline interference in Supreme Command.”

V8/C4

Zettour is impressed with how Tanya has trained Grantz and thinks that if she wasn’t so good in the field, he’d put her in education.

“Sure, Degurechaff may have been broken, but not as an officer.”

Rudersdorf

V2/C1

Rudersdorf says that Tanya has a “distinct” [read: probably means difficult] personality, but if he just divided people into useful and not useful, she was useful.

V4/C3

Zettour and Rudersdorf debate Tanya, and he mentions that he only thinks she is talented in the military realm.

Generic Superior Officers

V2/C5

Tanya has a misunderstanding with her CO on the Rhine front. He wants her to train some new recruits normally, she mistakes it as saying “well, kill as few of them as possible, but do what you gotta do,” she gets kind of reprimanded over it.

V3/Intro

“Performance Evaluation: Major Tanya von Degurechaff:

Counselor’s Notes on character and conduct [this is printed normally]: Abundant loyalty and excellent fighting spirit. Follow regulations to the letter. Devoutly religious.

[this part is handwritten] Has a bad tendency to take matters into her own hands. Competent but as difficult to handle as a mad dog.”

V3/C1

“Some of the officers even added another thought in the back of their minds: Major von Degurechaff might actually be able to wring out even better results.”

V3/C3

Tanya goes wild on her base commander when he won’t let her sortie to Brest to prevent the French army from evacuating. <= Oddly, IIRC, no one ever like, apologizes to Tanya for not believing her, which is kinda rude, so mostly the incident reflects negatively on her instead of being a balanced: ok she did violate some rules, but…maybe if we’d listened to her we’d have avoided the rest of the fucking war, so seems like it might have been called for?

V3/C5

“The most important evaluations during a war are the ones from the battlefield, and those were all over the place.” <= Romel, re: Tanya’s personnel file

“The second was that although the evaluations were contradictory, she had achieved enough that she was considered an outstanding soldier. Awkwardly, regardless of how she was as an officer, as an individual mage, she was thought very highly of. Her number of kills was among the highest on the Rhine front.” 

“In any case, strictly as a mage, she was unrivaled. As an officer, too, she was by no means incompetent. So they must have been giving her to him as reinforcements and as an excuse to get her out of their hair. Honestly, he felt like they were foisting off their problem on him. ‘They’re telling me to take a mad dog out on a walk with no leash?’ He let slip a complaint. Maybe it was just prejudice, but that wasn’t what it felt like to General von Romel. After all, he was basically being asked to bet on a bad hand.”

V4/C2

Everyone on the General Staff realizes the huge amount of fallout from Tanya attacking Moscow. The backstory of this is that when Tanya asked for permission, the General Staff thought she was just going to do a fly-by and freak them out, not attack the city. It pretty much kills any opportunity they had to negotiate a quick settlement with Russia in the cradle.

Romel

V3/C5

Romel’s first meeting with Tanya pretty much goes: “so arrogant it’s invigorating…unbelievably insolent…in addition to her self-important attitude, it exuded heavy sarcasm…not only was she arrogant, she was clearly horribly warped.”

“Any commissioned officer would understand just from hearing her make that one comment why the Northern and Western Groups couldn’t control her. Having a mage battalion drop out of the command structure was almost like losing a whole division” <= ie, Tanya’s previous superiors must have really disliked her to give her up.

“She simply decided she would be a patriot if it was good for the nation. In short, she’s a capable lunatic, but the bad part is she doesn’t realize she’s twisted…She’s crazy. And competent. And more sincere than anyone I’ve ever known.”

“Without a doubt, she’s going to end up being the most horrible person I know. And she’ll probably also be one of my most reliable friends on the battlefield.”

V3/C6

Romel reflects that she is a mad dog, and that she is an ego-crushing entity for the average officer. <= while Romel never brings this up, this has a *ton* of important real-world implications for Tanya, especially assuming men still have more than a little trouble listening to women outside the military. Even if you believe the best rumors about Tanya, you still might not want to hire her because she’s going to be better than you, and most people hate that feeling.

V4/C1

Tanya goes to the Eastern Front, and Romel reflects that he is sad to lose her and that once you got used to her, he found her easy to work with.

The Ugly

People who’re in here: Lehrgen’s personal opinion, Some wartime randos, OG Eastern Army Command, OG Northern Army Command, Imperial Government, people who mostly know Tanya from her Arene reputation, Western Army Command; Implied Future View of Tanya

Wartime Randos

V1/C5

“Some of those who had been on the front lines had a strange reaction to the name [the 11th Goddess] we picked. They claimed it was the worst joke they’d ever heard.” <= ie, Tanya was the Devil, not a goddess

V2/C1

Tanya is happy that Dacia has zero airpower. She displays her happiness by smiling maniacally and skipping around her tent. Everyone thinks Tanya is happy that they just got invaded again and the war is growing and she can go kill people. 

V2/C5

A kinda random infantry guy is still having nightmares about Tanya in like, 1960, and reflects back on how he felt when he heard Tanya casually call for friendly fire to go right through where her men are flying. He questions why anyone listens to her.

“But when I replay the memories in my mind, I can’t help but shout, You monster! A hero, a star, and outstanding magic officer. You, ma’am, were a great officer. To all of us imperial soldiers serving on the Rhine lines, you were a god…Yeah, she’s a god – an immensely powerful one who presides over life and death. Her words, brimming with a spine-chilling anger, swept over the area as if she was planning to attract all the enemy hostility like moths to a flame. Major von Degurechaff had bared her fangs. It invited a violent reaction. The Republic wanted to hunt the devil. In other words, they devoted all humanity’s wisdom to killing the god of death. Gods don’t die, but those of us next to them? …They were right to call her a god of death. She killed the enemy, and the enemy killed our men. Then the noble major, with a glance at all the dead in the mud, took her leave. Fucking hell.” <= and you thought Lehrgen hated her. But, again, real-world implications of this could very well be that post-war, Tanya is a total persona-non-grata as someone that had a high degree of influence on how rabidly everyone fought against the Empire, and how the Empire was treated in the aftermath. I don’t make it out quite that bad, but it could be really rough if someone wanted to make it that way.

V4/C5

“The Guard Division had been on many assignments dealing with formal events, so we had experience…But what is that? That absurd, expressionless, doll-like creature was giving orders to people who appeared to be bloodthirsty mages just back from the war zone.” 

“Could it really…could it really be possible for a child to wear such a smile?…Her hands were soft and would have looked more natural holding a doll, but instead, this odd, human-shaped creature spread her arms as she delivered a welcoming address. No one. None of the high-ranking officers present could raise an objection to this thing. The veteran mages all obeyed this inhuman being in the form of a person.”

OG Eastern Army Command

V1/C5

“The members of the eastern army had been openly angered by her annoyed look until days before, but now their faces were pale. She said exactly what she thought: ‘Incompetent, pitiful, lazy, arrogant, unprepared, mentally disabled, inattentive, no powers of observation’ and her conclusion was that ‘all mages of the Eastern Army group require reeducation’”

“The ranking officers from the regional field armies who had come to protest ended up bearing the brunt of the General Staff members’ critical glares.”

OG Northern Army Command

V2/C3

“With no idea when Colonel General von Wragell might explode in his seat at the head of the table, Lieutenant General and Chief of Staff von Schreise was inwardly annoyed, but at the same time, the atmosphere was so tense he wanted to bury his head in his hands.”

“Schreise couldn’t be the only one thinking that he would have thrown her out immediately if she weren’t a representative of the Central Army’s view.”

“‘You’re very humble, aren’t you?’ one of the staff officers murmured, curling the corners of his mouth into a smile that was more of a sneer.”

“Schreise had never seen a major with such a big head without making light of him…without hesitating even a little, she – a mere battalion commander – matter-of-factly gave her opinion to the staff and even had the audacity to disagree with them. Even with the sacred, inviolable General Staff’s power behind her, she was nearing an inexcusable challenge to authority. A head could be allowed to swell only so far. There’s a limit to what can be tolerated, even for recipients of the Silver Wings Assault Badge!...the major, though still rather new, was readily crossing a line of which all graduates from the war college should have been aware.”

V3/C5

“There was a pile of especially severe criticism from the Northern Army Group. They said she was transferred after voicing a clear objection to those in authority.”

Imperial Government

V2/C5

Tanya sinks a Commonwealth vessel, she is court-martialed, the military says she did nothing wrong [which I agree with], but the diplomats want to punish her to appease the Commonwealth. After the not-guilty verdict, Tanya’s smug-ass smile makes everyone go: umm…should we really have let her get away with this??

V4/C2

She then further makes the diplomats hate her over her Moscow raid.

V4/C3

Rudersdorf warns Zettour that Tanya going overboard is earning Zettour criticism from the government.

V4/C4

During her second court-martial, Tanya doing the most in Moscow manages to fracture the relationship between the government/supreme army command & the guys more in charge of the day-to-day war, like Zettour & Rudersdorf.

International Post-Hoc View on Arene

V2/C6

“They gunned people down like they were so many targets in a firing exercise. They got ‘points’ for shooting people. People had blocked themselves in, so they used heavy-explosion formulas to bombard whole districts. Those are all painful memories of the tragedy being shared today. Even counting only the confirmed deaths, the city of Arene lost half its population that day. In order to avoid the heavy responsibility for each soldier that would result if they went into the city and had to visually confirm their targets, they aimed to cause widespread fires via artillery bombardment from positions surrounding the city. A portion of the documents shows that they had chosen targets that were likely to spread the flames as proof-of-concept for firestorm.” <= the reporter doesn’t know this, but Tanya is the person that comes up with that proof-of-concept for creating a firestorm, as well as the person that creates the case to make it legal to repress a civilian revolt with a military. To me it seems like Arene is presented as the Tanyaverse Bombing of Dresden, except how it would be viewed if Germany had won WWII.

Tanya thinks about how if the Empire loses, her reputation is in the toilet if it becomes known that she did this.

Western Army Command

V2/C6

[The Lt. General or above that is in command of the Western Front] “A terrifying report or a proposal from hell. The one who thought of this was either a lawyer so cunning the devil would invite them to join forces or a criminal. This way of thinking is practically inhuman. Only a devil who forgot their reason and conscience in their mother’s womb could come up with such a tactic. That someone would equate having the technical capabilities for an operation with actually doing it…Are they deranged?”

“Luckily, an army corps commander summoning a mere major is extremely rare. Exceptional though it was, it meant there was a chance he might have to summon this monster again someday…Doing his best not to look directly at the monster straightening her posture in front of him, the army corps commander accepted that it was for work and met her.”

“The principles behind the actions of this major in front of him were impossible to understand using anyone’s logic or emotions. Her inorganic eyes compelled you to conclude that her thoughts, her frameworks, her way of being were all warped.”

This guy keeps going on and on more than I have here, tbh he’s one of Tanya’s main haters. It’s fine Tanya, it’s only the guy in charge of Western Army Command, who listens to him?

“I hope no one noticed that I just flinched, thought the army corps commander, sensing that he was distinctly afraid of her…No worries about what? He deeply wanted to ask what she was planning to do, but he held back. He told himself it was surely better not to know…But there is probably no one more suited to being a soldier than you. Perhaps you feel at home in hell on the Rhine front.”

V3/C5

“The Western Army Group declined to evaluate her, saying her good and bad points neutralized each other, so it was difficult to rate her. Furthermore, she had attempted to resist orders.”

Implied Future View of Tanya/The Parable of the Salamander

V4/C5

“From what I heard, the Salamander is adorable and very clever. If you show it affection, it’ll get attached to you. Like a German shepherd, it can become a trustworthy member of the family. Sometimes it begs or plays tricks, but apparently, everyone ends up overlooking these things. Of course, Mrs. Legen grew angry and screamed that it went too far, but…Well, in the end, everyone doted on the Salamander. Because when it’s even more reliable than a German shepherd, how could you not? At some point, though, the Salamander’s requests and pranks grew to be too much. But what do you think happened when no one was sympathetic to dependable Mrs. Legen, who had continued to angrily scold it the whole time? That’s right. No one was able to stop the Salamander! Of course, the Salamander loved and cherished everyone. But sadly, there was no one to teach it right from wrong. So the Salamander never realized that everyone disliked it. Soon it had exhausted everyone’s patience.” <= for reference, Tanya commands the Salamander Kampfgruppe; this is told as a cautionary tale that Andrew says circulates throughout the future Empire.

Your Author’s Take on Tanya’s Reputation vs Reality

The above should have real-world implications for Tanya’s personal life as far as friends, and for her career both within and beyond the military once the war is over, because, you know, people talk. Anyone who phones up an old pal because said old pal had some quality time with Tanya and they’re curious what she’s like is probably not going to receive a glowing personal recommendation, and the higher up those people are in society, the worse it is likely to be. 

Even for people who think she has a genius applicable beyond the military sphere, outside of extreme circumstances people generally don’t want to employ anyone, no matter how smart, who is known for being unpredictable, uncontrollable, arrogant in the extreme, abusive towards coworkers, manipulative, possibly just straight up evil, etc etc. Within the military, after the war I would expect her to be hampered by the fact that a lot of people won’t want to work with her unless there’s a really pressing reason they need her skillset.

I can’t believe I’m bringing this show up from years past, but she’s sort of in the same position as Dr. House from the TV show - famously talented; famously toxic in the workplace; only one place will employ him, and at a much lower salary than his reputation should command, and even so, thinking that he could get away with that in real life is pushing the suspension of disbelief for the show. The same goes with friendships - very few well-adjusted adults are willing to befriend The Cool Asshole in real life.

When it does happen IRL, those relationships usually aren’t healthy & happy, and can easily end up with borderline-emotionally-abusive undertones because the follower is afraid of losing the leader, and molds themselves to fit what the other person wants so as to be an unchallenging, uncritical presence in the life of their idol.

For a story about an adult man reincarnated as a young girl fighting in magical WW1.5, YS manages to put a surprisingly interesting twist on the Main Character is a Cool Asshole Without Consequences model, with Tanya getting away with it in the present due to extreme circumstances, not realizing that the war is the only reason she’s getting away with it, and facing many implied future consequences for it.

While it’s entirely possible and often completely necessary to handwave Tanya overcoming this for storytelling purposes, as you can’t go many places story-wise if Tanya is as screwed as it sounds like she’s going to be, standard reality is that she’s gonna need to do some serious legwork to dig herself out of the hole she’s in, both personally and professionally. 

I appreciate that the crux of a good Tanya story is often Tanya thinking normal reality will apply to her but then bypassing normal reality to end up somewhere she never intended on being, much to her chagrin, and readers therefore may feel adhering to realism violates the reality of Tanyaverse. 

For the purposes of this story, I have chosen to stick with where the preponderance of evidence leads and apply a good amount of normal reality to Tanya, because that is exactly what allows me to proceed along a different avenue of Tanya misunderstanding things and ending up somewhere she never intended on being, keeping to the spirit of Tanya stories. Plus, Tanya doesn’t seem very intent on growing as a person in the absence of consequences and I need my character growth drivers.

…and I can’t avoid admitting I still end up handwaving some portion of those consequences for Tanya, since, as stated above, it’s…hard to go anywhere with a story if you don’t.

The last part is...interesting 😧 But the rest is absolute gold!

Thoughts on Peter Pettigrew? And if you ship him with anyone, who?

thank you very much for the ask, pal! peter is a fascinating character and i always enjoy properly thinking about him.

because - let's be honest - he really goes under the radar, in both canon and fanon. he's extraordinarily cunning, ruthless, powerful, adaptable, emotionally literate, intelligent…

and yet you wouldn't get that impression if you take harry's narrative at face value. even after peter escapes at the end of prisoner of azkaban/cuts his own hand off in goblet of fire.

[which is one of harry's most interesting character traits - his tendency to split the world into black-and-white "good people" and "bad people" is something we talk about a lot, but he also has a tendency to split the world into "special people, who have agency" and "unspecial people, who don't"... hence his attitude to characters such as stan shunpike.]

but the main thing i find fascinating about peter isn't actually the way his talents are overlooked by the text. it's the way he embodies one of the series' central messages: that "it does not do to dwell on dreams and forget to live" [PS 12].

when dumbledore says this to harry, it's as advice on how to deal productively with grief. and obviously that's a good and healthy message to receive - especially for the children who are philosopher's stone's intended audience.

but the statement has another application, which ties to another one of the series' themes: that all that glitters is not gold.

so much of the overarching seven-book narrative is about jealousy and longing - harry's longing for a family, ron's jealousy of harry's fame, petunia's longing for magic and jealousy of lily, snape's longing for lily and jealousy of james, etc.

and it's also about how this jealousy and longing leads us to see what we want to see - ron becoming convinced that harry's feelings for hermione are romantic, lupin's inability to criticise james leading to his rage when harry's appalled at him walking out on tonks, the death eaters being convinced that voldemort is a champion of pureblood oligarchy, fudge refusing to believe that voldemort has returned etc.

as both ron and harry learn after ron stabs the locket-horcrux, you have to live the life you actually have and you have to know the people you know as they actually are. you can't imagine them into something they're not, become sad and/or angry when they fail to meet expectations it was always impossible for them to fulfil, and then let that sadness and anger fester until the poison within you can no longer be contained...

which is the peter pettigrew special, really...

sirius' assessment of peter in prisoner of azkaban comes in clutch for us on this point:

"Because you never did anything for anyone unless you could see what was in it for you. Voldemort's been in hiding for fifteen years, they say he's half dead. You weren't about to commit murder right under Albus Dumbledore's nose, for a wreck of a wizard who'd lost all of his power, were you? You'd want to be quite sure he was the biggest bully in the playground before you went back to him, wouldn't you?" [PoA 19]

i love this line for a lot of reasons - especially sirius' tacit admission that he and james once met that criteria of "biggest bully in the playground" - but i particularly like the way it aligns peter with [dumbledore's assessment of] voldemort's school friends:

"As he moved up the school, he gathered about him a group of dedicated friends; I call them that, for want of a better term, although as I have already indicated, Riddle undoubtedly felt no affection for any of them. This group had a kind of dark glamour within the castle. They were a motley collection; a mixture of the weak seeking protection, the ambitious seeking some shared glory, and the thuggish gravitating toward a leader who could show them more refined forms of cruelty. In other words, they were the forerunners of the Death Eaters, and indeed some of them became the first Death Eaters after leaving Hogwarts." [HBP 17]

peter is fundamentally someone ambitious seeking shared glory. and he does this - like, it's implied, quite a lot of death eaters - by putting on his rose-tinted glasses and deluding himself into believing that the person he expects to share that glory with him actually will share it... until everything comes crashing down and he's forced to see that they actually think of him as unworthy of sharing anything with. and his fury becomes toxic.

because peter is someone who inherently views himself as a follower.

lord voldemort would never - to borrow sirius' phrase - do something for someone else unless he could see what was in it for him. but voldemort's selfishness is because he sees himself as the unparalleled superior of everyone he meets - there's no need to help those under you if they're the only people who benefit!

peter's selfishness is slightly different - everything he does is in pursuit of vicarious glory. he wants to be praised and rewarded by a leader he's made more powerful. he doesn't want to be that leader himself.

peter the marauder

indeed, canon emphasises that this is what attracted him to james and sirius:

To Sirius' right stood Pettigrew, more than a head shorter, plump and watery-eyed, flushed with pleasure at his inclusion in this coolest of gangs, with the much-admired rebels that James and Sirius had been. [DH 10]

obviously this is harry's subjective view ["much-admired rebels" is a bit of a stretch, let's be real…], which the text does acknowledge ["or was it simply because harry knew how it had been, that he saw these things in the picture?"].

but harry's assessment of the teenage peter here matches the one we're given across the series:

"Pettigrew... that fat little boy who was always tagging around after them at Hogwarts?" said Madam Rosmerta. "Hero-worshipped Black and Potter," said Professor McGonagall. "Never quite in their league, talent-wise." [PoA 10]

James was still playing with the Snitch, letting it zoom farther and farther away, almost escaping but always grabbed at the last second. Wormtail was watching him with his mouth open. Every time James made a particularly difficult catch, Wormtail gasped and applauded. After five minutes of this, Harry wondered why James didn't tell Wormtail to get a grip on himself, but James seemed to be enjoying the attention. [OotP 28]

peter is set up as someone who's understood by everyone not to occupy the same role in society [both "society" as in the social ecosystem of hogwarts, and as in wizarding society more generally] as james and sirius.

this is almost certainly for class and blood-status related reasons - and hello to another anon on this point:

the fact that the only parent mentioned in the text is his mother strongly suggests that he's a half-blood with a muggle or muggleborn father [which his narrative parallels with snape, his narrative relationship with voldemort, and his narrative contrast with barty crouch jr. also support].

the way his mother is spoken about by other characters in prisoner of azkaban - especially fudge: "black was taken away by twenty members of the magical law enforcement squad and pettigrew received the order of merlin, first class, which i think was some comfort to his poor mother" [PoA 10] - sets her up as the passive figure in her relationship to the state [the ministry deigns to provide her with comfort], thus implying that she was ordinary, middle-class, and respectable, but lacked the class-based social power to occupy a more active role in the relationship.

[contrast her, for example, with someone like augusta longbottom, who is a much more active figure narratively.]

but she also can't come from a working-class background, because otherwise voldemort wouldn't seek to humiliate peter by making him live in snape's slum house as his servant.

but peter is also set up as someone who - while he accepts that james and sirius are his superiors and doesn't want to usurp their positions - nonetheless thinks that the two of them will do all they can to increase his chances of helping them accrue more glory, thus allowing the glory he shares in to be all the greater.

and why not? after all, he has plenty of evidence that they'd be capable of doing this, given the lengths they go to for remus…

i think he can be very easily understood as somebody who thinks that - once the three of them have nailed the animagus transformation and achieved their goal of supporting remus during the full moon - then the next thing on james and sirius' list of priorities is putting in a similar level of effort on his behalf.

indeed, the text does imply this - in snape's worst memory, peter goes from being positioned with remus as james and sirius' inferior:

Snape was on his feet again, and was stowing the O.W.L. paper in his bag. As he emerged from the shadows of the bushes and set off across the grass, Sirius and James stood up. Lupin and Wormtail remained sitting.

to being physically positioned with remus but clearly wanting to be an active member of james and sirius' shenanigans:

Lupin was still staring down at his book, though his eyes were not moving and a faint frown line had appeared between his eyebrows. Wormtail was looking from Sirius and James to Snape with a look of avid anticipation on his face. [...] Wormtail was on his feet now, watching hungrily, edging around Lupin to get a clearer view.

to physically joining - but still being excluded from equality of power with - james and sirius:

"How'd the exam go, Snivelly?" said James. "I was watching him, his nose was touching the parchment," said Sirius viciously. "There'll be great grease marks all over it, they won’t be able to read a word."   Several people watching laughed; Snape was clearly unpopular. Wormtail sniggered shrilly. 

to being positioned as sirius' equal under james' leadership:

"Well," said James, appearing to deliberate the point, "it's more the fact that he exists, if you know what I mean..." Many of the surrounding watchers laughed, Sirius and Wormtail included.

to being included as both james and sirius' equal:

But too late; Snape had directed his wand straight at James; there was a flash of light and a gash appeared on the side of James' face, spattering his robes with blood. James whirled about; a second flash of light later, Snape was hanging upside down in the air, his robes falling over his head to reveal skinny, pallid legs and a pair of greying underpants. Many people in the small crowd watching cheered. Sirius, James, and Wormtail roared with laughter. [OotP 28]

but this symbolic ascent towards james and sirius recognising and including him isn't what actually comes to pass, is it?

[and as a little shipping-related aside... this is an immaculate wormbucks or padtail premise.]

clearly, peter's experience from the beginning of his sixth year onwards [so from the autumn of 1976] is one in which his hero-worship of james and sirius [and it is just james and sirius - if he felt aggrieved enough by remus that he wanted to implicate him in the potters' deaths he absolutely could have done so] begins to crumble...

and then to fester...

until he's reached a point where the following isn't something he believes is actually true:

"THEN YOU SHOULD HAVE DIED!" roared Black. "DIED RATHER THAN BETRAY YOUR FRIENDS, AS WE WOULD HAVE DONE FOR YOU!" [PoA 19]

[this - as an aside - is one of the major differences between harry and james/sirius. harry's understanding of loyalty and sacrifice is much less transactional: "dumbledore knew, as voldemort knew, that harry would not let anyone else die for him now that he had discovered it was in his power to stop it" [DH 34].]

and decides that he should probably transfer his loyalties to the much bigger bully who's just arrived on the scene.

enter lord voldemort.

peter the death eater

while there are some key differences [peter is the one who has to approach voldemort, rather than the other way round, and - as i've said here - i think voldemort withholds the dark mark from him to keep him striving], peter's recruitment by the death eaters has a huge amount in common with draco malfoy's.

[more on which... here.]

voldemort must win him over by validating his belief that james and sirius [and also dumbledore/the order] don't take him and his talents seriously, that they need to be punished for this, and that when peter has humiliated them, he will have the time of his life basking in the glow of the victorious voldemort, who will also reward him spectacularly.

this is what voldemort does with quite a few of his minions - including regulus [another fantastic ship for peter], barty crouch jr. [likewise], and, of course, snape [which flops], all of whom have that corrosive perception of themselves as always being overlooked.

in the first war, then, voldemort must be pretty nice to him.

[or as nice as voldemort ever gets...]

the threats and the punishment come later.

[as another aside, the implication of canon is that voldemort's use of violence against his minions is relatively infrequent - and only used in specific circumstances - in the first war. the egregious torture he subjects them to in the second - and the fact that he does this publicly - shocks, terrifies, and humiliates even the most ardent first war loyalists. i think we can assume, then, that peter returned to voldemort expecting to find him in the same "you catch more flies with honey" mode as in the first war. he was mistaken.]

the contempt 90s!voldemort holds peter in is iconic - so many of his best lines are times he's mocking him!

but something which always stands out to me is that voldemort's contempt for peter is inextricably linked to his previous position as one of the four marauders.

[indeed, i find it fascinating that voldemort says that peter "faked his own death to escape justice" [DH 33], because the only thing he can mean by "justice" in this context is that peter should have let sirius murder him...]

and the most explicit demonstration of this is the fact that he always calls him wormtail.

this is a fascinating twist on the way voldemort plays with the language of intimacy with his death eaters. his favourites get referred to by their given names, while the rest are referred to more formally, using their surnames:

"Severus, here," said Voldemort, indicating the seat on his immediate right. "Yaxley - beside Dolohov." [DH 1]

and, of course, his ultimate favourite gets referred to by her nickname.

but peter isn't being called wormtail by the dark lord as a show of affection... it's an expression of disregard.

it's clear that the voldemort of the second war deeply understands that peter's life between the potters' deaths and his unmasking at the end of prisoner of azkaban [that is, the period when he didn't get the glory he wanted, he just got a dead james, two friends who want to murder him, and a master who hates him] made him start to regret his resentment of james and sirius for not living up to the versions of themselves he'd invented in his head - especially following sirius' death, when he receives a second demonstration of voldemort's contempt for him, since the moment sirius is out of the picture, the dark lord declares him surplus to requirements and dumps him on snape.

voldemort also knows that peter can only suppress these regrets and pretend they don't exist for so long...

and so everything about their second war relationship is voldemort pre-empting a betrayal he knows will come, when peter's long-buried grief for his friends comes roaring back. hence him setting up peter's silver hand to kill him when his loyalty wavers.

or, more succinctly:

"You returned to me, not out of loyalty, but out of fear of your old friends. You deserve this pain, Wormtail. You know that, don't you?" [DH 33]

peter the [un]man

there's one final thing which i think is really interesting about peter's portrayal in the text, and that's his relationship with gender.

he's someone whose presentation as unmasculine is consistent across his appearances - and is consistently intended to be belittling. but he's also someone whose lack of masculinity is used both to underscore his villainy [and to emphasise that it's the worst type of villainy - to quote jkr, "i loathe a traitor"; peter is the most reprehensible villain in the doylist text's eyes] and to misdirect the reader away from it.

before he's unmasked at the end of prisoner of azkaban, peter is associated narratively with neville:

A hatred such as he had never known before was coursing through Harry like poison. He could see Black laughing at him through the darkness, as though somebody had pasted the picture from the album over his eyes. He watched, as though somebody was playing him a piece of film, Sirius Black blasting Peter Pettigrew (who resembled Neville Longbottom) into a thousand pieces. [PoA 11]

and - therefore - is associated with a lack of masculinity in a fond way. neville is a character the reader is supposed to like, but not a character the reader is supposed to aspire to be like.

the text uses both peter and neville's appearance - especially the fact that both of them are noted to be fat [neville gets described as "plump", which is understood as slightly more polite, but the meaning is the same...] - to emphasise this. they're soft and shy and unsporty. they're passive, in contrast to harry [and james'] masculine vigour. they're both followers, but in a good way.

or, they both occupy the role female characters tend to: conduits for the male characters' deeds and desires, but lacking the agency to have deeds and desires of their own.

[hence why i am extremely compelled by @whinlatter's theory that the best lightning-gen parallel for peter is ginny...]

this is the tone of the secret keeper swap. peter is chosen by james and sirius precisely because they understand him as a vessel. he can contain and surround and envelope the potters and keep them safe that way, while sirius - who embodies the active qualities of a masculine protector - protects them by fighting and running and being hunted.

but - of course - peter doesn't perform this feminine protector role. he corrupts it. and this another way the text underscores that he's its worst villain... he bastardises a role typically associated with motherhood.

he and sirius are set up narratively as the parallel to james and lily: sirius is the masculine figure, the father, the "take harry and run"; peter is the feminine, the mother, the "refuses to stand aside".

once peter is unmasked at the end of prisoner of azkaban and his corruption of his maternal role is revealed, the text's presentation of his unmanliness then becomes something used to emphasise how vile and creepy the reader is supposed to find him.

it does this while maintaining the corrupted motherhood metaphor - hence him having to nurse voldemort's pseudo-infant form in goblet of fire, and hence him being positioned as inferior to barty crouch jr., who joins voldemort and peter, his "wife", to take the narrative role of voldemort's son and heir.

this is extremely interesting, since the text typically uses a lack of maternal or pseudo-maternal experience to indicate that its female villains [especially bellatrix and umbridge] are to be understood as villains by the reader. the exceptions, petunia dursley and walburga black, are fascinating parallels for peter, given the way that they also embody the corrosiveness of resentment and the impact it has on truly being able to grieve.

but peter also becomes a second, specific form of unman once he's unmasked...

the eunuch.

it's really striking that - from the latter chapters of prisoner of azkaban onwards - peter is frequently associated with the theme of voyeurism:

But Ron was staring at Pettigrew with the utmost revulsion. "I let you sleep in my bed," he said. [PoA 19]

Snape held up a hand to stop her, then pointed his wand again at the concealed staircase door. There was a loud bang and a squeal, followed by the sound of Wormtail scurrying back up the stairs. "My apologies," said Snape. "He has lately taken to listening at doors, I don't know what he means by it." [HBP 2]

the sexual undertone to these associations is really significant, because - when combined with the presentation of peter as a follower/an outsider looking in and with the presentation of him as lacking in virility - it renders him sexless, but in a specifically jealous way. he's not voldemort, whose canon presentation as aromantic is used to underscore his villainy by implying there's something "wrong" with him... he's someone who should have been able to access the "normal" structures of love and family, but who has self-castrated himself from this "normality" due to his corruption arc, and who is forced to watch from the sidelines coveting what others have and regretting his decisions and loathing himself.

[hence my absolute conviction that the reason he's not at home on halloween 1981, when sirius goes to check on him and finds his safe-house empty, is because he's snuck into the potters' house in rat form to watch james and lily be murdered...]

and this idea of peter as somebody unsexed or castrated is really interesting as a lens to examine one of his most sinister moments - his role in the torture and murder of bertha jorkins.

nb: there is a discussion of rape in what follows.

i liked this post by @pangaeaseas - and the discussion in the notes -about voldemort's treatment of peter surrounding his capture of bertha jorkins. but i thought it was interesting how a lot of this discussion focused on the ways voldemort is insulting peter's intellect in this context... and not the ways he's attacking his sexual prowess.

the text is pretty clear - not least in the enormous victim-blaming undertone to the way many characters [especially male ones] talk about bertha's disappearance - that peter brought bertha to voldemort after convincing her that he wanted to engage in some form of consensual sexual encounter [described by voldemort, in pg-13 terms, as a "nighttime stroll"]. voldemort's astonishment at peter managing to accomplish this isn't so much him being shocked that he had the way with words/quick thinking abilities to talk bertha into going with him, it's him being shocked that someone he considers to be so unmanly as to be impotent managed to pull.

and then - it is heavily implied, both in the text itself and in jkr's statements since publication that her editor looked like she wanted to be sick when she described how voldemort was restored to a rudimentary body - to rape:

"He was the penis able-bodied servant I needed, and, eunuch poor wizard though he is, Wormtail was able to violate a woman follow the instructions I gave him, which would return me to a rudimentary, weak body of my own, a body I would be able to inhabit while awaiting the essential ingredients for true rebirth." [GoF 33]

Jedi stans do not know Tolkien lore

It's so funny, cause... it's literally what Tolkien actually wrote in his opus magnum Silmarillion! It happened when Valar, despite having almost angelic powers, practically abandoned Middlearth and Beleriand and allowed Morgoth and his cronies to kill and enslave Elves and Dwarves and lead part of Humans away from them(enslaving others too). They allowed everything built and created by Elves to be destroyed, for a huge part of Noldor elves to die in horrible ways, for Eru's children to suffer. No matter how narrative attempts to frame this, Valar are accompliced by their inaction. Even before the First Kinslaying, they had practically forgotten about Sindar and Nandor Elves living under Morgoth's feet, about Dwarves and yet-to-be-awakened-Humans.

Their inaction was not deemed as something inherently good in any piece of Tolkien's works except the Myths Transformed. In The Book of Lost Tales(which i consider really good for analysis and explaining some plotholes of published Silmarillion and presenting Valar in more or less sympathetic light) the majority of both Maiar and Ainur are so afraid of Morgoth that they practically force Manwe(who is their king) to hide Valinor from the world! It happens despite both Manwe and Ulmo pleas for Noldor's sake and Manwe telling all secrets about Elves and Humans Eru entrusted him! Myths Transformed, on the contrary, present Valar as ultimately morally right no matter what happened - and it is the reason why they seem so unlikable and problematic for many(and may be the reason Christopher never used this concept). Even in the published Silmarillion Valar are presented as misguided and not totally right in the end.

Also, let's adress Tolkien himself. He never considred Lord of the Rings the major book he had written in his life and the book what tells about his views most is actually Silmarillion! And this book actually has more complex take on "good and evil", explaining, why Tolkien viewed his charactres as they are.

What in Tolkien's mind separates morally grey character(like Feanor, his sons, Turin) from the villain(like Morgoth, Sauron, Eol, Saruman)? As it can be seen through the text, it is an ability to love and care about someone while seeing them as persons and loyalty to another person or their people or devotion to a large-scale goal character has. The reasons that his characters are "good" are not because of their service to some institutions or fighting evil, but because they are productive, creative and their major goal is making the world a better place. They are something except the fighters and destroyers and it what made them good. It's evil who reacts on "good characters" doing something, like it was with Sauron's deeds during the Second Age(founding Mordor in response to Numenor's victorious wars against him, falsely giving up to Ar-Pharazon in response to latter nearly destroying his kingdom, attacking Gondor and causing War of the Last Alliance of fear it will take root) and Morgoth's before the First Age(creating Dissonance in responce to the Eru calling him out, manipulating Noldor princes out of envy for their artificial gems, especially the Simarils).

Meanwhile, Jedi are purely the reactive force at the time of Prequels. They do nothing, they create nothing, they only serve a corrupt goverment doing whatever it asks and ignoring it sliding more and more into the autoritarism. They ignore literal and corporal slavery in Canon, and crime syndicats(like Findian syndicat), long-time civil wars, dark cults(like Bando Gora), planets getting attacked and suffering from epidemics and starvation in Legends. They do even less than IRL Templars and Hospitallers did(guarding the piligrims and giving them shelter, which was the primary goal of such institutions except fighting Muslims). We have never seen the Jedi travelling from one planet to another to build or create something(or heal somebody), they does not harbor any global project involving something potentially useful for all of Republic citizens.

In comparison, many Tolkien's favourite characters and nations are something except the warriors and fighters. If we will take hobbits, they are wonderful farmers. Teleri Elves are the shipbuilders and saliors. Noldor Elves and Dwarves are blacksmiths, inventors, artificial gem and jewelry makers. Sindar Elves are singers. Numenorians and Gondor people are scholars, explorers of the world, alchemists and inventors too. Even Rohan people are not only the fighters, they are wonderful horse breeders. I won't even start with master inventor Feanor with his belief that Eru's children's mind can overcome Ainur and Celebrimbor with desire to heal Middlearth from wasting away. Do Jedi present something of themselves except the enforcing and partly dimplomatic organisation?

None. And there is the reason Jedi could not and should not be compared to Tolkien characters. They grew complacent and distant from the people. They only react - while Tolkien heroes act. We never see Jedi "bravely going where no people had gone before" or moving to some planet in order to create a medicine for some illiness, even if they are stated have their own special Service Corps divisions for this. Ironically, that is actually makes them having a lot in commin with Ainur, whom Jedi Stans tend to compare their faves with. Complacency, which in the end lead to the tragedy.

They compare Ainur to the angels, ignoring the textual evidence that their complacency lead to the practical genocide of Elves. And ironically, an actual Tolkien fandom - and the Professor himself - tends to see these "Angels" in more or less critical light.

Ender's Game (novel)

Is Ender Wiggin (pictured above as the little brother from Malcolm in the Middle) guilty of xenocide?

Actually, let's first answer a different, but related, question:

What game does the title "Ender's Game" refer to?

It's not as simple a question as it seems. There are three games that have a prominent role in the plot, all very different from one another.

The obvious answer is the Battle School zero-gravity game, where teams of competitors play glorified laser tag in a big empty cube. In terms of page count, most of the book is dedicated to this game. It's also the game depicted on the cover of the edition above.

Yet this game vanishes during the story's climax, when Ender is given a new game to play, a game he is told is a simulator of spaceship warfare. This "game" turns out to not be a game at all, though; after annihilating the alien homeworld in the final stage, Ender learns that he was actually commanding real ships against real enemies the whole time, and that he just singlehandedly ended the Human-Bugger war forever via total xenocide of the aliens. This is both the final game and the most consequential to the plot, despite the short amount of time it appears.

There's also a third game, a single-player video game Ender plays throughout the story. The game is procedurally generated by an AI to respond to the player's emotional state, and is used as a psychiatric diagnostic for the players. Of the three games, this is the one that probes deepest into Ender's psyche, that most defines him as a person; it's also the final image of the story, as the aliens build a facsimile of its world in reality after psychically reading Ender's mind while he xenocides them.

Because all three games are important, the easiest answer might be that the question doesn't matter, that the story is called Ender's Game not to propose this question at all but simply because the technically more accurate "Ender's Games" would improperly suggest a story about a serial prankster.

Fine. But why does the title use the possessive "Ender's" at all?

He does not own any of these games. He did not create them. He does not facilitate them. All of these games, even the simulator game, predate his use of them as a player, were not designed with him in mind, were intended to train and assess potential commanders for, ostensibly, the hundred years since the last Human-Bugger war.

It's in this question that we get to the crux of what defines Gamer literature.

These games are Ender's games because he dominates them into being about him. He enters a rigidly-defined, rules-based system, and excels so completely that the games warp around his presence. In the Battle School game, the administrators stack the odds against Ender, thereby rendering every other player's presence in the game irrelevant except in their function as challenges for Ender to overcome. The administrators acknowledge this in an argument among themselves:

"The game will be compromised. The comparative standings will become meaningless." [...] "You're getting too close to the game, Anderson. You're forgetting that it is merely a training exercise." "It's also status, identity, purpose, name; all that makes these children who they are comes out of this game. When it becomes known that the game can be manipulated, weighted, cheated, it will undo this whole school. I'm not exaggerating." "I know." "So I hope Ender Wiggin truly is the one, because you'll have degraded the effectiveness of our training method for a long time to come."

In this argument, Anderson views the game the way games have been viewed since antiquity: exercises in acquiring honor and status. This honor is based on the innate fairness inherent to games as rule-based systems, which is why in ancient depictions of sport the chief character is often not a competitor but the host, who acts as referee. In Virgil's Aeneid, for instance, the hero Aeneas hosts a series of funeral games (the games themselves intended as an honor for his dead father). Despite being the principal character of the epic, Aeneas does not compete in these games. Instead, he doles out prizes to each competitor based on the worthiness they display; his fairness marks him symbolically as a wise ruler. The Arthurian tournament is another example, where Arthur as host is the principal character, and the knights (Lancelot, Tristan, etc.) who compete do so primarily to receive honors from him or his queen.

In Ender's Game, it is the antagonistic figure Bonzo Madrid who embodies this classical concept of honor; the word defines him, is repeated constantly ("his Spanish honor"), drives his blistering hatred of Ender, who receives both unfair boons and unfair banes from the game's administrators, who skirts the rules of what is allowed to secure victory. Bonzo is depicted as a stupid, bull-like figure; his honor is ultimately worthless, trivially manipulated by Ender in their final fight.

Meanwhile, it's Ender's disregard for honor, his focus solely on his namesake -- ending, finishing the game, the ends before the means -- that makes him so valuable within the scope of the story. He is "the one," as Anderson puts it, the solipsistically important Gamer, the Only I Play the Game-r, because the game now matters in and of itself, rather than as a social activity. In the Aeneid and in Arthur, the competitors are soldiers, for whom there is a world outside the game. Their games are not a substitute for war but a reprieve from it, and as such they are an activity meant to hold together the unifying fabric of society. The values Anderson espouses (status, identity, purpose, name) are fundamentally more important in this social framework than winning (ending) is.

Ender's game, as the Goosebumps-style blurb on my 20-year-old book fair edition's cover proclaims, is not just a game anymore. Its competitors are also soldiers, but the game is meant to prepare them for war; the spaceship video game is actual war. And as this is a war for the survival of the human race, as Ender is told, there is no need for honor. The othered enemy must be annihilated, without remorse or mercy.

This ethos of the game as fundamentally important for its own sake pervades Gamer literature beyond Ender's Game. In Sword Art Online (which I wrote an essay on here), dying in the game is dying in real life, and as such, only Kirito's ability to beat the game matters. Like Ender, Kirito is immediately disdained by his fellow players as a "cheater" (oh sorry, I mean a "beater") because he possesses inherent advantages due to being a beta player. In an actual game, a game that is only a game, Kirito's cheat powers would render the game pointless. What purpose does Kirito winning serve if he does it with Dual Wielding, an overpowered skill that only he is allowed to have? But when a game has real stakes, when only ability to win matters, it is possible to disregard fairness and see the cheater as heroic.

This notion of the "cheat power," a unique and overpowered ability only the protagonist has, is pervasive in post-SAO Gamer literature. To those for whom games are simply games, such powers can only be infuriating and obnoxious betrayals of the purpose of games; to those for whom games mean more than just games, for whom games have a primacy of importance, these powers are all that matter.

That's the core conceit of Gamer literature: the idea that the Game is life, that winning is, in fact, everything.

What sets Ender's Game apart from Sword Art Online is that it creates the inverted world where the Game matters above all, but then draws back the curtain to reveal the inversion. The Buggers are, in fact, no longer hostile. They are not planning to invade Earth again, as Ender has been told his entire life. The war, for them, is entirely defensive, and Ender is the aggressor. And due to Ender's singleminded focus on Ending, on winning, on disregarding honor and fairness, he ultimately commits the xenocide, erases an entire sentient species from existence. He wins a game he should never have been playing.

The obvious counterargument, the one I imagine everyone who has read this book thought up the moment I posed the question at the beginning of this essay, is that Ender did not know he was committing xenocide. The fact that the combat simulator game was not a game was withheld from him until afterward. Plus, he was a child.

Salient arguments all. Ones the book itself makes, via Ender's commander, Graff, to absolve him of sin at the end. They're probably even correct, in a legal sense (I'm not a legal scholar, don't quote me), and in a moral sense. In real life, it would be difficult to blame a 10-year-old in those circumstances for what he did. But in the thematic framework of Ender's Game the book, these arguments are completely inadequate.

Ender has been playing a fourth game the entire story. And this is the only game he doesn't win.

A game is defined by its system of control and limitation over the behavior of the players. A game has rules. His whole life, Ender has been playing within the rules of the system of control his military commanders place upon him.

Their control extends even before he was born; as a third child in a draconian two-child-only world, his existence is at the behest of the government. Graff confirms this to Ender's parents when he recruits him to Battle School: "Of course we already have your consent, granted in writing at the time conception was confirmed, or he could not have been born. He has been ours since then, if he qualified." Graff frames this control utterly, in terms of possession: "he has been ours." He does not exaggerate. Since Ender was young, he has had a "monitor" implanted in his body so the army could observe him at all times, assess whether he "qualifies"; even the brief moment the monitor is removed is a test. "The final step in your testing was to see what would happen when the monitor came off," Graff explains after Ender passes the test by murdering a 6-year-old. Conditions are set up for Ender, similar to the unfair challenges established in the Battle School game; he is isolated from his peers, denied practice sessions, held in solitary confinement on a remote planetoid. It's all in service of assessing Ender as "the one."

Ender wins this game in the sense that he does, ultimately, become "the one" -- the one Graff and the other military men want, the xenocider of the Buggers. He fails this game in the sense that he does not break it.

The other three games Ender plays, he breaks. Usually by cheating. In the single-player psychiatry game, when presented with a deliberately impossible challenge where a giant gives him two glasses to pick between, Ender cheats and kills the giant. "Cheater, cheater!" the dying giant shouts. In the Battle School game, Ender is ultimately confronted by insurmountable odds: 2 armies against his 1. He cannot outgun his opponent, so he cheats by using most of his troops as a distraction so five soldiers can sneak through the enemy's gate, ending the game. At the school, going through the gate is traditionally seen as a mere formality, something done ceremonially once the enemy team is wiped out (there's that honor again, that ceremony), but it technically causes a win. Even Anderson, the game's administrator, sees this as a breach of the rules when Ender confronts him afterward.

Ender was smiling. "I beat you again, sir," he said. "Nonsense, Ender," Anderson said softly. "Your battle was with Griffin and Tiger." "How stupid do you think I am?" Ender said. Loudly, Anderson said, "After that little maneuver, the rules are being revised to require that all of the enemy's soldiers must be frozen or disabled before the gate can be reversed."

(I include the first part of that quote to indicate that Ender all along knows who he is really playing this game against -- the administrators, the military men who control every facet of his life.)

Ender beats the war simulator game in a similar fashion. Outnumbered this time 1000-to-1, he uses his soldiers as sacrifices to sneak a single bomb onto the alien's homeworld, destroying it and committing his xenocide. Ender himself sees this maneuver as breaking the rules, and in fact falsely believes that if he breaks the rules he will be disqualified, set free from the fourth game: "If I break this rule, they'll never let me be a commander. It would be too dangerous. I'll never have to play a game again. And that is victory." The flaw in his logic comes not from whether he's breaking the rules of the game, but which game he is breaking the rules of. It's not the fourth game, Ender's game, but the war simulator game, simply a sub-game within the confines of the fourth game, a sub-game the fourth game's administrators want him to break, a sub-game that gives Ender the illusion of control by breaking. When Ender tells his administrators about his plan, the response he receives almost taunts him to do it:

"Does the Little Doctor work against a planet?" Mazer's face went rigid. "Ender, the buggers never deliberately attacked a civilian population in either invasion. You decide whether it would be wise to adopt a strategy that would invite reprisals."

(And if it wasn't clear how much the administrators wanted him to do this all along, the moment he does it, they flood the room with cheers.)

Ender wins his games by cheating -- by fighting the rules of the game itself -- and yet he never cheats at the fourth game, the game of his life.

In this fourth game, he always plays by the rules.

In the inverted world of Gamer lit, where games define everything, including life and death, it's a common, even natural progression for the Gamer to finally confront the game's administrator. Sword Art Online ends when Kirito defeats Akihiko Kayaba, the developer. In doing so, Kirito exceeds the confines of the game, not simply by ignoring its rules and coming back to life after he's killed, but by demonstrating mastery against the game's God. Afterward, Sword Art Online truly becomes Kirito's Game, with nobody else able to lay claim to the possessive. Kirito demonstrates this control at the end of the anime by recreating Sword Art Online's world using its source code, completing the transition into a player-administrator.

(Though I wonder, how much of a class reading could one give to this new brand of Gamer lit? If classical games were told from the perspective of the one who controlled them, then is there not something innately anti-establishment in Kirito overcoming the controller? This is the gist of many other death game stories, like The Hunger Games, though none of them may be the most sophisticated takes on the subject, more empty fantasy than anything else.)

Ender never fights or defeats his administrators. He never even tries, other than rare periods of depressive inactivity. He doesn't try even though the option is proposed to him by Dink Meeker, an older student whom Ender respects:

"I'm not going to let the bastards run me, Ender. They've got you pegged, too, and they don't plan to treat you kindly. Look what they've done to you so far." "They haven't done anything except promote me." "And she make you life so easy, neh?" Ender laughed and shook his head. "So maybe you're right." "They think they got you on ice. Don't let them." "But that's what I came for," Ender said. "For them to make me into a tool."

Instead, Ender finds comfort in the control exerted on his life. When sent to Earth on leave, he seeks out a lake that reminds him of living in Battle School.

"I spend a lot of time on the water. When I'm swimming, it's like being weightless. I miss being weightless. Also, when I'm here on the lake, the land slopes up in every direction." "Like living in a bowl." "I've lived in a bowl for four years."

Because of this, Ender never cheats against Graff. He could; Graff states several times that Ender is smarter than him, and the fact that they have Ender fighting the war instead of Graff is proof he believes it. But Ender never considers it. He never considers gaming the system of his life.

If Gamer literature emphasizes the inversion of the world order, where games supersede reality in importance (and, as in Sword Art Online, only through this inverted order is one able to claim real power by being a Gamer), then Ender's Game acknowledges both sides of the inversion. For Ender, the games he plays are not simply games anymore. The psychology game, the Battle School game, the war simulator game; all of these he must win at all costs, even if it requires disrespecting the foundational purpose of these games. But his real life? Ender wants that to be a game, craves it to be a game, can't live unless the walls slope up around him like a bowl, can't stand it unless there is a system of control around him. He does what Graff tells him, even though he recognizes immediately that Graff is not his friend, that Graff is the one isolating him from others, rigging things against him. He does what Graff tells him all the way up to and including xenocide, because Ender cannot tell game from real life. That's the core deception at the end: Ender is playing a game that's actually real and he doesn't know it -- or refuses to acknowledge it, since nobody has ever tricked the genius Ender before this point.

Actually, that's not true. They tricked him twice before. Ender twice attacks his peers physically, with brutal violence. The administrators conceal from him that he murdered both his foes; he simply thinks he hurt them. The only way to trick Ender is to do so in a way that insulates him from the consequences of his actions. The only way he will allow himself to be tricked.

So, is Ender guilty of xenocide?

Under it all, Ender believes he is.

The dying Buggers, after reading Ender's mind, recreate the psychology game in the real world. The story ends when Ender finds this recreation, yet another blurring of the lines between game and reality.

The psychology game is different from the other games Ender plays, because nobody expects him to win it. Its purpose is not to be won, simply to assess his mental health. Yet Ender approaches it like the other games, cheats at it and systematically kills all his enemies until he reaches a place called The End of the World. (Another End for Ender.) His drive to win, to dominate, does not come solely from the pressures of the system around him, but from deep within himself, which is what Ender fears the most. But it is here, at The End of the World, where Ender finds atonement, both in the game and in the game-made-real. In the game, he kisses his opponent instead of killing them, and reaches a resolution he is happy with. He stops playing the game after doing this, though the game seems to continue (when an administrator asks him why he stopped playing it, he says "I beat it"; the administrator tells him the game cannot be beaten). It is through this act of love that Ender can escape the game-like system of control that puppeteers him no matter how smart and clever he is or thinks he is.

In the game-made-real, Ender finds his atonement in the same place, The End of the World. The Buggers left for him here, in this place that they (reading his mind) understood as the location of his mercy and compassion, an egg that can repopulate their species. Through this egg, Ender is given the chance to undo his xenocide. But that chance is also contingent on what The End of the World means to Ender, an end to the game, not simply the games he plays but the fourth game, the game of his life. Ender's Game.

Wei Wuxian's Name - The Meaning of Wuxian

C Fans think this is likely the poem behind his name. And after analysing this poem, I think this is also the inspiration behind his character. OMG MXTX YOU’RE A GENIUS 😍.

Before I start, please inform me if you want to use this meta. This analysis is solely mine in every shape and form. There is only 1 Chinese interpretation online and it’s done with Baidu’s MTL. And if I do allow you to use it, PLEASE link it back to me because there’s a very high chance that I will refine this. This is the only translation/meta that I’m particular about so please respect my wishes. 🙏

The term “Wuxian” comes from the Ming Dynasty poem “Living Alone 闲居” by the poet Xiu Ben 徐贲. Sadly, there isn’t much information about the context so I’ve tried to interpret this to the best that I can. There are so many aspects in mdzs/cql that are reflected in his poem.

谢事返丘壑，退耕理田园。

To retire to the hills, to return to farming and prepare the land.

谢事 - To retire and get rid of mundane things, or to die

丘壑 - Hills and ravines. A secluded place in the mountains. A metaphor for somewhere far away.

退耕 - To resign from government service and to return to farming OR to convert land that was used for farming back to other use.

兹心获遂初，稍得洒中悁。

His compassionate heart has attained his wish, and slowly loses itself to anxiety in wine.

兹心 - I think this is related to 慈悲心 which refers to the concept of Compassion in Mahayana Buddhisim. 慈 refers to giving others happiness.

遂初 - This means attained his wish. OR to leave a government post and return to seclusion

悁 - This refers to anger, anxiety and melancholy.

(T/N: 获 and 得 both means to gain, so the poet is emphasising what he has gained)

振策升崇巘，扬舲溯长川。

Whipping the horse (or urging) to ascend the lofty mountain, sailing against the river that never ends

振策 - This term also means to urge or to push someone forward

长川 - It either describes a river OR something that’s never ending.

(T/N: some websites use the word 巘 (mountain), but others use 褵 (a marriage veil). I don’t have enough info, so I’ve gone with the mountain translation.)

惊湍信汨汨，清溜自涓涓。

The water gurgles flows steadily and swiftly, the crystal clear water from the small stream trickled slowly naturally.

(T/N: 汨汨 and 涓涓 are both sounds of the water flowing. 汨汨 refers to gurgling, 涓涓 flows slowly)

新兰艳迟日，密竹曳丛烟。

The new orchid blooms in spring, the dense growth of bamboo gather as they sway like the mist.

迟日 - this could mean late, or spring

烟 - This likely refers to 烟云 (literally translated to mist and cloud), but it also refers to a hermit deep within a faraway mountain.

东馆朝燕坐，西林暮独还。

To meditate in the morning the temple in Chang an, to return from the temple alone at dusk

东馆 - This either refers to the Eastern Temple, or a temple nearby Chang an. The dictionary says it’s 豫中 ‘Yuzhong Temple’ (term was used specifically the Han Dynasty), but I can’t find which temple it is specifically. LOL

西林 - This term does refer to the Xilin temple on Mount Lu. But subsequently it was referred to temples in general. As this a more modern poetry (aka Ming Dynasty), I’ve opted to use ‘temple’ instead.

(T/N: there’s a dawn to dusk imagery in this line, from 朝 (morning) to 暮 (dusk))

朋旧固云旷，山水聊夤缘。

Old friends are resolute and vast as the clouds, and to sit beneath the mountain and rivers to chat about establishing connections.

云 - The imagery of ancient clouds in ancient poetry is uh, not exactly regarded as a good thing. It’s usually related to sadness, or something that’s fickle (ie. a cloud is fickle, it changes shape whenever it wants to, sometimes you see it, and sometimes you don’t.

夤缘 - this means to climb up, establish connections and building relationships)

(T/N: This whole line is interesting and filled with contradictions. 固 refers to something resolute, but 云旷 means vast as the clouds. Of which, clouds symbolise something that’s anything but resolute. And in the second part, 聊 usually refers to a causal chat or even gossip, but 夤缘 refers to using connections to climb higher.)

居喧暂云遣，习静久乃便。

the noise at where I'm at at has stopped for now, dissipating like the wind. And so, the quiet life has persisted for long time.

居 - there are various meanings to this. The most common meaning is to stay/current location so I’ve gone with that

便乃 - this means “hence” or “so”

已幸驻灵药，复能讽瑶编。

It’s already lucky that the magical drug has rooted itself here, and I can memorise the precious books repeatedly

驻 - This is a very interesting word because it’s usually used to mean to garrison or to come to a standstill. It isn’t usually

复 - Repeatedly

讽 - This word usually means to or to mock. But I think it’s used as 讽书 in this case, which is to memorise.

既无羡鱼志，外物非所迁。Even if there isn’t any wishful thinking, the things outside are inhospitable and ever changing

无 - This means no.

羡鱼 - Wishful thinking. This is where Wei Wuxian’s name comes from (MXTX uses 无羡 instead of 羡鱼). This term comes from the idiom “临渊羡鱼，不如退而结网” which literally means, “instead of standing by the water to dream about catching fish, you should go home to make a net to actually catch a fish.” (ie. instead of being envious about another person’s achievements, we should put in the effort) So yes, Wei Wuxian does mean “do not (无) think wishfully and covert over the achievement of others” (羡)

非所 - Inhospitable, where someone cannot live normally

迁 - this means ever changing.

MY ANALYSIS

SO I HAVE SO MUCH FEELS. I believe that MXTX based some parts of Wei Wuxian’s behaviour according to this poem. Allow me to do a line by line analysis.

1st line: “To retire to the hills, to return to farming and prepare the land” - is this why our boy has such a fascination with retiring from his “post” and returning to the simple life? It’s interesting that the terms in this poem repeatedly emphasises on ‘retiring from government.” You could say that wwx’s life, starting from the time that he was a Jiang Clan disciple, and to being a soldier was a form of a post. So the author sets up the stage of what he thinks to “retire” is. And the “hills and the mountains” suggest a secluded far away. IDK about you but it screamed Cloud Recesses to me.

2nd line: “His compassionate heart has attained his wish,” - AGAIN I could scream about this. I feel that Wei Wuxian does embody the concept of “慈悲” in the simple sense of the word. “慈” as in compassionate. He brings joy to people around him and cares for others around him. 悲 as in sadness; he feels the suffering around him and hence he tries to deliver people from it. This is obviously demonstrated when he tries to save the Wen Clan. This line also emphasises that retiring away from all things political is what he wants. And the second part “slowly loses itself to anxiety in wine”, sadly he does this ever so frequently in the novel and almost amplified in CQL.

Line 3 and 4: “Whipping the horse (a metaphor for quickly, almost urgently) to ascend the lofty mountain, sailing against the river that never ends” “The water gurgles flows steadily and swiftly, the crystal clear water from the small stream trickled slowly naturally.” - in Line 3, the first part “ascending the lofty mountain, almost urgently so” reminds me of how he attained his ghost cultivation so quickly over a span of 3 months. And “sailing against the river that never ends” sounds very much like how he was always moving against the criticism of the masses in his first and second life. The lines about the water gurgling and trickling feels that the tide was always against him, be it swiftly or in small trickles.”

Line 5: “The new orchid blooms in spring, the dense growth of bamboo gather as they sway in the mist.” - the imagery of the orchid sounds a shoutout to Jinling. And the dense bamboo dusting in the mist reminds me of the parts where they were in the cold pond. I’m not sure if the CQL directors were equally inspired by this. (I can’t remember if there were bamboos in Cloud Recesses novel wise. 😂😂)

Line 6: “To meditate in the morning the temple in Chang an, to return from the temple alone at dusk” - HMM I don’t have a clear inspiration for this line unfortunately. But it could be a reference to the days spend in Cloud Recesses. The Lan 蓝 was a Buddhism references so it totally fit the bill. (I’ve mentioned it before in Taming Wangxian but if you can’t remember it, well that’s okay, I am to bring it back here eventually)

Line 7: “Old friends are resolute and vast as the clouds, and to sit beneath the mountain and rivers to chat about establishing connections.” - again the comparison of friends with clouds. It does suggest that he has a lot of friends; friends who are as fickle as clouds who aren’t there when the time calls for it. And as for the ones who are “resolute”… well we know who they are. And as for “establishing connections”, this is a common theme in the novel. It actually reminded me of JGY, who was essentially trying to curry favour to promote himself politically.

Line 8-9: “the noise at where I am at has stopped for now, dissipating like the wind. And so, the quiet life has persisted for long time.” “It’s already lucky that the magical drug has rooted itself here, and I can memorise the precious books repeatedly” lmao does the magic drug refer to the incense burner haha 😂😂 the vibe of the last two lines remind me of the end of the novel, whereby the “noise” of society has faded and he’s back to the quiet life. And as for the books that he can read, I’m guessing that’s probably referring to the Lan Family’s library

Line 10: “Even if there isn’t any wishful thinking, the things outside are inhospitable and ever changing” this is WWX and the moral of the story I guess?

(There were about 60 different references and I'm too lazy to link them all lol. They were mostly dictionary links or other poems that used the words in a similar manner. If you want a reference for a particular phrase, please let me know. XD)

In case you missed it, I’ve also analysed Wei Ying previously.

Additional Meta

More MDZS Meta

Meaning of Wei Ying

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hey guys I know I haven't really posted, but PLEASE delete twitter and Instagram or other apps owned by meta or Elon off of your phones!! Both Elon and Mark were at trumps inauguration and a meta employee posted that they were doing some shady stuff behind the scenes and WILL START MONITORING AND TRACKING LGBTQIA+ PEOPLES ACCOUNTS, so for your own safety use them on another device with a safe browser! stay safe y'all these next four years are going to be hard but we have to persevere! this especially goes out to trans people and queer people of color!