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Sancho is the adopted turned vampire daughter of Don Quixote, Don Quixote is just one of the oldest and strongest vampires and Bari is a strong Fixer who shows up to the previous twos house unannounced. Bari when she shows up to the vampire's home says that she can help them find “what they truly seek” after that she then suggests that someone takes her up on a duel. Don Quixote accepts and they duel for three days. On the third day Sancho suggests they take a break and Bari agrees, Don questions it by asking who made those rules law and Bari answers simply with “Fixers”, which are just the real world equivalent of official bounty hunters. Don has a growing curiosity over his interactions with Bari which is why he agrees to wait for the conclusion of the duel. This gives them a reason to look to tomorrow, to think and question what might happen the next day. What Bari thinks the vampires need is something to strive after, a dream that they follow day after day instead of waiting and stagnating for their entire immortal lives within the walls of their home.

They continue battling but the winner of the duel is never found and Bari keeps coming back and now begins to regale Sancho and Don Quixote with tales of Fixers and humanity in general, about how kind the world could be and how Fixers are honorable heroes that served as bastions of justice. Don Quixote gets particularly fixated on amusement parks during her many talks, hearing about how they can make people “happy just by being there”. This is the birth of Don Quixote’s dream for human and vampire co-existence.

Don Quixote thinks that creating a theme park called La Manchaland and having it run completely by vampires would show humanity that it's possible for them to co-exist and vampires would no longer have to bear the mantle of “villains”. A big part to building this dream is creating “blood bars” which are just bars of coagulated blood from willing donors, they are reported as tasting badly but its okay since for a while they seem to be working. Vampires working at the theme park unfortunately really want to consume blood and while the blood bars can sustain them they are miserable subsisting off of them since they taste bad and they don’t exactly share Don Quixote’s dream. This starts to show Don Quixote’s all encompassing idealism, his desire to chase after a dream no matter how impossible it may seem, even if it doesn’t account for everyone involved in it, he could have worked to have just him and those close to him be the face of co-existence with humans and vampires but that thought never even crossed his mind.

The working vampires plan to revolt against Don Quixote and know he likes collecting Fixer trinkets for fun so they tell him about a helmet that will weaken him, leaving that part out, and sending him and Sancho on a long quest to retrieve the helmet During this time at the amusement park the vampires start to feed on all of the humans. They travel for quite some time and eventually find the helmet and go back and Don Quixote is furious to see his dream in shambles. Fighting between the vampires and Don Quixote starts and he sends Sancho away to Bari, also enchanting her shoes to seal away her vampire nature. Sancho eventually cannot take the weight of her memories throughout her time with Bari and she is given a way to make her memories recede into the depths of her mind. Bari gives Sancho a nice little place to live and books on Fixers, while Sancho adopts the persona of “Don Quixote” .

While that is happening with Sancho, Don Quixote seals off the amusement park from the rest of the world. The other vampires force the helmet onto him and torture him for the next 200 years in an attempt to get him to open the amusement park again but Don Quixote does not budge. Around the same amount of time, after reading Fixer literature and wanting nothing but to be like the heroes in the story she read, “Don Quixote” is recruited to work for “Limbus Company”. 

Here she will get to have the adventure she always dreamed of having alongside eleven others in similar circumstances. After a while of travelling the amusement park, La Manchaland starts appearing again due to Don Quixote’s weakening will and “Don Quixote" and her friends enter, which starts to remind “Don Quixote” of who she is and her true nature. At first when she remembers, Sancho rejects the journey she has had so far, she feels her dream of adventure is dead just like her fathers dream had died. The only path forward she sees is one right back at her fathers side as things used to be. A feminist reading of this could lend to the idea that this is similar to the expectations the world has of women. People expect them to put down everything they wish to do with their lives and take care of family regardless of what their dreams were.

Sancho after fighting with her friends knows in her heart that she doesn’t want her adventure to end. After everything, Don Quixote stands in the way of her dream, wanting to end her “childish, juvenile dream”. But even if she’s seen the dream for vampires and humans to co-exist end in blood and rage before her very eyes, she will take up her lance and press onwards to reach that impossible dream. Don Quixote and Sancho clash in the sky, Sancho wanting to continue a similar dream that he imbued in her and Don Quixote wanting to spare his daughter the pain of having her dream crumble in her hands. Despite all odds Sancho wins their clash and kills Don Quixote, ending the dream of La Manchaland once and for all.

Don Quixote and Sancho’s clash in the sky is very literally the clash of ideals that most pieces of media have, Sancho wins because like her counterpart in the original story, she holds both an understanding of the cruel reality they exist in, but also the fervor and passion to dream beyond despite what the world may be. This temperance guides her dream, past the forgetfulness, past the enemies and beyond where her and her fathers dreams lay at rest.

  Within the first few sentences of Lindsay’s article, he uses a first-person perspective and shares his experience with observing fellow journalists being condemned by President Trump, and later shares how this defensive tactic inflicted on journalists is also experienced locally in Bermuda. He also indicates his inner emotions with the overall tone of the article. Lindsay makes it evident how frustrated he is with the comments targeted at him as a journalist and reporter; he also takes advantage of his news platform to express the urgency of defending his journalism. He openly criticizes political behavior, and he speaks as a journalist, not reporting facts. Lindsay undoubtedly makes this article personal by openly discussing his irritation, concern, and disappointment with this matter about he misuse of “ fake news”. Sharing this piece of writing breaks the boundary that reporters typically establish when writing an article. This is what makes the article feel more like a conversation or even him venting rather than an informative article with a neutral standpoint. Lindsay also discusses how the ‘fake news’ label that was directly targeted toward him impacts his work, profession, and his sense of purpose as a news reporter. “He didn’t call us by name, but everyone in the room knew, “An online news network…” he said. “…that destroyed reputations, made innuendos about TNN reports destroying family.” And then that familiar refrain: Fake news” ( Lindsey). He then highlights the emotional impact of local and global journalists. With this piece, instead of only presenting facts, it reflects how it feels from a journalist's perspective, having your credibility questioned.  This openness allows Lindsay to humanize himself and his profession. Lindsay also writes in a way that sounds like he’s directly speaking to the reader. This differs from the journalistic distance of remaining neutral. Moreover, Lindsay is taking a pathos approach, which makes the reader feel like they are being personally addressed and allows the reader to be more in tune with the author's emotions. Lindsay positions himself as a part of the community; he speaks with the public rather than at them with this article. This creates a sense of shared concern and shared responsibility for the truth. 

This article simply argues that labeling factual reporting as “fake news” is not just criticism and should not be taken lightly. It claims that it is a dismissive tactic used by powerful leaders to deflect accountability, silence, and avoid hard questions from the media. This article also argues that truth and transparency are essential to democratic life. It portrays how the “ fake news” claim is not simply a media problem, but it acts as a threat to public trust and democracy integrity. Lindsay's aspiration for truth and transparency is quite prominent in his article, “When leaders—whether they’re standing in Washington or in Hamilton—begin to demonize the press, it’s not about protecting truth. It’s about protecting themselves” (Lindsay). This claim reinforces that when politicians label reporters and journalists as having fake news, it is used as a defense response to dismiss and discredit the reporters and journalists. In fact, Lindsay outright states his claim for these ‘fake news’ accusations in the title of his article: “When the Truth is being called 'Fake News” It undermines the democratic process.” This title alone shows the defensive state Lindsay had to have been in when writing the article. This bold title claim allows the reader to automatically sympathize with the negative claims made by politicians toward reporters and journalists. 

From a psychoanalytic perspective. Lindsay’s overall tone suggests a release of frustration that had been suppressed over time. He even takes a moment to regroup in his article, “ So I ask again, not in anger but in clarity: When is enough…enough?” ( Lindsay). Reporters and journalists are often expected to stay neutral despite their work being publicly dismissed. In contrast, Lindsay takes advantage of his pubic platform to preserve his company's brand. The constant use of the term “ fake news” may have triggered Lindsay's previously repressed irritation, disappointment, and anger to surface. Early in the article, he mentions a brief moment during a press conference where he asked politicians questions on behalf of the media regarding concerning events that had taken place within the community, which led to many misunderstandings, including the demoralizing marital scandal in the party and the well-known Marco Warren case, which alone raises many questions and conspiracy theories. Lindsay was then met with the dismissive label, which he also mentions is “hurled” at journalists around the world: fake news. The accusations of being “ fake news” also threaten a journalist's core identity. This explains why Lindsay had clearly taken these remarks personally. For Lindsay, this article operates as a psychoanalytic defense of his purpose, credibility, and professional self-image. This is an ego defense attempt to protect himself and future reporters from being dismissed and not taken seriously, which ultimately contradicts what it means to be a journalist/reporter. By writing directly and emotionally, Lindsay reinforces his authenticity, which defends not only journalism as a profession but moreover his own sense of identity and values. Lindsay has a strong urge and desire to restore order and stability within his platform and public identity. When truth is distorted or dismissed, it creates both societal and psychological chaos. Locally, Lindsay faces significant criticism because he is often perceived as insensitive in his remarks and overall behavior: “ You can’t stop others from maligning you, but a good reputation can come to your rescue when people rise to your defense without you even knowing it.” (Lickerman). This explains why Lindsay felt the need to take advantage of his public platform to express his concerns and overall feelings towards politicians feeding off of his already tarnished reputation within the community, while discrediting him as a reporter. This article can be viewed as an effort to restore stability for self-reassurance. 

This article ultimately expressed a clear desire for truth and transparency, urging the public to beware of the misuse of “fake news” used to target journalists and reporters to deflect the discussion of certain topics. Lindsay's personal tone and emotional honesty indicate that his argument is not only triggered by professional concern but by a deeper psychological motive to protect his ego. As we look through the psychoanalytical lens, it becomes more evident that his break from neutral journalism reflects a more repressed frustration, a defense of his identity, a call into action regarding an aspiration to truth and transparency, an overall desire to restore his reputation despite the misinformation allegations directed at him, and lastly a call into action of politicians discrediting the news media industy.  

- Author's Note: In this piece, I aimed to explore how news articles can shift in tone to better express an idea or concern. My central question was whether this shift in tone, point of view, and overall quality of writing would indicate a deeper concern for not only the public but the writer directly. Could it also indicate a sense of urgency? Through writing, I discovered that because Trevor Lindsay is openly criticized within the community because of his quality of news reporting, this article was a direct call to action for change in the way politicians and the public view the quality of his work. One major challenge I faced was finding similar content from other news reporters and journalists because of how uncommon it is for a news reporter to write in such a tone and overall perspective. I deliberately chose to remain open-minded in the way I wrote to better understand Trevor Lindsay’s overall meaning, along with other journalists and reporters he referenced, because although Lindsay doesn’t have the best reputation among the public, I wanted to give his argument the benefit of the doubt. 

Mental toughness will improve me a lot for my future as an athlete because it can help me stay locked into the task at hand and the play the coach wants me to run. In sports, many people lack the ability to focus and to not be distracted or stressed out when it comes to sports. As for me, I get easily distracted, which takes me from my craft as far as working hard on the court. Having that physical ability and prep before is good, such as working out, cardio, and being in good condition, but if you're not mentally prepared, that goes all out the window. Being mentally tough equates to the physical aspect of things. Research states from Dr. John Crimmins that "When an athlete has a very strong mindset, it enables them to overcome any obstacle, excel in stressful situations, and surpass the limits if their physical condition." Having a strong mindset can improve an athlete's resiliency, making their performance even better. Having physical strength can only take you a long way if your mental strength is not there, and having that mental toughness will help you to push through that adversity. Having mental toughness surpasses your physical ability, so no matter how strong or faster someone is that mental toughness is equally important. Having that mental toughness would push me in days I don't even feel like training or stressed out about a play, that strong mindset would stay positive and tell me to never give up. This will make me more confident and have better performance when I compete. Not worrying about what happens if I make a mistake, not to hold on to that, but to know it's still more time in the game to do and be even better till that buzzer sounds.

A lot of times, as an athlete, we get many setbacks. Such as getting injured and having to miss out on some games and even the whole season if it's a really bad injury. Also, not making the final team and family emergencies. Many athletes like me face these sorts of things. Having that mental toughness and resiliency to push even when you're hurt can either make you weak and have low self-esteem in yourself or come back even stronger. A lot of things off the court or field can affect you in a mental aspect that can affect your performance; that's why having mental toughness is so important. As athletes, we should never look at that as it's over, but more so is growth because life happens, and you would never have a perfect journey. Having that strong mentality motivates and gives you the ability to strive through failure. Also, never be scared to make mistakes as an athlete because not every athlete is perfect, and as for me, I would use those setbacks, missed opportunities, and injuries as fuel to come even better as an athlete and to not just give up. Studies show that "Athletes with high mental toughness don't just endure setbacks; they use them as opportunities for growth." Some strategies that can help with that are viewing setbacks as an opportunity rather than failure and adapting goals after setbacks to maintain motivation and clear direction." I always remember to stay dedicated to my craft even when the progress is slow.

Having that mental toughness can affect an athlete's progress as well. Sometimes we want to quit or not work, but having that mental toughness can push you to become stronger in that aspect, because without that mental toughness and hunger in you, Athletes tend to give up on themselves. You may be hurt, so you can't rely on the physical aspect, so that's where the mental comes into play. Having that mindset can build a better future for me as an athlete.

On and off the field or court, mental toughness can help with patience and controlling my emotions when competing. A lot of times, opponents taunt you or try to get you out of your element so you can get sent off. Having that growth mindset will help with that, allowing you to stay calm in those moments and let your game do the talking. This helps with my athletic future and myself as a person long term because it shows coaches and others around me that I can stay so focused on the task at hand and nothing else. This can help deal with situations outside of sports, which will make a better person and show good character.

If it wasn't for having mental toughness for myself, I would get angry a lot of times and get upset over mistakes when playing. Mental toughness allows you to get over any mistake that happened during the game that can affect your performance. There are times when I want to be subbed out because I wasn't hitting my shots, but having that strong mentality to keep pushing even when the shots aren't falling will allow me to become a better athlete in the future. Having that mental toughness will allow me to not be afraid of failure but take it as a lesson to become even better and grow as an athlete. Mental toughness is not something that can be taught or a skill like physical traits, but more so something you develop over time and teaches you to stay calm and not let setbacks or people stop you from achieving your goal as an athlete. Also, maintain a positive mindset to never give up and keep going, no matter how many mistakes you make. Having this mindset will help me develop and build myself to become a better athlete in the long term.

My athletic aspiration is having that mental toughness and not just relying on the physical aspect as an athlete, because physical can only take you so far. It teaches me that the challenges and mistakes I face our just stepping stones to becoming a better athlete. Having mental toughness will help me succeed as an athlete and overcome anything that comes my way to pull me down.

In the biblical narrative, Lucifer’s core aim is cosmic: he desires to exalt himself beyond the boundaries imposed upon created beings. Isaiah 14 depicts this goal vividly: “How you have fallen from heaven..., You said in your heart, I will ascend to the heavens; I will raise my throne above the stars of God… I will make myself like the most High”(Isaiah 14. 12-15). Lucifer's desire for cosmic domination is further supported by the phrase "ascent rise, exalt, above the stars." His goal is vertical, aiming upward in an attempt to invalidate the boundary between creature and Creator. The same pattern happens in Ezekiel 28, which describes a figure full of “ You were the seal of perfection... wisdom… and beauty” till he was corrupted by pride ”(Ezekiel 28. 12-19). This is internalised aspiration, an ego that grows until it explodes. Lucifer’s ambition to dominate rather than serve contradicts what the text considers as an unbreakable cosmic order. A formalist reading reveals a definite moral structure: Lucifer’s desire to “ascend” violates divine limitations, and narrative equilibrium is restored through his fall. He loses his place, beauty, status, and purpose, and his disappointment is complete and irreversible. Ambition is lethal in this tale. The framework of the text highlights how aspirations that go beyond divine order invariably lead to disaster.

In contrast, Lucifer (Netflix) presents the Devil as a creature motivated by existential and emotional need rather than cosmic ambition. His abilities are linked to unveiling human desire rather than to toppling heaven: “I have the ability to draw out people’s forbidden desires…” (Victoria S1 EP01). Early in the series, Lucifer reveals a strong wish to reinvent himself beyond the moniker of “Devil,” asking, “Now, do you think I’m the Devil because I’m inherently evil, just because dear old Dad decided I was?” (Victoria, S1 EP01). The sensation of disappointment is altered by this transition from cosmic to psychological goal. Instead of going into cosmic exile, Lucifer experiences internal turmoil, longing, rejection, and emotional wounds. The show consistently emphasises aspiration through dialogue. Lucifer queries Detective Chloe Decker in the first episode, “Tell me, detective, what do you desire more than anything else in this life?”(Victoria, S1 Ep01). This question grounds the entire series around what not only others’ but eventually his own. Even Chloe’s response, “You mean what do I desire more than anything else is this life?” foregrounds aspiration as a fundamental theme (Victoria, S1 Ep01). Lucifer claims in Season 3, Episode 2,“ I’m Lucifer bloody Morningstar! I do favors better than anyone else…tell me what is it that you truly desire?”( Lucifer, S3 Ep02). This statement emphasises his struggle with identity, agency, and the meaning of desire itself. These instances show that the TV Lucifer's goals of love, acceptance, identity, and liberation from labels are private.

Disappointment in the series derives not from divine punishment but from the restrictions of the ego. Emotional rejection, moral problems, and self-doubt plague Lucifer more than any external mandate. When his expectations are not fulfilled, his disappointment results in introspection and personal growth rather than destruction. The show presents ambition as a fundamentally human trait, untidy, emotionally costly, yet capable of bringing growth. When both texts are closely examined, it becomes clear how differently they describe desire. The biblical Lucifer desires celestial power and the overthrow of divine order. His goal is vertical and absolute. The TV Lucifer, on the other hand, longs for love, human connection, and self-definition. His ambition is horizontal and relational. As a result, each narrative represents disappointment differently. In Scripture, the fall is a single, catastrophic event permanent, external, and devastating. In the series, disappointment is a part of a continuous emotional journey that is internal and circular. Instead of being final judgments, setbacks become chances for personal development.

A psychoanalytic lens deepens this disparity. Karen Horney’s theory of the idealised self directly exposes Lucifer’s struggle. She writes, “While the healthy course at this phase of development- and at any phase- would be a move toward his real self, he now starts to abandon it definitely for the idealized self. The latter begins to represent to him what he "really" is, or potentially is- what he could be, and should be”(Horney 23). This concept wonderfully illustrates the TV Lucifer’s dilemma: he is caught between who he is (the Devil defined by others) and who he wants to be (a person capable of love, morality, and self-determination). This internal conflict between the idealised self he aspires to be, and the forced identity is the source of his disillusionment. This dynamic is also seen in the biblical Lucifer, but with different outcomes: the fall is caused by the conflict between desire and reality, and his idealised self, a being on par with God, is unachievable.

Ultimately, both portrayals indicate that striving is a double-edged power. In contemporary narrative, it becomes a route to self-discovery, but in Scripture, it results in cosmic catastrophe. The biblical and television Lucifers serve as examples of how aspiration, whether it be for heavenly power or personal fulfillment, inevitably clashes with reality. From a psychoanalytic perspective, each work illustrates the tension between desire and limitation: in the Bible, this friction ends in divine punishment, while in the TV series, it manifests as psychological struggle, emotional setbacks, and opportunities for progress. Desire and ambition never go out of style; only our narrative perspectives do. Lucifer persists because he represents the ongoing human conflict between our true selves and our ideal selves, as well as the repercussions that result from crossing boundaries. His stories, ancient and modern, inspire audiences to consider a subject as old as myth itself: What happens when ambition pushes farther than reality allows?

- Author note: In this essay, I aimed to examine how two radically different incarnations of Lucifer illustrate a common struggle with ambition and the fallout from unbridled desire. My key question was: What does Lucifer’s ambition, scriptural or televised, teach us about the human fight between who we are and who we desire to be? While writing, I noticed that examining a religious text alongside a contemporary TV series created unexpected parallels, notably around identity, disappointment, and the tension between enforced roles and self-made goals.

Sakura is more than excited to sink his teeth in and claw his way to the top. It was non-negotiable to prove that if he was the worst, then he’d be the best of those in his field. However, he comes face to face with the exact thing he's always wanted, but was too scared to confront: A home. Furin is a school for the lowest of the low. Delinquents, troublemakers, those who society never wanted to help, fill the halls of the vandalized school, making up the gang Bofurin, meaning Windbreaker. You see, Furin is not a battle royale built on the destruction of your fellow classmates, as Sakura had expected. They are the protectors of their town, fighting off rival gangs or thugs seeking to ruin a haven. With the vision of their great leader, Umemiya, they strive to protect others and touch the hearts of those they cross paths with, especially those they confront. The ability to connect with others branches throughout Windbreaker like the ever-growing roots of a garden. Furin itself was built on the ashes of a burning forest that now flourishes thanks to its Umemiya. The very man Sakura wishes to dethrone.

Sakura’s anger and anxiety are slowly burnt away to make room for compassion and self acceptance. Sakura is often reflected in those who strive to do the right thing but are lost to themselves. He is shown to live alone in a rundown apartment; all we know of his family is that they abandoned him. Haruka is alone for most of his life, trying to fight and claw his way to the top of a summit he had no understanding of. He is the reflection of those who are struggling to open up to those around them. Despite it all, Sakura is a mirror to those in second time and time again. His lost pursuit of power in Togame, his lack of emotional regulation in Kaji, and his depressive need to keep people away in Endo.

Sakura walks an endless tightrope of expectations. We see this visual in the opening scenes. He is forced into this situation not by his own free will but off the judgement and pressure of others. He struggles to steady himself on this path thrusted upon him by society. It is not a secret that the homogeneous nature of Japan isolates people for the smallest ‘flaw’. Having been born with an abnormal appearance Sakura has always been belittled and deemed as lesser by his peers and even adults.

He hates when people are “all looks” he questions this with Niere before they are friends and with his Jo Togame the second in command of a rival gang Shishitoren. Togame is adorned with glasses that cloud your view of his eyes and thus his intent, his slow yet domineering movement brings a dread to even his own men. It becomes apparent exactly what Shishitoren stands for. To have power is to be free and the weak only bring them down and are purged from the group to ensure salvation. The fight between the two words and bruising fist are thrown like sharp knives whittling down at Togame’s resolve.Togame is not just larger than Sakura but is weighted down by the heavy burden he must carry as second in commanded. A weight Sakura does not carry. This is when Sakura realizes Togame is not just some brutal enforcer of Shishitoren’s misguided ideals but someone who is also suffering from them. Thus the conversation starts. The fight between the two is an emotional and blood soaked conversation for ideals. A desperate fight for each to hear the other's bleeding heart. The two finally showing their hearts wearing them like bloody bandages on their knuckles. The first person Sakura has connected with the only way he knows how, a fight that spoke more to peace, then it ever utter the breath of violence.

Haruka is just a boy with the misguided aspirations of leading, but his heart has always wanted a home. He has found not only Furin, but many others to call his friends and family. He will dig his heels in and clench his teeth to fight tooth and nail for them. He strives to trust in those around him not only to accept him but to protect him in fights. He spends time to learn his classmates names, he is made grade captain not because he’s the strongest on there but because he in his little time there inspired those around him.

Sakura leaves an endless trail of inspiration in his wake, allowing those around him to open up to him. Though he struggles with it himself, in the current chapters of the manga we still don’t know much of his life before Furin. He suffers colds alone and treats basic kindnesses as a foreign concept. He is constantly, even now struggling. In the fight with Endo he is willing to sacrifice himself just to save Furin, the town and Umemiya from the wrath of Norishi. He even after months, still believes that life will be better without him there to mess it up. Sakura’s life is now richer than it has ever been but every stray taken in still fears the cold feeling of abandonment.

He wishes to be understood, this garden that is Furin was made for Sakura. A vast array of wild flowers and brambles that at first seem to be disorganized and left to rot. Is being carefully tilled ready for him to inert, Sakura is unaware that Umemiya has made this very garden plot for him. He crafted the shelter that Sakura needs to finally be himself and thrive into the leader others believe him to be. With every bruising conversation and misstep he is closer and closer to achieving his dream.

Where winds die down, and despite his fear, he can feel it. He can hear the voice of all of those who reach out to him. Steading himself he steps off that tight rope. The fall is not steep, his feet are met with soft grass, his heart warm with acceptance. In a field full of various wild flowers, he looks up to see his friends wanting with open arms-waiting for him. He rushes to follow the grass parting and crumpling under his excitement. The tightrope, still there, with no one to balance on it. Only a path left to prove he was ever there now leading to Furin High. Leading him home.

- Author’s Note: Windbreaker and in extension Haruka Sakura have been the only pillar I’ve really had this semester. All 190+ chapters are all well written, handling queer themes, identity, and the fights are so well choreographed. Haruka Sakura is one of my favorite MC’s in anime as I find reflection of anger and fears in his journey. As someone with untreated anger and anxieties of abandonment I struggled with finding my foot hold in the world.

This essay is to illustrate the navigation of his character from that fearful boy against to look at others to an inspiration of not just his peers b it to those beyond the screen. The complex metaphors and characters of Windbreaker are woven tightly with found family and growth. That human connection is something to be cherished even if the way you connect is different.

I hope that if I’ve done anything I’ve convicted you to at least watch the first season of such a beautiful anime that is still relatively underrated in the community and that I shed light on the story of Sakura that Satoru Nii has crafted and continues to make.

The beginning of Mr. West’s career shows that this boldness is not innate to his character. His brashness is a way to cover up the insecurity he feels; thus he channels his deep-seated insecurity—his shield against doubts about becoming a successful artist—back into his work. In “jeen-yuhs,” Kanye is performing “All Falls Down” for a record executive, only to be meet with indifference and his work ignored. Despite being dismissed, his performance remains full of soul. From a psychoanalytic angle that external rejection amplifies his internal drive, building the ego and constructing the public persona. He becomes inspired because he cannot be insecure. His mother, Donda West passes some wisdom with the words, “The giant looks in the mirror and sees nothing” emphasizing the fragility of success and the potential she sees in him. Kanye’s ego or self-respect functions to convert the fear of failure, obscurity, and rejection and transforms those anxieties into pure creative energy. Freud suggests that sublimation allows individuals to channel internal conflict into social and personal meaningful endeavors. Mark Anthonay Neal’s perspective agrees with this opinion, indicating that the post-soul artists are “self-fashioned prophets of possibility,” using art to rewrite narratives of limitation (Neal 54). Kanye West perfectly represents this idea of redirection. Showing that his inspiration is not just internal, but a reframing of how life treats him.

Trauma is the next steppingstone to creating the Kanye we know today. In 2002, Kanye almost died in a car crash that left his jaw wired shut. Instead of letting the pain crush him he continued to turn frustration into inspiration and recorded “Through the Wire” one of the most memorable bars being “I spit it through the wire, man/ There’s too much stuff on my heart” (The College Dropout). Despite the immense physical pain, his determination continues to be his salvation through it all. Psychoanalytically, this shows Kanye’s process of self-reconstruction as he molds himself anew, formulating his new identity from this pain. Freud’s theory of sublimation is also illustrated here as Kanye turns trauma into achievements. Neal adds to this idea by explaining how Black artists use vulnerability as “performative authenticity,” changing trauma into power that the public resonates with (Neal 62). The saying “Whatever doesn’t kill you just makes you stronger” is reflected by Kanye’s ego, adding to his belief that he was made for greatness. This is his creative rebirth and proving that success is not just earned - you must fight for it.

“jeen-yuhs” begins to shift drastically as Kanye’s fame reaches the stars. By the last episode, the joking, humble kid is completely overrun by his superstar persona. The ego is in full effect and demands control over the entire world’s perception of him. The psychoanalytic theory of ego splitting explains how we have reached this point. Kanye’s ego was originally constructed as a safety net but is now dominating his personality. The delicate balance is thrown off in favor of his ego, and the stronger it becomes, the harder Kanye will work to keep himself together. Fame has become this double-edged sword that reflects all of Kanye’s actions back at himself. The audience sees the confidence, but not the man behind it. The documentary reveals his anxiety, and his inner world starts to crumble: the man behind the mask is psychologically isolated. From a psychoanalytic perspective he starts to question everything: Is he the person he is now or was he then? Does he match the hype in the larger-than-life egotistical Kanye entertaining them? The point of the ego’s existence is to protect the self, but Kanye’s ego is starting to replace the original self entirely.

Tension becomes a major theme in his later music. Early works such as “Tough the Sky” (Late Registration) are full of ambition and confidence. But as the years go by, his songs paint a picture of isolation and emotional turmoil. “Runaway” off My Beautiful Dark Twisted Fantasy, is a confession – a public acknowledgment that his ego has gone too far and damaged him pleading with listeners to run away from him. He still asks that they celebrate his flaws, but in a way that allows him to expose the grief hidden under the mask. “jeen-yuhs” confirms this transformation as the final arc contrasts the early optimism with present day cynicism and exhaustion. Kanye used determination to climb the world’s ladder and is slipping. His ambition now faces him, empowering his artistry while destabilizing his mental state and emotional stability.

            The journey Kanye West goes through demonstrates that aspiration is a complicated psychological concept, especially when ego is able to take hold. His confidence and fragility juxtapose each other creating the complicated man we know today. Viewed through a psychoanalytic lens, Mr. West’s ambitions are a form of self-defense, to build meaning and character in a world eager to judge. He is proof that art is not solely talent but an unconscious process of unraveling who we understand ourselves to be. Kanye West is not just another success story or a warning against imbalance - he is both. His ever-present ego can never be satisfied and is a lifelong balancing act between what he fears and what he believes.

​Andrew’s desire begins as a typical kind of success drive, built in admiration for people like Buddy Rich and in a longing to climb beyond an average family background. When his father wonders why he has no other hobbies, Andrew says simply, “I want to be great” (Chazelle p. 13). This is the most obvious expression of his desire, but the movie shows that underneath it is a deeper psychological need: to become exceptional in a world where he otherwise feels average, rather than just to be skillful. Fletcher quickly finds and uses this vulnerability. In their first actual conversation, Fletcher asks, "Why did you stop?" and then, a few moments later, "Did I say you could start?" This creates a pattern of conflicting instructions aimed at destroying Andrew's confidence (Chazelle p. 16; 00:04:28). This approach resembles the unexpected reward-punishment cycles of operant conditioning: Andrew becomes hooked on getting Fletcher’s approval because Fletcher withholds it while delivering snippets of validation, making it more psychologically addicting.

​As Andrew struggles to match Fletcher’s impossible standards, his goal develops into an obsession, shown most clearly through imagery of bodily collapse. During practice shots, the camera lingers on his hands ripping open, blood gathered on drumheads, and sticks snapping mid-stroke. The script shows him “bleeding onto the snare” and pushing the metronome past 300 bpm till his hands blur (Chazelle p. 55). In one shot, blood falls onto a cymbal like paint, an image that ties artistic production with violence. This imagery works symbolically: the body has become the place where aspiration is fought. Andrew does not stop for rest or healing; instead, he tapes over wounds and continues playing, repeating the action until pain and effort no longer register individually. His goal has become physiological, embedded into muscle memory and physical harm. The fall is aided by Fletcher's instruction. His famed line “No two words are more harmful than ‘good job’” (Chazelle p. 121; 00:52:36) defines his principles: praise promotes comfort; only hardship generates greatness. This belief is given with the rhythmic sharpness of consonance; the clipped g and j notes echo the cadence of the drums he demands. Moreover, Fletcher’s accusations (“dragging,” “rushing,” “worthless”) are always delivered in short spurts, imitating percussion. The film intertwines verbal abuse and musical language to demonstrate how Fletcher’s voice becomes part of Andrew’s mental soundtrack. With each outburst, Andrew accepts Fletcher’s worldview: that self-worth is achieved only by amazing achievement, and anything less causes rejection.

​The iconic chair-throwing scenario, Fletcher threw a metal chair at Andrew’s head because he was “off my tempo” by a fraction (Chazelle p. 34) exposes the intensity of Fletcher’s actions. Additionally, it demonstrates Andrew’s psychological vulnerability: rather than refusing, he apologizes, then asks for another chance. The scenario illustrates how perspective is distorted by aspiration. What would typically be regarded as abuse is viewed by Andrew as part of a meaningful process. Critics have highlighted that Whiplash portrays “extrinsic motivation taken to pathological extremes,” where the student’s sense of self gets merged with the teacher’s praise (Mintz).

​The film’s turning point is Andrew racing to the Dunellen competition after a car accident caps his decline into obsession. Broken, bleeding, and concussed, he persists on performing, telling performers “I’m fine” while his hand visibly shakes (01:15:44). The symbolism is obvious: the body is breaking, but the mind refuses to recognize limits. In this case, aspiration has become almost delusional. The event also reveals the failure of behavioral conditioning: Fletcher’s methods have not created a controlled child but a desperate, selfless performer whose sense of reality is clouded by ambition. As stated by a critic from Sebelumnanti, “Ambition, in Whiplash, is not a motivational poster—it’s a slow, corrosive addiction. A form of self-erasure masquerading as excellence. It does not ask, it demands. It lures its prey with promises of legacy and devours them in isolation,” (“Ambitions, Madness”).

​It is evident from intertextual comparisons that this pattern is not unique to Andrew's setting. Nina Sayers' breakdown under the pressure to be flawless is almost exactly the same in Black Swan. Nina’s aspiration mirrors Andrew’s earliest ambitions, expressed when she tells her mother, “I had the most amazing dream… I was dancing the White Swan” (Black Swan script p. 2). This moment, like Andrew watching old Buddy Rich recordings, reveals how ambition often begins as an idealized fantasy long before it becomes a psychological burden. Her hallucinations of feathers, her bleeding feet, and her cracking flesh emphasize her acceptance of her director’s demand to “lose yourself” in the character. Like Andrew, Nina is informed that excellence requires suffering; in both movies, ambition uses the body as a language. Additionally, Full Metal Jacket does the same. Identity is taken away in the name of a greater ideal, humiliation serves as a lesson, and pain serves as discipline. Pyle’s terrible ending reveals what happens when aspiration is militarized without regard for people.

The ending of Whiplash is its most morally unclear moment. After Fletcher sabotages Andrew on stage, Andrew replies with a defiant solo, playing with such clarity and intensity that Fletcher begins guiding him, pride growing onto his face (01:41:00–01:43:00). Their last exchange of eyes is thrilling: Fletcher nods very subtly, and Andrew looks up as if to ask, "Was this enough?" The camera focuses on their eyes, then on Andrew's joyful passion. The moment feels glorious yet worrying. Andrew finally achieved the greatness he craved, but only by forfeiting safety, relationships, and rationality. The image offers no discussion, forcing viewers to face the pain of watching a performance based on collapse. Here, Whiplash deviates greatly from Full Metal Jacket: Chazelle leaves audiences feeling both amazed and concerned, whereas Kubrick fails to exaggerate the price of perfection.

In the end, Whiplash poses an odd question: Is excellence ever worth the price Andrew pays? The movie rejects a simple solution. Rather, it highlights how aspiration can consume the very person it tries to elevate when it is stained by abusive mentorship and internalized fear of failure. Andrew's final victory downbeat is both a win and a warning that obsession could produce exceptional art, but also that such art may come from someone who no longer understands where ambition ends and self-destruction starts.

The prologue of Cyberpunk 2077 foreshadows the ending. The three life paths are called the following: Nomad, Street kid, Corpo. Each life path provides imagery of certain aspects of life when starting the game. For example, the Corpo life path provides an idea of how to cutthroat the different corporations and the extent they're willing to go to gain an upper hand in anything. For instance, planting corporate spies and sabotaging their competitors. The Corpo life path also provides the player with a view of how dystopian the world is. Most corporations in Cyberpunk 2077 are more powerful and wield more influence than governments. For instance, the 4 corporate wars are the perfect example of the power they have. The corporate wars are only mentioned in the games, but the original source books, published in 1988, go into much more depth about them. However the 4th corporate war is important for Cyberpunk 2077's story, because it's a part of johnny's past where he set off a nuclear bomb in our Arasaka tower. This led to the eventual end of the fourth corporate war. To further the image of dystopia, ordinary people in night city don't have access to necessities like clean drinking water; the city's water is highly toxic and unsafe to drink. In Night city, it is hard for ordinary people to move up in the world and better themselves. This is because of the systematic inequalities and grim socioeconomic structure. The ordinary person is viewed as disposable and replaceable, this intensifies the struggle to move up in the world. Most NPC or people's attitudes on moving up in society reflect the grim situation. This brings up a great quote by Dexter DeShawn in game, “Would you rather live in peace as Mr. Nobody, die ripe, old and smellin' slightly of urine? Or go down for all times in a glaze of glory, smellin' near like posies, 'thout seein' your thirtieth?” (Cyberpunk 2077). This reflects that a player or a person needs to take extreme risks and sacrifice a lot to move up in the world of Cyberpunk, and be prepared for failure. Like V in the Konpeki plaza heist.

            After the prologue, V is trying to find a way to live and dealing with the effects of the shard also called the relic. During the interlude between Act 1 and Act 2 called Love Like Fire, is the first flashback and is the first interaction with Johnny Silverhand. Johnny Silverhand is an unreliable narrator. We can infer this by the dialogue and flashbacks with Johnny, which all alludes to but not directly stated to his memory being changed by Arasaka. To further this, during the night city massacre where Johnny attacked Arasaka tower, we eventually find out that Morgan Blackhand was part of the assault, but with a different team to make sure everything went off smoothly. However, during the flashback, we have no mention of Morgan Blackhand or any mention of his involvement. Johnny Silverhand memories are a blend of genuine memories, but they're also distorted, with factors like the degradation of the relic and his emotions. The search for a cure takes V down many roads, but Johnny does help If you have a high enough relationship with him. This also heavily combines with the themes of personal identity, individuality, and the cost of survival. Each of these themes play a key role in the story and shaping it.

            In Cyberpunk 2077 there are a lot of endings, some a lot better than others but each providing their own unique feel of satisfaction or dissatisfaction. In the end there is no cure to save V, however there are ways to avoid death. There are 7 main endings that allow you to go to the credits, this is excluding the ‘to the moon’ ending that doesn't grant you a way to end the game in the DLC. My favorite ending is the secret ending where V goes guns blazing straight into Arasaka tower. Bringing us back to Dexter DeShawn quote “Or go down for all times in a glaze of glory, smellin' near like posies,” (Cyberpunk 2077). Dexter quote was very foreshadowing of all the endings where “blaze of glory” is always the better choice. This brings up another quote about choosing an ending that I think is quite fitting by Dylan Thomas:

“Do not go gentle into that good night,

Old age should burn and rave at close of day;

Rage, rage against the dying of the light.

Though wise men at their end know dark is right,

Because their words had forked no lightning they

Do not go gentle into that good night” (Thomas).

Each ending in my opinion has the player wondering what could they have done differently to get a better ending. The worst ending is ‘The path of least resistance’ this ending goes against everything that the player has been fighting for throughout the game. But in the end it's up to the player to choose how and the way they want to end the game. However most endings leave an empty gap in your heart, specifically where Johnny or V used to be depending on whether you choose to keep going or go into the Net.

            Cyberpunk 2077 uses its many storytelling features to explore the themes of ambition, identity and the struggle to survive in a broken world. But it's not just a story about cybernetics corporations or violence, it's about a person fighting to hold on to their future, when the world is trying to take it away from them. Every life path and ending keeps reminding the player that progress demands sacrifice, but most of the best choices feel hollow at times. However this is exactly what makes the story of Cyberpunk 2077 so powerful and moving. In the end, no matter what ending the player chooses it always leaves most players thinking of the same questions that drives V, what does it mean to live and what is it worth, as well as what is oneself.

 One of the key elements that makes SoulFly so consuming is its raw descriptions of vulnerability. The album does not shy away from the darker aspects of heartbreak, love, and struggles. Don’t you want to listen to something that is real? In a song titled ‘Tombstone’ Wave said, “I’m a product of my environment, but I ain’t a victim.” This is very relatable, especially as a teen growing up in an era where we have been desensitized to the irrationalities of violence, tragedy, social injustice, and suffering. He expresses that trauma and struggles are something your character can be molded from. SoulFly is so special because of tracks like "Tombstone" and "Forever" they play with the idea of lingering pain of loss and the complexities of coming of age especially the way responsibilities and expectations can suffocate and bombard you while still having to be a good person.  As noted by MOONLXTE MELODIES, “He finds a way to turn introspection into concise, relatable and powerful expressions of pain.” (Moonlxte Melodies). Wave's lyrics are loaded with many hidden gems such as imagery. The way he can express the feeling of being haunted by your past gives any listener chills. When you like something it’s because you relate to it right? Something you share experiences with or something you feel a connection to, right? SoulFly has that too! The album's exploration of gloomy emotions is not solely to provoke sadness it is a steppingstone into the healing process. By acknowledging pain, Rod wave paves the way for growth. He acknowledges battles of mental health while also making you reflect on yourself and how you are taking steps to improve yourself. Songs like "Street Runner" and "Changing" highlight the importance of being independent especially as it relates to the transition from a teenager into adulthood.

Lyrically Rod Wave is one of the more real artists left in this generation, especially with the delivery of his lyrics as well as the deeper underlying meanings that can be pulled from them. In the song SoulFly Rod wave said, “I am a Soulfly, I’m just tryna be free "as well as “Been through the pain, I can’t explain.” This song highlights his will to be better despite the adversity while still acknowledging his unavoidable past not as something he’s ashamed of but instead shed light to which at some point everyone can relate to. This is essential for young people because it allows them to know that regular people can become ‘somebody’ and not be confined to the stereotypes. Also, naturally as a lyricist he uses a lot of figurative language in his songs. He uses a lot of metaphors, similes, and symbolism to express his emotions, some examples being “life is a maze,” “I'm drowning in my thoughts,” “My soul is a flame,” and “I’m soaring like a bird". This exemplifies his ability to portray two sides of a story using metaphors and similes. He talks about life as a maze which highlights the struggles and confusion that comes with life as well as him drowning in his thought which is comparing his emotions to water and allowing listeners to understand how he’s overwhelmed. He also talks about his soul with the use of a metaphor describing his soul as a flame which is lit with his intensity and desire to be great. In addition, he talks about soaring like a bird which talks about his freedom with the use of a simile to create a sense of liberation and the unburdening that comes with being able to breathe because he no longer must face certain struggles he used to have. Talking more about that, the structure of the album is a story. It talks about his life, his battles, the songs are not all over the place jumping from topic to topic. Each song can be related back to the title of the album because they talk about the process of overcoming and seeing your SoulFly free.  The songs start off giving you background knowledge of the pain, hardships and heartbreak until the song ‘All I got’ where there is a shift in the album. He talks about how he thinks about the past, but he admits it's all he knows so why let it hold him back so he must give life and his career all he has. The change in perspective amplified the album creating a narrative that reinforced the themes of the album, making it more cohesive. To expand his narrative, his use of slang helps speak to him as a person outside of music and makes it more relatable and authentic to his music style. His word choices can create a gloomy and thought provoking atmosphere that puts you in a state you could only imagine rod wave himself experienced, but then you find hope like he did as he tells his story. In his ability to do that, he builds a relationship with the listener by being vulnerable, so they understand him.

Ultimately, Rod wave tells the story of determination. He is an example of what challenges young people face every day and that you do not always have to win your battles, but the fact that you are still in the fight is a win. He is not like every other rapper in this generation rapping about drugs and females he writes about perseverance. The contrast of that realness of mental health issues mixed with the will power to not be defined by them and seeing yourself outside of your trauma, and having the will to aspire to be more is powerful. Also, the ability to touch the hearts of others through lyrics by using figurative language speaks volumes. Rod wave is a depiction of making something out of nothing that young people cling to. He gives them hope through his triumph over struggle and opens their minds to strive for so much more.

Many think that after death, we go straight to heaven, which is true for our spiritual bodies but not our physical bodies. Based on the Bible, it is said that when Jesus returns, He will call the dead in Christ to meet Him in the clouds before those still alive. This process is the resurrection of the believers’ physical bodies, who gave their lives to Christ before they passed. Paul teaches that “we know that the one who raised the Lord Jesus from the dead will also raise us,” meaning that the believers who had hope in The Lord will be raised, and those who chose to live apart from Jesus will be granted eternity away from Him (NIV Bible). Paul also teaches that “death is at work in us, but life is at work in you,” meaning that mortal bodies will di,e but one’s spirit will live on (NIV Bible). This also shows why Jesus’ sacrifice was needed because if we were to die without a savior to pay for our sins, we would all be doomed for eternal damnation. Around the end of Paul’s life, he was in jail because of his faith and was sentenced for death, “but he didn’t face this possibility with fear. In fact, he welcomed it, because he was convinced that at death he would go immediately to be with the Lord,” (“The Billy Graham Evangelistic Association of Canada”).

One of the most important reasons that Christians desire to have a relationship with Jesus, as well as lead others along, is because this life is temporary. Paul talks about how our mortal bodies are bound for death and how “outwardly we are wasting away, yet inwardly we are being renewed day by day,” (NIV Bible). When he mentions inward renewal, he means how the Spirit is working in us who have accepted Jesus. People of this age, of course, have never seen Jesus in the physical but instead believe in the historical accounts of his life, and faith alone. This is why Paul says, “we fix our eyes not on what is seen, but on what is unseen, since what is seen is temporary, but what is unseen is eternal,” (NIV Bible). Because this life is temporary, it leads to death, and the only way to live on after is through Jesus Christ. “For we who are alive are always being given over to death for Jesus’ sake, so that the life of Jesus may also be revealed in our mortal body,” (NIV Bible). If there were no death, there would be no need for a savior; however, because we know we pass away, we can choose to live for Jesus and desire His kingdom or choose to depart from Him and be away from Him.

Besides desiring salvation and eternal life for themselves, Christians also desire to spread the Word of God to the unbelievers, for those lost souls are whom Jesus died for. Christians are often looked at as judgmental or trying to force their religion on to others. However, from a biblical standpoint, Christians are called to spread the gospel as it was spread to them in order to find Christ. They preach what is spoken in the Bible, not to force or scare anyone, but because they are loving and want to see more souls be Heaven-bound. Paul mentions that “what we preach is not ourselves, but Jesus Christ as Lord, and ourselves as your servants for Jesus’ sake,” (NIV Bible). Many will hear Christians say that Jesus is the way, the truth, and the life, because He is. The truth is what many nonbelievers don’t want to hear or accept. Christians say “all truth comes from God, because He personifies truth. As we delve into His Word and are attentive to the Holy Spirit, we can and should know The Truth,” (‌“The Billy Graham Evangelistic Association of Canada”). The Billy Graham Evangelistic Association of Canada also argues that “the truth won’t always be popular. It can be offensive because it tells us what’s wrong with us. Imagine going to the doctor and being told you have cancer. You may not like it—you can disagree and get angry—but it’s the truth, and ignoring it can lead to death.” This scenario is the same as saying that ignoring Jesus, the truth, and the life, will lead to death. This is why Christians seek out to nonbelievers, trying to deliver them to Jesus.

The people of this day are blinded by the world and things of it. Paul highlights that “the god of this age has blinded the minds of unbelievers, so that they cannot see the light of the gospel that displays the glory of Christ, who is the image of God,” (NIV Bible). The so-called god of this age is the watered-down image of God. For instance, many people believe that they can have salvation and eternal life if they live without Jesus their whole life, and then when they’re ready, they’ll take him seriously. Also, things like idolatry sway the unbelievers to believe in false gods or idolize people instead of focusing on the Lord, who paid for them to be in Heaven with Him. Besides unbelievers, there are lukewarm Christians who believe in God but don’t seek a relationship with him.  “Instead, they drift along, perhaps going to church when it’s convenient or giving some money to God’s work — but never sacrificing to help others or going out of their way to share Christ with someone. Instead of loving God with all their heart, they are indifferent toward Him and think about Him mainly when they get in trouble,” (“The Billy Graham Evangelistic Association of Canada”).

All these components are what Christians want the unbelievers to understand. Without Jesus, there is no salvation or eternal life. The good news is that the gift of eternal life is welcome for all who choose to follow Jesus and spread His Word to more. Having faith that He died and rose again and living for Him will reward with the eternal life that is desired by all. If one desires salvation, the path to it is Jesus, for He was sent to pay for our sins, and now it’s our turn to live for Him and die for his purpose.

The main character is the primary enforcer of this theme and takes it to its extreme through the journey he has to go through. By choosing the grandest goal, to be the wizard king, it acts as not only a personal mission that the main character can inherit, but also as an act of defiance. Someone striving for change and trying to make their life better may seem like it has no downsides, but it isn't all positive in nature. Pressure, problems and difficulties are all things that stem from his goal. When he gets into trouble, he gives his orphanage and friends around him stress about whether he's going to be safe or not. His troubles and problems burdens his allies with injuries and trauma that will stay with them their whole life. He also puts pressure on his allies by putting them in a situation that forces them to act, like needing to fight for their life. When looking at him through this lens it turns from a story of challenging the societal norms that bind you, to one of a foolish boy who only gets where he is from the stress and pain of others. His goal of becoming the wizard king may be borne from a good heart, but through that naive thinking lies pain and suffering from the people who want the best for him. 

The concept of the wizard king enforces the idea of Marxism in the world and gives it a structure and a clear social hierarchy. The wizard king is supposed to be the person who protects the kingdom and all its citizens, but that creates a negative power balance that forces one party to rely on the other. The main character's goal, to become the wizard king, wasn’t made by them through their own thoughts, it was given to them. As a peasant, to have a better life, they'll have to seek to gain a higher social standing. The goal of the wizard king is the greatest goal that they can seek to be. People in this world are forced into one of two choices: either to succumb to their societal norms or to seek an unreachable goal of becoming the wizard king. This position was calculated by the nobles, to make people try to reach it but be unable to. To force the lower-class citizens to choose the impossible over being satisfied with their lives. The concept also makes the citizens rely on the wizard king and have no other way to defend themselves without his help. In total, the concept of the wizard king that is romanticized is actually a tool that is used to restrict the citizens on their goals and aspirations. Making them choose between a rock and a hard place. And in the end, having them need to submit to the wizard king in order to be protected from the dangers of the world. Asta's end goal is one built upon oppression and control.

Finally Black Clover once again undermines its theme of meritocracy by repeatedly reinforcing the effect that privilege has on their world and views, and how luck is the main factor in your life. The deuteragonists of the show, Yuno and Noelle, are prime examples of this. Yuno and Noelle are both born with immense magical prowess and both of them are able to progress in their goals, not solely because of effort, but by the luck of their birth and circumstances. Even the protagonist of the show, Asta, is not free from this contradiction also. Yes, at birth Asta wasn't born with any magical powers, but by getting lucky and getting a five leaf grimoire with a devil in it, he is able to become one of the strongest in the world. In all these cases the character is lucky enough to find a way to change, while for others who chase a chance their whole lives are left feeling betrayed by their efforts. The author, Yūki Tabata created this as a way to limit the characters in his story. To select who he allows to dream and who he wants to fail. Despair is also a core element of this show. Vetto, one of the villains in the show, at the end of his life repeated the words “despair”. This is due to the betrayal he had of his previous life. By using the characters' ambitions he puts their goals on a moral high ground compared to his pain and trauma. The author chose to mentally destroy one character, he chose to put their ideals against each other, he chose to allow one to have a chance to accomplish their dream and the other to fail. 

In conclusion, the world of Black Clover lies upon the idea of aspirations, with it being the main driving force behind the story, yet it regularly exposes the cracks in this narrative. While the story pushes forward the idea of never giving up, determination, and effort, looking deeper into it allows the narrative to be built on predetermined power, inherited privilege, and the illusion of opportunity. Asta's dream of becoming the wizard king may come off as noble and inspiring, but it carries with it unintended harm and consequences. Becoming not his own goal but one forced upon him due to fixed circumstances. Lastly, the institution of the wizard king is less of a symbol of hope and peace and more of a mechanism of control, restricting how far the lower class can rise and relying on an unreachable protector. In a sense, Black Clover ultimately critiques the idea of meritocracy and breaks it down repeatedly through the characters' aspirations. 

A feminist reading of Barbie shows that the film is deeply interested in how society shapes women’s ambitions. At first, Barbie Land seems like the feminist dream world. Every Barbie has an impressive career. A doctor, a president, a lawyer, a scientist. The Barbies believe they have achieved every aspiration a woman could have. But even in this “perfect” world, aspiration is still limited. Barbie Land focuses more on perfection than on personal choice. All of the Barbies succeed because their world is designed that way, not because they made individual decisions. This shows that aspiration isn’t truly meaningful when it’s handed to you instead of earned or chosen.

When Barbie enters the real world, she discovers that women are encouraged to dream big but criticized no matter what they do. Gloria’s moment of ‘tough love’ captures this pressure perfectly: “Women have to be ambitious but not intimidating, confident but not arrogant, beautiful but ‘natural’.” This moment highlights how aspiration becomes a stressful balancing act…for women. Women are told to aim high, yet society constantly changes the rules about what is acceptable. From a feminist perspective, the film argues that aspiration becomes a trap when it’s judged through impossible standards.

Ken’s storyline reinforces this idea. In Barbie Land, he can only aspire to impress Barbie. In the real world, he adopts patriarchy not because he truly understands it, but because it makes him feel powerful for the first time. He’s in control and realizes that men don’t kiss up to women in the real world. This shows how gender expectations can distort everyone’s ambitions. Feminist scholar bell hooks writes that feminism aims to free both men and women from systems that restrict them. Gerwig’s film reflects this idea by showing that real aspiration only develops when people are not confined by what society expects them to want.

Through a psychoanalytic lens, Barbie becomes a story about how inner conflict and hidden desires shape what we aspire to. Barbie’s journey starts when she suddenly begins thinking about death during a dance party. This moment represents the collapse of the perfect image she has always been expected to live up to. Her unconscious mind is rejecting the idea that her life must be flawless and predictable. These intrusive thoughts are the first sign that Barbie’s true aspiration is something deeper and more human than endless perfection.

Weird Barbie represents the subconscious space Barbie must enter to understand what she truly wants. The messy house, the split ends, and the chaotic energy symbolize the parts of Barbie’s personality that she was never allowed to explore, or…really and truly, never really had in Barbie Land. Talking to Weird Barbie forces her to face emotions like fear, curiosity, and confusion that she has never experienced before. According to Freud, growth happens when the unconscious finally pushes through the surface, and Barbie’s longing to be human comes from this psychological awakening.

Ken’s journey goes through a psychological awakening. His entire sense of worth depends on Barbie’s attention, and when he doesn’t receive it, he feels empty and insecure. His sudden desire to embrace patriarchy in the Real World isn’t based on logic; it’s a reaction to his fear of not mattering. In other words, his aspiration for power is really an attempt to cover up emotional vulnerability, as we can see in young men today. Both Barbie and Ken show that aspiration can be a response to internal conflicts rather than logical goals. Their struggles reveal how our deepest desires often come from places we don’t immediately understand.

Viewed through a cultural lens, Barbie evaluates how modern society sells people prepackaged dreams and calls them aspirations. Barbie herself was originally designed as an aspirational product. She was a doll meant to show girls of all shapes, sizes, colours, ethnicities, backgrounds, and statuses that they could dream big and aspire to become more. But she was also manufactured for the sole purpose of making money. Gerwig leans into this irony by putting Mattel, the company that invented Barbie, directly into the story. When Barbie starts developing emotions and thinking independently, the executives panic because she’s no longer fitting the marketable image they rely on. This suggests that cultural aspiration is often shaped by corporations that decide what people should want, not what they want for themselves.

The aesthetic of Barbie Land, the perfect outfits, perfect houses, and perfect careers, shows how aspiration is often tied to consumerism. The idea of being a “girlboss” becomes shallow when it simply means buying things that symbolize success, especially when that term was coined to empower women. The film reveals that modern culture pushes women to aspire to perfection, productivity, and likability because these qualities are profitable. Barbie Land may look empowering, but it turns aspiration into a performance instead of personal desire.

In summation, through feminist, psychoanalytic, and cultural perspectives, Barbie shows that aspiration is far more complicated than simply wanting a dream job or a perfect life. It is shaped by gender expectations, psychological pressures, and cultural norms of patriarchy that often make it difficult to know what we truly want. Barbie’s final decision to become human reflects her new understanding that aspiration should come from genuine desire, not from what others expect or what’s been “prepackaged” by some corporate money-making machine. Instead of aspiring to perfection, she chooses to aspire to honesty, growth, and true identity. In the end, Barbie suggests that the most powerful aspiration is the courage to define yourself on your own terms.

- Author's Note: As a 17-year-old Jamaican female, my connection to Barbie and aspiration is very personal. When I was younger, Barbie dolls were my absolute favourite toys, and the movies were some of my foundations. I aspired to become a singer because of how confidently Barbie chased her dreams on screen. I drew a parallel between myself and Stereotypical Barbie. My mother hit me with a “you’re not Beyoncé”, which directly proves the movie’s message that Barbie was used as a tool to compare every girl to what they weren’t and may never become, similarly to how my mother used Beyoncé.

As I got older, my relationship with Barbie changed, but the sense of possibility she represented was sort of sparked again. One episode of Barbie: Life in the Dreamhouse, where Barbie flips through her long list of careers, unexpectedly pushed me toward loving math and show interest in a STEM career. It helped me imagine myself in fields I had never considered, and that relit flame played a role in my decision to major in actuarial science today.

Because of these experiences, writing this piece felt like more than just an assignment; it felt like a chance to reflect on how one piece of media can influence a child’s understanding of who they can be and how young girls see themselves. In this essay, I tried to show how Barbie expresses aspiration through feminist, psychological/psychoanalytic, and cultural lenses, while also acknowledging how those same ideas shaped my own ambitions and aspirations growing up.

For Presentation Purposes only: Skip to 3:20

Growing up, silence was like shadow in the house it was clearly there but never “visible”. Emotions were camouflaged as strength. And survival, continuous, excruciating survival was my everyday reality. Based on Micere Keels, trauma and learned behaviors are often pass down like “unseen threads,” stitching each generation to the one before it (Keels 68). I felt thoes threads pulling at me, influencing the way I respond to situations, love and terror. These pattens had me questioning, “Is this the way life is supposed to be?” I knew deep down it wasn’t, which is why I want to change, not because I was failed by family , but because I knew I didn’t wish to continue the cycle. 

These patterns fortunately didn’t break me, instead built my aspirations. They became the root from where my aspirations grew. Lisa Thomas explains in her TEDx Talk, our “inherited emotional DNA” quietly influences how we navigate relationships, opportunities, and even self-worth (TEDx Talks, Inherited Emotional DNA). As I grew older witnessing emotional trauma, financial problems, and unspoken pain pushed me to want a better future. I aspire to experience stability because I’ve never seen it. I’ve only learned to control my emotions, so I aspire to express my feelings instead of keeping them to myself. I have seen the affect it has on many. I aspire to bring new opportunities, knowing hoe limited choices makes people rely on one another. Not only do I want to be better than my family, I wish to break the damaging generational cycle. 

Anat Gofen argues, first-generation achievers create “family capital” by choosing differently than the generations before them (Gofen 105). To build my future I have learned be confident in the choices I make. Learning to communicate, attending higher education, healing from unspoken trauma, working to support myself, and investing in myself, go against all the generational patterns I grew up around. According to Makayla Allia understanding where our family patterns come from is the first step in “redefining how we relate and who we become” (Allia). Each step I take proves my commitment to change because they are planned to help me push through and rise above the cycles I grew up with. 

Renata Merino’s TEDx Talk says that breaking generational patterns isn’t one moment—it’s a series of “small, persistent acts of courage” (TEDx Talks, Breaking Generational Patterns). My actions may be small, but breaking the cycle is not easy, but I will succeed at it. I aspire to break the generational curse I inherited by creating a future based on stability, emotions, and new opportunities. These patterns influenced me to become the woman I am today, and I dreamed for a better life, and I am slowly taking the necessary steps to building a brighter future for myself and the generations after me.

Born in an unnamed town, young Griffith was a poverty-stricken orphan who, at times, often could not secure even a piece of bread for sustenance. Already bereft of hope for a better life and relegated to the lowest social class imaginable, Griffith could only peer longingly at the castle that sat atop a mountain and dream—dream that one day, he too would be like whoever lived in that monument of wealth. Despite his status, however, viewing that castle planted seeds in his mind that eventually blossomed into his goal of not only becoming a king, but also having his own kingdom. One could say that, because he had nothing, he wanted it all, and he would stop at nothing to attain it. 

In order for this immensely ambitious dream to come true, Griffith decided to become a mercenary, a soldier who fights for pay. Founding the Band of the Hawk at the tender age of fourteen, Griffith quickly became known as a youth who could lead a cohort of rambunctious soldiers and still produce results. Not long after creating his band and subsequently accruing a modicum of fame, his biggest opportunity had arisen. Hired by a wealthy feudal lord named Gennon, Griffith, recognizing the man’s lustful desire for his company, sacrificed his body and pride to attain a single brick for his ascent to kingship. This moment already highlights ways in which one’s dream could potentially outweigh the consequences. Personally, the mere thought of sacrificing my flesh to attain anything makes my skin crawl. But I also cannot deny that, in the pursuit of my dreams, I am not as stalwart as Griffith. To do such a thing—morally precarious as it may be—all for the sake of chance, is both courageous and confounding. 

With time, Griffith slowly became less of a man and more of an icon—almost like a god. To his subordinates, his dream was theirs; his words, his actions… infallible. What does that do to the psyche of a human? Not to mention, one so young and trauma-laden? It warps it—at least, that’s what I have gathered from my read through. Initially, Griffith was portrayed as someone who cares for others, cherishes his comrades, as seen in his saving and subsequent adopting of Casca, the female lead. But after the events of his time with Gennon and his slow accrual of Band of the Hawk members, he became selfish, detached, less empathetic, and strategically charming. Griffith no longer cared for the lives of others. His goal, his dream, became paramount above all else. A fine example of his change in nature was during his first encounter with the main protagonist, Guts. “I always get the things I want,” Griffith says before their first duel, one which he incited as he wished to “possess” Guts. At the end of that same duel, Griffith makes another chilling remark, “Now you belong to me.” Inundated and drunk on power, it’s clear that Griffith was solely focused on achieving his dream. As he gathers his pawns, he inadvertently blinds himself to the ramifications that may occur. And in doing so, he leaves himself open to tragedy. 

With Guts by his side, Griffith believed he was finally at the starting line of his dream, with the finish just in sight. Guts was not only a soldier to him, but he was also a pillar—one he hadn’t had since the band's inception. Though in relying heavily on Guts, Griffith, a man who reveled in solitude despite his proximity to people, showcased how his selfish endeavor wasn’t so selfish at all. He needed Guts, the band… Gennon. Without them, his aspiration would remain a mere thought floating on the endless sea that is his mind. Yes, he made many a sacrifice. Yes, he alone will become king. But his goal of becoming one rode entirely on the backs of his subordinates, with the most cumbersome load resting on Guts’ shoulders. That’s why, when Guts, after overhearing a conversation between Griffith and Princess Charlotte, decided to leave the band to become someone worthy of standing by Griffith’s side, not just as a right hand, but also as an equal, the latter grew incensed, leading to his eventual downfall and unethical rise. 

Unlike their first duel, Guts, this time more experienced, more powerful, decisively defeated his boss and friend, leaving the latter dazed and bewildered. This one-sided altercation marked the fall of the untouchable Hawk. Stripped of his confidence, his dream that was so close now slipping away, Griffith began to spiral. According to David Hume, as written in the Journal of Philosophy by T. H. Irwin, “... morality will guide action as it does only if it contributes to some goal chosen by desire, not by reason.” This sentence in particular greatly illuminates Griffith’s subsequent actions. His meeting with Princess Charlotte. The eclipse… Griffith was a man on a mission. Lacking in morals, empathy, and so much more, only his dream mattered in the grand scheme of things, abandoning reason—and even his humanity—entirely. 

Ultimately, Griffith achieved what he longed to do. He became a king, with his own castle on the hill and a kingdom of his own. But the path that he strode to get there came only after he sacrificed everything, everyone, that held him up—that considered him God. Alone, he stood atop corpses of friends, gazing out at what was now his, and on his face, not a shred of emotion. The cost of his ambition outweighed the dream, not because he failed to reach it, but because of how he achieved it, and what he lost in pursuit of it. So, how far could one go to achieve their dreams? If Berserk and Griffith have anything to say about it, it’s as far as one is willing to go. In closing, I will leave you with a quote fitting Griffith’s triumph and tragedy: “Power tends to corrupt, and absolute power corrupts absolutely.”—Lord Acton.