Dick Grayson's Curse Is That Everyone Will Love Him At His Best But Nobody Will Be There Next To Him

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.

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

I need people to be aware that Dick was an absolute menace to criminals when he was Robin, ok? 

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.

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~

I’m ready. I’m ready for my ZoLu jealousy rant. Part 1 of 2.

[BTW, this rant is also a behind-the-scenes look at the madness that came over me when I wrote the unsubtly titled fic, “Four Times Zoro Did Not Get Jealous (and the One Time Sanji Confronted Him About It).” Prior reading of the fic is not necessary for enjoyment of my insanity analysis.]

At its core, I believe jealousy arises from 1. a special regard and 2. insecurity. You don’t get jealous over someone you don’t care about. And if you’re confident in the other person’s feelings for you, there’s not much to be jealous about.

With our resident swordsman, he definitely holds Luffy in high regard, meaning there would be reason to feel jealous over Luffy. The question then becomes, has Zoro ever been given a reason to feel insecure about his place in Luffy’s life?

My stance on this is a solid NO.

I believe Zoro knows his worth, partly because he has ALWAYS worked hard to earn his place beside Luffy. He trains constantly and goes above and beyond to do everything he can to stay by Luffy’s side and be Luffy’s “wing.” And Luffy has shown time and time again that he trusts Zoro implicitly in pretty much everything except for directions. Zoro is Luffy’s voice of reason, moral support, enabler, and rabid attack dog rolled into one muscular package. Luffy appreciates the crap out of Zoro, and he has never hesitated to show it. He calls for Zoro first, is always delighted to see him, and gives Zoro the Sabo face-glomp treatment (TM) after just two weeks apart. Yes, all Straw Hats are created equal, but I’ll fight every One Piece fan to defend my view that in the eyes of canon Luffy, Zoro may just be a tad more special.

My point is, Luffy has never given Zoro a reason to be jealous, and Zoro is secure enough in his position within Luffy’s life that he doesn’t feel threatened by anyone else. He’s been petty, sure, like his insistence that he is worth twice as many men as Sanji, but I do think that is just Zoro’s competitiveness. Because why on earth would Zoro be jealous over Luffy? Who can even come between them??!

Don’t get me wrong, I like to indulge in a jealous Zoro fic any time. In fact, if you know any, send a link my way pls! At my core, however, I don’t think Zoro is the jealous type. Not over Luffy at least. Shippers of other Zoro pairings? You do you.

However! There’s always a caveat. I do believe Zoro gets possessive, but in the way that all Straw Hats get possessive over Luffy. Because Luffy is theirs. And when Luffy nearly kills himself to save a whole kingdom, I think they get a little protective over their captain, and they’d want to keep him to themselves for a while. Ultimately, they know they can’t. Luffy is meant for the world to love, and all the Straw Hats know this. Zoro knows this more than anyone, having been THE FIRST.

So at the end of an adventure, when the fight is over and adrenaline leaves him, I think Zoro frets and anguishes so much that he wants to lock up his captain in a room where nobody else can take another piece of him, because Luffy has given enough, dammit. But Zoro doesn’t do that, because Luffy would not want him to.

In summary, the conclusion of my book report is that no, Zoro doesn’t get jealous.

(But what about Luffy?! That’s coming in Part 2. I need to first write another 1000 words of my next fic.)

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.

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.

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?

I get emotional thinking about how his family would react to Bruce's change if he ever started working on himself, on improving his behavior. But the one I think about the most is Dick Grayson.

Alfred is the one who was there from the very beginning, but Dick Grayson is who arrived and made the biggest impact. He's the first kid who Bruce took in, the one who approached this man and became his first partner to fight by his side out in the night.

Dick was able to pull Bruce out of the darkness that consumed him. No matter how many times Bruce went back, Dick's presence was a constant reminder that there's not only shadows. That if Bruce pushes back, fights so he won't be dragged down, he will find light.

However, it was a cycle. Dick would get him out, but Bruce would go back, sooner or later. And repeat. And Dick realized this and knew he couldn't let that be his whole life. But despite the distance, it still affects Dick knowing he can't find a definite solution for Bruce.

So, seeing Bruce actually change, get better and seeing that last...it would lift the heaviest weight on Dick's shoulders, who's felt responsible for Bruce's emotions since the day he became Robin.

It's been implied to him that Bruce needs him, that he's who keeps him from falling. And Dick, despite not always feeling like he is enough, carries with that responsibility because, deep down, he also feels like he owes it to Bruce, who Dick has needed (still needs) present in his life, too.

Bruce getting better would be like being able to breath again, but it would be so suffocating too.

Dick would happy for Bruce, for the man who raised him. He'd be relieved that the hurt will stop, for both his father and those he's continuously pushed away. But then he'll be anxious, will it really last? How long until he can be sure? And he'll be scared, does he still need him, now? Does a Batman who's gotten help still need Dick Grayson Robin? Nightwing? And lurking in the back of his mind, there'd be anger. Why now? Why after all those years? Why not before? Was Dick not enough reason to change? Was he never worth this? And shame will drown those thoughts. It's selfish, to think that way. He should be happy. He wants to be happy. He is happy. But he is also mad. He's sad and he mourns the child who never saw this side of Bruce. And most of all, he loves. He loves Bruce too much to hate him for it. No matter how angry, no matter how hurt, he loves his father and he's grateful for him, for his efforts. And all he can do is smile and congratulate him because that's everything he feels he has the right to say.

And when all is said and done, Bruce will come to him and Dick will have to face the worst part of this change;

Apologies.

If Bruce has truly changed, then he would know there's more things than he can count with his fingers that he has to apologize to his son for. And out of everything else, this is what Dick Grayson fears the most.

Dick can take it, he can hear Bruce out, but he can't unpack all the pain he's been accumulating in front of his dad. He can't bring himself to say 'I forgive you' out loud despite having convinced himself long ago that it's alright.

Bruce doesn't didn't do apologies. Things happened and then went back to normal and Dick was okay with that. He forgave him, he did. So, Bruce doesn't need to apologize, he doesn't have to make him say it out loud. He can't tell him, but he's forgiven him long ago. Even if it hurt, even if he was still resentful sometimes, even if he wanted to yell at him for it, Dick could push it all down and forgive him. Bruce shouldn't apologize, shouldn't bring it up again because Dick isn't strong enough to keep it all bottled up if Bruce starts acknowledging it, if he confirms that Dick wasn't crazy for feeling wronged and hurt.

He can take it, but he really can't.

Just thinking about it drives me crazy because, out of everyone, Dick Grayson might be the kid who's been waiting for this the longest, and who thought he'd already given up the idea of his father finding a lasting happiness that would bring permanent change in him. And it would be just so overwhelming.