#I know this is a difficult situation

[multicolour-ink]

saw your post about pirating sonic 3 and I agree. those people and animators who worked hard on the film shouldn’t suffer in their jobs cause of a corrupt corporation

Most distributors are like that. but cinemas should be supported too or they’ll close :(( !!

i am friends with some well liked big accounts in the fandom. they have told me they won’t be my friend anymore and will expose me online if I see it in cinemas so I am too scared to now. Scu is a big comfort fixation for me. I could just not tell my friends but they made me feel guilty that I would be aiding genocide if I do. would I be? I don’t know what to do. i can not access pirating sites where I live either. i was so excited for this movie 😭😭😭😭😭

I really am sorry to hear that you feel too scared to see the movie in cinemas :(

If I am going to be very honest, I think those people who said that need to have a more open mind about your decision. You even said yourself that you aren't going to see the movie to support Paramount - you are going to see it to support the actors, animators, writers, and all the other people who deserve to have their hard work recognised.

I can also see your friends' point of view. They obviously care a lot about what is going on, but threatening to exploit someone for seeing a movie is borderline bullying.

It's the sad truth that many things we purchase (whether food, clothing, entertainment etc) is distributed by many corporations that have the worst morals. And because they are so rich, they dominate most of the markets. It's the way the world has formed. BUT - whilst we can't always control where and how we obtain these things - it's important to note that behind these brands, there are innocent people who are just trying to earn a living or create something wonderful. Those are the people we need to support.

I think your friends need to rethink their outlook. They are more than welcome to see the movie how they wish. If they want to watch it on a pirate site, that's perfectly fine if that's what they want to do. But if they also fail to see your side of the situation, then I'm afraid there is a guarantee that they will stay close minded.

I also do not recommend pirate sites, not just for the obvious reasons, but also because pirate sites are dodgy in themselves to find and navigate. Many can be littered with adverts and viruses, which in turn lead to a whole lot of other problems @_@

[knightofleo]

Angela Orosco Silent Hill 2

[cryptocism]

Since I think about clones like I’m getting paid for it, I've been rotating those alternate universe "what if Bart and Thad were actually raised together" scenarios in my brain, with Thad either post-redemption-arc or pre-villainy. Because adjusting Thad's character to fit an ally role while still keeping true to his core motives and personality is so so fascinating to me.

Like I think there's an immediate first instinct to slot Thad into a "bad" twin category: ie rebellious and prickly, doesn't get along with people, mean lil shit. And obviously it's not wrong bc we're outside the realm of canon, but the reading still feels a little left of center.

Because Thad is mean and prickly in canon. In the Impulse comics he belittles Bart and Bart’s friends/family constantly in his appearances. He loves to goad, and monologue about his own superiority and intelligence. He’s very Not Nice, and he causes many problems, and he even does it on purpose.

But, I think it’s important to consider the context. From the jump Thad knows very little about anything except which team he’s on and who he’s playing for. He gets his orders from an unseen authority and he carries out his tasks because success means his team wins.

For all his self-aggrandizing talk, everything he does is in service of an end goal that doesn't actually center him. He's trying to get revenge for grievances he's never personally suffered, retribution for actions never committed against him. Everything he does is on someone else's behalf.

Thad sees in black and white, us or them. Up until the final few issues of Mercury Falling, Bart and co. are Thad's enemies, of course he's not going to be nice.

So Thad's motivation seems pretty simple: Thawne Supremacy™.

But it’s in Mercury Falling where this starts to fall apart, and the real core of his motivation gets revealed. Thad pretends to be Bart and suddenly Helen is nice to him. Bart’s friends think he’s funny. Bart’s teachers are impressed with his grades. Max ruffles his hair and gives him hugs and tells him he’s done a good job.

If he was actually an inherently mean and standoffish character, if Thad actually had significant personal stake in the Thawne VS Allen conflict, the weight of such tiny acts of kindness wouldn’t completely break him the way that it does in canon.

Thad thinks his goal is superiority and revenge and Thawne Supremacy™, but he's chasing validation. Thad doesn’t have a personal stake in the Thawne VS Allen conflict. He wouldn't get much satisfaction if he actually destroyed Bart and his family. Thad's personal victory would be the recognition after the fact: the praise and attention from the other Thawnes (a group of people he has literally never met) for his success.

He wants validation. That's basically it. And the fact that he gets it so easily from Bart's family and friends doesn't align with how he's told himself things are supposed to work.

Actually tangentially, Bart and Thad’s respective relationships to authority is so diametrically opposed and tbh kind of subversive in a superhero narrative. Where the hero is the one carving his own path without regard to social or societal rules, no fucks to give what anybody thinks of it. And the villain is a chronic people-pleaser.

Just based on Thad’s reaction to simple praise and affection from Max I really think Thad’s motivation has more to do with the response he gets than whatever the details are of any given task. He has no actual personal convictions beyond getting positive attention, and whatever he did have crumbled as soon as Bart’s friends laughed at his joke one time. Which of course leads into the core of his whole conflict at the end of Mercury Falling. He cares too much about Bart’s friends and family now, he doesn’t want to kill them, but worse than that, he’s faced with the sudden realization that he’s on the wrong side.

The Allens gave Thad everything he actually wanted and needed, but his conception of himself is inexorably tied to the Thawnes: who gave him jack shit. These two facts are in opposition to each other, and he can’t reconcile the reality of it.

Anyway all this to say, in an AU where Bart and Thad are raised together or Thad gets an actual redemption arc etc etc, I think my personal take on Thad’s personality whether it be pre-or-post-villainy would be one that is extremely socially conscious. He is much more of a people-person than Bart. Whether he's actually accurate in assessing people's feelings and how to respond to them can be hit or miss, but he wants to behave in a way that gets people to like him.

Pretending to be Bart isn’t remarked upon as, like, a difficult task for Thad. In his internal monologue he’s literally bragging to himself about how easy it is. But what’s especially notable to me is where his act differs from Bart's typical MO. Everyone notices, and lots of people comment, and presumably if Thad didn’t have the excuse of Max’s illness to “motivate” Bart to do better he would’ve been found out immediately. And those things are, specifically: paying attention in class, doing his chores, staying on task, and being helpful around the house. The one thing about Bart he chooses not to emulate is Bart’s rebelliousness.

Thad wants to prove himself, constantly, to whatever authority he respects (probably Max in this scenario) and will do whatever it takes to make that happen. In contrast to Bart, who only listens to authority when the shit they're saying actually makes sense to him. It’s excessively difficult to convince him to go against his own interests. (And I think a key part of that is Bart’s security in knowing that no matter how much he fucks up or doesn’t listen, the people he loves will always love him back.)

Thad’s got the people-pleaser in him that has to deserve whatever he’s given. It’s why he’s happiest when he’s given a clear goal or objective to complete, because it gives him an opening to prove himself.

All this to say that if we are quantifying Bart and Thad as a "good" or "bad" twin, in the eyes of every authority: Bart is the bad twin. Bart is the bad twin, Bart is the bad twin. Bart is the one who doesn’t care about school and whose grades vary wildly depending on his personal interest. He’s the one who goes off to do dangerous shit for fun and gets in trouble constantly and doesn’t do his chores and is thoroughly unconvinced by any authority figure trying to sell him bullshit. 

Thad is the one who needs to know all the rules just so he can experience the joy of following them. Relentlessly obedient. He'll put all his effort into doing all the right things that’ll endear him to whoever he wants to impress - meaning he’s the asshole who reminds the teacher about the assigned homework. Bart might be the most popular boy in school, but Thad is a pleasure to have in class.

Like Thad can (and should) still be high-strung and short-tempered and sarcastic and edgy and mean, because he is. But he can’t be doing all that without rhyme or reason. Colouring every interaction has to be that one-zero binary of ally or enemy. He needs to have somebody he’s proving himself to: a team he’s on and a team he’s against. He’s not an inherently rebellious character. He can go up against The Enemy, whoever he deems as such, but it has to be in service of a hypothetical future in which somebody eventually tells him he did a great job.

And in the interest of continuing to beat a dead horse, it connects to their respective upbringings. Thad and Bart were both raised in VR, but Bart’s experience had the side effect of basically hard-wiring him against insecurity. His world was a playground tailor-made for him, and he was never made to feel bad or insufficient about any aspect of himself. His first interaction with a real human person was Iris moving heaven and earth to save him, without him knowing her, without her knowing him, with no reasoning for the act needed beyond Being Her Grandson. Which is probably a significant factor in why Bart moves through the world with frankly atomic levels of autistic swag.

Thad’s VR upbringing installed self-consciousness in his psyche before any other personality trait. As in: he is immediately made conscious of himself and his relationship with everyone he will ever encounter. He’s told two things: he’s a clone of someone else (inherently derivative, lesser) and that he was made to be superior (a status to achieve). Which is such an instant clarifier for Thad’s everything. Where superiority is a condition that everyone either has, or does not. It’s the one-zero binary again: are they better than me or am I better than them. Being above others is mandatory, and if his superiority is ever challenged by hard evidence or god forbid nuance Thad’s brain physically cannot take it. He needs to be better, to be worse is unthinkable, and there is no other way to be.

And this status of better or worse is, crucially, not up to Thad to decide. He needs The Authority to validate him. Bart never tries to prove himself because he has nothing to prove. Thad’s entire identity hinges on the self-worth he gets from doing a Good Job.

It is such an inherent part of his motives in the Impulse comics canon, which is why it always feels a little off when he’s interpreted as a jackass indiscriminately.

Like I don't think he needs everyone to like him. But I do think he has either one person or a set of very particular people that he needs to like him. Everyone else is either in that circle or outside of it.

(Which is why Bart is such a great foil for Thad tbh. There is no set of words or behaviors that’ll change Bart’s opinion of Thad, because Bart is unaffected by obedience or charm. So ironically Bart is probably one of few people that Thad doesn’t bother to put on even a little bit of an act for.)

While Bart goes with his instincts, his personal beliefs and convictions at all times, Thad is hyper-conscious of big-picture goals. They balance each other out that way. Thad's keeping track of whatever expectations he has placed on him, and how his actions reflect on him and the team beyond short-sighted solutions. He's a team player. AND he's an asshole.

[lemonhemlock]

I did not get into Game of thrones when it first started airing. In fact, I waited until it was long past it's heyday (around s6 or 7) to check it out because the marketing and the conversation surrounding it misled me into thinking it was nothing more than "grimdark" bullshit. As one famous YouTuber sarcastically called it "hot fantasy that fucks." So, I avoided Martin's work for literal years due to the impression that I got from online reactors and show-only casuals who did as you and a few others have described as his work being fundamentally misinterpreted.

Fortunately, I overcame my hang-ups, purchased the books (even the supplementary material) and fell down an entire rabbit hole of ASOIAF which led me to recognizing that this world he spent decades creating is far more complex than what had been portrayed onscreen. Regardless of the possibility of the books remaining unfinished (which I am fine with, personally), what George has created is a genuine work of art that I imagine took a tremendous amount of time and energy. So, for so many people online to behave like children and throw tantrums because they feel entitled to him (ew) instead of ushering forth more reasonable conversations and legitimate debates about the nature of his situation frankly makes me look at this fandom with a heavy dose of skepticism.

It is truly baffling to hear even professional critics and see articles describing George as being "ungrateful" or "unprofessional" when it has been well-documented just how often authors get locked out of the adaptation process and left to the wayside as consultants. Look at what happened to Rick Riordan and Christopher Paolini! George R.R. Martin is not the only author to have qualms with how a multimillion dollar studio has mishandled his creative work, and to act like he should remain silent just because he's amassed a certain degree of wealth is quite frankly, ridiculous. He shouldn't have to settle down, be grateful, and stay quiet because the greedy corporate executives and their media drones will get offended by actual criticism that could alter the perception of the adaption being revealed as mediocre for having departed from the source material.

TLDR: authors should be allowed to speak up about their art being sacrificed for commercialization.

Thank you so much for this message, anon! This needs to be talked about more, because I don't think a lot of commentators truly understand the vulgar, late-capitalistic sheen that seems to set in and slowly poison any ASOIAF adaptation. It honestly baffles me how quick some members of this fandom are to rush to the defense of, what is essentially (let's not be kidding ourselves here), a cashgrab by a giant corporation to the detriment of the actual artist and the actual creative foundation behind it.

Why else would "MAX" (if that is even their name) make another (or several other) ASOIAF adaptations? Not to stay true to any philosophical aesthetic vision, as it has become more than apparent with Season 2, but to increase shareholder profits by appealing to the lowest common denominator. Even the basic premise has been shifted in order to address popular trends and satisfy the mindless consumer that doesn't want to engage with anything deeper than their favourite tropes, prettily packaged:

from a story about a doomed ouroborous family superimposed on the pitfalls of feudalism, with villainy and heroism to be found on both sides, it has been simplified and reduced to a narrative that exalts white feminism and disqualifies anyone who opposes its girlboss protagonist. This is Sheryl Sandberg's version of Fire and Blood.

Truly, I think Sara Hess did (unintentionally) outline it the best: "civilians don't matter in Game of Thrones". They don't matter in Game of Thrones, but they matter in A Song of Ice and Fire. The entire heart of the series is contained in Septon Maribald's speech. The writers "kind of", must have forgotten, though.

[triple-starsss]

think i might've?? mentioned this before but prior to moving into the T☆S apartment, Silver didn't have a place of his own. he was a bit of a couch surfer and would live with Blaze, Vanilla or sometimes the Chaotix.

he often felt VERY guilty for staying with them so he'd frequently switch, afraid he'd overstay his welcome and thought he was intruding in their space (despite each of them saying its completely fine, he can stay for as long as he likes, he isnt a burden to them)

when he got the opportunity to move into an apartment with Sonic and Shadow it was nice to finally have a place where he knew for sure he was able to stay for good. However it still didn't feel right, he still didn't think he truly earned it.

[isthatafuckinggayangel]

ART JUMPSCARE‼️‼️‼️

I love Seth, I couldn’t not draw him

(You will probably see more Yuurivoice characters at some point, I adore them)

[wavesoutbeingtossed]

not to beat a dead horse but there's something kind of illuminating and warmie yet sad about the fact that Taylor's parents are attending Travis' game with her and regularly. I know the "you never saw--" joke is old, but the idea that [redacted]'s family did actually occasionally attend events with Taylor (including at what it seems may have been a difficult time), but after a certain point she herself didn't/couldn't attend his in turn, never mind her family, and it's just a testament to how different things are now, how different her life is, and frankly how integrated their family life has become. Idk I'm just really happy for popstar bestie because I feel like this is probably everything she ever wanted and didn't know she could have at one point.

[i-reblog-everything44]

The fandom when Anya is nice to jimmy and compliments/butters him up after the crash: obviously this is a fawn response. She doesn’t actually think these things about jimmy, she is simply trying to protect herself against a volatile, unstable person by placating him

The fandom when curly tries to placate jimmy by telling Jimmy he’d fix things, after being very nervous about jimmy’s anger and reaction when talking to Anya right beforehand and his heart racing so hard on the way to confront jimmy that he’s likely on the verge of a panic or anxiety attack: hmm. Obviously everything curly is saying to jimmy here is completely genuine and not motivated by anything. He obviously doesn’t care about the fact jimmy raped Anya and only cares about helping jimmy at the detriment to Anya. He’s a rape apologist. There could literally be no other potential explanation for why curly is saying the things he is saying right now. Let’s take everything curly is saying here completely at face value and not analyze anything else about Curly’s behavior or the rest of the scene.

[seriously why are people only capable of recognizing the fawn response in Anya and not Curly]

[waspgrave]

now there was no reason for lucanis to be given purple johnny silverhand as a plot point and then never have the purple johnny silverhand utilized except for maybe 3 or 4 times in the game (if you saved Treviso, otherwise it's twice) and dialogue. Dialogue where he pretty much just says weird and funny things and occasionally gets scolded like a dog which is entertaining sure but there is Literally A Demon In One Of The Companions Why Is This Not A Bigger Deal

[hyacinthsdiamonds]

I've said this when Oscar replaced Daniel, when Franco replaced Logan, and when Liam replaced Daniel, and I'll say it again now that it's been officially announced that Liam has the red bull seat:

Drivers are not responsible for the shitty decisions of team principals and the actual decision makers behind the scenes. Don't like the decision? That is absolutely fine, but get mad at the people who actually made the decision. Leave the driver, who took a job, alone.

You'd swear Liam was a freaking cartoon villain right now. I'm pretty sure this who y'all are describing instead of him:

[motsimages]

As per Tumblr recommendation, I started Kevin can fuck himself yesterday. I see people comment on how the sitcom part makes it look the way people see an abuser and how the abuse can be disguised. People think he is just a funny guy and the abuse goes unnoticed. I personally see it otherwise, although it's similar.

People know he is an asshole. He spends a whole episode being mean to the new neighbours just because. He meets a dangerous guy at a bar, in public. He is an alcoholic who throws weird parties with lots of other people at home. Patty's boyfriend tells her twice in the 3 or 4 conversations we see that he is an idiot. People know, and people avoid him.

And his bubble know, but they justify it and excuse it. And that's the sitcom. The sitcom is the theater of excuses Allison has (and then other characters too) about his behaviour.

"Can you believe it? We were in our anniversary, such a fun party, we were both super drunk and I don't know how it ended, that I was face down on the floor and the table was broken! Anniversa-rager we call it lol"

"He is such a clumsy guy that just as I was leaving the house, you won't believe that I don't know how he managed to cover me in chilli sauce! What a silly goose!"

"He is so helpless without me, he couldn't find the printer and he called me all day because he needed me to explain to him how to work it. And he worries too! He called the cops because he didn't know where I was, maybe I forgot to tell him".

The conversations with her coworker about husbands help drive this point. That's what mariage is. You find ways to justify it and to avoid certain fights and that's it. We got lucky.

But he did all these things on purpose. And the unreliable narrator of the sitcom makes the joke of it and makes the audience consider that maybe it isn't *that bad*. Allison needs to believe that's what it is, so it is. It really isn't that bad, she thinks, he is just like that.

And we can actually see the worrying things and the threatening parts from minute one. It's only a joke because we have been trained to dismiss it. To justify it and to move on. He isn't doing any heavy lifting here.

In episode 1, just the fact that he ends up standing on the table (when she doesn't want him to even put glasses on without protection) says a lot. But then the table breaks and he fixes it poorly and visibly. It would be bad enough just like this, but I personally think there is more to it. It's just that Allison doesn't want to speak about it or look at it so it is just the table, but it's the switch that turns on for her, the last drop. But she did end face down on her living room, on top of the broken table. It's a very elegant narrative tool where we don't see, but if we wanted to see, it's there.

And the more she notices, the more off-putting the sitcom is. It's still played as a joke, with the laugh track, but she is more aware now, so we can notice too.

We start the series with her turning point, but if the series started a year before that, it would only be happening in her house, as it is her life, her only frame of reference, and it would only be a sitcom because isn't he such a clumsy but caring guy?

[sukibenders]

When it comes to Penelope I feel like a lot of her fans take any valid criticism towards her and turn it into hate, which does her character a disservice. While some people do hate on her, a lot of it holds valid reasons. Admitting that she has hurt many people isn't wrong because she has, it's been shown on throughout the show and the impacts it can have. From labeling Daphne as "unmarriageable" during her first season and events that followed, her labeling Eloise as being part of a group of rebels, the terms she used to describe Kate [and Simon]-- which carried racial undertones no matter how you try to spin it, who didn't even know personally at that point, what she did Marina. All of these were very harmful and to say that none of these characters should feel angry, that they should just forgive Penelope without any work put into it is very laughable (especially because she's still writing as Whistledown and put many, namely women, at risk during a time where reputation is everything--something in which Penelope herself faces). With this being said, criticizing her actions, at least for me, doesn't come from a complete place of hate but more so from believing that she can be better if she puts in the work. By ignoring all that she's done and having her get her happily ever after so easily in the end, to be honest, would ultimately feel lackluster. I feel like she still has room to grow, but it will take a lot of work and, I personally, think seeing her renavigate who she is with who she wants to be outside of Lady Whistledown would be very interesting.

[theriverbeyond]

i have to be the best dressed person standing in the corner of a party like this 🧍

[abrahamvanhelsings]

if you would ever like to elaborate further on the mountain dog/hunting dog joplittle dynamic you mentioned in the tags of that “Blanky about to lose his leg” gifset…. inquiring minds are simply piqued 👀

hi sorry that this took me. FOREVER. i didn't have time to answer the ask at first then i did it halfway and didn't have time again and i promise you this ask has been hounding me (hah hah) since the day it appeared in my inbox but i never seemed to be able to make the time to reply to it asfjdfjfd anyway! here it is now :')

ok im basing the idea of hunting dog = jopson and mountain/working dog = little on their respective personalities, the way they seem to think and how they react to specific circumstances. and slightly on their physiques as presented in the series but that's of minor importance. ofc both of them are loyal and listen well to superiors - to one man in particular, which is fairly common among dog breeds as well (i.e. whoever trained them), so that's not necessarily distinctive, but it does ofc make them dog-coded in general. but there are many many ways in which to be dog-coded and they're very different abt it so!

why i think jopson is more hunting dog coded is bc he is extremely competent, but quietly so, not noticeable until it becomes necessary. he's very skilled at providing specific information about the crew and the general goings-on around terror to crozier, and he becomes more focused in highly tense situations - in fact these are moments where he specifically stands out for how well-suited he seems to the task. and he is not aggressive, but there is definitely a sharpness to him that he can and does direct to those who threaten him or crozier first and foremost.

and all that really does remind me of hunting dogs - a good hunting dog is extremely well-trained, knows exactly what he is supposed to do, listens to commands, and stays at his master's side. im thinking especially of pointing dogs, i.e. dogs that point a hunter in the direction of prey that they have sensed:

these are of course very precarious situations wherein a hunter relies on his dog to steer him, and if hunter or dog make a wrong sound or movement, they may alert prey to their presence. there's a a correspondence here between dogs trained for these moments of focus to jopson, who is crozier's silent aid but also excels in such tense situations, and who is decisive, swift and capable. and i think it's really funny that being 'birdy' is a wanted trait in these dog types, bc 'i've shot smaller hawks than you' the comparison literally writes itself. also, pointers/setters tend to be lean dogs, which i think coincides well with jopson's natural elegance and grace

edward on the other hand is supposed to be sturdy, good-natured and broadly dependable. he appears increasingly anxious in the series, but that is because he is shouldering a lot of responsibility throughout it all. he'll take the insults and he'll take the extra tasks and he'll do it with barely a complaint. in fact it makes me think of the fact that dogs treated badly can come to exhibit traits that are not desirable in the breed at all. imo edward in ep 1 displays what i would call the desirable traits of, say, the bernese mountain dog, but events and crozier change that very rapidly.

you can fuck up any dog if you treat it badly for long enough, and edward is an abused dog to me.

id also say that edward is generally amiable, though he will make a point when he feels it is absolutely necessary, and he does have an innate want to protect what or whom he finds important, though he is seldom if ever very aggressive about it. he has an intense feeling of responsibility for the crew and the expedition as a whole, set against his feelings of loyalty towards crozier, who he wants to please almost at any cost as well. and then of course he also has a large family.

'search and rescue work'. yeah. and then of course mountain dogs are generally of a sturdy build. obviously matthew mcnulty is no absolute unit but by god the series tried their hardest to make edward appear like a well-built countryside boy. and by god does he try to carry every burden ever on those shoulders, like a dog pulling a cart bc that's what it was trained to do and it was enjoyable once. and he seems practically immune to scurvy and fares well in the cold, which, again, very mountain dog of him.

additionally, newfoundlands (neptune!) aren't mountain dogs, but they're big, sturdy, excellent swimmers, and therefore often used for rescue, so that's also a breed i associate with ned.

[imagine-too-many-books]

Just thinking about it and it’s absolutely WILD how Dalinar promoted Kaladin straight to captain when he was 20,,, like his qualifications were having just saved Dalinar’s ass. I know Kals a prodigy but there’s a whole gap in duties and skills between a squad leader and captain of a whole unit of the military.

And I just no there was no training whatsoever

[flightlesskiwi]

I don’t think the Rat Grinders are irredeemable or whatever but I DO think a lot of people are putting the onus on Brennan specifically to redeem them or “write them a redemption arc”, like yes it is a show and there has to be character narratives especially for foils to your PCs, but ttrpgs are fundamentally a /collaborative/ storytelling medium, the thing about DnD is that the players have to invest in the NPCs, they have to give them the time and space to redeem themselves through interacting with them, the reason we see characters like Aelwyn and Ragh get a redemption arc & change and develop is because the Bad Kids went out of their way to talk to them (In Aelwyn’s case Adaine had to commit to redeeming her sister on multiple occaisions). Lets not forget there have been other teen villains, like Penelope, Dayne and Biz who the Bad Kids just straight up killed in combat, who didn’t get redeemed. Do I think it’s fully possible that the Rat Grinders can experience redemption/forgiveness and it would be narratively satisfying? Absolutely! But, imo, a lot of the narrative thrust behind wether a character gets redemption is in the hands of the players, and it would be a little bit unsatisfying if being freed from their rage crystals immediately gave them all full personality transplants (like removing all of Kipperlily’s anger and ambition for example)