The thing about Sayeon is that everyone in her family is objectively fucking cool but also not very good people so sheâs been moralised against being cool

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@k9punkout
The thing about Sayeon is that everyone in her family is objectively fucking cool but also not very good people so sheâs been moralised against being cool

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hand jumper and gender
i don't talk a lot about this topic because its very personal to me, but i really love how hand jumper approaches gender.
firstly, gender is not used as a deciding factor in a character's role. female characters are not given extraordinary powers like many fantasy series (cough star wars) out of nowhere. they are treated like real people that have to work for their power. women in hand jumper have a different kind of narrative weight: agency. sayeon lee chooses to rewind. ryujin chooses not to lose her gift. sara chooses to leave for hongsan island. samin chooses to create the crimson society. but apart from that, women are also in positions of power. two out of three known aberrant corps heads were women. sara lee, the almost head of the sea wolves is a woman. heck, even the (arguably) main antagonist, officer ahn, is a woman.
so many impactful choices are made by women, which just goes to show how much the author respects them. secondly, gender is approached with much needed nuance. sayeon lee, the mc, is also an amazing representation of gender norms. pre-corps, she is more feminine. she visibly tries to take up as little space as possible. sayeon is a quiet rule follower who displays surface level kindness to everyone. when she joins the corps, she is presented with a new standard of success that prioritizes the most vicious, machiavellian outcomes. additionally, as an aberrant, she is freed from the societal expectations of a human woman. thus, she begins displaying masculine traits as a form of catharsis.
apart from sayeon being very traumatised, this narratively communicates the way that women are affected by structures and rules. women, and especially disadvantaged women, must often perform femininity to be perceived positively.
this is significant because many webtoons and especially manhwas portray women with minimal agency, power, and nuance. hand jumper is a refreshing take that subverts many tropes for the better.
I forgot how much I loved this dumb jock, true female himbo representation
*Pete Davidson voice* Samin Samin Samin

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big hand jumper dump
"when desperation looks this good on you" cmon sayeon you cant be talking about women like that
Finished đ¤ had something different in mind but I'm not upset by the way this turned out at all. Rendering was getting up my nervesss though omg
Sayeon Lee you are destined for doom
Also here's a (technically not) alt version that was intended to be the original color palette cause I was trying to branch out my coloring styles.. & while I do prefer the dark hair vers. i'm still fond of this one
sayeon lee and trust as a substitute for love
in hand jumper, sayeon uses trust as a substitution for love.
sayeon lee has never experienced mutual unconditional love. no one truly knew her for who she was as the daughter of a criminal aberrant. the closest she ever got was jaeil, who died. her sisterâs love is (arguably) unreciprocated. thus, she doesnât acknowledge the love she feels for other people (like all her other emotions). sayeon is a utilitarian. trust is directly tied to her ability to manipulate, by extension, mission success. so, it is the only form of affection that she allows herself to have.
additionally, sayeon doesnât trust people easily. she is a logical person who questions and criticizes everything. in the corps, blind faith could mean death. as a leader, trust is indicative of power and skill, both things sayeon aspires for. sayeon understands the weight trust carries in the aberrant corps, where the survival rate is minimal.
so, she searches for affection through the trust placed on her by other people.
this emphasis on trust is paralleled with love. when sayeon learns her teammates trust her, she starts smiling and blushing, which is a stereotypically romantic reaction. she searches and even craves for trust in the same way many people want affection. in missions, she tries to be as efficient and successful as possible to gain trust. she constantly wonders if characters like min and ryujin trust her. like love, trust needs to be earned. her journey towards gaining trust mirrors a journey towards genuine relationships, albeit a more twisted, complicated version.
but the most compelling parallel is that sayeon lee does not want characters to be forced to trust her. instead, she hopes they will trust her out of their own volition. as ryujin says: âyou want me to choose you all on your ownâ. even absent the obvious romantic undertones, the treatment of trust as something that cannot be forced mirrors the nature of love. in the same way true love is mutual, sayeon wants trust to be real and reciprocated.
through the parallelism of trust and love, sleepacross delves into complex and ambiguous relationships, which allows her to further explore themes of moral grayness. but more than that, she explores how a personâs psyche can be impacted by trauma, and thus, inability to acknowledge love.
smoking to the thought of you

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that one scene from chp 105 but make em shotgun a cig
anw first post :D
Drawing them sleeping and curled together is a guilty pleasure of mine okay
Part 1
the parallels between Captain Han and Sayeon are so much fun. A red tie and blue glasses, red glasses and a blue tie. Schemers. WILL overthrow the system and change status quo. Both have a same sex colleague that is perplexed by their #strange behaviour.
LOOK EVEN THEIR FAKE ASS POLITE SMILE IS THE SAME TOOđđ
Weekly Twitter art dump

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thinking about sayeon and her guilt.
ryujin carries a tremendous amount of guilt for having precipitated the death of her family, yet she is still able to recognize that, ultimately, she was just a child who wanted to do good. what happened to her was profoundly unfair, and not the fault of a well-intentioned child acting with limited understanding. of course that doesnât stop her from feeling guilt, but it allows ryujin to situate her actions in a broder context and therefore recognise the larger actors at play that are the actual root of why that happened.
sayeon, by contrast, views herself as the sole component responsible for everything that happens. she avoids directing frustration toward the actions of others because, in her view, âblaming othersâ inhibits self-improvement. as a result, she dismisses the behavior of others as something not worth dwelling on, and instead concludes that she should have anticipated and accounted for their actions in advance. and of course sayeon assumes blame for every negative outcome. because if sheâs at fault then the situation must have been within her control; and if it was within her control that would entail she has the power to fix everything. this mindset is foundational to sayeonâs world view. accepting limits to her responsibility would also mean accepting limits to her ability to remedy what goes wrong, something she is unwilling to concede. a good example of this is the juxtaposition of ryujin and sayeonâs approach to the aberrant corps. ryujin views the system itself as fundamentally unsalvageable. conversely, sayeon believes that even a decades-old structure like the aberrant corps system can be fixed, and that she herself has the capacity to do so.
everything sayeon does is fueled by a guilt that has been gnawing at her since she was a child. throughout her life, she has lived with the singular aim of purifying herself of her familyâs sins. the irony is that she is not responsible for her familyâs actions; she did not make those choices, nor did she participate in them. but she still insists on carrying the weight of it, because in her mind the burden must be borne by someone. and since her family lacks the conscience or willingness to confront their wrongdoings, the responsibility naturally falls on her. and since this is the idea that sayeon has internalised, her identity becomes inextricably tied to atonement for wrongs that were never truly hers.
she did everything by the book, striving to become the perfect rule-abiding, dutiful citizen in an effort to compensate for the wrongs committed by those around her. she dressed in a deliberately feminine and modest manner; she even set her sights on attending law school, pursuing a path associated with order, justice, and propriety. she allowed herself to be pushed around at school and never defended herself against the degradations her classmates directed at her. because this was her penance.
i mean, sayeonâs guilt extends even to her own existence, believing as she puts it, âthe world will never become a better place as long as thereâs someone like me living in itâ. but if she believes that sheâs in control, she can fix everything, including and especially herself. however, if she were to concede that she is not responsible for everything, then she would also have to contend with the fact that she was never fully in control, and if thatâs the case, what if sheâs someone that canât be fixed? what course of action should she take then when she firmly believes that the world will never improve for as long as she still lives? should she just cease to exist then, if sheâs nothing but a net-minus to society, and she canât fix herself?
every handjumper fan should consider this post required reading
Would Sayeon Lee (Hand Jumper) Be Kira?
Yes, they'd kill people who go against their values
Yes, they'd kill people who personally wronged them
Yes, they'd kill people they generally dislike
Yes, they'd kill to obtain some sort of personal benefit
Yes, they'd kill random people
Only if someone else convinced them to
They'd only kill one or a few people, then stop
No, killing would go against their values
No, they'd find it too risky
No, they'd just have no motive
No, they'd prefer to kill with their own hands