#// not in an evil villainous way it's just not for him

[sammakesart]

Castles in the Fade, or What Was the Point of the Veil Anyway

Something that will now haunt me until the end of time is why was the concept of the Veil ever introduced into this series.

We’ve been hearing about it since the very first game. There’s a codex entry about tears in the Veil in Origins. Tamlen mentions a thin spot in the Veil if you play a Dalish elf. Sandal has a prophecy in Dragon Age 2: “One day the magic will come back—all of it. Everyone will be just like they were. The shadows will part and the skies will open wide. When he rises, everyone will see.” Admittedly, this is just one line said by a character who often says odd things, but it hinted to the fact they were planning to do something with the Veil from the very beginning. The state of the Veil is repeatedly brought up. It all had to mean something! Or so I thought. 

When I saw “The Dread Wolf Rises” quest in Veilguard, I said, “Oh, here we go!” The Veil is coming down, magic is coming back, and it’s going to set up such an interesting story for the next game. 

Alas, no. 

I hadn’t really enjoyed my time playing Veilguard up until this point. It felt like the game was ducking and dodging every bit of world building and lore that could possibly bring nuance or complexity to the story. Every returning character or faction was a cardboard cutout of themself. They shoved Solas is a time-out box and gave him nothing to do. They refused to let him have any impact or influence on the story when he had been set up to be our main antagonist back in Trespasser. This game used to be called Dreadwolf! And while we learn about his past… we never talk to him about it. In the present, he’s in stasis.

Elgar’nan and Ghilan’nain are our villains. And they are your typical evil for evil’s sake villains. They are mad, bad, and only as dangerous as the narrative will allow as to not give Rook and co too much trouble. They are surprisingly patient while Rook fixes all their companions’ problems… until Elgar’nan moves the moon to cause an eclipse. A vital component in making his own lyrium dagger. For some reason. This guy can move a satellite!? And he just let Rook walk away in previous encounters… twice. Ok. Sure.

The Evil Duo need their own dagger ostensibly to tear down the Veil, because they want to unleash the full force of the Blight onto the world. Because they are evil. And they were thwarted last time they tried to Blight the entire world. Why do they think Blighting the world is a good idea? What’s the point of ruling a world if everyone is dead? I guess they haven’t thought that through, because of the madness and the evilness.

Ok, I thought. Perhaps the gods will be the one to tear down the Veil. Or maybe we’ll have a choice to let Solas do it his way before they can, which will be less chaotic and less full of Blight. Because the Veil has to be coming down one way or another? Why introduce the concept of the Veil, especially a Veil that has been thinning and failing since the series began, if it’s just going to… stay.

There is a principle in storytelling called Chekov’s gun. If something is mentioned in a story, it must have a purpose. If you keeping mentioning that gun hanging on the wall over the fireplace, it’s because at some point in the story, someone is going to take it down and use it. The Veil felt like Chekov’s gun to me. Chekov’s Veil, if you will. It’s been here from the beginning of our tale, the spectre hanging over our protagonists’ heads for multiple games.

The Veil has been a character unto itself. It was the central focus of the third game, and its dissolution was set up to be the core conflict of the fourth game. We learn everything we thought we knew about the Veil was a lie. It was not created by the Maker to separate the Fade from this world because of jealous spirits, it was created by a guy named Solas to trap the elven gods and the Blight from destroying the world. Also, the elven gods were never gods, and they are also evil.

This reveal will surely throw the Andrastian religion into chaos! This puts the very existence of the Maker into question! The Evanuris are a lie; it’s only fair Catholicism—oh, I mean—the Chantry is a lie too. We briefly touch on that in Veilguard… then it is quietly discarded. Religious crisis averted.

But I digress.

When the title of the fourth game was changed from Dreadwolf to Veilguard, I started to see the writing on the wall. Still, I held out hope the Veil would have some greater purpose in the story. That its introduction as a concept was for a reason. That something in this world would change.

Instead, from the get-go, the question of the Veil is no question at all. We only get Solas and Varric making oblique or catastrophizing statements about it. Solas says little beyond he has a plan. If I ever wanted to hear a villain monologue about their plan, it was now! Varric, on the other hand, decries Solas’s plan. He warns that should the Veil fall, it will destroy the world and drown it in demons. And that’s that.

We never really learn why Solas wants to tear the Veil down, or why he thinks it will help anyone. “The Veil is a wound inflicted upon this world. It must be healed,” he says. And that’s basically all he says about it in Veilguard. In Inquisition and Trespasser, we learn it took the immortality from the elves. It cut most of magic off from the world. Spirits are trapped and are being corrupted into demons, and most of what we know about spirits and demons is wrong. There are ancient elves possibly asleep? That part is left vague, but ancient elves are still about. We meet some in Mythal’s temple. There seems to have been some merit in bringing it down, because elves were flocking to Solas’s cause at the end of Trespasser. He had agents working for him already. What do they know that we don’t know?

Apparently nothing, because by the time Veilguard rolls around, there are no mention of agents. He is working alone. His only motivation now seems to be he’s too deep in his sunk-cost fallacy. The Veil is unnatural, so it must be removed—consequences be damned. We are never given any reason to think Solas has a leg to stand on in his pursuit of tearing down the Veil. We never hear any kind of counter argument from anyone, not even Solas, as to why the Veil should come down. We are only told it will destroy the world. It will drown the world in demons. This is all Solas’s fault.

There is no nuance. No complexity. No moral quandary to mull over. The game gives us vague warnings with no explanation as to what exactly is so world-annihilating about the Veil coming down. We must take Varric’s word at face value. We’re the heroes; Solas is the villain. Stop him.

It makes me wonder why Solas was ever a companion in Inquisition, let alone a romance option. Solas was presented to us as a complicated character in Inquisition. We had the potential throughout the game to make him see the value of this world, to help him realize he was wrong about it. “We aren’t even people to you,” the Inquisitor says in Trespasser. Solas replies, “Not at first. You showed me that I was wrong...again.” He began the third game viewing the world as tranquil, seeing the people in it as nothing more than figments in a nightmare, just as we saw our companions in the In Hushed Whispers quest. He ends the game having made friends, having recognized he was mistaken. He might have even fallen in love. (Or he may still seen no merit in this world if the Inquisitor antagonized him the entirety of their time together.) But something makes him continue with his plan to tear down the Veil, despite recognizing this world is real. He must know something we don’t. Something we’ll learn about in the next game.

We’ve been hearing about the Veil for three games now. We’ve set up our complex antivillain for the next installment, and he’s going to tear the Veil down. We swear to stop him or save him. But it has to be more complex than that. It can’t be so straightforward. Uncomplicated. Simple. Boring. Right? Right?

Nope. He really is just the villain, mustache-twirling and all. He apparently had no greater motivation, no as of yet unrevealed knowledge that would put this whole Veil thing into a new context. It was really as simple as the Veil falling will destroy the world, so Solas must be stopped. There is no new information that is revealed which makes us question what we are doing. Solas is never given any nuance or complexity to his actions. Nuance and complexity have actively been taken away. Both him and the Veil are looking like they are the worst things to be in a story: pointless. Why introduce the Veil if it’s just going to remain unchanged? Why introduce a character like Solas, bother humanizing him (for lack of a better term), giving us his backstory, setting him up as a cunning antagonist, only to make him look stupid, then put him on a shelf until the last ten minutes of your game?

Solas was the trickster archetype of this tale. He was our version of Loki from Norse mythology. What is the role of the trickster archetype? To challenge the status quo. To bring about events of extreme change, like say, the tearing down of a Veil that holds back all of magic. Loki is a huge contributing factor in Ragnarök. Through his manipulation, he causes the death of the beloved god, Baldr. This ushers in a long winter, which signifies the beginning of the end. Loki is imprisoned for this crime. When the final battle between gods and giants begins, the sun and moon are swallowed, plunging the earth into darkness. The earth shakes and Loki is freed to fight on the side of the giants. The world burns in raw chaos, falls beneath the sea, and is reborn. The world is remade, and a new realm of the gods and a new, better earth is formed.

It really felt like this was the setup they were going for. Solas causes the death of Mythal, and this is his catalyst for creating the Veil, which ushers in a world without magic. This could be seen as equivalent to the long winter. Solas falls asleep, trapped in dreams. He wakes and sets in motion bringing about the apocalypse. It’s not a perfect one to one, but it’s there if you squint. We have a war against the gods in Veilguard. I was expecting a few remaining Titans to wake and join the fight. But we don’t get any of that. There is a final battle, but it does not end in the end of the world. Or a better world. It just ends, and everything is the same.

It seems our trickster god caused his apocalypse thousands of years before our story started, when he created the Veil. His role in this tale was over before ours began, and he really is just some relic from a long-past age. He has no role, no purpose in this story. He is here to be thwarted. He is no Loki at all.

If you can’t tell, I wanted the Veil to come down. Did I think the Veil coming down would be painless? Have no negative consequences? No. Of course not. But keeping it up has negative consequences too. And it made for an interesting story. Or at least it could have. But we never explore that. The game presents no counter argument to having the Veil stay up, which, again, begs the question: what was the point of introducing the concept of the Veil at all?

Did I think the Veil coming down was actually the best solution to help Thedas become a better place? I don’t know, and I never will, because the game never argues for it one way or another. It just tells you to want it in place and to stop asking questions. In real life, a catastrophic event is not the best way to solve any of the world’s problems. But this is the realm of fiction. We have gods and monsters, magic and myth. We have introduced the status quo of Thedas, recognized it needs to change, then our trickster god appears ready to fulfill his role in the narrative. 

Instead, it all comes to nothing.

I got to the end of Veilguard… and everything was more or less the same as it was at the start of Origins. Veilguard actually tries its hardest to pretend any previously mentioned problems don’t exist, so of course the Veil coming down has no merit. There are no problems to solve in this world, apparently. Solas is just stuck in the past and can’t get with the times. Silly Solas.

The Veil isn’t even a permanent solution. It wasn’t to begin with. It was some duct tape wrapped around a broken pipe, and we’ve just slapped an extra piece of tape on it. It’s still leaking. It is still unnatural, and will fall eventually one way or another. Large amounts of bloodshed weaken it, so I guess Thedas better achieve world peace real quick to avoid any battles. There were seven super-powered mages holding it together… now there is just one. Ironically, the Veil was going to fall after two more Blights anyway. The Wardens were doing Solas’s work for him! It would also have released the full force of the Blight at that time… which Solas was trying to avoid, I presume.

It feels like keeping the Veil up just pushed a big problem onto Thedas’ future generations. We’ll keep slapping bandaids on it until it all falls apart. Someone else can deal with the fallout, but we’ll be dead by then, so who cares.

Primarily, I wanted the Veil to come down from a storytelling perspective. The Veil was an interesting concept and I wanted the story to do something interesting with it. Conflict is what makes stories stories and the Veil coming down could create so much compelling and complex conflict. And the Fade is weird, and I like weird. Stories are also about change, and I wanted to see Thedas change. Yet, Veilguard is over, and barely anything has changed. Instead of magic coming back being a conflict for the next game, they went with Fantasy Illuminati. Oh.

The Veil turned out to be a nothing-burger, and no problems in this world are even close to being solved. Slavery is still rampant in Tevinter. The elven people are still oppressed everywhere. Mages have no more rights in the South than they did in Origins. Spirits are still trapped and being corrupted. The Calling still exists, though might be different somehow now? They don’t really get into that. The Chantry’s validity is still not allowed to be questioned. The Blight still exists in some form, but again it’s vague. Oh, and we learn the dwarves have been gravely wronged, and the Titans are still tranquil. At least if you redeem Solas and a romanced Lavellan joins him, they can work together on healing the Blight and helping the Titans. Oh, good. One problem is being acknowledged and some action will be taken. Offscreen. Hurray? Solas doesn’t have a really great track record of fixing problems, so Lavellan is definitely going to need to be there to make sure he doesn’t fuck it up.

For some reason, this game seemed terrified of letting us think about anything for more than two seconds. It shied away from complexity or nuance at every turn. The game is called The Veilguard—ironically, that word is never uttered in the game—but we are given no real motive for guarding the Veil. We’re unquestionably the hero. The villains are uncomplicatedly evil. Save the world… never wonder what you are doing or why.

I wanted the game to make me question if the Veil staying up or coming down was the right choice. I needed to be given a real counter argument. Convince me the alternative would actually be better or worse, because as I mentioned… things suck quite a bit in Thedas already for a lot of people right now. Let the Veil’s fate be a difficult choice to make. If the conflict cannot be what to do about the Veil, it should be am I doing the right thing about the Veil. If the heart of your game is so thin on motive, everything else falls apart around it.

I hoped they were setting up a complex, Thedas-sized existential conflict for this game in Trespasser, but no. I wanted something to happen, but nothing did. 

I want to feel challenged and changed by a story, not left feeling empty. I’m tired of superficial entertainment. I want to sink my teeth into a narrative that doesn’t paint the world in broad strokes of black and white, good and evil, heroes and villains.

Ultimately, I think my issue is why even introduce a concept like The Veil if you’re not going to do anything interesting with it. Or anything at all. What I thought was Chekov’s Veil turned out to just be a MacGuffin. And that’s disappointing.

[plumipal]

Daughter of evil Vil

Once again a completely self indulgent post, sorry for the delay got a 40° fever and fell like 3 times during the making of this BUT IM FINE NOW! These yans really are out to kill me after all I've put em though lmfao

So imagine, somewhere after chap 5 where vil and you have gotten to know eachother way better since the VDC. You're all and up thinking about the music you loved back from your own home, wishing you just could hear it once again. You basically had everything memorised, but it's not just the same!!

So, taking the matter into your own hands, you contact vil about wanting to stage a musical and if he perhaps wanted to be the "main villian" (aka both the main character and your favorite character). Vil, for once, isn't upset about being the main villain, on the contrary he's ecstatic! He can barely keep his mask up as he tells you that he would LOVE more than ANYTHING to be Riliane...

You're quick to thank him and hug him, him of course savoring every second of it. You're quick to get to work to writing the script/lyrics from memory along with sewing vils dress for him (it's like several dates over at ramshackle for him because he gets to be in such close vicinity with you alone.

The play is an absolute success, vil gives his absolute ALL, just for you, and ONLY for you. He doesn't cate who else is seeing the damn musical, all he cares about at this point is your gave on him and your approval.

He feels your gaze on him for the entirety, too blissful about being the center of your attention to even hold up his social persona incase anyone is filming after the musical. He just can't function correctly when you look at him, when you smile at him, when you do anything really. He's smitten, down bad, in love and everything inbetween.

Ace and Deuce can't stand how Vil is blatantly flirting with you, resulting in them trying to drag you away after the show (only to be stopped by vil, he has charmed you during this performance, and of course he shows in that he has a gift for you back at his dorm.

The gift being smothering you in his love and kisses, almost some sort of cuteness aggression as he can't stop himself. The blood sweat an tears you put into this and how you chose him to be the main character almost moved him to tears after all, you had to be rewarded <3

Not long after the musical, people had sent their gossip photos around to several accounts on magicam as to get some juicy drama our of the megastar. But, at this point, vil is too smitten with you to even care about his social status anymore. He doesn't care about magicam or being better than niege liek he used to. He only cares about you and your approval.

Still a short post, but I hope you all enjoy! I love love LOVE the musical, and recommend yall give it a litsen! The evillious chronicles on YouTube, especially the newer one (Karen aka the girl who plays riliane is just so much more vil coded imo). Anyway hope yall enjoy :P

Link to the song in question:

[rootspiral]

Agatha All Along deep dive: episode 8 part 8

(AAA entries: ep1 [1][2][3][4] ep2 [1][2][3][4] ep3 [1][2][3] ep4 [1][2][3][4][5][6][7][+1] ep5 [1][2][3][4][5] ep6 [1][2][3] ep7 [1][2][3][4][5][6] ep8 [1][2][3][4][5][6][7][8])

so anyway rio could have stepped in at any moment and ejected billy into oblivion / prevented agatha from getting a full recharge. but did she? no, no she didn't. this is absolutely a fucked up game they're playing instead of talking about their feelings. rio tried to talk and agatha rejected her (almost) every time, so theatrics and blood it is! god it sucks so much that this stupid flirt/hurt/posture/dance is the only way agatha allows them to communicate.

agatha's smirk! she's like, now you're gonna get it! now I'm gonna fuck you up!!! rio has been throwing her around like a rag doll, but now that she has her powers back agatha can finally put allllll her shields up and do a little show of her own.

when it comes to agatha everything is about being in control of the narrative, being the one who hurts rather than being hurt, never showing any weakness or vulnerability. she was awfully vulnerable without her powers and that has allowed rio to creep in closer, something that agatha had managed to escape for so long. it's no coincidence that she chooses this appearance, the same one she chose when going face to face with wanda. this is what she was trying to look like with her purple coat too: the formidable, merciless witch. it's an armor she clings to, a mask to feel powerful that won't ever show the mess she's hiding underneath. this is what agatha chooses to look like when she's scared.

rio: fuck off you little meddling twink the adults are talking

agatha: mwhahahah I'm such a big scary villain just lemme check if billy's okay real quick.

actually let me gush for a second about agatha's greenhouse being full of herbs and potions! her witchy basement disappeared because she had built it with a magical illusion, but in here she's been totally experimenting with physical craft (neeeerd).

billy's like, are those two fuckers honestly actually flirting right now

CHILDREN I swear to god

LEAVE MY INFURIATINGLY STUPID EVIL MOM ALONE!!!

poor rio. just her luck that when she finally gets to corner agatha a baby maximoff comes into the picture. I love my perfect mama's boy.

the bittersweet look she gives billy. she's truly having a lot of firsts, now she finally admits that all her dancing/fighting with rio is futile, it's just for show and it won't ever truly solve anything. what is she even doing, involving billy? billy who's still so earnest, so eager to help.

I SEE YOU JAC SCHAEFFER! I SEE YOUR EVIL WAYS! I SEE YOU CREATING THESE SILLY LITTLE SHOWS SO YOU CAN EXPLORE THE IMPOSSIBILITY OF LOSS AND GRIEF AND OUR OWN MORTALITY!!!!

but she's being 100% genuine here???

okay, no, this is still agatha we're talking about.

she's being aT LEAST 80% GENUINE! she's having a moment of clarity, she's contemplating the true awfulness that would be sacrificing billy on the altar of her own fucked up issues. the mask has slipped and the real agatha is peeking through, swords in her heart and all.

her parting words to billy: you are not bad. the same words she wanted to imprint on him when they had their first mask off conversation. don't let people cast you as a villain, like they did with me.

Neither are you, says Billy.

You're the only one who thinks so.

The thing is, being so hated, doing all the fucked up things she does, really hurts agatha. It's no justification whatsoever, doesn't make her any less of a villain. she goes out of her way to be misunderstood, to never show any weakness, to selfishly rationalize all the horror she inflicts, because the alternative is opening up to more potential hurt, and she's been hurt too fucking much in the past. and the more she pushes people away, the lonelier she is. it's a vicious circle.

three people loved her despite it all: rio, and she ran away from her when things got too overwhelming. nicky, and that's a whole other mess that I'll get into next episode.

and now billy loves her, and she craves that love just as much as she wants to run away from it. she'll hurt billy to protect herself, she'll hurt him first because she's afraid that he eventually will leave or die or get mad and will hurt her. because right now? she's feeling so much love for billy, and that's terrifying to her. the more she loves, the more she opens up to heartbreak.

both gorgeous shots

billy: I'm not that nice.

also billy:

then she got an idea. an awful idea. agatha got a wonderful, awful idea.

oh this is perfect, isn't it, agatha? you somehow convinced the boy to turn himself in! if he goes through with it, rio has promised to leave you alone! you'll be free to crawl back to your dark dark corner and accumulate bodies and power like the old miserable smaug you are!

you can see agatha's survival instinct kick into high gear. this is how she has survived so long. this is what she does.

BILLY'S FACE. I got to laugh a bit, sorry kid.

rio shaking her head both in triumph and exasperation. of course you betrayed the kid, agatha you piece of shit. rio didn't expect any less from you.

and she can't even look at him, the coward.

but I thought we were having a moment??

he went ahead and made a grand gesture without being ready to actually sacrifice himself whatsoever, and now he's going "mom??? come back and pick me up, I'm scared??" it's like agatha is kicking a puppy.

the slow, dramatic turn. the evil grinchy grin. this is the most egregious example yet of agatha putting her mask on, and we have all the context to understand exactly what she's doing and to see what's going on both on the surface and inside her wretched little soul. she's not cruel and uncaring, that's play acting - she's actually small and scared and a coward. she's once again running away screaming, rationalizing it as a smart choice and breaking her own heart in the process.

so I know billy's telepathic line was added in post because disney execs feared audiences wouldn't buy agatha turning around on her own. what absolute buffoonery, such massive disregard for your viewers' intelligence.

...on the other hand. billy full on misreading the situation and trying to fix things that are beyond him, only to accidentally hit the target? somehow fixing a delicate fragile problem by hitting it with a hammer? totally on brand for him.

is this how nicky died? it kind of is. she did choose her own fear over nicky's well being, despite loving him so so much.

whether you choose jac's version or disney's version, here's what happens next: agatha stops in her tracks. her stupid grin fades away, and she clutches her chest. she finally did it, she told a lie too big. her poor heart, already bleeding from all the swords stuck in it, simply cannot take one more stab. sure she's all about self-preservation, but at this point she's damned either way: she either goes out saving billy or she's killed by her own regrets and sorrow.

she turns around. she runs. not to billy. to rio.

going back to what my mother jac schaeffer (whom I love more than jesus or pizza) said: this is not agatha enacting a grand plan, she's not taking a ~calculated risk like she'll tell billy later, the fucking liar that she is. sure, she had a vague hope of turning into a ghost, but she didn't know for sure. this is agatha's emotions taking over her brain - like they tend to - and forcing her to use what are probably her final moments on earth to TAKE WHAT SHE'S BEEN CRAVING ALL ALONG

agatha grabs rio's face and SMASHES their mouths together. FULL ON proceeds to EAT HER FACE she wants her so much. rio is shocked for a moment and then closes her eyes and gives in completely. and you can see the poison taking over because this idiot - this gorgeous, tragic dork - has decided to kill herself by absorbing rio's powers - but this is not going to be a mere 'peck of Death', no sir, that's not what it's called! agatha is gonna SNOG Death, she's gonna TONGUE that immortal being, she's GETTING ALLLLL HER MONEY'S WORTH. dear lord the HUNGER and YEARNING and DESPERATION on her face.

and I love that she's taller here. they're basically the same height so who's taller depends on the shoes they're wearing, but I love love love that agatha gets to engulf her for once. agatha taking control, rio giving herself up completely

what? you thought that now that magic has been absorbed THE KISS would be over???? well THINK AGAIN. because now we're going to switch angles, we're going to linger, we're going to make it look like almost gratuitous fan service, oh yes we are!!!

I truly don't know what to say. I would like to thank jac of course, and kathryn hahn and aubrey plaza for MAKING THE FUCK OUT and exchanging so much spit on camera like the true professionals they are. thank you writers room, thank you to all the crew who had to listen to the ungodly noises these two were undoubtedly making. thank you gandja monteiro for directing this. I'm going to even thank the lighting department for making it thunder so we can (more or less) see what's going on. this was truly a group effort. well done you all!

and they keep kissing until the very last available moment, and rio doesn't know how to let her go

but this is so on brand for agatha. you know if rio was in her place she'd try to be as gentle as possible to ease agatha's grief. agatha literally went for the most dramatic, most over-the-top, most emotionally devastating way to go. this was supposed to be rio's big moment! and what does agatha do? she makes it all about herself. again. should be the other way around, but once again rio gives, agatha takes. you just gotta laugh at this point.

Death looks on stone faced as her love turns back to nature and balance is restored. she wraps herself in her cloack and tries very, very hard not to cry.

agatha really went and made rio kill her, didn't she? rio, who isn't ALLOWED TO. these two are soooo wrong and so toxic for each other and yet they love each other so freaking much, I truly cannot get enough of them.

go to episode 8 part 9

[lullabyes22-blog]

Arcane Fandom drinking game.

tw: racism, misogyny, classism, ableism.

tw: fandoms in general, ig?

Take a shot if:

Sevika is reduced to this exoticised, hypersexualized, sub human caricature with no exploration into her motivations, her family, her issues as a disabled woman or her experiences as a working class person who grew up in a literal slum - and instead serves as a sex toy with body heat, who exists solely to get the reader off.

Take two shots of she is neutered instead of oversexualized, and reduced to the Mammy stereotype wherein her only purpose is to roll her eyes and provide commentary on the (white) characters/readers' antics, the latter of which drive the plot.

Take a shot if:

Mel Medarda is reduced to a living example of the Jezebel stereotype: oversexualized in the most dehumanizing and demeaning language possible, made a literal receptacle for other characters' desires with no attempt to engage with her motivations as a politician or her feelings as a woman, or else blamed for every single problem in the show, because apparently an ambitious woman is synonymous with 'The face of pure evil,' a woman who has sex and uses it to express agency is an insatiable slut, and a black woman is literally the devil incarnate.

Take two shots if she's taken the other extreme, and her ambitions, flaws, and sexuality have been wiped away completely, leaving only a hyperperfect husk of a character behind, for us to rally around with empty cries of 'Yaas Queen!' and no attempt to critically examine a) the problematic nature of the praise and b) the essence of what makes her human, and what drives her forward, in the first place.

Take a shot if:

Ekko is reduced to his crush on Powder/Jinx, with no attempt to engage with the complexity of the fact that his best friend warped into a monster, nor the ways in which he himself is a product of Zaun's poverty and his relationship with his community, the impact of trauma on children, his complex relationship with violence and his own moral compass, nor the fact that he is an activist, a freedom fighter, an artist, and an engineer, all at age eighteen.

Take a double shot if the characterization veers the other way, and he is portrayed as 'Forever Alone' because black men cannot have healthy relationships, do not deserve to have a full range of complex emotions, and should be punished by having their most deeply held wishes, friendships, and loves crushed to dust before their eyes, for daring to dream of a better life and a world that loves them.

Take a shot if:

Jayce Talis is not even acknowledged in fanworks as a mixed race man, nor as a person of color, with no attempt to engage with the complexity inherent in his experience of privilege, and the ways in which he is a product of his upbringing, and where these factors intersect with class commentary. Take a half shot if the character is whitewashed, and turned into the kind of bland, boring, vanilla caricature that we're used to seeing in media in perpetuity, who exists as a foil to the villains, a symbol of virtue, and a blank slate on which the viewer is meant to project themselves and their own beliefs.

Take a full shot if the character is the epitome of the white savior trope: a smug, paternalistic, know-it-all white man, whose self-assurance in his own superiority allows him to walk in and take over a conflict, then tell people what to do.

Take two shots if characterization veers the other extreme and he's just a sweet, dumb, himbo puppyboy with no personality, no goals, no desires, and no motivations of his own, save for making Viktor happy and doing his best to be a good boy.

Take three shots if Mel is the one leading him by the nose, because nothing says 'nuance' like making a black woman the villain for the sin of having agency and not existing solely for vilification.

Drink the whole bottle if:

Caitlyn, an Enforcer and a Councilor's daughter, is portrayed as a sympathetic sweetheart angelcake, without being forced to confront the actions of the state and the institution of which she is a part, without being forced to face the consequences of her complicity in the system that oppresses others, nor without being forced to recognize the fact that her actions and her words are not, in and of themselves, inherently just, and the fact that her privilege does not automatically grant her moral authority.

Drink another if she is portrayed as a damsel, an innocent, a child who needs to be protected and cared for, rather than a full person with agency and a complex emotional landscape of her own.

Drink again if the characterization leans the other way and she is turned into a classist caricature, an entitled bitch who doesn't even realize she's the bad guy, or gets turned into a literal Nazi because, once again, folks cannot engage with complex topics such as classism, racism, ableism, etc. and instead resort to infantilizing, simplistic, and reductive portrayals.

Stop drinking and switch to cyanide if her characterization hinges on her relationship with Vi, within which Caitlyn is the dominant top here to 'tame' this feral subhuman, with no understanding of the uncomfortable and undeniably harmful implications of such a power dynamic.

Drink the rest of the alcohol stash if:

Vi, an adult, a former convict and a street savvy survivor, is reduced to an angsty, moody, petulant puppydog off her leash, unable to take responsibility for her own actions, and her trauma is treated as an excuse for her behavior.

Drink another bottle if she is portrayed as a hypermasculine, toxic, violent, and Cait is the one forced to tame her, make her behave, and bring her into line, and her relationship with Vi is portrayed as inherently parent-child, or worse, caretaker-charge, without any regard for Vi's autonomy and right to be flawed as a human being.

Drink a fifth if Vi is portrayed as a hypersexualized aggressor for the audience's titillation, with no attempt to engage with the fact that butch lesbian women have more complex emotions than 'sex starved nymphomaniac', nor the ways in which Vi's abuse, abandonment, and trauma have impacted her relationship with intimacy and sexuality. Drink another if the characterization shifts the other way and Vi becomes a sexless robot who has no personality or wants, nor is given room to grieve for her family, her home, or her own trauma, and is instead expected to bounce back, get over it, and move on as nothing more than Caitlyn' Brave Buff Gf (tm).

Drink the entire bar if:

Viktor, a disabled man, is depicted as a neurotic, fragile, jittery wreck. Take two bottles if his disability is treated as a punchline, or the defining characteristic of his existence, and the only time we're meant to consider his body or his physical pain is when he's having an episode and collapsing, or having a coughing fit, and it's treated as a joke, rather than something which affects him and his ability to function.

Take three bottles if he's taken the other extreme and he is twinkified and babygirlified, and his sexuality and his love life are the only thing we're meant to care about, and his romantic relationship with Jayce is the only thing he's allowed to have, lest the audience think too hard about the ways in which he and his work might benefit Zaun, or how the Council might respond to a disabled person from an underprivileged background.

Take a fourth if the characterization shifts and he's reduced to a hypersexualized toy: a broken doll to be pitied and fetishized and cared for, and Jayce is his Daddy, his owner, his caregiver, his knight in shining armor, all in one.

Take a fifth if, in the midst of all this, his relationship with his disability, and the ways in which it has impacted his life and his choices, is completely glossed over.

Take six if his relationship with his disability is not even acknowledged.

Switch to cocaine if:

Jinx, one of the most complex characters in the show, and the only one with any sort of internal consistency, is reduced to a whiny helpless brat who just wants a hug and an explanation for her widdle feewings from a big strong grownup.

Take an eightball if her relationship with her sister, her trauma, and her mental health is reduced to the 'Hot Psycho' trope: an excuse to play up the 'cool' aspect of her personality while completely ignoring the trauma at the heart of her actions/behavior. Take another if the characterization swings the other way, and she's reduced to a one-dimensional villainess, a demon, an amoral monster, and the only motivation for her actions is the fact that she is a crazy bitch, and the only reason for her existence is to serve as a foil for Vi's goodness and the audience's own hangups re: mental illness and critically engaging with the more unpalatable aspects of human behavior.

Switch to crack if her relationship with Silco or Vi is not even mentioned.

Pour a glass of absinthe if:

Silco, a single parent, a survivor of violence at the hands of a loved one, a victim of systemic abuse, and a revolutionary, is portrayed as the ultimate villain, and his desire to fight for a better life for his community is somehow worse than the Council's decision to literally silence everyone in the undercity via chemical runoff, political neglect and police brutality.

Pour two if he is a cartoonish, hamfisted boogeyman, with no sense of his humanity, nor the ways in which he is a product of the same systems that hurt every undercity character, and the ways his actions replicate the cycle of abuse and hurt the ones he seeks to save in turn.

Pour a third if he becomes an unrepentant sadist, a child abuser and a sexual predator, and there is nothing loving or fatherly about his relationship with Jinx.

Pour four if the character is taken to the other extreme and he's sanctified as a literal martyr and hero, and all his wrongdoing is glossed over because he's just a ~victim~, and everything he does is justified, no matter how terrible, because he had a traumatic childhood or his abusive ex didn't die soon enough. Eat the sugarcube if his bond with Jinx is suddenly a wholesome Disneyfied gag-fest wherein he calls her "Pumpkin" and babies her like a toddler, and their relationship has zero codependent overtones, and she's suddenly a sweet innocent who doesn't have blood on her hands, same way he's not the one who sanctioned it.

Eat the bottle of absinthe if Silco is given the tumblr sexyman treatment, and suddenly he's just a walking Daddy Kink, with no regard for the ways in which he is a complex person, nor the ways in which he and other characters might actually interact, or his history or his trauma or the way it impacts his life.

Drink the whole liquor cabinet if:

Zaun is portrayed as a dystopian hellscape rather than a robust, vibrant, diverse community, with a wide range of experiences and a deep and nuanced relationship with authority, power, and violence. Break into the cellar if, instead, it's just a shitty stereotypical ghetto, full of criminals, addicts, and victims.

Light a cigarette if Piltover, a technological juggernaut that also has a diverse immigrant population, and a vibrant and rich cultural identity, is reduced to a bland, generic, vanilla utopia, and is full of pompous blowhards who have never engaged with the undercity outside the scope of the narrative.

Light a molotov cocktail if it swings the opposite direction and Piltover is turned into an neoliberal nightmare, a soulless, shiny, hollow, plastic, faceless wasteland, populated only by vapid, shallow, self absorbed stooges and shills who have no depth or personality of their own.

Throw the molotov and light the house on fire if:

'Piltover and Zaun' is not even mentioned, and there is no acknowledgement of the way these two cities shape the cast of characters who reside within these systems, much less a mention of the ways in which the characters might not be fully representative of the communities they are a part of, and the fact that they are still very much human beings with individual experiences.

If you didn't get alcohol poisoning, a whopping hangover, or a charge of arson: congratulations.

You win.

[tromlui]

The most frustrating part of Stella’s character is that it would have been /so/ easy to add even a little depth to her while keeping her as a villain.

She could have been lashing out at stolas due to the fact she was basically sold off to be a broodmare for him. She could have been angry her efforts of putting on a front of a happy perfect family was ruined by stolas cheating.

ANYTHING other than having her be a hateful evil person from birth who makes stolas life a living hell for no reason even though it’s actively detrimental to her in the long run (she literally needs it spelled out that getting divorced would mean she loses pretty much everything like she’s not just written as evil for evils sake while every other awful person gets depth but she’s also ridiculously stupid. She can’t even be smart in her actions)

As the writing stands right now I don’t even understand why Octavia even likes her mother or didn’t realise things were as bad as they were. Because Stella clearly makes no effort to hide how she feels or what she does. I mean I can assume Stella puts on a front when octavias around but I would be making shit up.

And again it would have been so easy to add depth to Stella by showing that yes she also does love and care about her daughter. But much like stolas she’s also selfish and doesn’t prioritise Octavia the way a parent should.

It’s like viv was scared if she wrote Stella as anything other than a 2D bitch getting in the way of blitzo and stolas people wouldn’t hate her. (Or more likely it would be harder to absolve stolas of HIS faults if he wasn’t 100% the victim in the situation)

[tamed-kratts]

After rewatching most of the series, i have come to a very heartbreaking fact about zach. In all of the episodes where he teams up with the other villains, they seem to get along relatively well with each other, but zach to them is like a huge nuisance. 

LIKE,,,donita and gourmand get along well enoug but just because he cant think of an idea they are like “…”

But what really sells this for me is that

HE WILL CONTINUE TO ASK THEM TO JOIN HIM FOR STUFF.

I genuinely think he is incredibly lonely and really just wants attention and friends, thats why he is the way he is. This is the same dude that talks to his zach bots for fun and will lay out his evil plans to them. Why? BECAUSE HE WANTS SOMEONE TO LISTEN TO HIMMM

[wolvertooth]

You know canons fucked when even the long lasting iconic writers even contradict themselves bc they either forgot, were writing in the moment, or remembered- but thought making someone do this OOC thing was more interesting 1hwj1jwjqjw shout out to Claremont who said creed wasn't beyond redemption only for every other writer to come in and make him laughably 1 note evil and boring bc they wanted to write for logan instead (no I'm not joking. If I remember there are like. 2-3 who writers openly said that when they were assigned Victor's character they were upset bc they were hoping for wolvie. Talk about a tantrum lmao!)

i aint gonna fact check any of that i'll just take ur word for it lol

but yea, lot of claremonts sabretooth stuff is just him being like 'hes a good guy now actually'(exiles, new exiles, xmen forever, xmen forever 2)

like even in the recent wolverine: deep cut, he depicted right off the bat logan being just as sadistic as vic, and continues hammering that in throughout the run

the whole clone killing thing in the first issue was like...the clone represents how sabretooth is written by other writers. the cats costume persona. the 1 note villain. and the way logan was shown was more classic wolverine, the guy whos in it for the love of the kill. then later on, the real sabretooth was shown as being more fleshed out, even offering to work together with logan, instead of just being stupidly blind with murderous intent like usual

it was sorta similar to the arc he wrote in the 1988 series, from issues 126 → 128, where even tho in the beginning sabretooth was acting 'in character' for how he was being currently written, by the end he actually ends up working with kitty to do a couple good guy missions, saves logan from a cult, and does his first teamup with him(which logan was totally onboard with, being actually worried about sabes getting killed at somepoint)

and. yknow. also this classic moment-

(Wolverine 1988, issue #128)

[hiwelcometothemonstersancturary]

Since the new trailer for Poppy Playtime just dropped, I figured I'd do my own mini analysis of it! Let's do it:

SPOILERS UNDER THE CUT <3

I think TV guy is Dr. Harley Sawyer. We know from the ARG + some other stuff I don't remember from the top of my head that Sawyer was "out of commission", and poor baby Yarnaby was CRUSHED by it. Well! It wouldn't be weird if the Unethical Experiment Factory did an Unethical Experiment and used SAWYER for it as a punishment for an accident he caused.

The voice from TV guy + what he was saying + the flashing lines of text from the trailer + the trailer's title ("The Doctor") just add more confirmation. His behavior, initial confusion at becoming an experiment and later realization of what he can do seems to be in line for Sawyer, esp if we consider how almost cartoonishly evil he is in the ARG. Of course this rejected cartoon villain would say "the minds of men are easy to break" with THAT line delivery (btw. Props to the VA? Like? The line deliveries are SO pleasant to listen to, I fucking love a good evil-ish monologue).

Now. I believe Yarnaby will be loyal to Sawyer/TV Guy, and he was the one who attacked Kissy at the end of Chapter 3, following Sawyer's orders. This could explain why Poppy believed Catnap was the last obstacle to get to the Prototype: She was right, in a way. He was the last obstacle against the PROTOTYPE, but not the last obstacle the place had for them. She wasn't expecting was that Sawyer, someone the Prototype hates, would interfere with her plans.

If Poppy knows Sawyer was even an experiment to begin with or not, we don't know, but my current theory was that she had absolutely zero ideas about it. Poppy seems to like her plans, and she wouldn't risk Kissy's safety if she knew there was someone else to watch out for.

I believe Sawyer will try to either use Angel/the player for his own plans, or try to attack them as some sort of petty revenge. After all, Angel is an ex-worker, and TV guy seems to be really, REALLY mad at PlayCo ("What is this? / Wrong. This is wrong / You... / Backstabbing traitors!")

My theory is that Dr. Sawyer became TV guy as a punishment, and he may or may not be the one pretending to be Ollie. If it's not him, then it's the Prototype, and the Prototype COULD maybe help us/Poppy on getting rid of him? I'm not sure about Ollie at the moment. Poppy had no idea about him, and the guy is either going to use Angel, or hunt them for sport.

Thanks for reading this! See y'all soon <3

[candy-fae]

Not to rant on a side blog but I just found out in mufasa they retconned scar and mufasa to NOT be brothers and like. That was my first hyperfixation so I am upset about this for a few reasons!!! Incoming rant.

I'm gonna call it the princess Luna effect. Scar is getting princess Luna'd and let me explain how.

Disney would never make a villain kill someone now. Maybe in the background have it be implied. Maybe IMPLY some degree of violence. But they would never put on a production of hamlet in a different font, because killing people is bad, and Disney doesn't WANT parents to be mad and not give them money. We already know this, and yes, it severely limits them giving their villains credible weight, thus struggling to make us engage in a conflict that isn't environmental. But aside from the fact that this is an OBVIOUS crab for cash and their copywrite, they've managed to try and make scar more palatable.

Hmm. Let's see. I want to be a king. I was born the spare, to my stronger, prouder older brother. I now have to wait for him to die to rule. But I can't fight him. He's too good. Oh! He has a son. GREAT. now I'll never be king. Unless the little hairball dies. Hmm. And he'd do anything for his son. I know! I'm going to kill my son by putting my nephew in danger, then when he's dead, just for SHITS AND GIGGLES- I'm gonna tell him it was his fault. I plan to kill him anyway. But I'm just such a devious asshole and don't wanna get my hands dirty, it would be easier to send him the wrong way, then send my guys on him.

And so he does. And was it jealousy, horrible and churning an corrupting that did it? Absolutely. And is it mufasas fault? Not at all. People hate you because you are loved by others and that a shitty of them. Scar is a murderer, and responsible for one of the greatest betrayals of animation.

What I'm having the issue with is- there's old canon that I'm pretty positive straight up gives them canon parents. They are blood related and surprise!! Siblings look different sometimes. Hamlet was a stage play and animation is like a mask. They drew the fucker like a snake because he is one.

And secondly- I get the feeling they did it so we could empathize with him. But he doesn't need empathizing!!! He has one purpose in the story and that IS to be horrific!! It's FUN to think about "what if the bad guy...... WASN'T the bad guy!!!"

But he is. And attempting to add more depth by retconning and making it so mufasa STOLE the throne in someway- just weakens his original betrayal. We are suppose to be horrified. We are suppose to cry when mufasa dies. I saw some people saying it's to set up love and Kiara but- kovu is stated in the lion King 2 to NOT be scars son. So the only thing I can think here is "oh. They want to make scar palatable. That's stupid."

What do you think?

"You are my blood brother I've known since I was born. But I will kill you and my nephew if it means I get what you have."

Or

"This thing was SUPPOSE to be mine and you STOLE it from me. I'm taking it back!"

Scar is no suppose to be justified. He's just suppose to be cruel. Let your bad guys be bad. I'm so sick of watering down evil. Makes the story much less about overcoming it.

[hellaverse-critical-confessions]

im so thankful i found this account because i NEED to get this off my chest. it irritates me to my core and i dont think anyone else feels the same way.

STELLA'S DIALOGUE IS SO FORCED AND I HATE IT. i understand she hates her ex-husband for cheating and thats fine, but the way she talks about him and her tone when she does it feels so incredibly forced and it agitates me. i've known this since the first episode of season 2 and i'm pretty shocked nobody else has noticed this.

helluva boss WANTS you to hate stella, but they do it in a way where its being shoved down your throat in a "hey, look at this! isn't she SUCH a horrible person for hating stolas??? isn't she SOOOOO evil?!" kind of way. its fine if you make a character people aren't supposed to like, but if you do it in a way where people can tell its forced it doesnt work.

i believe stella has potential, and i think she'd be a great villain-like character if it weren't for the fact that when they make her talk about stolas, it sounds forced. it's literally nothing but mocking, hating, and making fun of him and it makes me want to bash my head into a brick wall. YES she is allowed to have hatred for him, but i don't want to hear it every fucking time she talks about him. it's repetitive, unnecessary, and pretty annoying if i'm being honest.

tl;dr: stella's dialogue whenever she talks about stolas feels incredibly forced and it's always pissed me off since she started doing it at the beginning of season 2.

sorry for the long rant, but this is something that has bothered me for a while and the new episode just fueled that hatred further.

You said it, Anon

[miraculouslbcnreactions]

I've been rereading your "Gabriel redemption/corruption/canon mess of ideas post", and I remembered an old idea of mine: Gabriel driven insane by the Butterfly miraculous.

This is an artifact that allows you to sense the negative emotions of All of Paris. And then mentally connect to the person in whom the negative emotions are currently strongest.

It's less about "can this power drive anyone insane" it's more about "is there a chance this power wouldn't drive anyone insane?"

Worse, Gabriel uses this power constantly. Gabriel uses this power for shady purposes. Gabriel uses this power when already in an unstable state after losing his wife.

From a storytelling point, this neatly explains:

1) why Gabriel could go worse and worse as time progresses

2) why Gabriel's behaviour may be inconsistent (consistent behaviour doesn't combine well with sensory-overload magical madness and he is saner when untransformed)

3) why Butterfly Miraculous is so powerful (because this power is balanced with the great risk of using it)

At the same time, it is a trope known well enough to work well even in children's shows. In fact, I thought this idea may be canon, but then season 5 happened.

What do you think of this idea?

P. S. As always, thank you for your analysis, you are a treasure for the fandom!

Thank you for the lovely words! I'm flattered that you enjoy the blog so much!

I'm on the record as saying that evil Kwamis are about the only way to fix canon, so of course I love you idea! That post was about fixing canon post season five, though, so let's focus more on the butterfly itself.

Canon doesn't really explain how the heck the butterfly works. We get moments like this one from Sandboy:

Hawk Moth: I feel an emotion of great intensity. So pure… (turns a butterfly into an akuma) Fly away my little akuma and evilize him!

But why this happens is confusing. The butterfly isn't the miraculous of Emotion. That's the peacock. The butterfly is Transformation. Which is silly, so we're ignoring that. The butterfly is absolutely written to be Emotion in terms of almost everything about how it functions, so as far as I'm concerned, it's Emotion. Gabriel senses emotions with it and is even implied to have to pick what powers he gives based on the person's emotions as we see in Risk:

Shadow Moth: I need a villain who will force Ladybug to take risks, and without even realizing it, (corrupts a butterfly into a Megakuma) she'll make a mistake! (Shadow Moth closes his eyes to search for any strong negative emotions.) Extra 1: Great, of course my keys disappear from my bag just when I have to go out. Xavier: Now even benches have empty pigeon spikes on them? Oh, my poor friends... Froggy's Dad: Froggy, come back! It's too dangerous! Froggy: Why are you always scared of everything? I want to ride my bike without a helmet, without training wheels! Shadow Moth: (Open his eyes.) Perfect! Fly away, my Megakuma, and plague that deceived heart!

You could absolutely take this setup and use it to craft a narrative where Gabriel's actions are at least partially driven by the effects of feeling everyone else's emotions weighing down on him. This is extra true when you remember that Gabriel is supposed to be grief stricken. We are rarely at our best when we are mourning profound loss and the show really failed to lean into that fact even though the writers clearly wanted Gabriel to be sympathetic.

In my own rewrite, I heavily rely on these elements to shape Gabriel and Nathalie's characters. She may not use the butterfly, but she's also supposed to be mourning Emilie (or, at least, she is as of season five. I'm pretty sure that's a retcon, but it's something I changed to make her character work, so I'm cool with it.) That is a much stronger basis for Nathalie supporting Gabriel than the tired old trope of women doing stupid things because of men. (Don't get me wrong, we do, I just find it boring in most situations. It would only work in canon if the love square was supposed to be positive romantic love and Nathalie was supposed to be toxic romantic love, but the love square is toxic as hell and even "ends the world" so bleh )

I will peel back the curtain a little bit and give you one of my favorite ideas for making something like this work: if you have Emilie in a coma and not dead, then her brain would still be active. She'd still be experiencing emotions. Doesn't it make perfect sense for Gabriel to stay transformed 24/7 so that he can sense what is left of his wife, assuring himself that she's still there? And if the magic needs to stay secret, then of course that would mean that he never comes out of his home office because that's the only safe place to transform. And if you add in Gabriel being weak to the emotions of others, well, I think that has potential for something interesting, don't you?

[thefoolarcxna]

Jimmy from mouthwashing and Polyphemus, the cyclops who wronged him

a amateur analysis of Jimmys mindset

(very big yap session incoming)

When I think about the way Jimmy from mouthwashing views himself and the situation he led himself into because of his actions, it reminds me of a Greek tale.

I believe, in a way, Jimmy views himself as Odysseus and Curly/Anya/Pony Express as the cyclops, Polyphemus.

Odysseus, our hero, ends up on an island after winning the Trojan war and finally heading home after a long 10 year battle. Him and his men walk onto the island finding a cave with food and sheep inside. The men help themselves to this food in a hopes their assumed host wouldn’t mind and would accept wine as a form of gift/reimbursement for what they take. Finally, the owner of the cave comes home, who is revealed to be a giant cyclops, not very happy to see a bunch of strangers eating his food and taking his sheep. In a fit of anger(depending on the version of the story you read) he antagonizes/attacks the crew ending in the death of either a few or a couple hundred men. He eventually falls asleep which leads Odysseus into grabbing the monsters club and have the remainder of his men shave it into a stake and shoving it into the monsters eye. Leaving him blind. The men escape after taking more and leaving the cyclops to fend for himself.

Obviously, you’re supposed to see Polyphemus as a villain. He unjustly killed many men for a seemingly simple mistake, which Odysseus recognizes, they didn’t know he would react badly to his food/sheep being taken, they believed he was someone who would be willing to lend a hand and be willing to accept their wine as a gift to him. An eye for an eye. Odysseus lost his men for something that could’ve been solved if Polyphemus had just taken what they were willing to give.

Do you see where I’m going with this?

Jimmy views himself as someone who made a simple, fixable mistake. And is being unfairly punished for it by this monster who has so much more power than Jimmy. Who should’ve accepted the apology he was willing to give. Jimmy is Odysseus, this misunderstood war hero who was just trying to feed his men, who was trying to keep the peace with this monster who wanted to hurt him for what he had done, which could’ve been solved.

Curly/Pony express in jimmy’s great Greek tragedy are the side of Polyphemus who is a brutal and evil cyclops who felt the need to punish and hurt him for what he had done. This monster who was willing to kill him for something he didn’t mean to do. This monster who towered over Jimmy, who was this powerless mortal with no gods on his side.

Anya is the side of Polyphemus who should’ve forgiven Jimmy, who should’ve taken the wine, shut up and let him go free. But no, he had to argue back, so he lost his only eye. Being left disabled, with no way to see. Who was left to rot alone without a second thought because he didn’t care about this monster who tried to hurt him. Why would he?

because jimmy is the great greek hero after all, caged and misunderstood by the gods. Trying to make it home to his simple life in Ithaca.

fuck you, Jimmy.

(I hope this makes sense, this has been on the back of my brain for a while and needed to get this out of my head and out there, if you guys have any opinions on this I’d love to hear, I’m not very good at getting my words out and I like to hear other people’s thought on stuff like this :) )

[alicethenobody]

OMG SAME 100% FACTS TRUE i fucking hate how the dmc fans online keep making the same repetitive unfunny dante in debt jokes while being more empathetic towards both nero and vergil. like dante tends to have isolation habits or isolate himself from others to protect others, that's a common trope in fiction in general (especially japanese fictional stories but some western stories like The Boys or Spiderman has this trope too). These people are actually fucking stupid sometimes. Not to mention without Dante - Vergil and Nero wouldn't exist in the series. I'm also glad I'm not the only one who thinks Dante is one of the more realistic responses to trauma I've seen.

The way the DMC fanbase treats my boy Dante sometimes also reminds me of how the Tekken community treats my man Jin Kazama (especially on websites like reddit, twitter, and the YouTube comments section). They always show more empathy towards his father Kazuya (who is very similar to Vergil and Sasuke, man loses his family and goes down a dark path obsessed with power. also is the father of another character but is absent in their child's life) and Heihachi (who is literally just evil...like dude fucking killed his own wife, his own father, Michelle's father, Lidia's father, Leroy's entire family. dude unleashed shrek and killed innocent people.). Yet they mock Jin's mental health issues of survivor's guilt and low self esteem and make shitty jokes at his expense a lot. Jin lived a peaceful humble life with his mother Jun until Ogre attacked and Jin wanted to defeat Ogre to avenge his mother and also avenge the other fighters who were hurt by Ogre (ex. Hwoarang's master, King's adopted father). Then Heihachi who Jin trusted for years just betrays him by almost killing him via being shot multiple times. Then Jin finds out he was born with the Devil Gene thanks to his dad and has a hard time controlling it. His father Kazuya only cares about power and wants to kill Jin to get the rest of the Devil Gene for himself and Kazuya mostly cares about revenge against Heihachi. Most of the terrible shit in his life is out of his control. Like Dante, Jin also isolates himself from others out of fear his devil gene might hurt them or they might get dragged into the problems of the dysfunctional Mishima bloodline he's trying to end.

It also doesn't help that the creators of Tekken also lowkey hate Jin Kazama too, Harada blatantly stated in multiple interviews that he prefers villainous characters (ex. Heihachi aka Harada's favorite character), and Harada always wanted Jin to be a villain like his precious Heihachi Mishima but the team disagreed at first for obvious reasons (there are already too many bad guys/morally grey characters in Tekken, Jin is supposed to be the good mishima bloodline member he is supposed to be the good guy who doesn't let his trauma or family history make him bad, and it'd just be a repeat of Kazuya's story). Then Harada also assassinated Jin's character and made him OOC in Tekken 6's shitty scenario campaign story. Jin's potrayal in Tekken 6 completely contradicts his characterization in the older games (especially his Tekken 4 ending) and Jin is just out of character in that game, but the fanbase are usually idiots who don't realize that. So the fans bash Jin even more, and oh don't get me started on all the horrible fanfiction on ao3 where Jin gets r*ped by multiple characters because he hasn't suffered enough.

Both Dante and Jin deserve better, i hate it here it's always my favs are cursed lmao. (Ｔ▽Ｔ)

YEAAAH like I’m sorry but I think people are so overly critical of his actions in DMC5. I’m always gonna be of the belief he did nothing wrong in that game except for not telling Nero Vergil was his dad but he had reasons for not telling him like… the fact that he was afraid of cursing Nero with the same life he was living if he got too closely associated with either twin. And the fact that Nero most likely wouldn’t believe him (which Dante himself said) unless he had definitive proof for him. Dante is a man weighed down by the responsibility of protecting all of humanity, something any other person would completely crack under. So he thinks he can only let people in a certain amount or else they could get hurt. It happened many times, after all. Like I’d understand the criticisms of his behavior if he acted like a toxic asshole the whole time but… he really doesn’t. At worst he’s said something insensitive a couple times which… who hasn’t done that in their life and he felt bad about it both times it happened lmao (when he upset Nero in 5 and when he accidentally made Patty cry in the anime. Like he was actively miserable the entire episode because of it.) I’ve read such a weird amount of posts bashing Dante or fanfics that do the same.

Btw I’ve never played Tekken but that sounds shitty :(

[luckycheesefoodie321]

This is killing me. Every single time XD

The excited blushes. The reactions to the raid suit tech. The fact it’s the exact same as when Law saw him. “Everyone from the North Blue” I’m starting to believe it. It’d be really funny if it truly only was a small pocket of kids from the North Blue that just so happen to have transitioned to pirating. But the fact Hawkins was like psst Drake! Do you see what I see? Please tell me you know him bc I am freaking out!!

The way they insist on calling him Stealth Black. Sanji not wanting to be associated with Germa but he keeps running into fanboys from the North Blue. Like “shut up we know you’re Stealth Black. We’ve read the comics. You’re part of the evil army! You can’t hide yourself!” (Except the comics he’s apparently yellow according to those imagination moments. So likeeee????)

But also none of them are fans of him and Germa. Like they are fans of Sora. And yet when the real thing, villain or not, is irl in front of you then I guess fanboy gonna fanboy.

“Curses we have been foiled by the dastardly Stealth Black! But of course he did. It’s Stealth Black after all!”

Truly the hero worship is delightful and I love it so much.

[illuminatedcomics]

My next endevour is finally wrapping up a 14 pages story I first posted in 2023 but never got around finishing for semi-stupid reasons. CAPTAIN DAMAGE, my personal little legally distinct OC based on a favorite character of mine and my take on her. I want to finish both because I want to make an effort not to abandon stuff anymore, and because of the collection of my shorts I'm organizing. I think writing wise this is one of my funniest shorts, I love writing these characters, the snappy scenes etc, but in terms of the art, there was a lot I'm unhappy with. It's a good rule of thumb that you shouldn't waste time redrawing old stuff you made, because that becomes a neverending process, as you continously mature and improve as an artist, but there were just too many little things I hated about it. Here three big ones.

Missile kick, I liked the scene but I was profoundly unhappy with the way I drew her, the anatomy is all screwed up, the pose didn't convince me, it was all wonky and I regretted settling for it. New version, I cannot be sure the anatomy is THAT much better, but I'm happier with the overall momentum. I got a comment telling me the kick looks better because the power seems to be coming from the hips, so I'm glad it's working.

Evil alien ship approaching a planet, the original is an overt Star Wars reference, and I thought to myself "Why?" What's the point, thematically this has nothing to do with Star Wars, so I changed it up and went for a flying saucer look. While a lot of the stuff I do is often a parody of something, I try to avoid being overtly obvious with my reference, and I have a strict rule against mentioning memes or anything meme adjacent. I've changed dialogues and jokes when I saw people commenting with memes or stuff I didn't know about.

Spooky villain reveal shot. Eye is much bigger to mantain it consistent with how I'm drawing the guy in the new pages. On the teeth, first time around I was trying to do something weird and new, so I gave him bifurcated fangs, but now every time I see it, it just looks like he has braces on, so I went for something more conventional. Also, I bought a new fancy font to give the evil aliens some more spice to their dialogues. I love the trope of giving characters a differente "sounding" voice by changing fonts, or making letters and speech bubbles a different color.

[riddles-n-games]

Honestly I’m not really sure how I feel about Eve. She’s definitely a villain and continuously chooses the evil/wrong choice but if u look to her past it makes some sense. Family hating you, not being accepted and now the loneliness. All to say that Avery wouldn’t have done the things she had but she had one loving parent and Libby and Eve had no one. Yet on the flip side, she had her dad kidnapped all to inherit this fortune and now she complains abt how he wishes she was like Avery. Girl maybe if you didn’t turn on him?? I don’t think she needs or deserves a redemption arc, she needs to learn to just leave them, especially Grayson, alone.

Straight up no need for a redemption arc, amen to that! I can't with her anymore. I basically erased her from my memory bank after reading TFG and then we got to TBH a year later and... There. She. WAS. AGAIN!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! Thank goodness we got two books break from her but we all know that is gonna change real quick with Glorious Rivals.

Eve is a complex character when you look beyond rational hate for her and her actions but truly, WTF? Like, girlie, why? What pisses me off is that Gray felt guilty for all that happened to her and wanted to give her a helping hand but she just used a hurt soul's remaining generosity and twisted it against him so easily. I do wish he had displayed more caution the same way he did with Avery and wanted to protect Jameson from the very same scenario they went through with Emily but then threw all that out with Eve.

But I digress. For some unfortunate reason, JLB still needs her as an antagonist. Huff.