#I LOVE CHARACTER PSYCHOLOGIES!!!!!!!!!!!!!!

[miraculouslbcnreactions]

Is it true that Miraculous often sexualizes its characters? Because I see other people say this and want to know if it’s correct

I have not picked up on anything like that in Miraculous, but I'm ace, so sexualization has to be pretty overt for me to notice it on my own. It's entirely possible that there's something subtle that I'm missing. Until someone gives me specific examples, my stance is that this is incorrect. It's not an element that even crosses my mind when it comes to the reasons why I would discourage adults from introducing this show to kids. I am concerned about the quality of the romance between the leads, but that concern comes from a psychological standpoint about modeling what healthy relationships should look like. The love square is way too teen drama for a family show! However, from a purely physical standpoint, it's appropriate for all ages.

[treemaidengeek]

I treat & assess the live action remakes in the same way that I treat any newer version of an older classic. It's not meant to replace the older version. It should be a loving homage to and reinterpretation of the original. It should be in dialogue with it, and it should have something to say that's worth hearing.

Examples:

Original Cowboy Bebop is an unparalleled classic. I haven't personally seen the remake, but I've heard it flopped because it didn't add anything and didn't have the soul of the original.

Original Trigun is unparalleled classic. I haven't personally seen the remake yet but I definitely plan to, because I've heard it made (mostly) smart choices to tell the same story in a fresh way that's clearly in dialogue with the original. And, the animation is absolutely stunning in a very different way than the original.

The Haunting (1963) is an unparalleled classic. I saw the 1999 remake in theaters at the time & I was outraged by the transformation of my beloved subtle atmospheric and physcological horror into a poorly-executed over-the-top-special-effects overt haunted house ghost flick. It bombed. The 2018 TV series, on the other hand (haven't seen yet), did very well. It draws from the original novel to delve deep into the psychology and relationships of the characters.

And that's how you do - and do not - do a remake, in any medium. Shifting from animation to live action is not, in itself, sufficient. You have to add more to the conversation for your work to be of interest and value.

Since we keep getting "live action" CGI remakes of already perfectly adequate animated movies, and because people need to understand that animation is a medium and not a genre, I have prepared this primer about the importance of Visual Language for Conveying Information.

Can you tell what the personalities of these two mice are?

Can you tell now?

Which of these two tigers feels safer to be around?

Which of these three dogs is the funniest one?

If you can answer these questions, then you already have experience with the idea of visual language and stylistic choices being used to impart narrative meaning. If you can understand why these choices were made to impart meaning, then you can understand why animation is a medium for telling stories that has its own inherent value, and is not merely a "placeholder" for the eventual implementation of photorealistic presentation (aka "Live Action" CGI). Animation does not need to be "corrected" or "legitimized" by remaking it into the most representational simulation of observable reality.

[sol-iscus]

Honestly, Arcane needed at least another act to close it properly. There was just.....too much going on. Jinx's ending ground my gears and the way that Vi just.....seems to move on. Bro,that's the baby sister you sat through nearly a decade of psychological and physical trauma to get back to. Her reaction should have been way more visceral. If Vi developed alcoholism over her situationship going south, her sister (and dad!) going out like that should have had her thoroughly crashing out.

Ekko and Mel......now that was personal. They really gave them the Magical Negro™ treatment and no explanation for it. And oh boy, am I tired of it. I hate the narrative of black characters having to self-sacrifice for people who would not do the same for them. Could you imagine being fucked with by something like the Arcane or LeBlanc for allegedly a year or so,just to immediately go to war the moment you're back in normal surroundings? Do they get a break at all?

THANK YOU ANON for describing how myself and my friend both feel about this (we’re both poc)

I’m also upset at how minimized Vi and Ekko’s relationship is, especially with ekko thinking Vi was dead in season 1, and we only get one more interaction between them both this season. And Ekko is just….so lonely after he has suffered great losses as well, ESPECIALLY after seeing all that he did back in the alternate timeline and remaining selfless to save those he loves back in his timeline.

Ekko, Mel, and Sevika deserved SO MUCH better as well and way more screen time to do their stories justice. Things happened way too conveniently and too quickly. I’m also struggling to understand how Mel managed to control her powers the way she did at the last moment.

Vi absolutely should have crashed out. I wanted her to go find Ekko and talk to him, at this point they both need each other because they’re family too.

Honorable mention, Ambessa. I have…..feelings about that whole thing.

[imsobadatnicknames2]

Been catching up with a "therapist plays disco elysium" series I used to watch a few months ago (I'm critical of therapy as an institution but the guy's background gives him some legitimately fascinating insights into the way certain characters are written, and I love that he's like the exact opposite of a "the curtains are just blue" guy, if something catches his interest he'll spend 50 minutes analysing a single conversation). And anyway I love how the game has taken him from

Early episodes: Look I just don't want to engage with the politics, okay? I know this game has a lot to say from the politics angle but I'm just interested in the psychology angle

to

Episode 61: "Fuck it! I'm just going to say it, okay? Billionaires aren't people"

[chronicsyd]

I would like to remind everyone getting all fussy about the "dirt under your fingernails" line from Vi is that psychologically, the meaning of the phrase "dirt under your fingernails" means "staying grounded, humble, and connected, to keep one's head out of the clouds, always keep one's feet on the ground, never get too caught up in one's self, spend some time on the front line."

By saying "nothings gonna clean me out" she means that she's going to stay connected to Caitlyn, this is basically a love confession from Vi. And its a line that fits Vi's character really well considering that for the entire show she's spent her time being caught up in herself, questioning the decisions she makes and her relationship with others (namely Jinx and Caitlyn). she's finally grounding herself, and I find that extremely poetic.

[angelssmvse]

𝙂𝙊𝙊𝘿 𝙂𝙄𝙍𝙇𝙎 𝙂𝙊 𝙏𝙊 𝙃𝙀𝘼𝙑𝙀𝙉

. ݁₊ ⊹ . ݁˖ . ݁ 𝙁𝘼𝙏𝙃𝙀𝙍 𝘾𝙃𝘼𝙍𝙇𝙄𝙀 𝙈𝘼𝙔𝙃𝙀𝙒 𝙓 𝙁𝙀𝙈 !𝙍𝙀𝘼𝘿𝙀𝙍 𝜗𝜚 (smut)

𝜗𝜚 𝙎𝙐𝙈𝙈𝘼𝙍𝙔 The ordinary girl, always abiding by the rules—so innocent and pure. But sometimes, stepping outside those boundaries can be a good thing, can't it? And Father Charlie is about to show you how. (P.S. he’s gentle with you)

𝜗𝜚 𝘼/𝙉 So recently I made this edit and oh God I had this urge to write a smut — and please feel free to send me any requests. Enjoy, angels<3 ( click here to watch the edit )

𝜗𝜚 𝙒𝘼𝙍𝙉𝙄𝙉𝙂𝙎 smut! minors DNI. This narrative contains mature themes and explicit content, including strong language, depictions of violence, adult situations (smut), and elements of both humor and tenderness. Reader discretion is advised.

It's been months since you and Father Charlie began talking and spending time together. Your conversations often revolve around beliefs, modern society, and even psychology. Yet, what intrigues you both the most is uncovering each other's thoughts and understanding what truly goes on in each other's minds.

You always saw him as the mysterious type of man—the kind you’d chase despite knowing he’d probably hurt you.

And then there was you. God, he hated you. To him, you were almost angelic, divine in every sense, as though you’d barely sinned a day in your life. Your eyes held a magnetic pull, and your presence was undeniably comforting.

He was a mess, yet somehow, you managed to understand him—at least in part—and soothe his anger.

“The desires of the flesh do not come from the Father…but from the world,” Father Charlie intones, his voice steady as he reads from the Bible in his hands. “But in the end,” he continues, setting the Bible down on the nearest surface, “we are all…” — “Sinners,” you whisper, your voice barely audible. “So fuck it,” he murmurs, his breath warm against your ear.

In an instant, you find yourself pressed down onto his bed, his body over yours, his lips claiming yours in a fervent kiss. The kiss deepens, the atmosphere grows charged, your heart pounds, and your bodies remain entwined.

He gently positions himself as he slowly begins to move, you arch your back towards him in pleasure, softly moaning holding his defined shoulders as your nails dig into the skin causing it to bleed. He growls taking your wrists and holding them tight to keep you still “Father-“ you whimper, he shuts you up by kissing you, your tongues dancing as he quickens up his pace.

Father Charlie felt your climax building up and your walls tightening around him, “Fuck…” he whimpers in pleasure drowning himself in the crook of your shoulder; kissing your soft skin and leaving trails of love marks behind as he goes on.

Tears began to fall down your cheeks, your legs tight around him letting you come. He finishes and collapses on top of you, his lips brushing softly against your skin. Your hands, now free, move to the back of his head as you gently play with his hair. "Hey now," he chuckles, lifting himself slightly to meet your gaze.

You both savored every moment—every second spent together. But was it wrong…this feeling?

Copyright © angelssmvse 2024 — I own only this story; please do not copy nor translate without permission or proper attribution. I give credit for the character Father Charlie Mayhew from the series "Grotesquerie" by Ryan Murphy. This is the only platform where I have published the story.

[jaehaeryshater]

The King Come Over and his bride Ygritte Firekissed

art by : @shripscapi

Look at my King dawg we’re definitely getting through the Wall!!!

For the last month and a half, I have been working closely with Liesl to design concepts for Jon as King Beyond the Wall and Ygritte as his Queen. Personally, I’m not invested at all in Jon becoming King of the Seven Kingdoms despite him being my favorite character. He’s not very connected with the South and I don’t feel that it’s his birth right or anything, even being the son of Rhaegar. I am significantly more interested in him becoming King in the North, but my interest in Freefolk culture has led me to be far more invested in the idea of him rejecting Southron society as a whole and becoming King Beyond the Wall (this isn’t necessarily mutually exclusive to being King in the North later on).

The motivation for Jon becoming King as opposed to Mance stems from a theory that has been around since AGOT has come out: that the Others will only treat with/negotiate with a Stark. In the prologue of AGOT, when the Others are speaking among themselves before killing the Watchmen, what if they were confirming with each other that Waymar Royce was not a Stark and that they could go ahead and kill him? All in all, it doesn’t really matter if this is true, but rather that this is a plausible rumor that could easily have been passed down among the Freefolk which could lead Mance to conclude that Jon as a leader would give the Freefolk the best chance of survival. It’s not very hard, at least in my opinion, to imagine an AU like this, since survival is the most important thing to the Freefolk during the events of ASOIAF. But is it plausible that under these circumstances that Jon would abandon his Night’s Watch vows? I think so if he can be led to believe that only Stark blood could defeat the Others, but that is not the only factor. Jon Snow is insecure about his bastard status, plain and simple. He’s always lived in the shadow of his Robb, though he loved him. He’s wanted Winterfell, though he didn’t want to nor had any intention to take it from Robb. But he’s known since he was a small boy that he could never Winterfell and that would never inherit anything because he was a bastard. Jon also has thoughts, at least in passing, that Ned loved Robb more than him. He perceives Ned as having been more proud of Robb, of looking at him differently than himself. He’s seemingly always believed this, but there is a sort of confirmation of Jon’s feelings when Ned allows him to join the Night’s Watch without much preparation on what the Watch is actually like. Fully me making assumptions here, not something Jon has explicitly thought, but it’s unlikely that Ned would have sent Bran off at 14 to the Watch without much warning of what it was like, had Bran not become paralyzed. While we never get this exact thought process from Jon, in my opinion it fits into his psychology and insecurity. All this to say, if Jon is offered to be a figurehead, King, a title equal to his brother, but without taking anything away from the Starks or from Robb, that would almost certainly scratch that itch in him. It would be of his own merit, and there would be people behind him that don’t care that he’s a bastard, don’t see him as less than, and are willing to accept him for who he is. Not to mention that it also lets him feel like a hero and as if he is saving something far more precious than himself. And it probably doesn’t hurt that he would be able to remain with Ygritte as well.

We know from the descriptions of Mance and Dalla, as well as from being told directly by the former, that the King and his wife dress like all the other Freefolk, in thick furs. While the Jon and Ygritte arts from above are not particularly ostentatious by Southron standards, they are in obvious contrast to how Mance and Dalla are dressed. My idea was that Jon, having lived South of the Wall in a Lord’s keep all of his life, brought his own ideas to the Freefolk and added a distinction between a King and all other men. Nothing like in King’s Landing, all changes are inspired by his experience at Winterfell. I tried to think of what was achievable by the Freefolk, that would be difficult enough that it can’t be easily replicated for everyone else, but also keeping in mind of what could be done relatively quickly seeing as the Freefolk are focused on migrating South and saving themselves from the Others. The cultures I took inspiration for the clothing from are the Byzantines, Russians, Incans, Aztecs, and Mongolians. I wanted more “open” and flowy clothing, as opposed to more closed off and excessively modest clothing of 1300-1500s Europe that most of Westeros is based off of. Ygritte is still wearing furs, but they are dyed and there is weirwood embroidery in symbolism of the Old Gods and flame embroidery to symbolize her being kissed by fire. Her jewelry are simply clay beads that have been powdered blue. I didn’t want to give her any jewels as I felt it would be too difficult for the Freefolk to cut them directly and just overall would be against the spirit of the Freefolk. However, getting the blue on the clay like that still would be expensive and take a lot of time. I tried to keep the main color scheme surrounding gray as obviously that’s House Stark’s color. Jon’s clothes are similarly nice, with my main concern being him looking intimidating. I want the furs around his shoulders to be black because I wanted to call back to his time in the Night’s Watch without him keeping his psychical cloak, because I’m sure the Freefolk would not want him to do that. The furs are massive and make his shoulders look far larger, in an effort to make him look more intimidating, especially on a battlefield or in negotiations. He also has weirwood embroidery and his sigil is on the front of his outfit (my original idea was for him to have a flag with his heraldry on it, in which case the sigil would have looked far different, with a full length direwolf). There’s a white wolf on one side and either a crow or eagle on the other side (up for interpretation, both are relevant to Jon and one is one of the animals that can be used a symbol of the Freefolk) and the flame in the middle to represent Ygritte. The sigil is more than about Jon, after all, as it’s for the entirety of House Whitewolf, the House he founds. I thought the name fit far more in to Freefolk culture than something like Whitestark or something along those lines. Ygritte was supposed to have sewn on the sigil herself, and was very adamant about it, and that is meant to be why the thread is uneven and more visible than it ought to be. She’s not very good at the craft!

As I indicated before, crowns are not something common to Freefolk. That would be something else Jon would implement. Ygritte’s crown is very much like a hat, very casual. The beads are nice but obtaining them wouldn’t be unheard of, and holly most likely would not be particularly hard to come by. The reason I gave her a crown with holly is that during Christmas in the Tudor period and even before during pagan celebrations, people would go out into the woods and find holly and ivy to decorate their houses with. Holly was a symbol of masculine energy and ivy feminine energy. If you found more holly, it was meant to indicate that the man would rule the household for the year, and if you found more ivy then the woman would rule the household in the coming year (this was a way to “tell the future” not a rule lol). I liked the holly better for Ygritte so I’m just saying the Freefolk had the opposite belief. Jon’s crown is made of weirwood, which was important to me as I feel like his connection the Old Gods is also important as it is something that him and Freefolk both use to guide them. It ties them together. That being said, a weirwood crown is often used for Bran so I did not want to use a design that was too similar to the one used for him. Bran’s weirwood crown usually is made of weirwood branches, however, and not weirwood bark or logs, so I feel like it’s different enough. The frozen weirwood sap, as far as I know, is also unique to this design. There’s also some ivy to parallel with Ygritte’s holly.

The remaining bits and bobs I wanted to explain are the blue rose and then the face paint. The blue rose is obviously something associated with Lyanna Stark, who is widely accepted to be the mother of Jon Snow. I originally wanted to give him a rose somewhere, whether he was holding it or it was in his embroidery, but I forgot to ask during sketching, and then it was too late. But Ygritte holding the blue rose isn’t just about Lyanna. It’s also about Bael the Bard, a most likely fictitious person (or at least, the tale is fictitious, though I personally choose to believe it’s real) that went South of the Wall posing as a bard. He impressed the Lord of Winterfell so much that he granted Bael anything he wished; all Bael asked for was the most beautiful flower in Winterfell. This was granted for him, but the next morning he had stolen the Lord of Winterfell’s only child, a girl, and had left the flower in her bed in her place. He hid in the crypt with her for a year and they had a son together. Bael eventually went back North of the Wall and eventually Winterfell, having no other heir, passed to Bael’s child. Under this story, Jon is descended from Ygritte’s idol (maybe idol is stretching it, but she really likes him), Bael the Bard. Not only him, but all the Freefolk including Ygritte, according to her story. Following the story’s premise, Jon also poses as Bael and Ygritte as Winterfell’s daughter, with Jon joining her home under false pretenses and “stealing her”, as she calls it. So the blue rose has significance regarding both the Starks and the Freefolk. The face paint is inspired by tattooing done by cultures indigenous to North America. Indigenous Americans are not the only groups to use facial tattooing, the Vikings were famous for it as well, but Viking facial tattooing had more patterns based on shapes rather than lines and dots. I didn’t like the shapes so much, but the chin tattoo was one was that observed in all sorts of different cultures. Usually the chin tattoos with the line were on women in indigenous America, but I found some on men in other outside cultures. The dots I didn’t see outside of Native American culture and the claw marks on Jon’s cheeks I found mainly among Vikings. Because these all are an amalgamation of different cultures, we did them as face paint instead of tattoos because it seemed disrespectful otherwise. Not enough research went into it to be a proper representation of any one culture so paint was a better bet than a permanent body modification that is sacred to a number of cultures. The only thing that was meant to be a tattoo was the chin tattoo, which like I said, actually is from an amalgamation of cultures. Among the Freefolk (in this AU), dots on the cheeks are widespread, one of cultural mainstays of their people, and are generally a sign of peace, whereas the claws are meant to look intimidating and is applied to look like blood (Ygritte applies it for Jon) and is specifically used for military leaders. I really wanted to drive home the point that the goal with Jon’s whole look is to look fearsome.

I have so much more to say about Jon as King Beyond the Wall, how he negotiates with the Wall, the different rules he sets in place, how he sets up being King as a hereditary title once his daughter Bael is born, etc etc, but then I’d be here all day and approximately one person total read through all this. Oops! Ask in my inbox if you have any questions because I would love love love to answer them. All in all, shripscapi (Liesl) is so talented and she worked incredibly hard for me. She was extremely accommodating and changed as much stuff as I wanted. She never complained about the million times I decided something was not quite right and she sent me so many updates. I would recommend working with her to just about anybody. It was very cool what she was able to achieve and I got it in time for the holidays so I can enjoy my winter themed pfp on twt. So thank you from the bottom of my heart Liesl, and I hope everyone showers her with compliments because she deserves it. I also hope that people that don’t enjoy Ygritte very much can still appreciate the art and the concept of Jon as King Beyond the Wall. Hopefully I’ve gotten across how much I love and care for these characters to a chronically online degree and nobody accuses me of mischaracterizing them because that would make me!!!! very sad!!!

Bonus Jon with weirwood leaves:

[bearofohu]

something i dont see talked a lot about in layton fandom is that hershels a hoarder. there are multiple mentions made in in blurbs, dialogue and even cutscenes that bring up how how much of a cluttered labyrinth of papers, books & items laytons office is

we dont see his flat much but i remember a dialogue blurb from luke somewhere in the og trilogy that mentions its even worse than his office (which is a little telling bc his flat looked fine in the cutscene from when claire was still alive). it’s also said that luke is the reason his office and flat look even slightly presentable. technically a combined effort from luke & rosa—but come the og trilogy it’s basically just luke

there could be a multitude reasons why he has this problem. personally i doubt level-5 intended it to be anything more than a character quirk of a genius, as messy spaces is a trope of that archetype. but the thing is, it’s not just messy, it’s very notably cluttered. its described as difficult to navigate through when its not cleaned up. it’s described as a labyrinth at one point. its easy to just chalk it up to a harmless quirk, but its also reasonable imo to take a more introspective route and interpret it as a byproduct of grief

in real life theres often more than one thing contributing to hoarding behaviors developing in adults but the loss of a loved one is often a big trigger of what causes the problem to become notable. grief is one word for a vast spectrum of emotions but becoming more adverse by the thought of discarding or losing things is a common psychological way to cope against the anxiety grief can cause, which can very easily add up. and it should be noted that laytons immense emotional attachment to the tophat would put him in a position where hoarding urges unfortunately thrive—emotional attachments to objects

on the bright side however—hoarding is very much something a person can work on. it’s not easy, nothing like this ever is, but it can be worked on. and personally i think what did it for hershel was realizing that after luke had moved, letting his spaces look the way they were previously would basically be saying that it didnt matter to him how much fussing luke did so his space could be nicer—and it very much did matter to him. so over time and with emotional support from rosa & flora he works and works on it

come new world of steam and hes not perfect—but hes a lot better, better enough that he can recognize when things are getting bad on his own and correct it. and now when luke drops by his rental place in steam bison and has nothing to clean hes caught between pride and pacing around restlessly bc hershel just auto completed his main quest objective

[sapphicslaylist]

I am in agreement with the above, but do want to add an additional perspective: people often forget that Smitten is, and always has been, a very accurate and in many ways tragic depiction of codependency.

He is extremely untethered, obsessed with the classic “bleeding out for your love” romantization, and is completely not ready for a relationship. He is actively drawn to characters who hurt him (Proto/Damsel, and Witch/Thorn, both of who does so in self defense, and Razor, MoC, and Burned Grey, where he presumes she hurts him out of love). His understanding of love is a false and fucked-up notion that he has to suffer to be worthy of her, that he needs to be hurt, and he needs to tend to her and ignore himself. This is how lines like “don’t mind my sacrifice” come up; he believes he is helping. He really does. Is it manipulative? ABSOLUTELY! But he is unaware of this in his own crusade.

Does this in any way justify his actions? NO. IT DOES. NOT. Smitten needs to stay the FUCK AWAY from Damsel, and reevaluate himself before being prepared to romance. The only reason that Thorn works is because that is someone so worn down and exhausted that she does need someone to trust and love her despite the past; she, much like him, is also not relationship-ready (note the fact she is still LITERALLY BLEEDING OUT with fresh wounds/needs to psychologically & physically heal first) but gravitates towards that spark regardless due to her own conflict and the belief that she’s in the wrong for it. Thorn herself was stabbed in the back first, fought back, and once again took the dagger in fear it’d be used against her in Witch’s cycle. When this wasn’t the case, she blames herself entirely for not reading LQ’s behavior correctly; something which is common in victims of abuse and domestic violence when they gain the upper hand over their captor. It feels wrong to them because they’ve been trained to be subservient. Thorn has no clue who she is anymore due to breaking out of the rubric, and can only revert to the past if harmed or step forward very muted alongside him. This is part of why I prefer the abandonment & Slay attempt routes for her characterization; she needs time to rediscover herself. They both need time.

So how does this link back to codependency?

Smitten is a caretaker. He believes it is his responsibility to take care of women he does not know very well, because he is under the assumption he needs to “save” those who are hurt. He sees the hurt, but not the reasons why; he presumes in Damsel that rejection is a judgement of his character opposed to lack of connection. He just so happens to judge Thorn correctly because their desires match up. Given the context of the situation, he is also convinced that his inaction will cause the death of The Princess, and that would be blood on his hands SPECIFICALLY. He is a traumatized, unstable, and dangerous man at times driven by a misled desire to help, and often hurts instead.

This is a very common pattern with people within these relationships: believing serving one (or several) people is their job, to white knight, and to rescue. He is the deconstruction of Prince Charming and aptly points out the masculine side of fairytale expectation in ways it’s not often explored. It is gender roles depicted as something which can destroy a good heart and warp them into something which counters their beliefs.

In essence: is Smitten healthy? NO. Man needs some serious therapy.

Is Smitten malicious? Quite the opposite. He desires not to have the Princess harmed and take her pain away, but forgets that pain is part of being alive. By taking her ability to feel pain unto himself, he removes her agency in her own grief.

Now, the big one: is Smitten EVIL?

This isn’t ABOUT good or evil, is my answer. He is flawed, he is absent, and he is the bloody, brutal truth of how codependency trap both people. These relationships are not talked about enough and are often mischaracterized by lacking information. The game does it beautifully, and I wish that more folks would consider this.

Tl;dr Smitten is not defendable. But to characterize him as willfully malicious and harmful goes against the grain of his entire gimmick and frankly needs to stop.

SLAY THE PRINCESS PRISTINE CUT SPOILERS)

Hey so I’m not the only one who played this route absent mindedly and came back to really think about it and get very concerned right?

One of the things I wanted to say is how UNCOMFORTABLE this line from smitten is

I CANNOT defend you anymore 🙏

On a real note, reexamining this. It’s very on-brand for him. Even if it is a VERY concerning thing to say. I love the smitten but gee golly gosh times like these make me remember this guy is not mentally ok.

Like, telling a girl you will “give her everything she doesn’t know she wants” after she said she doesn’t want to live in a cabin with an actual stranger feels very. Interesting. I don’t have any nice words to say about him in this chapter. I feel like more or less it was so jarring to me. It is in character tho wether I like it or not

I also did this, I didn’t know we could do that

[twoflowers]

Sentimentality - Sanji x Reader

Read on AO3

Description: The newest addition to the Straw Hat crew grapples with their easy affection, and especially with the attention from their doting cook.

Tags: SFW, character study, slight slash, scientist reader, no use of Y/N, female reader. First impressions, nakamaship.

Word count: 1418

Special thanks to @mere-mortifer for the encouragement to post my Sanji fics. I love your Sanji very much.

This one isn't very slash-y and honestly feels a bit incomplete to me, but I'm obsessed with this man in a psychological way and need to post at least something, even if it captures only an ounce of my insanity about him and the crew.

Also: thinking about making this into more of a series (as the reader is kind of based on an OC of mine...!). Please, please, Sanji fans: give me any and every prompt you can imagine.

__

Sentimentality

Every morning you settle into the golden-glowing comfort of the breakfast table: the press of arms against arms, the jostling of bodies to the time of the waves, the hard wooden bench softened despite it all. 

The captain is not at all what you expected. He’s a kid, and a downright grabby one at that. You have to slap his rubbery hands away from your plate at every meal, and if you don’t catch him, Nami always does.

You sit next to Chopper, whose tiny, furry body is so very warm. He likes to plan the day over breakfast, still thrilled to have another scientist on board. You watch him nibble at pancakes with his blocky teeth (it really is hard not to coo over him, but he has his dignity to uphold, so you restrain yourself!) and sip his milk and grin, white mustache and all. Robin leans over with a napkin to clean Chopper’s mouth, and he fusses, but concedes. Some of his drawings hang on the fridge, secured by magnets. You think of siblings with a pang in your chest every time you see them.

Roronoa Zoro is inexplicably softer than you imagined. There’s something about the curve of his cheeks, the careless sprawling stance, the way his nose whistles lightly while he sleeps. He barks laughter at Luffy, leans on his swords like they’re children, even smells better than Nami likes to say.

Robin terrified you at first, but you quickly became a sucker for her mellow gaze and old book smell. Besides, educated women are always of interest to you. Nami and Robin are incredible, always encouraging: proof that somehow, someway, a woman who has been chased out of her old life and hunted by the darkest parts of herself can uncurl and be seen. The first few sleepless nights aboard the Going Merry, you stared at the ceiling, heart pounding at the vulnerability of sharing a room. 

You are a scientist. You’ve long denounced the need for sentimentality, though Luffy manages to wring some spare drops out of you every day. How could you have accounted for the love that permeates every board of this ship? How have you gone your entire life wondering if belonging like this could exist, only to find it among a notorious pirate crew- a crew who, really, is more bumbling than you could have imagined? How can Luffy stroll into any place- town, restaurant, heart- and break down every wall without a second thought?

And the chef… 

You have to look away from him sometimes. The first time he made a meal for you, he sank to a kneel to present it, like he was a servant and you were a queen who could take his head at any moment, and have it willingly! You took it with shaking hands and nodded a thank you. When he stood back up, there was a bit of dust on the knee of his fine-pressed pants. You kept your eyes on it as he fluttered around, crooning to the women and brusquely serving the men. What were you supposed to make of that?

Sanji squeezes your heart like it’s an old rag. The way he remembers your favored flavor profiles makes your toes curl. You’re not even sure you’ve managed to smile at him yet, even a month after joining the crew, because he throws you so off-balance you’re left feeling like you’ve been thrust into a hurricane without any solid structure to grip onto.

His… whatever it is- admiration, loyalty, devotion, all of the above and more- has only gotten stronger in the past month. He floats into the lab as if on a cloud to tell you he made you a snack and left it outside, mindful of the potential for contamination. He tells you how lovely your eyes look that day, and every day, that you are the most beautiful woman he has ever seen and that he lives to serve you.

“A snack for you is outside, miss,” he says today, looking like he’s itching to bow. “I prepared a carrot cake and a spiced milk for you, with turmeric, cinnamon, and nutmeg. Let me know if anything is not to your liking.”

You side-eye him from your bench, pipette paused in midair. Miss, miss, miss. Every time he says it you’re left breathless. As usual, you nod and mutter a thank you, still focusing on your work, lest you do something stupid like offering him your hand to kiss or backing him into the wall to taste his neck.

He usually leaves right away, but you don’t hear the door close today. When you look back at Sanji, he’s beaming, eyes practically heart-shaped. 

“May I make anything else for you?”

“No. That will suffice.” Something in your chest is shouting at you for being so formal with him. 

“I like carrot cake,” you add.

Sanji’s smile turns tremulous and melty. A hand moves to cover his heart. “I will keep that in mind. And I don’t wish to disturb you- your work is very important- but it will be best eaten soon, while it’s still warm.”

You surprise yourself by setting down your pipette and moving to the sink to wash your hands. Sanji is still lingering at the door as you scrub between your fingers and under your nails, similar to the way he washes his after handling raw meat. You take extra time drying off, the feeling of him behind you prickling at your neck. 

In the hallway, the cake and milk are placed carefully on a table. The mug is to the top right of the plate, handle tilted at the perfect angle for you to grab. A dainty dessert fork is flipped upside down, leaning on the plate. Two sprigs of mint form a heart on top of the cake.

“I almost don’t want to eat it,” you say. “It looks so perfect.”

“I can make you as many as you’d like, all with love. Please. It’s my pleasure.”

You lift the fork, and Sanji leans forward with the eagerness of a child witnessing a magic trick. When you take a bite of the cake, his visible eye widens.

“It’s delicious. Thank you, Sanji.”

Sanji lets out a shaky breath. “Of course, miss. I can make you anything your heart desires, provided I have the ingredients. And if I don’t, I will make sure to procure as soon as we make landfall.” 

Why does the man have such puppy-dog eyes? You know with certainty that he would do anything you asked of him, or else die trying, and you’ve hardly spoken to him. There’s a string of tension in his body when he’s around you, loosened slightly now that you’ve complimented his food. Is he just that eager to please?

You have met many men happy to go through the motions of wooing you for one reason alone, but something about Sanji tells you that he would be at your beck and call for the rest of your life, even if you never said “thank you” again.

You nod, moving to try the spiced milk, which is, of course, perfect. 

“I noticed that you like cinnamon, so I tweaked the recipe to add more.” He sounds hopeful. “I hope that you don’t find the turmeric overpowering.”

“No, no,” you shake your head, lowering the drink. “It’s good. You’re very… perceptive.”

“Of course! I pay special attention to my lovely ladies.”

You’re included in this group, somehow. Why does that make you want to push and prod at him, despite the measured indifference you’ve culminated? “Sanji,” you say, and he snaps to attention.

“Yes?”

“Could I have some marmalade with this?”

This is the first time you’ve requested anything from him, and a broad smile spreads across his face. 

“Right away.” He falls into a bow before walking down the hallway. When he’s out of view, you hear him begin to run, legs pounding the wooden floor strong enough to rattle the pictures frames on the walls. 

You pluck a sprig of mint from the cake, grinding it between your teeth. It’s refreshing, new, with a bit of a kick. You smile to yourself, thinking of Sanji in the kitchen, carefully scooping marmalade into a dainty dish, heart thrumming from receiving an order from his newest object of affection.

[literaryvein-reblogs]

can you do a blog about the main types of book genres there are if you haven't already? and how to know what you're writing?

Types of Book Genres

Mystery. Follows a crime (like a murder or a disappearance) from the moment it is committed to the moment it is solved. Mystery novels are often called “whodunnits” because they turn the reader into a detective trying to figure out the who, what, when, and how of a particular crime. Most mysteries feature a detective or private eye solving a case as the central character.

Thriller. According to the New York Public Library, thrillers gradually build anxiety and suspense. Examples of thrillers include “Gone Girl” by Gillian Flynn, “All Her Little Secrets” by Wanda M. Morris and “The Silent Patient” by Alex Michaelides. ⚜ Psychological Thriller

Horror. “Carrie” by Stephen King, “The Haunting of Hill House” by Shirley Jackson and Edgar Allen Poe’s work are all under the umbrella of horror. These works are intended to frighten audiences and elicit a feeling of dread, according to the CDE.

Historical Fiction. Historical fiction takes place in a historical setting, the CDE notes. Some examples of historical fiction include “The Prophets” by Robert Jones, Jr. and “The Four Winds” by Kristin Hannah.

Romance. Romance Writers of America (RWA) noted that romance refers to optimistic and emotionally satisfying stories that focus on a central love story. “The Love Hypothesis” by Ali Hazelwood and “Red, White and Royal Blue” by Casey McQuiston are both romance novels.

Western. Primarily set in the American Old West between the late 18th century and late 19th century and tell the stories of cowboys, settlers, and outlaws exploring the western frontier and taming the Wild West.

Bildungsroman. Translates to “novel of education” or “novel of formation,” chronicles a character’s journey from young innocence to worldly adulthood. This is a specific type of coming-of-age story in which the character gains knowledge and experience, even as innocence is lost.

Speculative Fiction. Refers to genres not based in reality, including work with magical, supernatural or otherwise imagined elements. Essentially, speculative fiction is the opposite of mimetic fiction. The category includes subgenres like fantasy, science-fiction, dystopian fiction and more, Witcover noted.

Science Fiction. This genre often involves science and technology of the future. Science fiction is frequently set in space or a different universe or world. It often uses some real theories of science.

Fantasy. According to the California Department of Education (CDE), fantasy "invites suspension of reality." The genre encompasses stories that wouldn't happen in real life, often set in another world or including magical elements.

Dystopian fiction. Imagines a future place in cataclysmic decline.

Action and Adventure. The tension of the protagonist’s journey in an adventure story creates a pulse-pounding, adrenaline-pumping storyline. Dramatic car chases, secret missions, and violent fight scenes often pop up in famous action stories. Great action writing draws in your audience, getting their adrenaline pumping as they turn the page.

Nonfiction (Memoir: Stories from an author’s life that offer a firsthand account of events are called memoirs. According to Reader's Digest, some highly-recommended memoirs include “I Know Why The Caged Bird Sings” by Maya Angelou and “Spare” by Prince Harry. ; Autobiography: a nonfiction (true) account of someone’s life. It is written by the subject of the autobiography; Biography: tell the story of a notable person’s life, written by someone other than the subject. Some examples are “Into the Wild” by Jon Krakauer, which tells the story of the adventurer Chris McCandless, and “The Immortal Life of Henrietta Lacks” by Rebecca Skloot.)

Food and Travel. Cookbooks, food history books, travel guides and travel memoirs all fall under this category that includes “The Omnivore's Dilemma” by Michael Pollan and “My Life in France” by Julia Child.

Humor. Strong humor writers have a way of spotting the patterns of life and bringing them to the surface at exactly the right moment.

Young Adult. YA books are intended for readers between 12 and 18 years old, according to Smithsonian Magazine. Some examples include “The Hunger Games” by Suzanne Collins and “The Hate U Give” by Angie Thomas.

Children's Fiction. Many classic examples of children’s literature are picture books, including “Where the Wild Things Are” by Maurice Sendak or “Don’t Let the Pigeon Drive the Bus” by Mo Willems. Scholastic noted most picture books are intended for children up to seven years old.

Knowing your Genre. The world of literature abounds with different genres.

Although every literary genre has its own trends and defining characteristics, the divisions between these categories aren't always clear. Whether you’re picking another book off the shelf or plotting out your new novel, learning more about genre can help you decide what comes next.

If you want to become a writer, there are a number of reasons to learn about genres, according to Paul Witcover, associate dean of the online Master of Fine Arts (MFA) in Creative Writing program at Southern New Hampshire University (SNHU).

“I feel it’s important for writers to have an understanding of genre because it will impact how their books are marketed, as well as how they are perceived by publishers,” he said. “But I also think writers can be too concerned with genre.”

Although he encourages writers to learn about the subject, Witcover noted a tendency for overly rigid ideas about the distinctions between genres. “Concepts of genre are more fluid than writers may believe,” he said. It's important keep that fluidity in mind.

Genre is determined by need and audience expectation. Its set functions are determined by its social need.

Broadly speaking, the fiction world is divided into 2 segments: literary fiction and genre fiction.

Literary fiction typically describes the kinds of books that are assigned in high school and college English classes, that are character driven and describe some aspect of the human condition. Pulitzer Prize and National Book Award winners tend to come from the literary fiction genre.

Genre fiction has a more mainstream, populist appeal. It traditionally comprises genres such as romance, mystery, thriller, horror, fantasy, and children’s books.

Some genre writers straddle a line between genre-focused commercial fiction and the traditions of literary fiction.

Traditionally, there are 4 broader categories of genre:

Fiction: Imagined or invented literature is called fiction, Writers & Artists noted. Examples of fiction titles include “1984” by George Orwell and “Little Fires Everywhere” by Celeste Ng.

Nonfiction: According to Writers & Artists, nonfiction refers to fact-based works. Some nonfiction titles include “The Body Keeps Score” by Bessel van der Kolk and “I Am Malala” by Malala Yousafzai, and “Essentials of Classic Italian Cooking” by Marcella Hazan.

Poetry: Britannica defines poetry as “literature that evokes a concentrated imaginative awareness of experience or a specific emotional response through language chosen and arranged for its meaning, sound and rhythm.” Poetry incorporates poetic elements and encompasses the work of writers like Maya Angelou, Robert Frost, Amanda Gorman and Richard Siken.

Drama: Dramatic literature refers to texts of plays that can be read for their literary value as well as performed, according to Britannica. Dramas include stage directions and specific formatting not found in prose or verse. Some of the most studied dramas are Shakespeare’s plays, like “Hamlet” and “Romeo and Juliet.” You might be familiar with other dramas, too, like “Death of a Salesman” and “The Crucible” by Arthur Miller or August Wilson’s Century Cycle of 10 dramas depicting the Black experience in the U.S. throughout the 20th century, including “The Piano Lesson” and “Fences.”

Although most writing falls into at least one of these 4 categories, the edges are a bit blurred, and there can be overlap.

Sources: 1 2 3 4 5 6 ⚜ More: Writing Notes & References

It seems the general advice is to learn about the different genres first, and try to see which elements your story has that align with them. Perhaps start with the broader categories first, then narrow it down to the major genres, until you identify which specific subgenre your story fits. And it's fine if they overlap, as this happens with most novels. Hope this helps!

[adoriels-tears-if]

Don’t you love fan logic:

MC almost trafficked: sad, but fair

MC not meeting Ash until they’re an adult: crazy, unjust, unthinkable

Lmao, this isn’t necessarily to make anyone feel some sort of way and more so to get a laugh, regardless I trust your creative vision, and I’m very excited for the ride.

😆

Yes, but it proves that Ashlyen is an interesting character!

If I'm honest, I know that most Mc's would take advantage of an encounter to destroy Ashlyen psychologically. And not for a tender moment.

Thanks for your kind words.

[moirindeclermont]

Bridgerton folks, you asked... There it is. Daddy!Colin in all his glory.

While I can't predict exactly where this fic is going to go (as I write on the spot) the premise in this case is that consent is assumed where not explicitly stated. Also, I'd like to be more psychological than physical, bit that's more for the characters to develop the story in the way it needs to be told. I'm merely a vessel.

Title is to be defined but I accept suggestions. Have fun!! 🥵 😈 🫠

---

"Why?"

Well, that was the crux of the problem.

Why did Pen asked her boyfriend and long time friend Colin Bridgerton to try "the daddy thing" as she presented it to him?

Knowing that honesty must be the requisite if this was going to turn into reality, she decided to go for total vulnerability.

"Because I need this. Because there is no one I love more than you and you're the only one with whom I can think of letting go like that."

That last bit got into Colin.

He want sure of the whole thing, but if it was something she needed, he would give it a try, for her.

"I'm willing to try. I have some research to do."

Pen smiled so bright for him that his knees almost dropped. Yeah, that was the right choice.

"Oh, I can do research for you," she offered him, but it wasn't the point of all of this for him to take care of her?

He got closer to her personal space. "Don't worry baby, I'll do my own research. If I think I need some help or some questions, I'll ask."

Pen melted in his arms - kissed him deeply and it was worth a try just for the way she hugged him after that talk, as if just talking about it made her feel better.

Thing is, the more Colin got into it, researching and reading, the more he wanted to try. He still wasnt so sure of "Daddy" was going to be cringe or hot, but the idea of Pen trusting him that much.. that was extremely erotic for him.

They talked a bit about it some more. They decided on a safe word "plant" and that he would call her "babygirl" when he wanted to start a scene.

Pen was being teased and she knew it. They talked and talked and talked with Colin. Everything was set up, they had a procedure for the aftercare (even if she doubt that she would go that deep on their first session) and now it was just a question of waiting. She was never good at waiting.

She didn't want to start this adventure with some brat behavior, but as the day passed it was clear that Colin was not waiting out of fear or insecurity.

He was waiting just to drive her mad.

Pen knew he would be good at it.

It was on the verge of begging him, when after a particular stressful night, she was close molaining with Colin about everything and it was madness how tired she was of even thinking, when she head him saying "come here, babygirl".

Holy fucking shit.

She turned to see him and he was on the sofa, his legs opened. A cushion on the floor.

Did she already said Holy fucking shit?

She moved towards him, knellingon the cushion without instructions. He seemed pleased at that.

"Such a good girl for me," as Colin tilted her chin to kiss her. She was already trembling.

"Unzip me and take me in your mouth."

She looked at him agape, as she could not believe what she was hearing. She took a moment too long to follow his instructions.

"Are you my good girl?"

At that she could only nod. "Then, do as I say."

She thought he was good. But Colin was shooting for the stars.

His entire demeanor was confident and sexy. He embodied security and she knew she was safe in his hands.

She had yet to move though. He looked at her with such intensity that her heart skipped a beat.

"Do not test me, babygirl"

And she shook her head. Pen didn't want to test him.

"Words, love."

"No, I don't want to test you"

"I don't want to test you..."

A lightbulb in her head.

"I don't want to test you, Daddy"

Tbc

[cravesunconditionallove]

On your recent post for Vivisections

Do you have any more advice or maybe a quick scene lay out on how you'd accurately describe and show it? I've not seen many people explain this before I'd love to know more!

Permission to infodump?? awesome :D

Because it's on topic here, there are a few blogs I think need a mention because they have AMAZING medical/torture writing advice (@scripttorture and @justkidneying )

You didn't ask whether the character lives or dies, I don't know which you want so here's info on both scenarios:

Dying:

First off, without anesthesia, the pain alone would likely lead to a thing called Neurogenic Shock, which will in turn cause a BP drop and organ failure among other things. Your character will likely be breathing quickly, appear pale, have a rapid pulse, and be confused if they are still conscious. And yelling in pain of course.

For death due to blood loss: it's hard *not* to hit a major blood vessel if you're flaying someone open neck to groin, and that will also lead to quick death without immediate treatment. Cautery (using electricity to burn an area, stopping bleeding) will work on smaller bleeding but major blood vessels not so much. Symptoms are similar to shock: clammy/pale skin, thready/weak/rapid pulse, loss of consciousness.

Other: you can also risk damaging organs (someone being vivisected probably isn't going to be staying very still, even restrained, and one slip of a scalpel and oops, that's the aorta...) A punctured lung could lead to pneumo/hemothorax (air/blood in the chest cavity (pleural space), where it shouldn't be) causing respiratory distress—and then shock, and without treatment—death. If the heart is damaged, death would be near instant. Other organs like the liver, kidneys, bowels, spleen etc are pretty big bleeders, so see my Blood Loss section.

Sepsis: If they don't die immediately, sepsis is a big risk, as even in sterile environments you can't completely prevent it. Sepsis is when an infection reaches the bloodstream and is very serious. I imagine whoever is vivisecting the character probably wouldn't care too much about using sterile technique, so you can bet on an infection happening. This can set in within hours or days. Symptoms include high fever, pain, confusion/delirium, sweaty/clammy skin, low blood pressure.

Now, if you want them to live?

Surviving:

If the vivisectionist wants their patient/victim to survive, they'd need a lot of materials. Like any major surgery you'd need blood products, fluids, antibiotics, ligatures, and a way to keep the pain (somewhat) under control. Alcohol has been used in the past for similar procedures, but you could also just opt for a dose of opioids.

Antibiotics are necessary, opening someone up like that is a MAJOR risk (see "Sepsis").

I imagine they'd also somewhat monitor the character's vitals. They'd also probably have a few assistants to help with similar smaller tasks like that—stopping bleeding or handing tools, etc.

Closing the wound: Stitching someone up from such an event would be a lot of work, as you have to close many skin layers (muscle, fat, and the surface skin) and bandage it.

If you don't want to stitch them up immediately, a wound vac (negative pressure wound therapy) would be a good option. Doctors use these in cases of things like compartment syndrome. It is used when you cannot close someone back up right away.

Bandages and proper wound care are also important, you'd need to change the bandages every few hours for the first few days as deep wounds tend to produce a lot of fluids (called "exudate.") Sometimes doctors place drains to help drain away this fluid faster.

All in all, Healing from this would take months, not to mention the psychological trauma from all of this.

The scene:

Writing these scenes is honestly so variable so here's a few thoughts of mine:

You could describe the environment: (cliche, but cold metal table? Harsh lighting? Straps? A table with sharp scary-looking objects on it? How about the scent of disinfectant (or its absence).

The initial sensation would be the biggest to focus on: does the vivisectionist take their time? (pressure before pain?) shock as nerves fire as they are severed (lightning sensation shooting upwards), and the body’s instinctive flinch or freeze. Initially screaming, swearing? Sweating, rapid breathing, muscle spasms, or even vomiting as the body tries to cope?

Smells: Metallic tang of a large amount of blood (I personally HATE this smell, it's like having a penny in your mouth, or if you've ever used a metal scrubber to clean a pan, it smells kind of like that.), burning flesh (if they use cauterization) etc

If the character is partially sedated for it, keep in mind they will still react to pain, albeit sluggishly.

I hope this helps!

[kadieeverfree]

Cyn is not innocent.

Unpopular opinion here. One of the things that bothers me the most about the fandom is how a lot of fans victimize Cyn so much.

Multiple times I see comments being like"Cyn is innocent" "Cyn was just another poor victim of the solver" "Cyn was so sweet, she didn't do anything wrong" "she wasn't evil".

One of the biggest misconceptions that fans have regarding Cyn is that they paint her as a poor victim when the series showed us that beyond being infected with the solver, she was extremely sadistic and manipulative by her own will and that at no time did she stop what she was doing because she WAS aware of it.

Unlike the other infected drones, That are controlled by the solver but when they return to normal they are shown to despise and be terrified of what they did. Cyn never stoped and didn’t stop at the gala,she continued doing what she did and continued harming others and especially N. A character that she treated like her older brother and that loved her very much, The only one who cared for her and defended her when the rest of the characters saw her as waste. And yet she caused him unimaginable pain and we saw in his presence that he is traumatized by what she did to him.

(The "let me in" part triggered a strong emotion in N. Because it was rooted in a trauma that he repressed)

He was so scared of her.

And I don't think it's necessary to mention that he killed and tore Tess's skin to use it as a disguise and continue to torment N psychologically, using the one he loved the most (Uzi) against him.

The solver only opened the doors to the evil that Cyn already possessed. If you think that just because of those scenes in episode 5 where she acts foolish and childish she is a good person...

I'm sorry to tell you....but she as a character manipulated you too.

And don't get me wrong. I'M NOT SAYING IT'S WRONG TO LIKE CYN AS A CHARACTER. Actually i love her, I love the way she manipulates, acts, her role as a villain, her sadistic actions and her designs, but I am aware that she is not an angel lol

[blindmagdalena]

I know you're a Homelander-centric blog, but I'm genuienly curious to hear your opinion and thoughts on Stan Edgar as a character. (This badass old man doesn't really gets recognition he deserves, tbh...)

ohhhh stan edgar...

tbh i think he gets heralded as a badass way more than he should be, and it's 100% due to the raw charisma of giancarlo esposito. that man is so goddamn likable! i love his voice, he's a superb actor. i always want to root for him regardless of the role.

but stan edgar is honestly one of the most heinous characters on the show. he's behind the majority of vought's schemes. he's vindictive and petty. he orchestrates the exploitation and abuse of god only knows how many children, plucking out the ones he deems most useful and turning them into weapons with dependency issues.

homelander and victoria ofc being the most standout examples of this. i LOOOVE the evil daddaughter thing he has going on with victoria, i love how she hates him and needs him and resents him and loves him all at once.

i think stan is at his most pathetic when dealing with homelander, though. he gets a lot of praise for standing up to homelander and talking down to him, but especially after s4, i find that laughable. he's talking to a man who's been psychologically conditioned since BIRTH to be afraid of people like stan and desperately yearn for their approval.

throughout s3 he mocked and tormented homelander like he was banging on the bars of a beaten dogs cage. he calls homelander, a man who was tortured throughout his entire childhood, "bad product."

who approved that product, stan? it just doesn't impress me to see him be so confident against someone whose buttons he knows how to press because he had a hand in creating them. he's hyper aware of the extent of trauma, and how to abuse it.

stan edgar is truly a character that i love to hate.