Where I really come from (Invincible)

Perfect Game (Attack on Titan)

Re; (Code Geass)

Kiesareta Nakama-tachi: Mugiwara Ichimi Saigo no Hi (One Piece)

This Person x and x This Moment (Hunter x Hunter)

Shattered (The Clone Wars)

Chimera Ant arc (Hunter x Hunter)

Return to Shiganshina (Attack on Titan)

Farming arc (Vagabond)

These are all great arcs, and I consider them the best of their works

Hunter x Hunter offers a multi-faceted philosophical exploration through Gon’s deconstruction of the archetypal shonen protagonist, Meruem’s development beyond survival of the fittest, Netero’s showcase of the potential of human malice, and more

Attack on Titan gives some of its best character moments and most meticulous plotting. Erwin’s charge with the recruits, Armin’s resolve accepting costs and responsibility, Levi’s decision to spare Erwin of his suffering, and the basement reveal are instances of AOT’s best and most consistent episode-to-episode writing

Vagabond serves a culmination of Musashi’s journey towards inner peace. The crop failures humble Musashi and present him with a challenge that raw strength is insufficient to overcome. He learns to cultivate life through patience and humility, and finally recognizes that his idea of “invincible under the sun” was an illusion

Monster probably contains the best-written female cast in seinen I’ve completed. Eva and Anna are solid, dynamic, and independent characters who naturally reinforce the core themes of the story

Eva begins the story trapped by social status and external validation. After losing everything, she’s forced to confront the fact that she spent her life conforming to society instead of forming her own character. Her arc is fundamentally about choosing the person she wants to become

Anna shares much of Johan’s traumatic past, yet refuses to let it dictate who she is. Her final forgiveness of Johan is an affirmation of Bonaparta’s words that she recalls earlier in the chapter, “humans can become anything”, now understood with their full context. She realizes that her past doesn’t determine her character, and neither does Johan’s determine his

I recognize these are only two characters, but is there a seinen with a stronger overall female cast?

My list:

1. End of the Prologue (Vinland Saga)

2. Landscape of the End (Monster)

GAP

3. Memories of the Future (Attack on Titan)

4. Two Paths (Vinland Saga)

5. Declaration of War (Attack on Titan)

6. Zero x And x Rose (Hunter x Hunter)

7. This Person × And × This Moment (Hunter x Hunter)

8. The Other Side of the Gateway (Fullmetal Alchemist: Brotherhood)

9. Anger x And x Light (Hunter x Hunter)

People love to view Monster as an ideological clash between two opposing philosophies: Johan's existentialism nihilism and Tenma's humanitarian egalitarianism. It's a neat paradigm, but an interpretive trap. In my opinion, upon some discussion and reflection, this is a misread of what Urasawa is attempting to accomplish with the work

I firmly believe that Monster is fundamentally critiquing this very notion. It is, for lack of a better word, "deconstructing" this idea. Thematically, Urasawa positions humans not as ideological embodiments, like in fairy tales, but as complex, messy, multi-faceted individuals that intrinsically cannot be reduced to singular principles

Examine the systemic villains in the story - Kinderheim 511, Bonaparta and the Red Rose Mansion, Capek, The Baby, and the neo-nazis. Their goals were to engineer the "perfect soldier", create the "perfect leader", and to install the "perfect Fuhrer" respectively. Johan is the result of these forces seeking to turn him, with his already shattered ego, into an abstract concept

When one interprets Johan as "the avatar of nihilism", and Tenma as "the avatar of humanism" - they are doing exactly what the institutional antagonists of the series attempted to accomplish

The Nameless Monster is a cautionary tale about what happens when a person is dehumanized and made an empty vessel for "ideas" - coincidentally, this fairy tale is Johan's blueprint. He destructively consumes, yet his acts are inherently empty and fail to fulfill him

Johan's ideologies aren't profound, philosophical inquiries. They are whatever coping mechanism fits his broken psyche best at the time. When he kills someone, he is not emblematic of some meaningful philosophical agenda, but rather one attempting to externalize his negative experiences onto the world around him. The "game" that he teaches the kids is a perfect example - there is no true, underlying meaning behind his actions that isn't superficial

Wanting to be the "last one standing" is simply a reflection of his experiences with humans. It isn't actually symbolic of a deep, existential stance; it's the defense mechanism of a traumatized and abused child - he can't be hurt if there's no one left to hurt him

When Johan uncovers the truth about his past, that his mother may not have wanted him, his desire to complete the "perfect suicide" is a localized trauma response - he realizes that he might've been undesired by even his mother, leading him to seek his own complete erasure. It extinguishes the minuscule hope that he didn't even know he still possessed - he seeks the void to retroactively fulfill his mother's abandonment

Reducing Tenma to a symbol of humanism does his character a complete disservice. His doctrine that "all lives are equal" is not some all-encompassing, infallible agenda that he enforces on the world. It is a personal worldview that he struggles to maintain. Many times, he comes to the decision that he will kill Johan once and for all. He learns how to shoot, and even ends up firing at Roberto - who remains alive due to sheer, blind luck. Tenma isn't allowed to maintain his code because he is a "symbol of good", but because that is how causality shakes out

Tenma is not the embodiment of karmic goodness triumphing over absolute evil - he is an exceedingly lucky man that somehow managed to stick to his personal code through exceptionally good fortune, causality, and the fortuitously timed aid of ordinary people. The ending is a brilliant showcase of this notion

There is no resolution to the confrontation of opposing ideals. Tenma's humanitarian egalitarianism isn't declared the victor of the doctrinal battle, nor is Johan's existential nihilism. Some drunk stumbles upon Johan and shoots him in the head because he saw his son in danger. Johan's philosophical narrative, that he spent the entire series building, is shattered by random causality

Tenma's decision to save Johan's life, once again, isn't the triumph of humanism. It's simply what Tenma wants to do - in line with his personal values. Tenma's hallucination serves to reveal the impacts of the trauma he has received, and the lingering effects on his very human psyche. The empty bed, with messy sheets, and the open window represent Johan finally escaping the ideological narrative itself. He is no longer a "perfect" symbol - the sheets are ruffled, he has left a trace. He escapes the delusion - he realizes that he is not an "avatar of nihilism", "perfect leader", or a Monster

Lelouch's finale skips over much of the “how”, but it’s well-done on a thematic level. It managed to neatly tie all of the loose plot threads together, and deliver a conclusion that was, overall, satisfying. He's able to accomplish his goal, and validate his ideology of “the ends justifying the means”

The paneling and parallels in Aki's conclusion are incredible. In my opinion, his conclusion is foreshadowed quite well, and I've really grown to appreciate the tragic subversion. It's bleak, but makes complete sense

I'm curious as to which y'all think is better written

In modern naturalist narratives, I think that a character should generate the story's themes through their psychology, instead of possessing psychology that exists to elucidate the work's themes

A theme in a story is effectively an investigation into reality - explored in a fictional medium. Reality isn't sterile. Outside of highly stylized works, that intentionally discount psychological depth, where people go in with specific expectations (satire, allegories, fables, metafiction, etc.) - a character reduced to their ideological functionality becomes an abstract lecture instead of a profound exploration

I believe the writing of characters like Floch, Vargr, and Makima is limited by these factors. I'm not implying that they're poorly written, but I believe that they're closer to well-written thematic vessels than fully-realized characters - it's a spectrum. They are psychologically coherent, but all of their dynamics and character moments of substance are primarily driven by the theme that they embody

Floch - his characterization is emblematic of the radicalized everyman, and how extreme trauma and survivor's guilt can evolve into hardened, reactionary extremism. Early on, he possesses the relatively trivial and archetypical characterization of a fearful, ordinary soldier. After his complete shift, his interactions exist almost exclusively to showcase the mechanics of ultranationalism (ideological purification and radicalization, racial supremacy, authoritarian spectacle to discourage dissent), existing as a foil to the main cast, with little depth of psychological exploration - he becomes increasingly subordinate to his thematic role

Vargr - his characterization is purely a vehicle for exploring the obsolete soldier, and how innate human desire will replace lost purpose if given the opportunity. He is lacking in independent character and agency beyond this thematic function, though it can be attributed to his absence of on-screen presence

Makima - her characterization is at the peak of this archetype, stemming from her nature as a devil. She is the conceptual embodiment of "control", and, as a result, her every action is a demonstration of this essence. While this highlights the underlying tragedy regarding her nature (she is perpetually searching for an equal that she will never find), it constrains her. Though this instance is more intentional due to her alien nature, I believe it still limits the thematic exploration from escaping flatness - her character consistently remains framed through the same conceptual lens, with her psychology reinforcing the central theme rather than creating new thematic dimensions through independent psychological complexity

The Wire excellently maintains the thematic roles of its characters while accounting for psychological depth. Carcetti is a perfect example. He is used to illustrate why systemic change within institutions is destined to fail on a political level, but remains deeply grounded and multi-faceted while doing so. His personal ambition, insecurity, need for validation, and the earnest ideals he carries - his complexity - naturally results in the intended themes of the narrative being demonstrated

These are my thoughts, at least. What do you think?

Intro

Cutty and Vargr are characters thematically central to their works. They embody the obsolete soldier replacing the void that follows empty, normalized institutional violence with newfound purpose. Despite the works they appear in being set in highly distinct eras - both are emblematic of the innate human need for existential fulfillment, and the aimlessness that can follow

The word "vargr" can literally translate to "wolf", but it carried a much heavier weight in the context of the law and society - "an outlaw, who is to be hunted down as a wolf". These individuals were thrown out of the community and stripped of protections

Cutty

https://preview.redd.it/vl1jia3um1ch1.png?width=686&format=png&auto=webp&s=cd43f536c6af900dd047bf9834c79fc2dbd8ceeb

When the audience is first introduced to Cutty, it is through the lens of Avon (the old-school gangster). He sees the worth in a soldier as practiced in the old ways as Cutty - offering him a job as muscle. However, Cutty has already spent 14 long years in prison (after turning himself in for murder - likely influenced by the subconscious desire to leave his violent lifestyle behind). His youthful ferocity has left him, he remains unsure of the route he intends to take, but he is left with nowhere to turn

Though the deacon attempts to provide him with purpose and a path forward, he faces issues with reintegrating into society due to his lack of a conventional education and the institutionalized prejudice against one who has been in the penal system - he can be likened to a sort of modern-day vargr, in a less extreme sense, but cast out of orthodox society and stripped of fair-minded appraisal nonetheless

This compels his return to the enforcer lifestyle. Prior to his incarceration, the criminality that he partook in followed the specific honor-bound framework of "the game" that valued loyalty, respect, and the precise application of violence. Due to his strict, no-nonsense ability to get the job done, he was lauded with esteem and admired by many - leaving him relatively fulfilled

After his release, he is encountered with a disparate reality - the new generation of dealers is less restrained, unshackled by honor, and frighteningly callous. Fruit scams him without any regard for his status, or the concept of integrity. Hitmen use automatic weapons with a reckless disregard for precision or collateral damage. "The game" has changed - it isn't a separate entity, but it has inevitably evolved into a more extreme version of itself. Cutty had always been able to compartmentalize empathy to some extent (though likely not entirely), but this dissonance now utterly prevents him from being able to move forward with his held ambitions

https://preview.redd.it/vnr9tqkvm1ch1.png?width=686&format=png&auto=webp&s=5b607d13515a43be33a5eda54fc19cc3a3c7f91f

When Cutty attempts to lethally respond to Fruit's defraudation, he is unable to pull the trigger. He is literally paralyzed physically by this cognitive dissonance - the empathy that he was able to conceal up until this point has boiled over. He recognizes that he no longer has any place in "the game". He approaches Avon, who lets him leave out of respect for the contributions, backbone, and loyalty he showed - exemplifying his status as old blood. He is left directionless

After some thoughtful contemplation, and further discussions with the deacon, he is offered the chance to redefine his identity and purpose. In prison, he channeled his raw vigor into sport. Boxing allows for a form of combat, yet it is strictly regulated by rules and discipline - emblematic of Cutty's character. The deacon helps him realize that he can create purpose out of his mistakes, constructively guiding the energy of the youth - Cutty accepts this purpose and rechristens himself "Dennis"

Crucially, he wouldn't have been able to pursue his aspirations alone - institutional bureaucracy and prejudice remained overwhelming obstacles. With the indispensable aid of the deacon's connections and ability to work the institutions in place (along with $15k in cash from Avon), Dennis was able to lift himself out of "vargr" status and become an essential part of the community without being crushed by the system

Vargr

https://preview.redd.it/n54gni3xm1ch1.png?width=1080&format=png&auto=webp&s=ad1a052a41ed3208b45d99df80fcd1ca71b887fb

"The Ragnarok Dialogue" might be one of the most mischaracterized chapters in all of animanga. Vargr and his crew are not representative of Viking fanatics, but rather those who have lost all purpose. The Jomsvikings, the brotherhood that was their reason for living, have been dissolved. They refused Thorfinn's earlier offer to work under Canute due to their underlying resentment - he was the one that stripped them of their life's meaning

While many of the former vikings were able to rejoin civilization relatively quickly (as many did historically), they feel as if they have nowhere to turn to, no skills to integrate themselves into society, so they look to the only thing they've known for the majority of their lives - the battlefield

https://preview.redd.it/qoehnreym1ch1.png?width=1080&format=png&auto=webp&s=cd6ab1a6fac19f6a797f57ba50db10b87838cb34

They remain outcast, lone wolves who have no place in community. His name is fitting - "Vargr" truly describes his status relative to civilization. They cling to their delusions of glorious death and Valhalla not because they are particularly zealous, but because they have nothing else

https://preview.redd.it/fhmawihzm1ch1.png?width=1080&format=png&auto=webp&s=6a3be2881969b2bdfb5c84837c86c95be3ee3378

When Thorfinn questions their beliefs, the reaction is laughter from Canute, a mixture of bewilderment and reluctant assent from those gathered, and an absolute projected denial from Vargar. He cannot just accept what Thorfinn says, even if it is logically sound - he has built his current reason for existence on the bedrock of this half-hearted, fatalistic belief

https://preview.redd.it/gyz2imc0n1ch1.png?width=1080&format=png&auto=webp&s=1f3748c01002bfe9d76bd2d1bdfcd736b6cf27c3

Thorfinn's response is to point out that they can create their own reason for existence. This strikes at the heart of the existential issue that the former vikings are faced with, but his philosophical answer doesn't immediately resolve the dilemma. Then, much like the deacon offering his vital aid to Cutty, he helps them deal with the institutional forces at play and offers them a tangible lifeline: a place in his expedition

https://preview.redd.it/cxfz9oa1n1ch1.png?width=1080&format=png&auto=webp&s=dda789502f450cfe51830f84f061b74166cff445

The decision is ultimately left to Vargr. Much like Cutty, he is the one required to make the final choice - he can give in to the fatalistic myth that he was indoctrinated into, guaranteeing the execution of his men, or embrace personal agency. While pop culture often reduces Norse warriors to mindless zealots, Norsemen have historically been highly adaptable and pragmatic. This chapter is a microcosm of the same concept - Vargr chooses survival and purpose

Through this interaction, Yukimura is not simply arguing that rationality will prevail. Vinland Saga shares the same conclusion of The Wire in this respect - the innate human desire for purpose, community, and life can overcome even the most intense conditioning

Extra: Ed Wuncler III

The Boondocks offers a chilling, static foil in Ed Wuncler III. While institutional pariahood can be the catalyst for change, Ed represents a complete inversion of the vargr archetype - one who is utterly insulated by the society's institutions. His grandfather effectively owns the town, police, and local government. He is a literal obsolete soldier - returning to the suburbs post-war with severe PTSD and a heavily militarized psychological framework

He robs banks, shoots up convenience stores, and kidnaps people simply to recapture the thrill of urban warfare. Because he is endlessly protected from the consequences of his actions by systemic privilege, he never experiences the required cognitive dissonance to go through real change. Wuncler III forces conventional civilization to adapt to his violence, rather than the other way around. The Boondocks argues that if the system is rigged in one's favor, the obsolete soldier isn't incentivized to lay down arms

Intro

Cutty and Vargr are characters thematically central to their works. They embody the obsolete soldier replacing the void that follows empty, normalized institutional violence with newfound purpose. Despite the works they appear in being set in highly distinct eras - both are emblematic of the innate human need for fulfillment, and the aimlessness that can follow

The word "vargr" can literally translate to "wolf", but it carried a much heavier weight in the context of the law and society - "an outlaw, who is to be hunted down as a wolf". These individuals were thrown out of the community and stripped of protections

Cutty

https://preview.redd.it/pmsgsck4fwbh1.png?width=686&format=png&auto=webp&s=6b003d1d27505b1827adbc24df4fef819e196c12

When the audience is first introduced to Cutty, it is through the lens of Avon (the old-school gangster). He sees the worth in a soldier as practiced in the old ways as Cutty - offering him a job as muscle. However, Cutty has already spent 14 long years in prison (after turning himself in for murder - likely influenced by the subconscious desire to leave his violent lifestyle behind). His youthful ferocity has left him, he remains unsure of the route he intends to take, but he is left with nowhere to turn

Though the deacon attempts to provide him with purpose and a path forward, he faces issues with reintegrating into society due to his lack of a conventional education and the institutionalized prejudice against one who has been in the penal system - he can be likened to a sort of modern-day vargr, in a less extreme sense, but cast out of orthodox society and stripped of fair-minded appraisal nonetheless

This compels his return to the enforcer lifestyle. Prior to his incarceration, the criminality that he partook in followed the specific honor-bound framework of "the game" that valued loyalty, respect, and the precise application of violence. Due to his strict, no-nonsense ability to get the job done, he was lauded with esteem and admired by many - leaving him relatively fulfilled

After his release, he is encountered with a disparate reality - the new generation of dealers is less restrained, unshackled by honor, and frighteningly callous. Fruit scams him without any regard for his status, or the concept of integrity. Hitmen use automatic weapons with a reckless disregard for precision or collateral damage. "The game" has changed - it isn't a separate entity, but it has inevitably evolved into a more extreme version of itself. Cutty had always been able to compartmentalize empathy to some extent (though likely not entirely), but this dissonance now utterly prevents him from being able to move forward with his held ambitions

https://preview.redd.it/b3p28m9lcxbh1.png?width=686&format=png&auto=webp&s=00326ae79bde3332020750947d1815bfc5b4ca87

When Cutty attempts to lethally respond to Fruit's defraudation, he is unable to pull the trigger. He is literally paralyzed physically by this cognitive dissonance - the empathy that he was able to conceal up until this point has boiled over. He recognizes that he no longer has any place in "the game". He approaches Avon, who lets him leave out of respect for the contributions, backbone, and loyalty he showed - exemplifying his status as old blood. He is left directionless

After some thoughtful contemplation, and further discussions with the deacon, he is offered the chance to redefine his identity and purpose. In prison, he channeled his raw vigor into sport. Boxing allows for a form of combat, yet it is strictly regulated by rules and discipline - emblematic of Cutty's character. The deacon helps him realize that he can create purpose out of his mistakes, constructively guiding the energy of the youth - Cutty accepts this purpose and rechristens himself "Dennis"

Crucially, he wouldn't have been able to pursue his aspirations alone - institutional bureaucracy and prejudice remained overwhelming obstacles. With the indispensable aid of the deacon's connections and ability to work the institutions in place (along with $15k in cash from Avon), Dennis was able to lift himself out of "vargr" status and become an essential part of the community without being crushed by the system

Vargr

https://preview.redd.it/oi7vqngjexbh1.png?width=1138&format=png&auto=webp&s=7de4e461a481dab859096e3c367a122d9f3c76f0

"The Ragnarok Dialogue" might be one of the most mischaracterized chapters in all of animanga. Vargr and his crew are not representative of Viking fanatics, but rather those who have lost all purpose. The Jomsvikings, the brotherhood that was their reason for living, have been dissolved. They refused Thorfinn's earlier offer to work under Canute due to their underlying resentment - he was the one that stripped them of their life's meaning

While many of the former vikings were able to rejoin civilization relatively quickly (as many did historically), they feel as if they have nowhere to turn to, no skills to integrate themselves into society, so they look to the only thing they've known for the majority of their lives - the battlefield

https://preview.redd.it/cwn6ifdnexbh1.png?width=1138&format=png&auto=webp&s=5714a08a1654d1f340c2e2556f53ead87bd7d7a2

They remain outcast, lone wolves who have no place in community. His name is fitting - "Vargr" truly describes his status relative to civilization. They cling to their delusions of glorious death and Valhalla not because they are particularly zealous, but because they have nothing else

https://preview.redd.it/tg6ti947nxbh1.png?width=1138&format=png&auto=webp&s=c62695cc479cbcf265feb878e354552ca19e0d79

When Thorfinn questions their beliefs, the reaction is laughter from Canute, a mixture of bewilderment and reluctant assent from those gathered, and an absolute projected denial from Vargar. He cannot just accept what Thorfinn says, even if it is logically sound - he has built his current reason for existence on the bedrock of this half-hearted, fatalistic belief

https://preview.redd.it/xz84rshhoxbh1.png?width=1138&format=png&auto=webp&s=26d6715f8ce7ec764e11c8a042ee56c357f8eefa

Thorfinn's response is to point out that they can create their own reason for existence. This strikes at the heart of the issue that the former vikings are faced with, but his philosophical answer doesn't immediately resolve the dilemma. Then, much like the deacon offering his vital aid to Cutty, he helps them deal with the institutional forces at play and offers them a tangible lifeline: a place in his expedition

https://preview.redd.it/dul8hayssxbh1.png?width=1138&format=png&auto=webp&s=5dd0e5105f1daafff695c268472c2fedc45157a7

The decision is ultimately left to Vargr. Much like Cutty, he is the one required to make the final choice - he can give in to the fatalistic myth that he was indoctrinated into, guaranteeing the execution of his men, or embrace personal agency. While pop culture often reduces Norse warriors to mindless zealots, Norsemen have historically been highly adaptable and pragmatic. This chapter is a microcosm of the same concept - Vargr chooses survival and purpose

Through this interaction, Yukimura is not simply arguing that rationality will prevail. Vinland Saga shares the same conclusion of The Wire in this respect - the innate human desire for purpose, community, and life can overcome even the most intense conditioning

Extra: Ed Wuncler III

The Boondocks offers a chilling, static foil in Ed Wuncler III. While institutional pariahood can be the catalyst for change, Ed represents a complete inversion of the vargr archetype - one who is utterly insulated by the society's institutions. His grandfather effectively owns the town, police, and local government. He is a literal obsolete soldier - returning to the suburbs post-war with severe PTSD and a heavily militarized psychological framework

He robs banks, shoots up convenience stores, and kidnaps people simply to recapture the thrill of urban warfare. Because he is endlessly protected from the consequences of his actions by systemic privilege, he never experiences the required cognitive dissonance to go through real change. Wuncler III forces conventional civilization to adapt to his violence, rather than the other way around. The Boondocks argues that if the system is rigged in one's favor, the obsolete soldier isn't incentivized to lay down arms

The provided image is only an example of a title-drop - not necessarily what I consider the best

Incantation was one of the first unsettling horror films I watched, it actually managed to creep me out. The atmosphere and slow tension-building were great, but the characters except for Ronan weren’t as strong as they could’ve been

In my opinion ending was the movie’s strongest element, the fourth-wall break where the curse was transferred onto the viewers, and essentially diluted to the point of impotency, was a novel stroke of ingenuity. It was a clever way of involving the viewer while also providing a satisfying conclusion

In my opinion, many people approach Elden Ring with the wrong mindset regarding its narrative - only focusing on the exceptional, cinematic cutscenes and theatrical character dialogue. Because they aren't expecting a text-heavy visual novel, they tend to ignore the micro-components of the first-rate narrative in favor of its stellar gameplay

The relevant item descriptions are phenomenal, and contribute a large amount to the nuance and characterization present. They are concise, yet deeply meaningful

https://preview.redd.it/qwh4gfzoepah1.png?width=1650&format=png&auto=webp&s=6c191f9cb0178653c2261b1052293fe06242b2ed

>Astrology tool used by members of the Carian royal family. A stolen part of a larger instrument. Allows the viewer to better see faraway things. During the age of the Erdtree, Carian astrology withered on the vine. The fate once writ in the night skies had been fettered by the Golden Order.

Above is the item description of the relatively mundane telescope

>Astrology tool used by members of the Carian royal family

This allows us to understand the item's origin, simultaneously explaining who the former owners were and characterizing Carian society as being built on observation and science. The deliberate use of the word "tool", rather than something like "relic" or "talisman", conveys how the Carians were distinct from the zealots of various other factions like the Golden Order

>A stolen part of a larger instrument

This introduces an immediate sense of violation and disrespect. An intentionally crafted, meticulously made scientific instrument has been ruined and scavenged for parts. This dismantling by an outside force perfectly mirrors the fragmentation of the Carian royal family and academy of Raya Lucaria who once worked in tandem, in addition to the psychosis of Rennala's mental state - both of which were shattered due to Radagon's abandonment

>Allows the viewer to better see faraway things

Finally, we reach the simple description of the item's mechanics. The telescope allows the user to see further - duh. If Elden Ring were an inferior game, this one line would constitute the entirety of the item description

>During the age of the Erdtree, Carian astrology withered on the vine

Highly evocative imagery is utilized to describe the slow death of the highly scientific, methodological study of the Carians under the age of the Erdtree and Golden Order. The use of the phrase "withered on the vine" implies that the Golden Order didn't simply rely on military might to stifle their opponents, but actively suppressed them both ideologically and scientifically

>The fate once writ in the night skies had been fettered by the Golden Order

This is the ultimate conclusion of the Carian legend. The Golden Order shackled not only their ability to research and read the stars through the use of Rennala's own son's, Radahn's, gravity magic, but also their right to self-determination - chaining their fate to the Erdtree instead of some outside cosmic force; trapping them in the same cycle of stagnation

This is where the genius of the game shines - the micro-narrative perfectly consolidates into the macro-gameplay. This flawlessly ties in to Ranni's quest. In order to bring in a new age of stars unshackled by the faults of previous orders, to undo this exact suppression, we must violently destroy this past by killing an actively rotting and crazed Radahn - emblematic of the total stagnation of the system in place putrefying its upholders and subjects