syllaw-16

Latest Posts by syllaw-16

I mean most wbk characters fight without the conversation and connection philosophy... Why is Sakura the only one who should win with that method not by feats. Doesn't they author love his mc to be the strongest and shine like the others? Sigh!

I would say a part of why there's more emphasis on it with Sakura than the other characters, is because Sakura's definitely positioned to be the person Umemiya thinks will take on his will and protect and care for the Furin he has created with the other upperclassmen.

This isn't to say that the other side character don't or are incapable of also understanding and applying Umemiya's philosophy in their fights, but Sakura mirrors so much of Umemiya. There are definitely a number of characters in Wind Breaker who came to Furin because they admire and want to also take on the mantle that Furin stands for. Others join Furin to rebel against what's trying to hold them down or oppressively change who they are; who won't accept certain aspects of who they are because of their own agendas or beliefs. But a number of these people aren't actually seeking to be The Top Dog. Not everyone who wants to fight to protect the town wants to be the person leading Furin. And there is a lot of potential dangers/issues with those who DO seek to be at the top, and have the power that comes with leadership. That's why so many Furin people, ESPECIALLY the upperclassmen, were wary of Sakura coming in and enrolling in Furin as someone from outside of town, even more so when he starts spouting that he wants to take the top spot.

Take Sugishita for example= The narrative even shines a light on the fact that shouldn't it be Sugishita who is shooting to become Furin's top spot when he's an upperclassman? Sugishita ABSOLUTELY hangs off of every word Umemiya says and admires what the guy stands for. But, Sugishita wants a low-key, peaceful life. He wants to be left alone and sleep most of the day. Sugishita struggles with connecting with his fellow classmates, let alone his opponents or those who stand against what Umemiya believes in. The upperclassmen adore and are rooting for Sugishita, but they know he wouldn't want to take Umemiya's spot.

Nirei too. Nirei is valued and supported by his classmtes. He deserves a place amidst their ranks because he has such drive and will to put everything he is into Furin's cause. But Nirei's not a leader. Not everyone is meant to be a leader. Nirei doesn't want to be a leader- he wants to be someone who lifts someone he finds worthy for that position (Sakura) TO the top spot. It's kind of hard to have a fight last long enough to be a conversation when when you don't know how to fight. He's learning how to fight (and doing an amazing job! I'm always so happy to see Nirei get a chance to show how far he's coming along in also holding his own in a fight!) but that's not going to be enough for Furin and Makochi when threats come knocking on their door.

To not just let emotions take over and instead make an effort to understand the other person- it's hard! It's not something that comes naturally to most people. But it surprisingly comes naturally to Sakura. Sakura is hungry for connections, he wants to understand people better because he assumed everyone was the same in the past and realized that that's not the case. And it definitely comes naturally to Umemiya. However, I wouldn't go so far as to say no one else fights with this philosophy in mind. The freshman characters are green newbies. They've got the spirit, they're putting their effort behind Umemiya and Sakura and all of what Furin stands for, but they're a little too inexperienced to actually internalize Umemiya's style. Who has had the experience and has been a part of Umemiya's fight to make his dream a reality? The four kings. Specifically, Tsubaki and Hiragi immediately come to mind so I'll talk about their fights/conversations!

Tsubaki rolls up to the fight against Gravel with a number of (anger-fueled) assumptions and very much acting out of his protectiveness of Shizuka.

Even still, Tsubaki wants their fight to be a dialogue. He's still applies Umemiya's philosophy in this fight, even after calling Suzuri his 'prey' and clearly being pissed off about Gravel trying to break down Suzuki and take her away from this life she's found with her sister Tsubaki and the guys of Roppo-Ichiza.

Tsubaki makes his stance known. That fighting to protect the things you love makes you stronger. It doesn't matter what it is- if it's important to you, if it makes you happy- then it is worth fighting for. Tsubaki doesn't get angry when Suzuri calls him insane when he says that loving makeup makes him stronger. He instead says 'okay let me prove it to you. Let me show you my strength' (my god I love the energy in the "Let me show you just what you're scoffing at" panel. Tsubaki you absolute ICON! Queen Shit!)

It's a push and pull; a back and forth between them as they fight. Tsubaki eventually says to Suzuri that 'Yes, of course I can't possibly understand the suffering and pain you've had to go through'. It's a hard thing to truly and fully understand another person. But that doesn't mean that a person isn't allowed to also feel in pain and having a hard time. Tsubaki doesn't know what it's like to have to struggle with starvation, and Suzuri doesn't know what it's like to have to choose between pretending to be someone you're not, to cover up your interest or risk being attacked and assaulted because other people want to decide for you how you should be and what you should like. You could say Suzuri has it worse than Tsubaki, but it doesn't mean Suzuri has the right to rip Suzuki from the happiness and family she has found.

Leading up where Tsubaki admits they made wrong assumptions about Suzuri and are sorry for doing so, but also calling out Suzuri on the irony that he says he has nothing- can't waste time or effort on anything that's not directly tied to food/survival- when clearly he also is fighting for his friends.

Now, as it was even said in the manga- Tsubaki and the Roppo-Ichiza can't fix all their problems. They can't make sure everyone has what they need. But, they can do everything that they can to help. It wasn't Tsubaki's physical strength that was important in this fight, but instead it was his kindness. That he wanted to know why Suzuri was doing all of this. He didn't attack Suzuri in a rage or tell Suzuri he had something he needed to learn from Tsubaki. Tsubaki ended this fight by saying "I see you're suffering and I want to know what I can do to help." THAT and fighting in order to stay true to himself and protect those he cares about, is what makes Tsubaki strong. That's why Tsubaki is one of Umemiya's four kings.

Next let's talk about Hiragi's fight with Banjo. Now, Hiragi was far more in a rage than Tsubaki. That much is clear. He is just as protective of Kaji and Tsubaki is of Suzuki, but lets his fury win more than Tsubaki does. This may also be because of the sadomasochistic person Banjo is versus Suzuri, who has a more compassionate core. Endo and Takiishi pissed the fuck out of Umemiya in this arc too. Anger takes over sometimes. That is also a part of being human. But, I would stand by that Hiragi STILL tries to see Banjo's perspective. The chapter where he starts fighting Banjo is still called a 'dance', just like when Tsubaki fought Suzuri. He doesn't treat Banjo in this fight the same way Suo does against Kanuma. He doesn't patronize, toy or make fun of Banjo. He gives Banjo an admission, what small understanding he has of Banjo's...insane perspective, that fighting can be thrilling. That you can be addicted to the adrenaline. He acknowledges that Banjo is right that when people are fighting, someone is going to get hurt. The FASCINATING thing is that Banjo also sees fighting as a way to connect with others. But Hiragi recognizes that Banjo doesn't.... realize that not everyone gets the same pleasure out of fighting and Banjo doesn't know when to STOP.

Hear me out- I think this is similar to Sakura telling Endo he'll visit him. I don't think Sakura likes Endo and I DEFINITELY know Hiragi doesn't like Banjo. But, Banjo feels connected to other through fighting. Hiragi is going a certain length to make sure Banjo doesn't feel isolated, while at the same time telling him to leave the other people at Furin THE FUCK ALONE (Especially not to go anywhere near Kaji again I'm sure). He tells Banjo directly to his face that Banjo disgusts him, but he doesn't tell Banjo not to seek making that connection with others. Not to seek that high. But because doesn't have self control, because Banjo can't even tell when he's going too far- Until Banjo can understand how other people feel he should find Hiragi to fight. Hiragi is saying he will do something that he dislikes for Banjo. Yes, it's for the sake of whoever else Banjo would pick a fight with instead, but it is still a promise of connection, it is still an exchange nonetheless.

I would say the author loves Sakura for the same reason why he has everyone else love Sakura. Because Sakura is an incredibly kind and compassionate person who wants to put his whole being into helping others. He wants to protect the people who extended kindness and acceptance to him. Sakura is a scared kid who comes from a past full of pain and rejection and isolation, and is taking those steps towards healing. He's getting close to becoming someone that Sakura himself can feel proud of. Someone who is not just strong physically, someone who doesn't even have to win every fight- he's fought so hard his whole life already. So long as he doesn't give up- neither on himself nor in protecting Furin- there is nothing more he needs to do. He can just be himself for the first time in his life and that will be enough. His strength comes from his heart, a heart that is already full of compassion and kindness. A heart that he already has. Physical strength is something he'll get with time and experience, but it is sticking to his heart that'll make him even stronger. A little sappy and cliché? Sure, but that doesn't necessarily make it a bad message or story to impart on the audience. I think Nii Satoru means for this to be a story about human connections, and personally values that more than the fights themselves.

But also. I think Sakura shines. You're welcome to your own opinion, but I personally think he looks pretty damn cool in his fights~

Do you think Sakura will get power up ? Yk his fights conclusion against top tiers are so disappointing> his opponents gave up or his friends help him .... They call him plot armor fighter on TikTok 😕

I'm going to be so real with you- no, I don't think Sakura is going to get a power up. At least, not in the way most anime series do it. Not in the way that people engaging with Wind Breaker as a fighting anime are hoping he will. The points in the story where people are training to get stronger are montages, depicted to show how everyone's putting everything into becoming strong enough to protect what's important to them, it's not about leveling up their fighting style or coming up with the one big move that's going to win them their next battle. Wind Breaker's just not that show, and it never has been. Sakura's climatic fights are never actually about him being stronger than the other person. Imma pull out that Kotoha panel from the very beginning, especially since Kotoha and Umemiya are the characters through which the fundamental points of the show are given to us.

So let's talk about Sakura's "disappointing" climatic fights. Yes, Sakura doesn't actually win these. His opponents concede. Why? BECAUSE FIGHTING SAKURA HAS MADE THEM REALIZE SOMETHING ABOUT THEMSELVES THAT CHANGES IN THAT MOMENT, and thus they no longer see a reason to keep fighting Sakura. Let's start with the first one, Togame Jo (🥰💖✨💕✨ Let it be known I LOVE TOGAME'S CHARACTER SO MUCH). Why Togame throws his fight against Sakura is definitely the one that's easier to understand. Togame has been trying to desperately keep Shishitoren together despite the fact that their leader was shattering into pieces for so long. He was feeding the words that would keep people in the group despite Choji's cut-throat new policy of "If you are weak, if you lose a fight, you're out. You're worthless and an obstacle to my dream of being free and having fun." Up until Choji's breaking point, the little guy was Shishitoren's sun. He was this shining bright light that could put a smile on any of the guys' faces and spoke so easily and freely about how they were all in this race together to become stronger and they would be the freest people in the world. Togame didn't want Shishitoren to lose that, to lose that Choji, so he tried to take the fall. He was new to being included into people's social groups, he was never as outgoing or lively as Choji. He could be the bad guy. He was okay with that.

He had to convince himself he was okay with that, and tied (up his hair) himself to that vow that he wouldn't give up on the sun. Going so far as to put tinted glasses on to convince himself that the old Choji was still there..... somewhere. But what happens during his fight with Sakura? Togame realizes what he did was wrong, and things were never going to get better continuing they way they were. He shouldn't have let Choji change who he was, he shouldn't have let Choji change the rules of their race for power and freedom, he shouldn't have just bowed his head in order to stay by Choji's side.

But, if he what he was doing was wrong... If what he was doing was only letting Choji continue to suffer, feeling confused and alone, then... why were doing this stupid tournament fight against Furin? Why would he fight to help Choji have claim over both Shishitoren AND Furin? That wasn't going make Choji happier. And Choji realizing getting Furin didn't change anything would only make his mental state worse too.

Togame's heart wasn't in the fight. He didn't want to do all of this anymore. He was realizing everything they were doing was wrong, and more than anything else he was just. so. tired. Of pretending to be someone he wasn't. Of trying so hard to keep the broken shards who were once his friends together through lies and cruelty. So he throws the match. He lets Sakura land the punch and then says he gives up and can't move anymore. And what was it that made Togame realize all of this?

Sakura's declaration that he would never let others bend or change who he is at the top of his lungs. Of course, Sakura's words come from his past experiences and having people repeatedly tell him he should cover up who he was. That he should be ashamed of things that Sakura couldn't change about himself. But Sakura's words and refusal to waver or falter resonated with Togame. Yes, Umemiya laughed that Sakura thought what he meant by 'have a conversation with your fists' meant Sakura would hear words coming out of his punches. What DID happen during the fight though, was they both exchanged what their beliefs were, and Sakura called Togame the fuck out for lying to himself. That his actions wasn't what he was preaching. He was calling him out for being delusional about what his actions were going to achieve. If Togame wasn't struggling with his inner turmoil and was actually fighting with his whole heart, his whole BEING in the fight, could he have won? YEAH, PROBABLY. Sakura at this point was just some poor freshman kid who has picked fights with guys randomly on the streets for a good portion of his life. But Sakura puts all of who he is in a fight, at this point in the story Sakura fights because he thinks his life depends on it. He truly believes that fighting is the only way he can find anything of worth within himself. It would have been impossible for Togame to fight with that amount of will. And THAT'S why Sakura won.

Now, let's talk about Sakura's fight with Endo. Right off the bat, yes- other characters (including TOGAME HIMSELF) comment on how much Sakura has grown in such little time when they are watching him fight Endo. But listen, you're going to have to trust me when I say I don't think what's really being said here is that Sakura's PHYSICAL STRENGTH is so much greater. Why is Sakura leagues above where he was when he fought with Togame? Because at that point Sakura was still fighting for himself. In his fight against Endo? Sakura isn't fighting for himself. He couldn't give a SHIT about himself (Which- 😭). He's fighting because with every fiber in his being, he desperately wants to protect and keep Furin standing. Everything they've done for him; the kindness and care that they've extended to him. Everything Umemiya's gone through and fought for to make sure that his hometown could be a place where everyone can feel welcomed and laugh and eat in good company; to make sure no one feels like it's them alone against the whole world. Sakura would rather DIE than see that Furin get destroyed.

Just like Togame, Endo isn't necessarily fighting for himself either. He's fighting so Takiishi, the person he loves and worships the ground he walks on, can be happy. The difference here? Takiishi doesn't really give Endo the time of day. Now, I wouldn't go so far as to say Takiishi doesn't care about Endo at all, he calls Endo by his name too at the end of the war, but the fact that he did so STUNNED Endo. Because Endo himself didn't think Takiishi gave two shits about him. But Endo had decided he was okay with that. Convinced himself that that didn't matter. He didn't love Takiishi for being kind or friendly. He thought Takiishi covered in blood and looking beautiful when fighting was hot (and I think there was also a feeling of kinship from Endo in recognizing they both felt so different and couldn't connect with other people in the world)

Endo feels ALONE in his love, even if he's with Takiishi physically. Even if he goes everywhere Takiishi goes and gives the man his whole being. Endo doesn't have a place he feels he belongs because he doesn't think he has been let into Takiishi's world, and that's the only place he wants to be. The Furin of the past too was very likely people who felt alone in the world. So they lashed out, picked fights with everyone, because they had similar frustrations and perspectives to Sakura when he first arrived to Makochi. So why does Endo throw his fight against Sakura? Because Sakura (to Endo's frustration because he was so close to convincing Sakura to leave Furin if it meant he and Takiishi would also leave. Withdrawing all the other fighters in the town wouldn't stop Takiishi from getting that fight with Umemiya at that point) decided, no, he would rather die than leave this little family he's been welcomed into. For whatever reason, everyone else decided Sakura was worthy and deserved to be a part of their family. He would hurt them more by deciding to stop fighting and just agree to leave Furin than he would by losing his fight against Endo. So what change did Sakura make in Endo? Well there was the fact that the way Sakura was fighting reminded Endo of Takiishi. But.... -

So what is so vastly different about Sakura fighting here than all the times Endo has watched Takiishi fight? You can see what it is reflected in Endo's eye in the page above. Why is Sakura fighting different here than when he first showed up and started fighting Endo? Because he realized in talking with Endo that HE is the threat against Furin. Not Takiishi. I think a part of Sakura was stressed about the fact that Takiishi was fighting Umemiya already on the roof. Sakura didn't know that this whole "war" idea, threatening the civilians of Makochi, pulling in so many people to beat down Furin and the town, ALL OF IT wasn't even about a conflict of ideals of what Furin should be. It was because ENDO wanted Takiishi to be able to fight Umemiya. That's it. There was NO REASON TO EVEN INVOLVE ANYONE ELSE. People were getting hurt, LIVES WERE IN DANGER, all because Endo thought it would be fun to go about it this way. Fun to tear apart Umemiya's dream project (also because Endo fucking loathes Umemiya). My point is, Sakura sole attention, sole reason for standing on his two feet is to STOP ENDO. Everything else has faded away into the background for Sakura. It is the OPPOSITE of what Endo feels from Takiishi. Endo has never been on the receiving end of such intense emotion from someone. Hilariously enough? This means technically Sakura's emotions got through to Endo. In a... twisted way, but Endo is a twisted, fucked up guy.

To Endo the only way he was going to win this fight was either killing Sakura or convincing Sakura to come with him and Takiishi. So Endo could keep Sakura with him. But Sakura wasn't going to stop when he couldn't fight anymore. He wasn't going to accept his physical limit, and he wasn't going to leave to come back another day and give Endo another euphoria-inducing fight. Endo is physically stronger than Sakura. If Wind Breaker was just about whoever is physically stronger in a fight winning, then yes, Endo would have won. But Endo didn't want to kill Sakura, because that would probably mean never again feeling someone capable of eventually being his equal in fighting and also directing that level of intense attention on him again.

Endo fell in love with Sakura. It's different than his love for Takiishi, and it's still fucked up and twisted, but ENDO DIDN'T WANT TO KILL SAKURA! And Sakura was either going to take down Endo or die trying. He would have kept fighting Endo until it killed him. But also, thematically, Sakura's resolve (a resolve that is backed by so many people, a resolve that proves he is not alone in the world) was never going to lose to Endo, who felt alone. Who was fighting for something alone.

I don't need Sakura to get a power up and win his fights with his physical strength. The entire point of Sakura in these big fights is to have a conversation with these people. To make a connection with them. Because no one is undeserving of personal connections. It's why even though Sakura (rightfully) thinks Endo is insane, he's still willing to be a friend to Endo. If Endo doesn't have someone who'll eat a meal with him, and he wants to hang out with Sakura? Then yeah, Sakura is going to accept Endo for who he is and sure, visit the guy to grab lunch or something, whatever. Because Sakura is adopting Umemiya's resolve, his perspective, and puts importance in making sure everyone can laugh and have a good meal with good company.

What's the role of suo character? He is considered as main character with nirei or as deuteragonist but I see he has no importance outside protecting nirei!. I don't understand the hype around his mysterious aura

I think probably what you're looking for is a more flashy fight/action centric series then! You'd probably enjoy all this time you're putting into sending anonymous asks about a show you don't see the appeal of more if you spent it instead on media you can enjoy! However, I will absolutely take this opportunity to gush about Suo you are giving me on a silver plate happily! So let's talk about why Suo is so fascinating narratively!

Labeling him as a deuteragonist is actually pretty spot on, to be honest. He is a character that sticks by the protagonist's side pretty consistently throughout the story. Suo as a character gives advice to Sakura about what will help him grow and achieve what he wants as class captain as well as provides an interesting combination of parallels as well as differences in perspectives compared to Sakura. Additionally, Sakura's presence draws forth the aspects of Suo's character that are likely to be developed within the story. Let's start with how Suo provides a difference in perspective for Sakura!

There is more strength in drive and ideals than in physical strength

Suo says it pretty clearly to Sakura before his match in the Shishitoren arc-

When he first met Sakura, it is very likely his first impression was 'ah, here's yet another brute who thinks he can beat others up and claim himself to be the strongest'. The same kind of person Sakura calls weak or lame himself. However, even Sakura's goal that he says to everyone in the beginning... kind of reflects this idea that physical strength gives you value. He judges Nirei because he can immediately tell Nirei isn't a fighter yet is a student at Furin, he thinks the only thing that is important is winning fights and making sure everyone knows they can't bend him under their will. Sakura thinks the only thing valuable about himself is his fighting ability/strength. But what is shown through his actions? That he protects those who can't defend themselves. That he is pissed off when someone enjoys causing others pain or suffering. Outside of the manga, when asked about what Suo's dream is, he says 'emancipation of slaves'. Right from the get-go he is challenging Sakura to start to think about what his purpose is when he fights. Because it's not really about just proving he's the strongest guy around. Why does this bleed so much into what Suo says to Sakura? Well, for Suo-

2. Empathy is the most important thing to possess

Suo is extremely good at understanding where other people are at emotionally/mentally. A LOT of his dialogue is trying to explain how a person might be feeling or encouraging others (rather forcefully at times haha) to try to demonstrate empathy themselves.

Suo is the calm to Sakura's storm. Except. Suo isn't actually the calm. Not in truth. This is part of why he is so intriguing as a character. It is also where Suo starts to actually parallel Sakura. Because Suo is-

Very Emotional

Incredibly so. The difference is, Sakura wears his heart on his sleeve. He doesn't hide how he feels or his inner thoughts at all because Sakura wants to be true to himself no matter what. It's hard for him, it is agonizing for him at times because of his bad prior experiences, but it is still something he tries to do at all times. Suo, however? Keeps those emotions hidden behind a "friendly" smile most of the time (to talk towards him being appealing- a lot of people like characters who put up fronts. I am included in this 'lot of people' lmaoo. I am such a sucker for a character who puts up a front to guard themselves or keep others at an arm's length).

But Suo gets angry. Incredibly so. He also judges others all the time. He's VERY opinionated, but he doesn't often state any of these opinions so directly. It's important to Suo that he upholds appearances and comes across as disciplined, calm, and collected. Sometimes though, he is anything but. Which is what we're shown in the Keel arc. Keel takes advantage of kind people who are just strong enough to be useful, but weak enough that they can be beaten into submission and manipulated. And that? Already pisses off Suo I'm sure. But then, on top of everything else, Suo is kept from running to the aid of someone he cares about. Someone who has such good drive, who also has a strong core but has some ways to go in being able to act on that drive. Suo is kept back from saving his friend and Nirei is beaten into unconsciousness. So what happens? Attempted murder. Suo's anger and frustration boils over. He hates these people. He hates seeing those he cares about and seeing those who can't defend themselves, broken. So he's going to put an end to it. To them. "Nice Guy" façade be damned. "The level headed one" be damned. And we get this look at Suo in a chapter literally titled "Extreme Emotions"

Which like, if you wanna talk about why his character garners a lot of hype, I think a large part of it is because of his aura when he's genuinely mad. It's the duality of it all.

I don't have as smooth of a transition for this one but what else does Suo do that Sakura absolutely does as well?

2. He keeps people at an arm's length; he doesn't like letting people in

This is also where Suo has a lot of duality, but here it makes him something of a hypocrite. He tells Sakura it's important to delegate and rely on others alongside Nirei. He pokes and prods Sakura to try to get him to open up to them. To not assume how others feel. But Suo doesn't show that himself. The ONLY thing Suo has honestly given about himself is that he has a mentor who taught him the 'hodge-podge' martial arts he uses as his fighting style. Everything else? Jokes, lies, dismissive words. Suo is hardly ever injured or dirtied in a fight because it isn't a conversation to him. He's the one doing the talking. He's the one teaching a lesson to the other person. The other person doesn't need to say anything to Suo. He's already pretty damn sure what kind of person they are. He doesn't eat with the others because he claims he is on a diet. It keeps him from participating in what is probably the BIGGEST symbolism/metaphor for personal connections in the story. Because Suo doesn't try to connect with others. He actively avoids it.

So uh, yeah! That's why I think people find Suo interesting and get hyped about when he's on screen/in chapter panels! I am sure there are other things that could be said, but I hope I could offer some insight!

Community and Family Through Food

The usage of food in the narrative of Wind Breaker (Spoilers up to the Noroshi War Arc in the manga)

* Content Warning: Mentions of Attempted Sui

Perhaps it is partially because my other biggest fixation right now is One Piece, but something that has always stood out to me in this series is its importance of eating, but even more-so: The ability to eat in good company. Wind Breaker seems to follow this pattern that is also present in One Piece that after every arc, the characters have to have a meal together. A festival, a meal offered by the owner of a restaurant in town, Kotoha’s diner, take-out on a rooftop; Wherever it may be, there is a meal being shared. Nii Satoru doesn’t hide why this is the case, and even has one of the most important characters to the manga, Umemiya, explicitly say why he insists on everyone eating together as often as possible.

Now, of course, Umemiya being who he is, this comes across as both a little ridiculous and perhaps even a bit childish/selfish to the other characters in the scene (and possibly even the reader) who are a little less familiar with Umemiya. Yet, being able to hang out and eat good food is the reason he decided to aim to become the leader of Bofurin, it’s the reason he gives for how he can be so happy while leading, and he sticks by it. He continues to put emphasis on everyone eating together at the end of each arc.

A detail I love about the chapter when he first gets food for everyone at the end of the Shishitoren tournament arc? It is called ‘Umemiya-Style’. Initially, one could see this as being because that’s just how Umemiya Hajime rolls, or, a play off of ‘fighting style’ but for Umemiya he fights against Choji with his words. Using fights as a ‘dialogue’ to get to know the other person better, as he puts it. However, we get the fuller meaning later in the story with the chapters covering Umemiya’s backstory.

We learn at the end of Hajime Umemiya’s backstory that eating meals as a family was a value passed to him from his parents. Your food (and life) is better when you are surrounded by the people you care about. In this story, a character’s ability to enjoy food is directly linked to their quality of life in the narrative. (The fact that this immediately follows an arc that centered around adversaries who were literally living in poverty and starving? Who united together so that they could all continue to have *something* to eat, even if it meant sacrificing their individual hopes and dreams? MWAH, chef’s kiss.)

Umemiya, however, lost his ability to taste or enjoy food when his parents died and he was brought to the orphanage, Furinen.

Umemiya didn’t eat alongside the others in the orphanage. He couldn’t taste or enjoy any food given to him. At the same time as he is rejecting eating, he is of the firm belief at this point that he should stay away from all people because he believed he got his parents killed. He believes that he is a murderer and doesn’t deserve to sit at a table with others- laughing and talking about their day, eating omurice as his family had once done together. During this same meal that he is rejecting, we have Yuki Shitara and the other kids at the orphanage trying to connect with him. They want to know about him: if he’s feeling okay, what his favorite foods are. During this meal they are trying to connect with him as a family, and he pushes himself away from that connection.

It isn’t until just as Hajime Umemiya attempts to take his own life that he gets a flash of the sight of his parents just before they were killed that he remembers that in their last moments they were smiling at him. They weren’t looking at him with fear, they were looking at him with love and relief. Relief that Hajime was going to live. I think it is also important to note that the Furin high schooler who is with Hajime when he attempts to commit suicide says these lines too.

I'm not entirely sure, but I think this could be the first time Umemiya comes across someone from Furin. At the very least, Umemiya does refer to this meeting as a part of fate. And we see this member of Furin mention being hungry, wanting to find something to eat. When he’s taking Umemiya back to the orphanage and comes across Yuki, he mentions how he and his buddies at Furin can’t sit still while outsiders to the town are coming in and doing whatever they want, making a mess of the rest of the town. Their hearts are not full, and they are not happy with the way things are. This shows, even before Umemiya adopts his dream, that there are already people who would probably be receptive to the changes he wants to see in town.

But in the meantime, when Umemiya gets back to the orphanage, we see the words of the others there finally resonate with him. Why? For two reasons- he finally believes he deserves to keep on living, and because they share that they understand him. That he doesn’t have to be an outsider with them, because they are all the same. They know the loneliness he feels, they know that it is hard for him to laugh and enjoy meals and that being able to do so again will take time. But still, whenever he is ready- They could be his family, and he could be their older brother. 

So Umemiya finally decides to step into that role of an older brother. He wants others to be able to rely on him and to do what he can to protect those around him. By the time he’s 14, he’s decided that this doesn’t just extend to the members of the orphanage. He wants his hometown, and all its residents, to be able to feel that same happiness and have the ability to all share in meals as a united family together. Furin is a high school of outcasts, the town of Makochi are constantly beaten down by both infighting and others coming in and making a mess of their homes and businesses. The police and professions that involve building community (teachers) have abandoned the town, deciding that the place is beyond hope. So Umemiya decides he is going to do whatever he can for the people of the town. To bring them into his family. Everyone there, regardless of labels or bitter feelings, deserves to eat and be surrounded by loved ones. At the age of 14 he is already leading by example of what he wishes to see in the future from Furin: patrolling the town, doing little things for the townspeople, showing them compassion and care. And what do we see in this first scene of him helping out the townspeople? He is offered food.

So now, in the present, Makochi is a family. But even more than that, they extend love and care to all outcasts. To all the lonely people they come across. This is why Umemiya insists on eating takeout with Choji and Togame. This is why he insists on Nagato and class 1-1 to eat a meal with him after the frustration and blows to self esteem experienced by those involved in the battle with Keel. This is why one of the first things that happens to Sakura upon coming to Makochi is he is asked if he is hungry, and he is fed. Because everyone, regardless of bitter feelings, regardless of how others may see them or how they see themselves, deserves to be loved and to eat good food. If fighting is a dialogue to get to know another person, sharing a meal is a solidification of that connection made. To make sure that person knows they are loved and cared for no matter what.

Okay, I hear you folks loud and clear. Here it is.

How Suo foils Sakura as a character

For starters, their personalities, on the surface, are quite different. Sakura is rather brash, but he is very upfront about his feelings and takes initiative when needed. Suo carries himself with dignity and grace, but remains passive and would much rather observe a situation unfold at a distance.

This translates into the way they fight as I’ve mentioned before. Aside from their fighting styles being completely different (Sakura’s kickboxing is close contact while Suo’s aikido lacks contact and focuses on deflecting attacks), the way they treat their opponents differ. While Sakura makes an effort to understand Togame, Suo imposes his own (contrived) worldviews on Kanuma. Sakura converses; Suo monologues.

Speaking of Umemiya’s philosophies, Sakura is known to eat a lot ( @furinfry made a really nice writeup on this theme, and they explain it much better than I can), even being dubbed a glutton by… Suo. Which is funny, because it’s been shown that Suo himself doesn’t consume food around others, claiming to be on a diet.

If Suo’s refusal to eat is a metaphor for his self-alienation from his peers, then Sakura’s acceptance of Umemiya’s advice is proof of his assimilation to Furin.

On the topic of alienation, Sakura is vulnerable and wears his heart on his sleeve; he unintentionally lets people into his world whether he realizes or not. Suo does none of these things—and his emotions are either (unintentionally) drawn out by the people he cares about, or when he witnesses something that contradicts his principles.

Sakura hates covering his appearance, while Suo makes it a point to do so (given that he literally wore a scuba suit to a beach).

The way they treat Nirei post-KEEL also differ. Suo is concerned for Nirei and helps foster his fighting skill to the extent of abilities, but Sakura remains rather ‘wary’/protective of Nirei (obligatory dead wife flashback mention)

There’s also the case with how they handle other people’s situations. Suo first observed and evaluates, then shares his own rational conclusion while Sakura tends to be upfront of what he feels about it.

The way their internal dialogues are written also differ. Sakura’s focuses on himself and his introspections (given that he’s the MC), and they’re very descriptive. But Suo’s is limited; he simply addresses the situation around him. The only time he introspects is to put himself below Sakura.

I’m probably missing a lot of things, but these are the ones I can think of off the top of my head.

Additional Tidbits which add no value to this post:

Sakura’s flower is the Cherry Blossom, a tree that is so rooted in Japanese culture. Suo’s is the Chinese redbud, which is well… inherently Chinese (gotta tag @psychicwavementality for this one)

Sakura is learning how to cook, but Suo makes it a point that he prefers to bake instead

Sakura develops throughout the story, but Suo stays rather stagnant (I really want to make a writeup on this which also talks about Nirei’s development soon)

Suo’s character color is red; Sakura’s color is sometimes green (representing Furin). Both red and green are complementary colors on the color wheel.

Everytime I remember Suo’s “I really am no match for you”, I can’t stop vibrating on my seat from curiosity. Like, in what way, and why? What is it that you measure when you thought of that, Suo? No match in terms of what, maturity? Keeping your head calm as possible? In having mental resilience? And why do you think like that? Why is there an implication that you want to match/live up/be equal to Sakura? What exactly goes on in your head, Suo? Ugh he is so mysterious and contradictory

This is my own interpretation, but I think it’s a general mix of what you said, but within the context of Chapter 50 and a dash of genuine admiration (with an undertone of self-depreciation).

It’s important to note that Suo and Sakura actually reverse their roles in their relationship, compared to their actual personalities. Suo takes a lot of initiative when it comes to Sakura, assisting him to the best of his abilities and even focuses on messing with him specifically. Sakura [reluctantly] accepts his gestures + help, and is quick to believe Suo‘s (obvious) lies.

This contradicts the fact that Sakura is usually proactive and takes initiative, while Suo is passive and observant—something that has been established since the beginning of WBK.

But in chapter 50, their usual dynamic is completely flipped. The composed Suo Hayato is seething with anger and awfully emotional, and the brash Sakura Haruka is oddly calm and rational. Suo even points this out during their confrontation:

But what really causes Suo to snap out of it is Sakura blaming himself. Because unlike him, his class captain has his priorities straight but holds himself responsible in the process; while Suo himself was too busy taking his anger out on someone who was already beaten just because he was unable to protect someone who was weak.

This subversion makes him self-reflect, because Suo “my hobby is human observation” Hayato probably never predicted Sakura managing to stop and calm him down.

Thank you so much for the lovely message @kayharts! Sakura and Suo are one of my fave duos in WBK as well, and there’s a lot that can be said about these two! I’m happy that my posts were able to provide the insight you needed.

To answer your question, this is actually something I’ve actually been meaning to make a writeup about, so your ask prompted me to actually make a post for it lol. But without further ado:

Sakura’s perspective of Suo

To start off, I’d like to say that Sakura hasn’t exactly regarded Suo on an individual level. He considers him as a part of his community alongside his other peers.

Sakura doesn’t have any of his internal dialogue that directly acknowledges Suo (as he did for Endo) or ‘impactful’ memories of him (like with Umemiya and Nirei) that shapes his development outside of Suo’s advice.

The only exception is this scene in Chapter 145, in which Sakura’s view on Suo is quite… convoluted, to say the least.

The reason why Sakura thinks that Suo is “full of crap” is because of how he constantly lies to mess with Sakura specifically (though Sakura hasn’t picked up on this). And yet, Sakura still believes every word Suo says…

This even bleeds into how Sakura addresses to Suo’s direct praise with apprehensiveness (though he does blush more at the words; you aren’t slick Sakura).

Coupled with the incessant teasing and the way Suo had treated Kanuma in Shishitoren, it’s no wonder why Sakura generalizes him as someone who “teases everyone at every chance he gets”. This isn’t remotely true; though Suo does tend to poke fun at others, his main victim is Sakura himself.

But then again, that scene in particular is just Sakura over-generalizing his classmates (you can tell that Sakura and Kiryu were not that close back then because his opinion on him is the only one that’s remotely positive) in order to juxtapose the fact that he believes that his peers are genuinely good people in the next page. Because despite the misconstrued perceptions Sakura has on their “flaws”, he still wants to protect and live alongside the people he cares about.

Additionally, I would like to tack on a big yet to the first two statements of this post. Wind Breaker’s (and Sakura’s, to that extent) story is far from over, and there is much potential for how his and Suo’s relationship can develop further [between a protagonist and deurotagonist]. For now, I’ll focus on what has been established in canon.

Circling back to Shishitoren, we see that Sakura says Suo has a rotten personality. In fact, he is the only one who openly criticizes Suo’s treatment.

Despite this, he doesn’t seem to harbor much resentment towards Suo. In fact, one can argue that Sakura is more so curious, given the fact he had the initiative to ask Nirei more about him (when he hadn’t done so for the other Furin students). Sakura also wanted to fight Suo despite the latter not provoking him, and Sakura not actively applying Umemiya’s advice (of fights being a conversation) at that point of the story.

Sakura is also shown (and not told) to trust Suo wholeheartedly.

Before Noroshi, Sakura lets his vice captain come up with a strategy, relying on him to do something he has no expertise in. Despite Sakura’s embarrassment, he’s come a long way from being so afraid to ask for help from others before.

Sakura also reluctantly agrees to work with Sugishita despite their animosity, because it was Suo’s idea.

Suo also points out his Achille’s heel while fighting. Despite Sakura’s initial apprehensiveness, he chooses to believe in Suo in the end.

Following Suo’s advice works out in Sakura’s favor when he fought alongside Sugishita, and even his fights after Noroshi.

There’s also this scene in Roppo where Sakura imitates one of Kanji’s moves; he uses Suo’s shoulder to support himself (when he can jump to that kind of height by himself easily) and kick at Endo’s face.

As for what you said in regards of Sakura knowing whether Suo is hiding something deeper or not, nothing has been explicitly confirmed as now. Until we get something [meaningful] from Sakura that directly addressees Suo as a character, we won’t really know. In any case, Sakura would most likely respect Suo’s boundaries and not pry into his business (especially if Suo’s advice to Sakura stems from shared experiences).

I can definitely see where your speculation is coming from, though. It’s inevitable at this point; I’m 99% sure that Sakura’s request to fight Suo in Shishitoren (and Suo’s declaration to do his best) foreshadows a future fight between them. Given how closed off the two are as you said, it would be the only way they can understand each other.

I love that, despite how reserved and nice Suo seems on the surface compared to someone like Sakura who’s outwardly gruff and eager to fight, it’s really in your best interest to fight Sakura instead of Suo. At least Sakura will leave you with your dignity mostly intact. Suo isn’t here for a two sided fight conversation, he’s not interested in listening to his opponents, only toying with them and then dropping them once he’s gotten his fun out of them. It’s just such a fun contrast between them

What's interesting about Sakura wanting to fight others is that in the beginning of WBK, he only used to pick fights when he felt threatened or provoked. Think of it as a wounded animal's only defense mechanism (but in a more unserious way).

But with Suo, he not only wanted to fight him, but Sakura declared that they will fight at some point, despite him only observing Suo in action. He didn't necessarily feel threatened, but more-so intrigued/interested despite his criticisms. This is crazy when you consider how ‘reluctant’ Sakura was at getting to know people earlier in the story, and how withdrawn of a character Suo is—coupled with Umemiya’s philosophy of fights being a conversation to get to know your opponent better.

Suo's fights aren't exactly fights in the traditional sense, they're more like one-sided beatdowns haha. Though there is a sadistic undertone with his behavior, I feel like it's more of a hidden/restrained anger that he takes out on his opponents. KEEL is the most obvious example, but I really do find it interesting how Suo remained rather respectful to Kaito before he started yapping about how wrecking havoc is fun.

Unlike Suo though, Sakura is more likely to treat you with some modicum of respect since you're either a small fry to take care of, or a challenge that he wants to understand better (ie. following Ume's advice). Their personalities are reflected in their fighting styles—Sakura is straightforward and direct, while Suo remains passive and likes to ridicule others occasionally.

Suo and Sakura have tons of contrast with each other — I like to joke that Suo is an 'Anti-Sakura' in a way, because their differences are so stark when you compare these two together. In fact, I’d argue the only similarities that are specifically unique to them are their ‘irregular’ eyes. I could make a whole write-up on how opposing they are in WBK, but I don’t want to get too carried away here lol

I agree with your points about how Suo and Sakura fool each other super well! I also love how differently they approach problems when a plan is needed. Like how Sakura tends to jump in headfirst, but when a plan is really needed he turns to Suo and trusts him to handle it. And Suo’s plans for protecting the bridge were legitimately brilliant, showing how correct Sakura was to trust him with it. (Seriously, Suo’s talent for strategy that goes beyond even their normal one on one fights and into planning out giant group fights is insanely impressive and I somehow never really see anyone mention that) But I just love that while being foils of each other they also support each other where they can and become much stronger for it

Going off on a tangent here, but Suo’s intelligence has to be one of my favorite parts of his character.

A little detail I like is how he references Japanese mediums of storytelling:

But the best example of Suo’s sheer intellect is during the Tsubaki chapters.

When Suo talks about the significance of Yui planting the dogwood tree, he first explains it’s Hanakotoba (Japanese flower language).

However, the “Am I indifferent to you” definition is not part of the dogwood tree’s flower language. In fact, Suo actually refers to this custom from the 19th century:

As Yui was the one who planted the tree (rather than Ito, the male), she (the woman) conveys that her feelings towards her husband are not of indifference despite his prior belief. Since this was a tradition from the Victorian Era (which predominantly took place in the United Kingdom and its colonies), Suo explains the meaning in English rather than Japanese.

And as you’ve mentioned here, Furin would’ve been cooked by Noroshi’s massive numbers if Suo didn’t come up with their main strategy. Additionally, Sakura would’ve never worked with Sugishita or realize that he can’t fight alongside other people properly if it wasn’t Suo who had guided him.

Because of Suo’s guidance, Sakura was able to take down enemies with Sugishita and fight well during the first half of Noroshi. In a way, Suo is the brains to Sakura’s brawn (and Nirei would be the heart).

Analyzing the WIND BREAKER Trio

TW: BIG SPOILERS FOR THE MANGA, light mention of abuse.

It’s high time I talk about the main characters of Wind Breaker, who are surprisingly unconventional. They don’t seem to fit neatly into any of the old characters' trifectas we see across media. None of them are girls, for starters, and they don't even seem to fit the classic Freudian trifecta of Id, Ego, and Super Ego. No, in this analysis, I want to talk about their unusual dynamic and how they depend on each other for what they lack in themselves. These traits being:

Sakura’s lack of social skills

Nirei’s lack of strength.

Suo’s lack of self-belief

Sakura Lacks Social Skills

The only evidence I have to cite is the entire manga. He’s no mystery. Sakura has been abused and neglected from a young age both by his parents and his old town. And by the start of the manga, he’s never been shown kindness before. And what this has created is a form of independence from society. Sakura is someone who only deigns society. Something Yamato Endo later adores about him, something Endo has only seen in one other person. Sakura doesn’t need other people, and will never bend himself to other’s will. He said so as much in his fight with Togame.

However, this virtue comes at the price of having ANY sort of common sense. He doesn’t know how to make friends. He doesn’t know how to operate a phone. It’s almost like he’s been living on a deserted island his whole life. He has no interests, no furniture.

So he needs a guide. That’s Nirei. He lets Nirei hang around him like a little remora fish because he knows that Nirei will point him in the right direction. He’s not so much a “best friend” rather he’s better described as a “foremost friend” who’s made it his personal mission to guide Sakura to the top. 

He displays a greater comfort around Nirei than he does with Suo. To Sakura, Suo is a rival and begrudging mentor to who he derives wisdom from. Now, he’s not a complete rival and foil in the way that Sugishita is, but from the moment, he sees Suo fight, he’s already dreaming of ways to have a real fight with him, but he respects him enough to plan the bridge defense while preparing for the war.

In this sense, Sakura takes motherly doting support from Nirei and fatherly challenging support from Suo. Though he would never ever admit to that. Its interesting how clinically he views both of his friends. He treats them more like social workers who’ve been assigned to him than buddies to hang out with.

Nirei Lacks Strength

At the start of the series, Nirei lacks physical and mental strength. He literally doesn’t know how to fight at all and constantly hides behind his friends. And until his breaking point with KEEL, he basically uses them as bodyguards. After KEEL, Nirei realizes that simply advising and studying others is not enough and makes an effort to at least be able to defend himself and become strong.

And to his credit he does this. By the end of the war arc. He has attained complete mental strength. When Nirei throws that punch on the bridge he has everything. He becomes a complete hero. Lacking only muscle and training. Mitsuki knows this. Suo knows this. All of them know it and are more than willing to help him grow into what will probably one day be Hiragi’s replacement. 

Suo Lacks Self-Belief

(in his own moral judgment.)

By self-belief, I don’t mean that in a confidence sense, but rather a worthiness sense. Suo is the most perplexing of the three because we know so little about him at the moment. And that’s by design, he wears a mask of impenetrable mystique.

But we can make some observations of his values even if we don’t know the details yet of how he came to them. So lets start by examining what Suo admires about his friends: Sakura’s moral conviction and Nirei’s purity. 

Suo adores Nirei’s purity and innocence, which he finds infinitely more valuable than strength. Nirei doesn’t have a bad bone in this body. The concept of doing something evil has never once crossed his mind. Even after years of being tormented by bullies, one would expect him to go on a revenge arc. But NOPE. He doesn’t even consider it. He’s more concerned about his sick friend or helping an old man he barely knows find peace. As far as Suo is concerned, Nirei is the perfect one and has the most potential of the three because he's already mastered what Sakura and himself lack. Morality and social grace are harder to acquire than muscle. 

In Sakura, Suo sees a champion who can carry his moral convictions like a banner. He says as much before challenging Minoru to a “fight”. 

Time and time again, he reiterates that Sakura is bound to surpass him. But he never means it in reference to combat. In fact, by that point, he hasn’t even seen Sakura have a real fight. And later on, he says it again, when Sakura is able to get a handle on his rage, whereas Suo wants to beat an opponent while he is down. The guy who hurt someone they both deeply cared about.

What he sees in Sakura is a moral conviction that he lacks in himself. At the time I am writing this we know shockingly little about Suo. About his backstory, his master, his Chinese fashion taste, his eye. And neither do his allies. But have clues. We see him refuse to eat with the others, claiming to be on a diet. It was disrespectful of him to not eat anything at that leadership summit, so he had to have a bigger reason. Consider the other character who refused to eat in the story, it becomes more obvious he may have a guilt complex.

What this points to is that Suo has a history. He’s done bad things in the past and now feels guilty and undeserving. His solution is to not find moral clarity in himself but to surround himself with those who can. It's an issue he's going to have to deal with at some point.

What to do with these three?

Looking back, you begin to notice that the nature of their friendship starts out as very transnational. Sakura needs social guides and barely considers them friends at all. Nirei uses his friends as protection and role-models to get stronger. And Suo uses his friends as a way to outsource his moral compass.

But it didn’t stay that way. Sakura starts fighting with others in mind and even plays games with Nirei; who becomes a real fighter just like the others with the help of Suo, who trusts himself enough to become a teacher after being inspired by Sakura. They inspire each other and grow. That’s normal for Shonen. But this strange dynamic is something I find peculiar, breaking the mold of what i’d expect from a heroic trio. It's all very refreshing.

I feel bad for Lin Ling, but my brain demands angst. Or the horrors. Miss J said that Nice's fans have been waiting long enough for him to reach the top. And if for the public (for it's significant part at least) heroes are nothing more than spectacular characters, what if even after Lin Ling became his own hero, some fans would demand Nice's comeback. Like "yeeeah the OG is dead((( but the copy looks just like him! also he has new cool fighting techniques! and he genuinely loves Moon like Nice is supposed to! idk the commoner is just a downgrade in comparison :( i miss Nice's grace, commoner is just... meh". They would leave negative comments, spread their opinion, attract like-minded people. And no matter how hard Lin tries to move on from Nice, Nice would be forced upon him. The fans' will is no joke after all. Damage to his mental health (he finally became "himself", but there're people who prefer false identity other the real one and see him as a perfect mannequin) would be bearable, but then their desires pile up and start to affect his appearance again - everyday, looking at the mirror, he would notice more and more white strands. And distinct flecks of blue in his brown eyes... Sure, he has loyal fans ready to support The Commoner no matter what, but the consequences of "playing Nice" would haunt him. Because it's the fans who create the hero. And some fans have different plans for you. Teehee.

You know what? I'm crying.

I'm going to have a long post translated into English because I'm bad at English and because I have too many emotions. The fourth episode was definitely a bombshell. In many ways. They gave us a lot of interesting questions and NOT a SINGLE DAMN ANSWER, and it's not like it's a problem. It's cool that Ling Lin has finally begun to realize himself and his desires in isolation from the forced image. It's cool that he ran to save Moon and realized how important it was to him. It's cool that so many people supported him, he's a bunny/sunshine/bun/big guy (as you like it better) and all that. But...

They replaced Nice so quickly...

Okay, let's say again: it was literally publicly announced to the fans that their hero, the man they believed in all this time, was not only replaced by someone completely different, but also because he died. He is not tired, he has not resigned, he has not given up his heroic work, no. Died. And okay, thanks to Ling Lin for not talking about "suicide." He's talking about "death." You can take his words in any way you want (although that's not the point, but still). It just kills me to think that no one, except for the person who was really close to Nice (Wrek), began to grieve for him. Okay, it hasn't been a day since Lin Lin's revelation, I get it. But at the end of the fourth episode, we are shown how the advertisement with Nice's face changes to Linlin's face and no one seems to notice, as if it were....normal? Of course, when the heroes in the world are constantly changing each other and appear and disappear as if at the click of your fingers (yeah, yes, understood, understood at the click of your fingers ha ha) changing a hero at the tenth rank shouldn't be unusual, but... Do the previous heroes get forgotten so quickly?

The first three episodes were filled with the fans' love for Nice. Peculiar, but warm in its own way. They cheered for him, they came to fan meetings, they supported him as much as they could.....And they forgot about him so quickly? Just because.......and why, exactly?

I'm pretty sure they'll show us the backstory of what happened. There is no way such a complex and at the same time terribly interesting character could be so easily forgotten by its creators. Especially considering the shot that recently appeared on Twitter...

In general, the phenomenon of Nice's character and his popularity among the fandom is a topic for a separate conversation, we are not ready for this conversation yet.

But I know for sure that no matter how the creators made him, no matter how crazy, broken, abusive and generally unstable he actually is, I will be delighted.

(what's the point, I'll support him even if he decides to rise from the dead and kill all the other heroes)

((Go ahead, dear! You're walking the road of rage and revenge, and who are we to stop you?)) So! I'm leaving a small message here (rather for myself) because I know that we still have a lot of interesting things to learn about other characters and many of my thoughts will get lost in the flood of new information.

DON'T FORGET HIM.

Never forget that he existed. He was there. It all started with him. And probably it all will end with him.

My interpretation of original Nice so far (as of episode 3). I feel like the Nice that was around before he became a hero was a perfectionist, sure, what idol personality doesn't strive to show a picture of perfection. He probably enjoyed dancing and music, but he was still a person. So I suspect he had some selfish tendencies, not because I think he was 'evil' or anything, but when you live under the constant pressure of trying to make yourself the best person you can be it tends to seep out in little ways. I also think we can expect hints of a pretty insecure person hiding in there.

And with all of the heroes we've seen so far the powers they have are based on things they did/they're personalities before they became heroes. It almost feels like their powers may have originally manifested by their faith in 'themselves' as opposed to needing outside validation.

And (I'm projecting a little bit onto Nice here) when you start expecting perfection of yourself and get rewarded for people pleasing, you tend to lean into it. It becomes all you are, you cast off pieces of yourself and keep quiet about all of the things that annoy, anger, scare, or hurt you. You lose touch with who you really are until all that is left is the compulsion to be what 'others' need. This type of labor is exhausting and isolating. It can lead to burn out. You retreat from those you were closest to because suddenly it's too much to be around them. You find yourself feeling bitter and angry at them for having problems and issues. You probably tried bossing them around saying 'well if you do this 'x' can be resolved' All while knowing that any misstep can lead to others receiving you negatively. Which then feeds self hatred. I bet Nice told those closest to him (if there is only one other Nice before Lin Ling) that he wasn't 'nice' as in not kind. Because if he was kind he wouldn't be so angry and miserable just helping those around him. He wouldn't feel trapped by his role of being a hero. He wouldn't be obsessed with his image. He should feel fulfilled in his career and life, but he isn't.

And lastly, when you expect to be perfect, it truly is the worst thing when you are shown you have failed someone, that you couldn't uphold yourself to your own impossible standards. And suddenly you have no purpose, no goal, no worth. You don't ask for help because you can't. And you start to want to end it. Because you don't think 'perfection is an unachievable standard' you start to believe it is the only standard.

i saw someone say that every time gojo lets himself be human, he ends up getting punished

... hello???? i was having a good day??

okay, so i've yapped a lot about how umemiya and kaji relate to sakura's character development as a leader and now i want to yap about how his personal growth is mirrored in nirei (+suo).

at the beginning of the series, sakura and nirei were functionally polar opposites: sakura was physically strong, but was out of touch with his social and emotional skills, whereas nirei had strength in social and emotional intelligence, but was physically weak.

when sakura first met nirei, he formed a negative opinion based on what he could see that he would soon retract. it's hard to see inner strength at a glance, just like how it's hard to track the growth of one's inner strength, especially in a fighting series.

what isn't hard to track in a series like wind breaker is physical strength, which is where nirei's arc comes in.

nirei's journey in becoming physically stronger is running parallel to sakura's journey to build his emotional strength, meaning that nirei's growth in physical strength is a direct, visual representation of sakura's growth in emotional strength.

and the person who is largely shepherding these two in their respective journeys? suo.

suo not only helps translate emotional/social situations to sakura (and also sakura's emotions to others) thus helping him navigate those conflicts, but he is also nirei's literal fighting instructor.

he also sometimes has to guide nirei on how to interact with sakura since they're so opposite from each other, which does suggest a personal familiarity with both sakura and nirei's mindsets. (we don't know much about suo yet, but if i had to wager a guess, i would say that he started out both physically and emotionally weak, which would be why he has such a deep understanding of sakura and nirei.)

from what i can see, these three are a really well-crafted trio and i'm excited to see where the series takes them.

How do you feel about suo character? Do you feel his arc will start after kiryuu?!

Suo! my little shit! my favorite instigator!

jokes aside i love Suo! he's an incredibly interesting character and not just because we know jack and shit about him

he's a good foil to both Sakura and Nirei and i would love to study him under a microscope and all three of them play off each other So Well

Suo was really the one to break the ice when Sakura first arrived at Furin, which considering how Furin is probably wasn't really something that Sakura would've needed in the long run but it made things easier especially for Nirei's nerves

he does a lot of small things in the beginning (showing off how he can get people to accept his requests like he says himself side note love how both of these examples involve Sugi)

it's kind of funny in the way that Nirei's usually the first one to reach for Sakura (i talk about it more in my ramble here), Suo acts as the kind of bridge to allow Sakura to reach others or vice versa (others reaching to Sakura i mean)

during the grade captain vote, no one was speaking up to volunteer themselves or others and only when Suo volunteered Sakura did the others speak up to agree but also spoke highly about Sakura in the same vein or again going back to him breaking the ice with Sakura meeting the rest of 1-1

i love his relationship with both Sakura and Nirei (do not fucking separate this trio /hj) and how they both affect him

Suo's true emotions, hell possibly even his "real" self under all the masks he puts up, are brought out because of Sakura (his proclamation of taking the top spot and his clear, honest passion) and Nirei (running away from where Suo was protecting him so he could properly focus on the fight)

(anther side note i think this panel is one of the few times we've seen him lose his composure)

which actually kinda brings me to another point and it's a very small one but interesting nonetheless to me but it's the panel of Suo and Kaji training together

the matchup always intrigued me and im dying to know what the thought process was here (there's a fic that explores it here please im begging yall to check it out) esp going the route of both of them having smth that they want to hide (Kaji's berserker beast v Suo's merciless brutality) because they hate that particular version of themselves (though in Suo's case i dont think it's... hate but more like a general distain of it, not how one should properly act kind of thing) granted this is all hc'd territory so take it with a grain of salt

im certain that he envies / admires how Sakura and Nirei can be so open about who they are so authentically (and even push past their perceived limits) which im sure is what drew him to them to begin with (this goes into that beautifully) because whatever he went through has made it so he feels as though he cant be his authentic self

as for whether or not i think well get his arc after kiryuu... honestly i feel like his past might involve the Next Big Arc in a way? i know ive seen people speculate hes got connections with the yakuza and i could see that tbh

through my VERY CURSORY LOOK into leaving the yakuza, it doesnt... seem to be as a big a deal as i was expecting? if youve got a good relationship with the person you work under then its pretty easy for you to leave, though reintegrating with society is the hard part from there. i read that it is possible to just... kinda vanish too, though that wouldnt stop another member from tracking you down (and no fingers are being cut off)

if not a full blown yakuza, i could see Suo being part of a different gang and for one reason or another he left it so his former gang members track him down to either a. drag him back or b. punish him for leaving. not sure if his master would be part of said yakuza / generic gang or if his master is the one who got him out of there (which. hilarious if thats the case boy just went and joined another gang instead)

i dont know if his arc will start immediately after Kiryuu (i could see Nii-sensei throwing in a mini arc that leads into Suo's (like with Ito into Gravel)

whether or not it will though i love this silly lil guy! my craptastic gentleman son

So i’ve been wondering abt how the next conflict will unfold after the current breather in the manga… and i can’t help but suspect (and hope) that maybe, just maybe it’ll have something to do w Suo.

I say this bc currently, it looks like we’re getting the backstories of the main group one-by-one (Sugishita, Kiryu, possibly Sakura).

And at the same time, chapter by chapter, we’ve been getting tiny little snippets of Suo’s suspicious actions/habits in the background: him wearing a swim shirt/staying out of water, Kiryu deliberately mentioning how he’s not eating again (there is a separate panel of this interaction, so it’s clearly important as it’s divided from other dialogues), him taking control of the conversations and manipulating them in his favor in both ch 171 and 172…

I really feel like something is brewing in the background when it comes to this boy, bc all of this happened in the last 4 chapters which he appeared in.

But most of all, what really concerns me is this line:

Throughout ch 173 he seemed to handle the tension of the Kiryu-family quarrel with such unnatural level-headedness, he’s the only one who is still staring straight ahead in the panel below, not being startled at all by the yelling.

He’s also the only one who’s observant enough to sit back in the same exact place after spying on Kiryu

All of these reactions, habits and behaviors just make me suspect that he might have a difficult familial situation, where he had to hide emotions, learn how to be observant and a smooth-talker, manipulate his way out of situations, grow up way too quickly…

And well, let’s not forget how he says that his best skills are at negotiating, making the enemy “cough up information” and do as he says…

I’m honestly kind of a believer of the “Suo has ties with the mafia” theory, or at least i think he has some seriously dark familial situation and knows some shady ppl… he’s the only person who Nirei had no notes on, nobody heard anything about his days before Furin (except that he’s a good fighter)… it’s all just too suspicious tbh.

And well. As the story and world-building progresses, each conflict in the manga has been more and more dangerous and intense: first we had the one-on-one’s with Shishitoren, then the more violent Keel-conflict, then we had straight up adults fighting in the Roppo-Ichiza vs Gravel arc, and ultimately the war with Endochika + Noroshi… i wonder what could be more intense than this last arc.

Still, Wind breaker hasn’t been truly dark up to this point, so i highly doubt that a story about a group of wholesome delinquent high schoolers would delve into some less PG stuff involving the mafia. The story is more about acceptance, community and personal growth, a violent and darker gang arc would be quite out of place imo.

However, i truly suspect it will be Suo’s backstory that’ll serve as a transition to the next conflict/heavier arc.

But as always, feel free to disagree, this is only just my personal opinion and theory<3

nice: futility in the pursuit of perfection

(spoilers for EP 1 under the cut)

note: i'll refer to the original nice in this analysis, not lin ling. (we'll talk about him later LOL)

this is purely based off of the official trailers, pv, character concept, and episode one, so my thoughts are subject to change as more episodes are released <3

in nice’s character concept, he’s is shown to be nothing short of a perfectionist. everything has to be perfect: stationary, plates, silverware (or goldware, i suppose) have to be in their rightful positions. all of his belongings are gold, white or fall in a shade of brown, black. even his pillowcase is set in a neat geometric pattern. his hero costume’s color scheme- gold, white, and blue- screams sophistication and poise.

nothing can be out of place- so why choose to die the way he did? it's messy, undignified- and most importantly, public.

what type of fan wants to see their shining hero's brains splattered out on the street? in his hero suit, no less.

nice wanted to permanently tarnish his image of being “perfection incarnate.” he decided to damn himself even further by pointing finger guns at lin before falling- a bittersweet farewell.

despite his endless pursuit of perfection- and having seemingly obtained it (with the title of no.10 hero, his face plastered across every other billboard in the city, and a beautiful girlfriend fitting of his clean, polished image)- i think nice hated himself.

his floor in hero tower is devoid of any personality or sentimentality. the only decor is a piano off to the side, two treadmills (the other presumably meant for moon)- and most importantly, a statue of himself- of nice- in the middle of it all.

offering a palm out to whomever stands before it, the statue almost seems welcoming, friendly. almost. it looks like it belongs in a city hall or museum, not someone's personal residence.

so why keep a statue of himself in his personal living space?

you could theorize he's narcissistic. i mean, people would kill for the prestige tied to the name "nice." (we even get a glimpse of this jealousy in his character promo- hello mysterious stranger.) maybe it inspires him as he steps into another day of being “nice.”

but to me, it’s a reminder fueled by self-loathing.

nice has nothing- is nothing- without being perfect, adored, and envied. he's a former ballet dancer- an art form known for its severe dedication to the craft. we don’t even know his real name. If he can’t be the perfect hero, what is he? And when that image is threatened, what will he do to maintain it?

according to the official trailer 3, nice says he will “use whatever dirty tactics it takes to prevail.” the “villain” we see in his PV calls him out on his hypocrisy, implying that he was involved- or at least knows of some of nice’s misdeeds in the pursuit of perfection.

hell, even his own hero name calls him out. To be nice is to be agreeable, pleasing. niceness is a surface level trait: a veneer meant to cover imperfection and rot. he's not supposed to be kind, much less good.

“Nice” has to be perfect, and whoever held the mantle before lin was unable to afford the cost.

the conclave book constantly emphasizes how being a pope is basically a lonely death sentence. cardinals close to being elected pope are isolated out of respect and awe, popes can't go out to eat at their favorite restaurants or go on strolls, they're constantly targeted as the head of the church etc..

the book frames benitez as, literally and symbolically, a 60ish year old boy who has no idea what hes getting into. he stumbles to think of a name when he gets elected pope, begs lomelli to stay with him to guide him, and even the smallest papal clothes literally do not fit him because he's so tiny. he's framed with a childlike awe and openness needed to lead the church through dark and cynical times

i think another genius moment for the movie is that it frames benitez in almost the opposite direction. movie benitez is quiet and contemplative. he likes lomelli, but in the same way an angel would favor a prophet. he's the only one to care about His Holiness' turtles and see their virtue despite their apparent stupidity, which is obviously a reflection of how His Holiness saw the cardinals and the rest of the Kingdom of God. From the very beginning, he is isolated from the other cardinals, never really shown to discuss things with anyone other than lawrence. In the end when he scolds tedesco, you dont get the impression of a wise childlike figure speaking up against a bully, you get the impression of moses telling ramses to let his people go.

and in the end when movie benitez is elected pope, he pauses. he refuses to get dressed until lawrence sees him about the one issue he knows will be a problem. he comes into the papacy knowing he will make a great sacrifice, and he treats it that way.

tldr book benitez is a 60ish year old boy wearing papal clothes too big for him to fully handle, movie benitez is a man walking up cavalry hill, both are my babies, thank you for coming to my ted talk

C: Hi there! Even if I've been reading dick Grayson(and in turn batfamily) fics for a few weeks now, I've never actually watched/read DC stuff because even if I liked superheroes, I'm not invested enough to read the actual comics. The most I watched was the Teen Titans 2003 cartoon(which I love). I was brought into interest cause I was brought in through crossovers of other fandoms (which may be hated by some/many😅)

To give myself context, I tried to read around for Robin, and imagine my surprise there's more than one? Which, okay mantle thing I guess. But in the end, Dick Grayson caught my attention(not rlly for his looks and design, but more of his heroism and entire personality and affect in the DC world). Which leads to looking at other tumblrs and I love reading yours and when you answer the asks cause it's so much easier for me to understand the kind of person Dick is and how he interacts with the world.

Sorry for this long context, but I just want maybe your opinion, what if your opinion in the combination of how Dick Grayson should be written for him to Thrive

- Should he stay in Gotham, being in with the batfamily more? Soloing in Bludhaven? Staying with the titans? Or others?

- what about his romantic relationships? Who should be is one true one(based on canon gfs), or maybe stay single? (Just gonna be biased, but I've only knew about dickbabs and dickkory (but I heard he has other girlfriends and I've remember reading he was almost married...a few times??) but dickkory had always been for me)

- What about mentally wise? (Of course, I do think Dick needs a long vacation because of all the trauma that he has to go through), but even if I like the idea of Dick being admired for his looks because he deserves it, but I do rmbr posts that he is uncomfy with this(sexualisation, Def only staying true to the person he loves (then there's the whole...Tarantula and more thing)

Tbf, I do think is a little bit of all is what makes Dick, Dick. Haha

Sorry for the long ask, feel free to not answer because i just needed to get this out😅. I know it's actually bad I'm reading fics without canon knowledge for personality, but your posts makes me understand him more that I understand what's real and what's fanon in fics (that makes me..ugh.. but I read anyway for plot cause i don't know better)

But thank you anyway for reading this and I love your content!

(last one for this ask I swear: I've been seeing stuff where Robin name is actually Dick's mom calling Dick that. Then it's passed down as a mantle starting from Jason without Dick consenting. I tried to read at wiki, maybe I missed out but I can't find anything. Is it true? Does the other bats (except Bruce and Alfred?) know the actual meaning? Because as much as I love Dami, the whole bloodson, birthright to take the mantle of Robin beside Batman give me ugh feelings if it's true) :C

First of all, thank you so much!! I'm so happy to hear you like my stuff <333!!

I think it's that you started in the fandom since I sort of started out that way too lol. I had only watched Teen Titans Animated show and Young Justice before I got into fanfics and my first comic I ever read was actually Teen Titans (2011) which was Tim's run. It's been a journey.

Dick's personality was also what captivated me so here I am!

"Should he stay in Gotham, being in with the batfamily more? Soloing in Bludhaven? Staying with the titans? Or others?"

That's a really good question and a complex one. Ironically, for being such a people person, Dick seems to be doing best when he's by himself. When he's soloing, he has a sense of freedom and independence that he's been craving for a long time. The whole reason he left Bruce was because he felt like Bruce was suddenly treating him like a kid, like someone to look after, when he had been treating Dick like a partner the whole time. When Dick feels like his independence is being stepped on, it unsettles him. This is another reason why the Tom Taylor run and Dick's relationship pisses me off but that's for another time. As much as he likes Gotham, he loves Bludhaven. He thinks it's a dirty, crime-filled city, sure, but he loves it there.

He's a little crazy like that.

He doesn't have the same attachment to Gotham that Bruce does. Instead he feels that for Bludhaven.

The only reason I'm saying Dick is better off staying alone than with the Titans is because of his leadership mentality. There's a comic that I forgot the name of but Dick teams up with members of the Justice League and they trapeze through a jungle under the orders of this corrupt military general. He teams up with Arthur and automatically starts commanding people to which Aquaman tells him off, saying this isn't the Titans. Dick is genuinely sorry and backs off. For a minute. But immediately goes right back into command mode but Arthur lets it go, realizing that Dick's not conscious of it and that his behaviour is automatic. "Too many leaders" he calls the situation in his head. For Dick, the Titans have become a responsibility now. He loves them like crazy but they look up at him automatically for directions and order and he's gotten so used to leading them that it's his go to mode.

He just likes doing stuff without someone hovering over his shoulder or having to take care of others.

"what about his romantic relationships? Who should be is one true one(based on canon gfs), or maybe stay single? (Just gonna be biased, but I've only knew about dickbabs and dickkory (but I heard he has other girlfriends and I've remember reading he was almost married…a few times??) but dickkory had always been for me)"

Yeah, I've actually loved almost all of his romantic relationships. I hate Dickbabs but every other one has been fantastic. Kori was great for him.

Action Comics (1938) Issue #618

Dick says it again here. He used to envy Roy's freedom. He's also said in another comic that he fell in love with Kori for her freedom.

Secret Origins (1986) Issue #13

You're right, he has gotten almost married a few times

The first time was with Kori

The New Titans (1988) Issue #100

But then

The New Titans (1988) Issue #100

their pastor gets vaporised and body-controlled Raven feeds the soul of one of Trigon's children into Kori and she goes crazy but she recovers but it's a whole ordeal. In the end they don't get a chance to complete their marriage. They were spectacular together though. The only reason their wedding didn't go through is because the Batfam writers wanted Dick back so they took him from the Titans' writers and they needed a big dramatic scene to cut him off from the Titans. Another reason why Barbara was deaged and created as a love interest- to gatekeep him in the family.

He's also gotten married to Barbara before the retcon though.

Batman Family Issue #11

But here they were forced to by Maze and they went along with it and tricked him. At the end though, they just grab a bite to eat.

Ngl I actually would've supported this marriage. I really love this Barbara. Yes the age difference is a bit much but whatever, I still like them.

Dick and Barbara have gotten married in an alternate timeline.

Convergence: Nightwing/Oracle Issue #2

yeah, definitely didn't like this one.

Dick's also gotten fake married to a woman because Batman and Dick thought she was killing her husbands after marrying them so Dick married her to see if it was true.

Nightwing (1996) Annual #1

I liked her. She wasn't the killer and Dick did a fantastic job raising her son but even though she loved him, he didn't love her and they divorced amicably. I wish I could see more of her and her son though.

To be completely honest, my favorites for Dick are Kori and Bea.

Bea was a fantastic partner. She was understanding, loving, caring, and responsible. She was there when he was Ric Grayson and just loved him for who he was.

Nightwing (2016) Issue #53

If Kori's truly out of the picture, then Dick really should've settled down with her.

Nightwing (2016) Issue #57

She and Kori, they don't tell Dick what to do or who to be. They let him be free which is why I loved them an extraordinary amount. I'm a sucker for soft moments and Bea and Dick are couple goals.

Nightwing (2016) Issue #62

They give him the freedom he craves.

"What about mentally wise? (Of course, I do think Dick needs a long vacation because of all the trauma that he has to go through), but even if I like the idea of Dick being admired for his looks because he deserves it, but I do rmbr posts that he is uncomfy with this(sexualisation, Def only staying true to the person he loves (then there's the whole...Tarantula and more thing)"

I think Dick does need a break. His life has been a series of unfortunate events but despite all that, I think he loves it that way. Dick loves the thrill of adventure. It's the heart of who he is and why he became robin. The excitement he gets when fighting or doing crazy stunts - he loves all of it and that is his coping mechanism. I guess in order for him to thrive, Bruce needs to stop dumping all his trauma and stop expecting him to be there for him at all times of the day. Dick keeps getting dragged back to Gotham to take care of Bruce and his problems and he would go in a heartbeat but he's much happier wacking his own goons in Bludhaven. But since Bruce is so codependent on Dick, this pattern's not gonna stop anytime soon.

Truth be told I also like Dick being admired for his looks. I don't like him being called out by it though. First of all why would you comment "hot booty" to someone? It's degrading and humiliating even if you think it's a compliment. Some things are better left untold. But regardless of what people think, Dick will always be pretty and everyone in the DC universe knows this. Heroes, civilians, villains - they're all attracted to him on some level because he's so beautiful. And honestly? I'm all for it! Because that boy is the prettiest human in existence and he deserves that recognition. Just not vocally or physically.

The best thing is that Dick's beauty has no bearing on his mentality toward people. This man will choose one person and stick with them forever. He values intimacy and trust and love in his relationships which is why he's so attached to each one. This plays a massive role in his relationship with Kori. He would never cheat. Actually in all the future comics, after his spouse passes away or leaves, he never remarries. The only one exception was Batman Beyond (2016). The only one and he remarries Barbara after his wife passes away. Aside from that he remains a single parent. That's how dedicated he is.

"I've been seeing stuff where Robin name is actually Dick's mom calling Dick that. Then it's passed down as a mantle starting from Jason without Dick consenting. I tried to read at wiki, maybe I missed out but I can't find anything. Is it true? Does the other bats (except Bruce and Alfred?) know the actual meaning? Because as much as I love Dami, the whole bloodson, birthright to take the mantle of Robin beside Batman give me ugh feelings if it's true)"

Yup Dick's mother called Dick Robin.

Nightwing (2011) Issue #0

Robin (1993) Annual #4

Here's a couple but there are more instances of his mom calling him Robin.

Dick had no idea Bruce passed on the Robin costume. He finds out through the newspaper because Bruce is pissed at Dick. Like he's so mad that when he told Dick to leave, Dick actually left.

You know how there's a saying about not being able to take back words of anger? Bruce is feeling that heavily. He already had suspicions that Dick wanted to leave but before Dick could tell him, he fired him so he wouldn't have to hear those words. But Bruce is super mad that Dick left anyway. So what does he do? He makes the first boy he sees Robin.

And Jason finds out Dick was Robin when he confronts Bruce why Nightwing knows Bruce's identity. And that gets Bruce more mad because he's now feeling guilty which is when Dick comes to confront Bruce.

Batman (1940) Issue #416

But instead of meeting anger for anger, Dick expresses his hurt. About how they were partners and then talks about his life after leaving Bruce.

And Bruce loves Dick. His best friend, son, brother, and partner for nearly 11 years. They raised each other and despite his anger, he smiles in pride and love.

Batman (1940) Issue #416

Look at his smile!! He's so proud of his son.

And that's when Dick stops pulling his punches.

Batman (1940) Issue #416

Bruce looks so wrecked. The guilt and sorrow is tantamount to his pain.

Then Dick asks Bruce why he choose someone new.

Batman (1940) Issue #416

So Bruce tells him. But Dick and Bruce's relationship go way deeper than just friends or family. They know each other. They revolve around each other so Dick calls him out.

Batman (1940) Issue #416

And out comes the truth

Batman (1940) Issue #416

But Dick has always been the bigger man and instead of letting Jason become some sort of spite move, he turns Robin into a legacy.

Batman (1940) Issue #416

He passes it down like it was meant to be passed down. Because let's be honest here. The Robin name and costume is Dick's. If he wanted to, he could've taken it back, Bruce be damned. And that was one of Jason's fears.

Batman (1940) Issue #416

But despite Bruce's words to Jason

Batman (1940) Issue #416

He's not sure himself.

Batman (1940) Issue #416

But it's only with Dick's approval that he becomes Robin which is what Bruce is thanking at the end.

Batman (1940) Issue #416

And this has been a sort of tradition.

Dick approved of Jason being Robin, he endorsed Tim, and he made Damian Robin. The only exception being Stephanie. This is why Dick feels a heavy sense of responsibility over the robin predicament. He created the tradition. He approved, supported, and mentored every robin that walked in his colors and name. That's why he feels the burden of it.

I don't think any of the other robins know the meaning behind the name. Maybe they do. But ironically, the one who wasn't robin is the one who knows the meaning of it.

Duke.

Dick Grayson's talent for manipulation literally brings the world to its knees.

Part 1 post

My absolute favorite trait about Dick aside from his craziness is his ability to control every single person in existence. The best part is, he's so clever in the way that he does it that people almost never notice.

Bart Allen

"Oh! Ahh..you're trying to get my DNA sample. You need my spit! Ha! That's such a Dick Grayson thing to do."

Bart knows!! Dick's brilliantly sly okay. Honey catches more flies that vinegar? He takes it so far that breaks he the ceiling with it because by the time he's done, people don't even know they've been manipulated. And if they do, then what can they do about it? He always wins.

With friends and family he does it to make them feel better without being so overt and discomforting them.

Justice League: Road to Dark Crisis

Jon came to him when he was feeling lost and upset and Dick set up the perfect conditions to encourage him and pick him up. He's just so good at doing what he's doing but he does it for all the right reasons.

But the extent Dick can go trick and manipulate someone is off the charts. A virtuoso.

In a Titans comic, Dick literally spent MONTHS acting depressed and weak after Donna, Wally, and Garth were kidnapped to another dimension by a villain just so he could trick the villain into thinking that his career was over and bring him into the same dimension so Dick could take him down.

He fooled everyone.

Teen Titans: The Silver Age TBP 2 Part #1

"Batman taught me how to be a totally convincing actor! So if the only way you could send me here with your ring was if I filled my brain with evil thoughts, I just faked it! My facial expression was pure evil-but my mind remained pure good." MONTHS.

He planned, pretended, and calculated every single fiber of his own mind and body until the whole world was fooled by his acting. He tricked an interdimensional being who had psychic access. That means he was so extraordinarily manipulative, he can control his own thoughts inside his head to trick someone else. Voldemort's legilimens has nothing on Dick's talent.

Like Bart, sometimes his allies are aware of this like with Selina-

Gotham City Sirens Issue #23

Selina's literally having a mental breakdown trying not to fall for Dick's manipulation and tricks.

But even if they know he's manipulating them, they still are forced to fall for it anyway.

Gotham City Sirens Issue #23

"Damn it."

Like a goldilocks mad scientist - he does it just right.

His acting is just so on point that he outschemes the schemer.

When the Crime Syndicate (Superwoman, Ultraman, Owlman, Power ring, etc) arrive on Earth to take it over when Dick is Batman, Dick needs to do something fast. But to make things worse, there's a being that's so powerful, that both the Crime Syndicate and Justice League combined have a snowball's chance in hell of defeating him.

So what does Dick do? He runs the game.

Justice League of America (2006) Issue #52

Justice League of America (2006) Issue #52

"Of course he had a plan the whole time. He's Batman. He always has a plan."

Justice League of America (2006) Issue #52

He tricks everyone.

Justice League of America (2006) Issue #52

And in the end, the Justice League wins and Dick saves the world.

Justice League of America (2006) Issue #52

I love how they characterized Owlman as a snake because that would make Dick a mongoose since mongoose eats snakes. And do you know what Mongoose represent in folklore? Action, adventure, boldness, fearlessness, impulsiveness, independence, optimism, rebellion, resistance, resourcefulness, speed, adaptation, agility, quickness, intelligence and wit. All characteristics that define him.

He plays the world like a chessboard, always five steps ahead.

He always has an ace hidden up his sleeve.

His thoughts are always masked behind a disarming smile.

He has mastered the art of manipulation.

And that's while he's outright fighting. His subtlety is just so seductive.

Take a look at the way he smoothly evades answering in this panel -

Grayson Issue #9

He's so smooth. She's constantly on the watch but she instantly fell head over heels for his charms in a half a heartbeat, that's just how good he is.

Grayson Issue #10

He's a master manipulator who knows exactly what to say and how to act to always end up winning.

It's seriously such a shame that one of his greatest skills and talents isn't talked about more because this man?! Flawless.

He's the spy everyone on TV wishes they could be. He's the type of spy people read about in history books and marvel at the ease, grace, and legendary story he leaves behind. He's the spy that everyone knows and dreams of in their fantasies.

Nightwing (2016)

And oh how they so are.

He can just get people to do whatever he wants.

There's a reason why Batman's only contingency plan against Nightwing is "Let's hope he fucks up." Because with his intelligence, skill, power, charisma, and raw talent - he's goddamn unstoppable.

One of Dick's greatest strengths is his ability to manipulate every single person in existence.

Genuinely I think this makes him the smartest person in the room. Not only is he a brilliant detective, but the fact that he's able to outmaneuver and control virtually everyone including other geniuses and masterminds makes him the most terrifying. There's a reason why his enemies have give up using intelligence against him and simply resorting to brute force.

Now hold your horses before you bring your crowbars and let me explain.

Dick once said, "On an even playing field, I always win."

And it's true. But how do you even the field if your enemies are geniuses, detectives, or metas?

"Well, if you don't like how the table is it, turn over the table."

And that's exactly what Dick does.

Let's begin from his younger years. Dick is 19, newly out of Batman's wing and in no position to take on a skilled mercenary on by himself. But the mercenary isn't going to stop just because he says please. So.

DEATHSTROKE WAS CLEARLY NOT EXPECTING TO GET OUTPLAYED BY A 19 YEAR OLD.

"You're right Slade, he's not a fool so choose a dumber kidnapping victim next time."

Ofcourse this is the least of his abilities.

This cover is perfect because it shows how two of them are literally in a constant game of chess. And evidence of Dick's tactical expertise was never more obvious than the bombing of Bludhaven.

By all means Dick had won.

And he's right. Dick is incredibly intelligent, and he has to be given how he maneuvered the entirety of the world to save him city. Not just the heroes and villains, but everyone - the heroes, the villains, the government, the civilians, the organized crime - everyone. He ruled the freaking world at that moment.

@haroldhighballjordan actually made a post about this that explains this scene so well

But yeah Slade knew he lost so in his petty vengeance what he basically did was set the whole fucking chessboard on fire.

The perfection to which Dick had calculated and moved millions of people to force Slade into abandoning their game and leave him shrieking and seething in rage over his loss. Another reminder that this game only happened because Dick manipulated Rose away from her father, away from his control to a better life.

Spyral is one of my favorite comics because it shows just how good of a manipulator Dick Grayson is.

One of Dick's coldest traits is his ability to manipulate a situation to fit his needs.

In the beginning Dick wanted to calm the meta down and take him in but the second his opponent let out the slightest hint of weakness, look how fast he flips his words. This man is brilliant.

And his planning came to fruition as the meta wore himself out, allowing Dick to take control of the situation and the opponent with no harm to himself-a quick, two second exit. He can manipulate emotions, thoughts, and people to get what he wants like he's playing chess with a child.

But it's not just other people- he can completely change himself to become a whole new person. In the earlier chapters, Dick is learning how to shoot a gun for the agency.

Dick's a terrible shot. Not a single bullet lands in the center of the target-there's no way he's ever going to shoot well....or atleast that's what he wants you to think-

"Yeah, well, that's what spies do."

"We lie."

He's a puppet master and the final boss.

part 2

If you think that Dick doesn't share his problems with other people because he thinks it will upset others...

Let me introduce you:

Dick knows perfectly well that he has a world of people who would drop everything to go help him, that he would never be a bother to them, but that's precisely why he doesn't want to worry them, because as he is usually the support, he knows how tiring it can be, and because he doesn't want anyone to think that he is unwilling to help them.

Nobody notices anything. So, there's nothing to notice, right?

Even Cass doesn't notice anything when she sees him. He's the same old Dick Grayson. He smiles and jokes. Of course, he's a little irritated about being in the mansion for no reason other than the fact that they had to meet at least once every few months, but he's fine.

Damian updates him on his school, and Dick rolls his eyes and grunts in between comments, knowing that the already outdated education system even in his time remains exactly the same now.

Tim asks his opinion on some programs he's developing. He may not be as good as Barbara's, but Tim knows Dick will easily spot the mistakes he doesn't after having read the lines of code five hundred times. Dick notices the errors just as he thinks (when you are learning the code for the first time, it is easier than when you have it in your head and recite it by heart rather than read it).

Only God knows why Jason is still there—maybe it's the food, maybe he's waiting for something. They barely speak to each other so as not to start fights, but they joke around, which is enough to keep the atmosphere comfortable.

Cass asks when they'll cook together again. Duke wants to join in this time.

Everything's fine. There's nothing wrong with Dick.

They decide to train before everyone goes back out on patrol in their places, Dick and Jason will soon disappear from the mansion and won't return for months, so why not?

Everything is fine, Dick is still joking around with them. There's nothing wrong.

Until the first moment he steps into the training area, he suddenly kicks a mannequin so hard that it literally breaks its neck and the doll's head flies off.

Oh... He's angry.

Adeyemi tries to use Lawrence's words against him in saying they are seeking a pope who "sins, asks forgiveness, and carries on", but Adeyemi never gets to the second part. From the beginning, he insists that he has done nothing wrong, that he was not at fault on account of his age, that the child may not even be his! His tears aren't of guilt, he cries because he's disappointed he has lost. He's crying for the death of his ambition, his dreams.

In the same way, Tremblay denies his sins from beginning to the bitter end, even in the face of undeniable evidence. Tedesco finds nothing wrong with his fascist views.

How can there be forgiveness when the sinner will not even acknowledge the sin?

Book!Lawrellini is insane

The teasing:

.

.

They voted for each other:

.

Best friends praying together:

All of the above:

The intimate knowledge of how the other functions:

Honest to God goodnight kisses

Aldo Bellini's cross: an analysis

As we know, each cross in Conclave has a unique design and meaning that reflects the character they're designed for.

The main symbol on Bellini's cross is the pelican. According to many ancient legends (pre dating Christianity) the pelican was believed to pierce its own breast with its beak to feed its offspring with its blood, so early Christians adopted it as a symbol of Jesus Christ sacrificing himself for mankind.

The most immediate explanation is that the pelican represents Bellini: he's the righteous cardinal who doesn't want the papacy, who sees it as a burden that will most likely destroy him, but who, at the same time, feels like he has to become Pope in order to prevent Tedesco from winning. In other words, he feels like he has to sacrifice himself in order to save the Church.

However, the quote engraved on the back of the cross reveals something more, something deeper. The quote comes from a hymn written by Thomas Aquinas in 1264, titled “Adoro te devote”.

Pie pellicane, Iesu Domine, / me immundum munda tuo sanguine.

Good pelican, Lord Jesus, / clean me, the unclean, with your blood.

It's a prayer TO the good pelican from the point of view of a sinner who feels unclean, impure.

And that's how Bellini constantly sees himself: as unworthy, as dirty. His whole character is built around this sense of shame, self loathing and self-doubt, which he must shoulder alone and which is at the centre of his (torturous?) relationship with God.

The quote is hidden on the back of the cross, it's private, it's for Bellini's eyes only, his shame is between himself and the Lord, the only one who can save him, who can clean him.

And of course you can read this however you like but it's definitely one more thing to be added to the list of gay undertones in Bellini's character.

One last thing (and this is probably my biggest reach but indulge me): I noticed that in the scene where Bellini finally admits his shame to Lawrence his cross is facing backwards.

This movie is so meticulous with its details and symbolism that I'm almost 100% sure that it was made (or left like that) on purpose.

In the scene Lawrence (and the audience with him) is finally given access to Bellini's inner turmoil. Bellini is baring those parts of himself he's so ashamed of to the person he cares about the most, so it's only fitting that his words and actions are accompanied by this subtle, yet powerful symbolism.

Honestly, I’m exhausted by the discourse surrounding Aldo Bellini :)))

Why can’t we keep the canon intact and build on it, rather than bashing Aldo’s character to fit a different narrative? The depth of his relationship with Thomas, the weight of their history, the fact that they know each other too well—that’s what makes their story so rich. It doesn’t need to be rewritten, and Aldo doesn’t need to be cast aside to justify another interpretation...

What exactly has he done wrong? The way people project their own political views onto this fictional character—one who has the courage to say outright that he refuses to be anything other than what he is and what he believes in, in order to sway undecided voters, even at the cost of the papacy—is ridiculous. The fact that he’s a liberal figure shouldn’t make him more politically skewed than the literal fascist in the film.

Yes, he stops speaking when the nuns enter the auditorium—who wouldn’t? They’re organizing a campaign in his name, one he never asked for.

Yes, he doesn’t address the women directly in the film as Benítez or Lawrence do. That does not make him a hypocrite regarding his views. The film is from Lawrence’s POV—we don’t see everything that happens outside of that lens.

He stands up to Tedesco, even if it’s short-lived, not because he’s weak, but because he’s done it countless times before, and it has changed nothing. It’s habitual—he has defended the late pope’s legacy against Tedesco before. As he himself mentioned, the smears, the leaks to the press—he faced the Venetian Patriarch again and again, likely alone, as one of the highest-ranking officials in the Vatican, shielding a dying pope who could no longer shield himself.

And Tedesco knew that. Canonically, he knew. Because he has eyes and ears everywhere in the Vatican. That’s why the last months of the late pope’s papacy were so brutal. Why the attacks against his leadership and his vision were so savage.

But Aldo still speaks up. He does. Thomas doesn’t. No one else in that room does—except Aldo and Vincent. And yes, Vincent articulates it better. He is more forceful, more impassioned, more genuine. Because this is his first time in the Curia, and he is stunned by the hypocrisy, by the blatant power-hunger of it all.

Aldo isn’t stunned. He can’t be. He has lived in it for too long, fought too many battles that went nowhere. He knows the game better than anyone, and he knows that fighting with everything he has won’t change the fact that the system has been built to withstand men like him. So does he still push back? Yes. Does he still try? Yes. But he no longer expects it to make a difference. Because it probably never has.

The idea that he is somehow spineless, or merely a foil to Vincent Benítez, while the actual deplorable men in the film go unchallenged by the fandom, is frustrating.

It ignores the central theme of Conclave: these are flawed, human men, all of them, shaped by faith, experience, and immense pressure. None of them are “better” than the others—they are all navigating their faith, their responsibilities, their mistakes, their choices.

Yes, Aldo later chooses a moderate candidate, Tremblay, rather than pushing for himself—but that’s what they’ve been reduced to by that point. Maybe if Aldo had been in the lead from the beginning, he would have fought harder. But it's one thing to be expected to win and another to be faced with the reality that he does not have enough support. And crucially, he has no idea that Tremblay only made it into the race because he bribed their brothers. Aldo isn’t playing politics for personal gain—he is choosing the lesser evil to salvage what he fumbled, to protect 40 years of progress, the legacy of the late Holy Father—progress that he personally fought for.

And we never know if Aldo actually accepted Tremblay’s offer to continue as Secretary of State if Tremblay won. We don’t even know if the offer was made. But even if it was—even if Aldo had accepted—it would not make him a bad person. It would not make him corrupt. It would make him pragmatic. It would make him someone willing to do what he could to keep his work alive, to preserve some of the progress of the Church, even in the face of his own failures. Accepting his shortcomings and trying to fix what he would be allowed to fix is not weakness. It is not cowardice. It is a man doing his best with what he has left.

Yes, in the book, he casts an early vote for someone who stands no chance, and then for Lawrence, who in his eyes is just as unlikely.

But imagine what it must be like to be so brilliant, so well-versed in theology, and so skilled in Vatican realpolitik, only to realize that those very traits make you unworthy of the papacy—because the papacy should be the result of divine intervention, not a media campaign that crowned him as the next pontiff before the conclave even began.

He knows the late pope betrayed Thomas’s trust by confiding in Aldo about Thomas’s struggles with prayer. And so he chooses to betray their late friend in return—not out of malice, but to ease Thomas’s burden, to tell him that even the pope had doubts too. To make sure Thomas understands that maybe the Church is what’s wrong—not Thomas, not him, not his faith.

Even in their worst moments, Aldo and Thomas do not let go of each other. They still sit next to each other, even after arguments. They still walk side by side. They still seek each other’s gaze, even in disapproval.

The core of Aldo and Thomas’s relationship—and I am only speaking about what we explicitly see—is that they know each other too well. So well that it’s uncomfortable. Their bond is deep, intimate, and painful because it forces them to confront parts of themselves they might otherwise ignore.

Thomas is right to call Aldo a coward in the moment that he does, but that doesn’t make him one—it means he was trapped by circumstance, by months of mounting pressure, by the expectation that he would step into the late pope’s shoes despite feeling unworthy. And Thomas knows that, too. That’s why he doesn’t make a sweeping judgment about Aldo’s character—he doesn’t mark him as faulty, doesn’t condemn him as lesser. He simply states that Aldo lacks the courage to become pope. Because at that moment, it’s true. But it isn’t about Aldo as a person—it’s about Thomas realizing, too late, that he backed the wrong candidate. That Aldo had been telling him from the beginning. That Aldo never wanted it. That he knew Aldo never wanted it and he finally accepted the truth of it.

And Aldo is right about Thomas’s ambition before Thomas even admits it to himself—before he confesses that he already has a papal name chosen.

Aldo—despite his anger—protects Thomas. He tells him to save his precious doubts for his prayers, but only after checking the corridor to make sure no one is listening, to make sure no one can use this to destroy his friend. Even when they lash out, even when they misunderstand each other, they still protect each other. Because the reality is, they are both exhausted, both distressed, both making mistakes. And that’s okay.

But this is not one-sided. They are very much equals. Aldo downplays Thomas’s doubts, yes, but Thomas does the exact same thing to Aldo. When Aldo tells Thomas he doesn’t believe he is worthy of being pope, Thomas laughs. He treats it like a joke because to him, Aldo is worthy.

But their friendship will not fall apart because of it.

The most important thing? They recover. Their closeness is neither a flaw nor a weakness. It is terrifying to be fully known by someone, but it is also a profoundly beautiful thing. They don’t doubt each other—they give their votes to each other through it all. They doubt themselves because the other sees too much, unearths too much. Their story is about tension, about recognition, about the pain of seeing and being seen—but ultimately, it is also about growth.

Aldo Bellini actively recognizes his mistakes, apologizes, and takes tangible steps to make things right—all in a single day—to fix the hurt he caused his dearest friend.

Aldo is the one who takes the first step. He is the one who acknowledges his own failings, and in doing so, he gives Thomas the space to admit his own. They were both right about each other. Not just Thomas being right about Aldo—Thomas could have sat with that, could have enjoyed the sense of superiority in the moment. But he doesn’t. Instead, he levels them. Because Aldo was brave. Because Aldo chose to be honest. Because it was unfair to dismiss him as a coward, while Thomas himself holds the truth of his ambition back.

And Aldo? He is genuinely happy when Vincent Benítez is elected. He claps, he stands, he moves on. He doesn’t dwell on the fact that he was the heir presumptive, that his dear late friend beat him in chess one last time. That the late pope was, once again, eight moves ahead. Because he doesn’t mind. He never wanted the papacy out of ambition—only out of necessity. That’s why he positioned himself as a foil to Tedesco’s views, not as a person. So, of course, he is relieved that a man with morals and principles was chosen instead, a person, not a politician.

Read the book. Read the script. Watch the film again.

These men don’t have to sacrifice their friendship just because a “new, better, shinier” person sits in the Vatican now. Because guess what? Vincent Benítez isn’t perfect either. He has struggled with his faith. He has experienced traumas that shaped him. This is a man who has faced warlords, mafias, criminals both petty and powerful. He is no stranger to being stripped of his vestments and forced to exist as nothing but a man. Even he, in the book, the script, the film, does not always act rationally. He throws Aldo’s arrogance about returning to Rome and potentially having to stay right back at him—and honestly, he isn’t wrong, neither is Aldo. Vincent is stubborn. He is not innocent, despite the name he chose. He needs Thomas’s acknowledgment of his anatomy for a reason. He has doubts, too. And doubts are not a bad thing. Just as Aldo seeks Thomas’s approval before taking the chessboard, before opening up, before allowing himself to grieve.

Aldo and Vincent are not foils—they are the same in their love, just as Aldo and Thomas are united in their pain, just as Aldo and Tedesco are the two sides of the same coin in their intellect and ideological strength. They are men. What they do is what sets them apart—and what brings them together.

And if you’re going to tell me that a stupid BuzzFeed quiz calling Aldo Bellini “spineless” months ago is still driving this entire discourse? Then maybe it’s time to admit you never understood him nor the source material in the first place.

Honestly, I’m exhausted by the discourse surrounding Aldo Bellini :)))

Why can’t we keep the canon intact and build on it, rather than bashing Aldo’s character to fit a different narrative? The depth of his relationship with Thomas, the weight of their history, the fact that they know each other too well—that’s what makes their story so rich. It doesn’t need to be rewritten, and Aldo doesn’t need to be cast aside to justify another interpretation...

What exactly has he done wrong? The way people project their own political views onto this fictional character—one who has the courage to say outright that he refuses to be anything other than what he is and what he believes in, in order to sway undecided voters, even at the cost of the papacy—is ridiculous. The fact that he’s a liberal figure shouldn’t make him more politically skewed than the literal fascist in the film.

Yes, he stops speaking when the nuns enter the auditorium—who wouldn’t? They’re organizing a campaign in his name, one he never asked for.

Yes, he doesn’t address the women directly in the film as Benítez or Lawrence do. That does not make him a hypocrite regarding his views. The film is from Lawrence’s POV—we don’t see everything that happens outside of that lens.

He stands up to Tedesco, even if it’s short-lived, not because he’s weak, but because he’s done it countless times before, and it has changed nothing. It’s habitual—he has defended the late pope’s legacy against Tedesco before. As he himself mentioned, the smears, the leaks to the press—he faced the Venetian Patriarch again and again, likely alone, as one of the highest-ranking officials in the Vatican, shielding a dying pope who could no longer shield himself.

And Tedesco knew that. Canonically, he knew. Because he has eyes and ears everywhere in the Vatican. That’s why the last months of the late pope’s papacy were so brutal. Why the attacks against his leadership and his vision were so savage.

But Aldo still speaks up. He does. Thomas doesn’t. No one else in that room does—except Aldo and Vincent. And yes, Vincent articulates it better. He is more forceful, more impassioned, more genuine. Because this is his first time in the Curia, and he is stunned by the hypocrisy, by the blatant power-hunger of it all.

Aldo isn’t stunned. He can’t be. He has lived in it for too long, fought too many battles that went nowhere. He knows the game better than anyone, and he knows that fighting with everything he has won’t change the fact that the system has been built to withstand men like him. So does he still push back? Yes. Does he still try? Yes. But he no longer expects it to make a difference. Because it probably never has.

The idea that he is somehow spineless, or merely a foil to Vincent Benítez, while the actual deplorable men in the film go unchallenged by the fandom, is frustrating.

It ignores the central theme of Conclave: these are flawed, human men, all of them, shaped by faith, experience, and immense pressure. None of them are “better” than the others—they are all navigating their faith, their responsibilities, their mistakes, their choices.

Yes, Aldo later chooses a moderate candidate, Tremblay, rather than pushing for himself—but that’s what they’ve been reduced to by that point. Maybe if Aldo had been in the lead from the beginning, he would have fought harder. But it's one thing to be expected to win and another to be faced with the reality that he does not have enough support. And crucially, he has no idea that Tremblay only made it into the race because he bribed their brothers. Aldo isn’t playing politics for personal gain—he is choosing the lesser evil to salvage what he fumbled, to protect 40 years of progress, the legacy of the late Holy Father—progress that he personally fought for.

And we never know if Aldo actually accepted Tremblay’s offer to continue as Secretary of State if Tremblay won. We don’t even know if the offer was made. But even if it was—even if Aldo had accepted—it would not make him a bad person. It would not make him corrupt. It would make him pragmatic. It would make him someone willing to do what he could to keep his work alive, to preserve some of the progress of the Church, even in the face of his own failures. Accepting his shortcomings and trying to fix what he would be allowed to fix is not weakness. It is not cowardice. It is a man doing his best with what he has left.

Yes, in the book, he casts an early vote for someone who stands no chance, and then for Lawrence, who in his eyes is just as unlikely.

But imagine what it must be like to be so brilliant, so well-versed in theology, and so skilled in Vatican realpolitik, only to realize that those very traits make you unworthy of the papacy—because the papacy should be the result of divine intervention, not a media campaign that crowned him as the next pontiff before the conclave even began.

He knows the late pope betrayed Thomas’s trust by confiding in Aldo about Thomas’s struggles with prayer. And so he chooses to betray their late friend in return—not out of malice, but to ease Thomas’s burden, to tell him that even the pope had doubts too. To make sure Thomas understands that maybe the Church is what’s wrong—not Thomas, not him, not his faith.

Even in their worst moments, Aldo and Thomas do not let go of each other. They still sit next to each other, even after arguments. They still walk side by side. They still seek each other’s gaze, even in disapproval.

The core of Aldo and Thomas’s relationship—and I am only speaking about what we explicitly see—is that they know each other too well. So well that it’s uncomfortable. Their bond is deep, intimate, and painful because it forces them to confront parts of themselves they might otherwise ignore.

Thomas is right to call Aldo a coward in the moment that he does, but that doesn’t make him one—it means he was trapped by circumstance, by months of mounting pressure, by the expectation that he would step into the late pope’s shoes despite feeling unworthy. And Thomas knows that, too. That’s why he doesn’t make a sweeping judgment about Aldo’s character—he doesn’t mark him as faulty, doesn’t condemn him as lesser. He simply states that Aldo lacks the courage to become pope. Because at that moment, it’s true. But it isn’t about Aldo as a person—it’s about Thomas realizing, too late, that he backed the wrong candidate. That Aldo had been telling him from the beginning. That Aldo never wanted it. That he knew Aldo never wanted it and he finally accepted the truth of it.

And Aldo is right about Thomas’s ambition before Thomas even admits it to himself—before he confesses that he already has a papal name chosen.

Aldo—despite his anger—protects Thomas. He tells him to save his precious doubts for his prayers, but only after checking the corridor to make sure no one is listening, to make sure no one can use this to destroy his friend. Even when they lash out, even when they misunderstand each other, they still protect each other. Because the reality is, they are both exhausted, both distressed, both making mistakes. And that’s okay.

But this is not one-sided. They are very much equals. Aldo downplays Thomas’s doubts, yes, but Thomas does the exact same thing to Aldo. When Aldo tells Thomas he doesn’t believe he is worthy of being pope, Thomas laughs. He treats it like a joke because to him, Aldo is worthy.

But their friendship will not fall apart because of it.

The most important thing? They recover. Their closeness is neither a flaw nor a weakness. It is terrifying to be fully known by someone, but it is also a profoundly beautiful thing. They don’t doubt each other—they give their votes to each other through it all. They doubt themselves because the other sees too much, unearths too much. Their story is about tension, about recognition, about the pain of seeing and being seen—but ultimately, it is also about growth.

Aldo Bellini actively recognizes his mistakes, apologizes, and takes tangible steps to make things right—all in a single day—to fix the hurt he caused his dearest friend.

Aldo is the one who takes the first step. He is the one who acknowledges his own failings, and in doing so, he gives Thomas the space to admit his own. They were both right about each other. Not just Thomas being right about Aldo—Thomas could have sat with that, could have enjoyed the sense of superiority in the moment. But he doesn’t. Instead, he levels them. Because Aldo was brave. Because Aldo chose to be honest. Because it was unfair to dismiss him as a coward, while Thomas himself holds the truth of his ambition back.

And Aldo? He is genuinely happy when Vincent Benítez is elected. He claps, he stands, he moves on. He doesn’t dwell on the fact that he was the heir presumptive, that his dear late friend beat him in chess one last time. That the late pope was, once again, eight moves ahead. Because he doesn’t mind. He never wanted the papacy out of ambition—only out of necessity. That’s why he positioned himself as a foil to Tedesco’s views, not as a person. So, of course, he is relieved that a man with morals and principles was chosen instead, a person, not a politician.

Read the book. Read the script. Watch the film again.

These men don’t have to sacrifice their friendship just because a “new, better, shinier” person sits in the Vatican now. Because guess what? Vincent Benítez isn’t perfect either. He has struggled with his faith. He has experienced traumas that shaped him. This is a man who has faced warlords, mafias, criminals both petty and powerful. He is no stranger to being stripped of his vestments and forced to exist as nothing but a man. Even he, in the book, the script, the film, does not always act rationally. He throws Aldo’s arrogance about returning to Rome and potentially having to stay right back at him—and honestly, he isn’t wrong, neither is Aldo. Vincent is stubborn. He is not innocent, despite the name he chose. He needs Thomas’s acknowledgment of his anatomy for a reason. He has doubts, too. And doubts are not a bad thing. Just as Aldo seeks Thomas’s approval before taking the chessboard, before opening up, before allowing himself to grieve.

Aldo and Vincent are not foils—they are the same in their love, just as Aldo and Thomas are united in their pain, just as Aldo and Tedesco are the two sides of the same coin in their intellect and ideological strength. They are men. What they do is what sets them apart—and what brings them together.

And if you’re going to tell me that a stupid BuzzFeed quiz calling Aldo Bellini “spineless” months ago is still driving this entire discourse? Then maybe it’s time to admit you never understood him nor the source material in the first place.

thinking about lawrence and bellini and how they think they know each other, and they do, but not without the clarity each expects...bellini's 'don't be so naive' comment comes out with such force. he's been holding that between his teeth for years. decades maybe. all the time bellini spent struggling with his ambitions, his resentments.

it's only now during the conclave that will make or break his career and redeem the course of his life, his chance to step up and take up the mantle of the dead friend he is grieving deeply. it's now that it comes out - how much he has been living like a politician.

presenting himself one way, upholding the virtues of justice and humility, enjoying his own flair in throwing down the gauntlet, listing all his ideals and principles.

add: dramatic refusal. add: dramatic exit. performing so well, even his oldest friend cannot see it. cannot see him, for who he is. and so of course lawrence's trust and belief in him cannot be true; but bellini can't help but crumble when it starts eroding.

he is a false icon and a false man. he envies what he sees of lawrence, the doubts he has which are turned towards god and not towards the church (a doubt he shared with the late pope, and can only confess to it through him, even in absence). his self-denial that keeps him safe from ambition, that makes it terribly easy to set aside as competition, makes him safe to rely on.

except lawrence has a courage bellini can't replicate. an ability to respond to circumstances and not merely react and hesitate due to the possible costly outcomes.

because he is brilliant, he can see risks so clearly, he is so deeply aware of the weight in every decision and that hinders him terribly, it is the hubris of the righteous, a self-hating sense of responsibility. who else but him should be pope?

the big test of character he faces is not a scandal with victims or a crime: it is only disappointing a friend, disappointing himself. only that. a very quiet thing happens, behind closed doors, like so many other quiet things.

lawrence breaks the papal seal. he breaks vows and promises and protocol and ritual; he broke faith with the institution they have served together for decades, and so bellini cannot hold faith with him, or the truth he is trying to bring to the light.

the truth does not, then, matter as much as the look of the thing. the risk is too great. oh, it is always too great, for aldo bellini to take.

it is only when he loses lawrence's faith, the last steady old living faith lawrence has, that bellini realizes he does not have it in him to live by integrity. what an ugly thing to know, and to learn from someone renouncing him, the one person he thought would not.

lawrence makes clear bellini's weaknesses, as he does for the rest, and bellini sees him clearly in the light of day after a night of looking at himself, and he is very sorry, and grateful to him, for being the crucible. the least of all evils, and the one who cuts closest to the bone.

he looks at the darkness inside himself and apologizes. so quickly, so simply.

bellini apologizes; he makes amends; he offers supports, upholds the mirror as lawrence did, works towards a better future. it is another day. he is a politician, and it is another day.

when they reconcile he says: it is shameful to live this long and not know himself. and it is then, because he says that, at his prompting, in the example of that peculiar courage bellini has and thinks he does not have, that lawrance admits it. he does have a name scrawled in his heart, a small ambition; he is capable of wanting, even he would rather not.

and still, bellini leads the way for lawrence. in facing his failures to live up to his image of himself, in the possibility not only of regret and shame and struggle for dignity when facing the certainty of defeat (adeyemi) or denial, incomprehension (tremblay) - but in making amends.

lawrence's old trust in him is not baseless or empty, there is love between them still, because bellini is not that good of a politician, it turns out; he doesn't have what it takes to stick it out, to pretend at a thing he cannot be.

he is too true for it. he is brave, only not in the way he sought to be thought of. a quieter thing, less emphatic, more powerful by far. he is so clearly exhausted of himself. pretending at certainty is so much more treacherous and exhausting and dangerous than doubt admitted. and humility, the scholar learns, is the only possible road for knowledge of the self and the other and the world.

don't be so naive thomas. don't be so naive. but in the morning it is bellini asking for the name john, preparing in expectation and hope for his friend the moment he would ask him the term of his papacy after being elected. he asks without resentment, and with a new belief in him, a true understanding.

a reverse-baptism, which never happens, except for how it exists between them. what is the name of your fearful desire, your sin, your hope in the midst of hopelessness, your weakness like my own?

the dangerous ones are the ones who want to be elected. but aldo bellini is the one person who says, everyone wants it. he denies the possibility for false pretenses.

and because it is his friend who speaks of it, not tremblay accusing him of it or benítez offering it freely, but aldo bellini who asks what is the shape and sound of his secret faith in himself, lawrence can admit it.

if he can forgive bellini for it, he has to forgive himself. if bellini can face what sort of man he is, so does he. and he doesn't, of course, forgive himself for it, or give himself much of any grace. but he begins to believe that is it possible others might truly know his doubts and desires, and not look away, or be appealed, betrayed, renounce him for his humanity. bellini doesn't.

they see each other clearly now. they sit on the same bench, apart from the rest of the world, secluded in friendship.

in the script, after the explosion, they walk arm in arm for the last vote.