{ じぶんの NEET//dom }

The fact was that Hajime made him comfortable and welcomed enough to express the notions born of his innate empathy and candid feelings without compulsively producing hallowed reminders of his own unworthiness every two seconds (because Hajime WAS talentless and everything precious and golden about him was isolated from talent), and yet, when Nagito realized this all came from the absence of talent and the presence of something else — non-absolute — he just detonated it all willingly. He even had to cover up his ‘inferior’, ‘sublunary’ love for Hajime with a sentiment justifiable with the supremacy and eclipsing worth of hope (“please know that I love y—I love the hope sleeping inside of you...”).

The writers were so intentional about working in the progression of Lloyd's convictions—and his courage to shoulder consequences along with action—resonating with Zelos as narrative beats that virtually everyone who hates this character willingly acknowledges that he is well-written. Overtime, we see Zelos stop treating the oppressive societal structures in Tethe'alla with indifference and a defensive helplessness and discreetly welcome the discomfort of realizing his complicity in the injustice through his passivity, campaign of wilful, existential indolence and entrenched self-pity. In his Flanoir scene, he opens up about his trauma to Lloyd in an act of seeking the assurance to seal this change and be morally, philosophically vulnerable, longing for a promise of sheltering in the form of unconditional trust that is stalwartly certain enough to contain his meek and clumsy foray back into trial-and-error idealism.