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magnus-rhymes-with-swagness · 1 year

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OKAY who wants to hear about why i think nimona challenges amatonormativity? you do! 🫵

one of the main ways this is accomplished is through ballister and ambrosius’s relationship. it’s arguable that it doesn’t necessarily fit the traditional model of romance - not only are they a queer interracial couple, and not only is their relationship ambiguous in the book, but there are certain instances, especially in the movie, that subvert traditional ideas of romance and friendship.

one instance that really stands out to me is when the director asks ambrosius what’s on his mind and he goes on his imagined rant about how arm-chopping isn’t a love language - you know the one. when he mentions ballister, he refers to him as “the man i love, my best friend.” and not just one or the other, but both! the man i love, and my best friend. he places equal emphasis on both the romantic and platonic aspects of the relationship, valuing ballister in both a romantic context and a platonic context without treating either one as more important than the other.

and even moments such as the first “i love you” and the kiss manage to subvert tradition. both of these things are generally seen as a pretty big deal, especially in fiction - if the characters are kissing or saying “i love you,” it’s usually a moment in which everything changes. a line is drawn, dividing the story into after and now. sometimes it’s dramatic and climactic, with fireworks and a swell of music, but even when it isn’t it’s still seen as a turning point of sorts. now it’s official, now it’s real. but this isn’t the case in nimona. both moments are certainly significant - they do a good job of showcasing the character development and where ballister and ambrosius are on their respective journeys, and are certainly important in terms of representation - but neither one follows the path that most fictional romance does.

another way in which nimona challenges amatonormativity would be the emphasis on friendship! in the tavern scene (in the movie) when ambrosius suggests killing nimona, ballister disagrees and says “she’s my friend.” ambrosius replies with “aren’t i more than that?”, implying he’s more important than a friend - thus upholding amatonormative ideas. ballister becomes angry at that and leaves - challenging this idea and prioritizing his platonic relationship with nimona over his romantic one with ambrosius, as nimona is the one he wants to defend.

additionally, a big part of this scene is the way ballister deliberately rejects institute values while ambrosius unintentionally upholds them. and because the story challenges homophobia and transphobia (and other forms of bigotry) through the lens of the institute, it would make sense for it to challenge amatonormativity too! it’s something that’s become incredibly normalized, to the point that lots of people don’t even know it exists, and this is reminiscent of the institute brainwashing, especially when it comes to ambrosius - he’s been manipulated his whole life and probably genuinely doesn’t understand the level to which he’s internalized institute beliefs.

ballister prioritizes nimona many times, actually. when he tells ambrosius she’s “smart, kind, and quite sophisticated,” when he’s overjoyed to see her again at the end, when he refuses to kill her and saves her instead. over and over, he proves how much he cares about her, even when this involves directly going against what ambrosius wants - which, of course, is really what the institute wants. a core tenant of amatonormativity is the false notion that romantic relationships are more important or valuable than other types of relationships, but ballister actively goes against this!

to conclude, as a story that at its core is about identity and challenging societal beliefs, nimona defies expectations and traditional ideas of what it should or shouldn’t be. it’s possible that amatonormativity wasn’t what the creators had in mind, but the story still manages to challenge it with grace and elegance. just like its main character, nimona refuses to conform to what others want it to be.

#nimona #nimona movie #ballister blackheart #ballister boldheart #ambrosius goldenloin #ballister x ambrosius #ambrosius x ballister #nimona netflix #nd stevenson #nimona spoilers #i could go on tbh but i think this is a digestible amount #often when i’m writing a meta i’ll walk around in circles talking into my phone recording my thoughts out loud #and then i’ll play it back and put the most coherent stuff into a list which eventually becomes paragraphs #and the combined recordings for this one are about half an hour in total lol #i’m just. absolutely in love with the whole story. both the book and the movie mean so incredibly much to me #changed my life shaped me as a person etc etc :’)#OH i almost forgot. this analysis is dedicated to the person who sent me aphobic anon hate about it before it even existed lol #i know i said i wouldn’t post anything if people couldn’t be normal but idc actually. seethe with rage! <3 #my words #meta

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dwreader · 7 months

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Actual incidents in the book that are in dispute btwn Louis and Lestat since you fuckers can't seem to read:

-Lestat wanted Louis for his plantation vs. he is in fact already rich: not really relevant to the show since show Lestat is flaunting the fact that he's extremely wealthy from the start. Louis is not under any illusion that this guy is after his wealth, HE moves into Lestat's house in fact and accepts Lestat's money/gifts/etc. Lestat is a captial p PROVIDER. He said do NOT take that away from me and it's one thing he's 100% right about.

-A cold loveless relationship depicted in IWTV vs. a more loving though still troubled "marriage" according to TVL: again, more or less moot for the show since season 1 depicts Lestat's version of their relationship more so than Louis's. They are clearly in a romantic relationship, had some good times (that were maybe glossed over quickly by Louis but are still clearly depicted through Claudia's diaries) and yet even in TVL, Lestat agrees that Louis's account was an accurate representation of the atomsphere of their decades together and that he deserved all the punishment he got.

-Lestat torturing + killing people for fun according to Louis vs. Lestat's claim that he only killed people who were "bad" and deserved it: kind of already played out on the show when Louis suggests the idea in 1x03, but ultimately it doesn't significantly alter our perception of Lestat cause does anyone actually care that prostitutes stole money from their clients and think that's a valid reason to torture and kill them? Hope not! It's just a good insight into Lestat's mind and how he justifies killing.

-The events after Lestat's murder and Paris: these parts we have to take from Lestat's POV simply because Louis is unaware of things happening when he's not present. Obviously will be a major part of Season 2.

-The scene at the end of IWTV happening or not: the most direct contradiction between the two accounts but this has not happened yet on the show so it has no bearing on anything in season 1.

As you can see, most of these contradictions involve Louis's omissions in IWTV rather than "made up" events. Save for the final scene in NOLA that doesn't actually mean anything to season 1, absolutely nothing about Louis's depiction of events in IWTV is really disputed by Lestat. Louis's turning, Claudia's turning, the "atomsphere" under which they lived leading up to Lestat's murder and Lestat's murder itself are all indisputable. Lestat is revealing more of his motivations and giving us further vampire context/knowledge that Louis didn't have (because Lestat kept it from him btw and he forgives Louis his errors because he knew it was out of enforced ignorance), but that only slightly changes our perception of his actions. It does not throw them into the trash.

It's also very clear that Season 1 is already an amalgamation of the two versions. If they were taking IWTV literally, the show wouldn't even be a romance and it clearly is. It uses Claudia's diaries (a device revealed only much later in the books) to fill in some scenes that Louis may not have been present for like the kidanpping on the train but the two perspectives make the story kind of bulletproof? The reliability or lack thereof of Louis as a narrator is made possible by Claudia's diary being there as a secondary source and when he's at his most unreliable, it's the diary that provides the contradictions. WE see something's off when the diary's pages are excised. BUT you really don't have any basis in the books for a major lifechanging event like episode 5 to be retconned, let alone an event with two people as sources and involved a prolonged recovery period that's also described in painstaking detail by said two people. Like this woman was a lazy writer most of the time but even SHE wouldn't do that cause its like a basic writing tenant not to feed your reader horseshit??

#iwtv #interview with the vampire #lestat being more self-aware than his fans.. wild #anyways fuck off now

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likealittleheartbeat · 6 months

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hello !!

i was wondering, do you know any other characters like aang from other shows/movies/books? or maybe, just his theme of radical kindness appearing in other stories?

i've been missing aang, and it would be nice to find other representations of such a fun and warm personality like his.

ps.: your blog is like, fantastic. truly.

🥰🥰🥰🥰 This is the best ask I’ve ever received!!! Depictions of radical kindness in media is a special interest of mine—not exaggerating. So I’ve done my best to make a list of rec’s, just tv, from most formally similar to ATLA to least, with a short description for each.

1. Fruits Basket (2019)

"My mom told me, it's better to trust people than to doubt them. She said that people aren't born with kind hearts. When we're born, all we have are desires for food and material things. Selfish instincts, I guess. But she said that kindness is something that grows inside of each person's body, but it's up to us to nurture that kindness in our hearts. That's why kindness is different for every person."

An anime orphan whose established memory of the kindness by which her family raised her ends up transforming and liberating a whole clan from an intergenerational curse that enforced an abusive hierarchy all within a show that has a deeply queer subtext, beautifully complex plotting and character development that due to its zen influence refuses to demonize anyone or any perspective wholly, AND a straight romance you can actually root for!? Nothing comes closer to ATLA thematically than this show. While the lead Tohru Honda is the biggest representative of radical kindness, the character of Momiji Sohma with his complex purity, idealism, and gender performance is one of the closest you'll find to Aang in any media.

2. Mob Psycho 100 (2016-2023)

"The truth behind one's charm is kindness. Just be a good person, that's all."

Mob Psycho 100 explores a core tenant of ATLA's critique of imperialism and power: greatness and perfection are overrated. They both ask the question about what to do for the world with one's gifts if that's the case. How can one be both normal and prodigious at the same time? The satirical comedy and style of this anime, which deconstruct a lot of the shonen genre tropes, are pretty distinct from ATLA, but when ATLA arrived on the airwaves, it was a pretty massive break from tradition in Western animation, and for both of these series, that difference of style is tied to the message of the show about the experience and acceptance of difference.

3. Natsume's Book of Friends (2012-present)

"As I encountered kindness, I wanted to be kind myself."

The anime, Natsume's Book of Friends and ATLA both depict the challenge and necessity of facing abandonment, loss, and a deep-seated loneliness with kindness and gratitude despite the persistence of grief. Both take a deeply spiritual view--even a responsibility--of this experience that demands a compassion for all beings including those who intend to do harm. Natsume, an orphan shuffled between houses who is one of the few people who can see spirits called youkai, inherits his maligned grandmother's book of yokai names, becoming a target for them in the process. He hides all of this from everyone in his life, and even five season in, still has trouble admitting to the one person who understands him when he is struggling and needs help. The gentle and light tone papers over a profoundly honest representation of attachment trauma and the wisdom of compassion that develops as a tool to cope with it.

4. Hunter x Hunter (2011-2014)

"You can do whatever you want to hide your feeling. You still have a heart."

If you think that "Radical Kindness" is by definition non-violent, then this show is either not for you or going to change your mind. Gon, the protagonist of HxH, like Momiji mentioned in Fruits Basket, is another rare character whose naivete and optimism are treated with respect. He is allowed to suffer, to be wrong, to be stupid, and to inspire others away from their own cynicism with the persistence of his beliefs nevertheless. But HxH is a show that integrates the most violent aspects of the world (organized crime, capitalistic competition and privileging, state-sanctioned brutality, pure sadism) with its examination of human potential for goodness. And even within a list of shows deeply inspired by spirituality and religions, this show is abundant with religious references as it seeks out meaning, balance, and an ethic for modern experience. On top of that, it ranks with ATLA for the depth and relevance of its magic system to its themes, plus its got gay subtext out the wazoo!

5. Mushishi (2005-2014)

“Make sure to remember, every person and place has a right to exist. It is true for you too, the entire world, as a whole, is your home."

Elegaic, episodic, compassionate, and strange, with some of the best short story-telling of all time, Mushishi is the story of a medicine-man who travels the Japanese countryside helping people deal with the spirits that accompany the little trials and tragedies of life that cling to our minds long after they're passed. The protagonist, Gingko, and the show itself takes the approach of restraint to observe these problems fully and come to a conclusion that's taoist in its balance and acceptance of reality--"Eyes unclouded by hate" as Miyazaki/Gaiman would have it. Each episode is like a therapy session arguing for you to choose to live even as the heaviest burdens sit on your chest.

6. Reservation Dogs (2021-2023)

"See...love doesn't have to be received, it can just be."

We're finally out of the animes, and moving away from the zen and shinto approach into some other options. Reservation Dogs' indigenous humanism was groundbreaking, bringing in distinctly modern American realities (with the kind of true-to-life details only a an on-location shoot could offer) with Native beliefs about ancestry, community, and connection to the land, while rarely feeling preachy. Instead, it's just fucking hilarious and casually heartbreaking. Four friends on the edge of graduating high school on a reservation in Oklahoma try to figure out what to do with their lives after their plans to go to California get abruptly messed up. Radical kindness as a concept often gets focused on accepting the enemy but what about accepting the weird stoner uncle who farts all the time and won't talk about his years in the army. I think that might be a more important goal of radical kindness, in truth, if we are being asked to look and accept reality for what it is, because growing comfortable with disappointment and the mundane let's us live without the relentless striving that drives perfectionism.

7. Skam (2015-2017)

"The second you start looking for hate, you find it. And when you find hate, you start hating."

A Norwegian teen drama that understood internet culture better than any show before or since, four season-long romance plots better than any romance film from that decade, and a masterfully constructed exhortation about leaning into failures of connection to build deeper compassion rather than demonize another person or group. Each season focused on a specific character within a high-school friend group, emphasizing the limited scope of subjective experience, and had them confront the challenges of opening up to others fully. And even when they return into the scenes with new protagonists, their lives weren't sorted perfectly, reflecting how resolving a single romantic plot point would not resolve life. The impact of this low-budget public-television web series (!!!) will be felt for years (it's already been referenced by Netflix juggernauts like Sex Education and Young Royals), but we're not likely to see something that juggles political themes, heartfelt characterization, realistic dialogue, and meta-commentary (it flashed its own hater and fan comments across the screen in the last episode!!) in such a obsession-inducing package anytime soon.

7. Boys Like Boys (2023)

"Because I have always been someone who hates myself, I don't have the courage to face it. Running away is my only option...What if I give myself one more chance to be brave?"

So how can a reality show make it onto a list of radically kind tv series, especially a dating show!? Well, when that reality dating show casts people who radiate warmth, vulnerability, and respect and seem to have the kind of chemistry that most scripted shows can't even manage, it's a good start. But then, when they elevate that cast with a format that addresses the cruelty of dating, elimination formats, and broader societal exclusion (an important consideration for a gay dating show), it offers a new model for future shows. Boys Like Boys did this when mid-season (spoiler alert) they had contestants vote out a contestant, only to provide the contestants with a vote in which they could retain a contestant who they didn't want to leave. In fact, many of the contestants asked if they could abstain from making a vote that would eliminate a constestant and were allowed to. The final result left one contestant, Jia-Hang, up for elimination--he had voted for himself to be eliminated, and many contestants, recognizing his reticence to continue on the program, didn't want to force him against his will to stay. Then, looking around at nearly the whole cast sobbing, even apologizing to him for not providing him enough support, Jia-Hang chooses to stay on. This is just one of many heart-warming authentic moments in the show that illustrate the vital influence of kindness to impact the trajectory of our hearts.

8. Joe Pera Talks With You (2018-2021)

"I can help you reach things. I can tend the garden. The different hours we keep are a good thing. And when they overlap, I can offer companionship and entertainment."

So much has been written about this show's groundbreaking kind approach, I'm going to quote instead: "It can be difficult to convey how a TV show airing on Cartoon Network’s provocative nighttime programming block Adult Swim can evoke almost nostalgic feelings of kind-heartedness. The premise of Joe Pera Talks With You is so simple as to almost be beside the point: Comedian Joe Pera plays a lightly fictionalized version of himself as a sweet Michigander, a middle-school chorus teacher with small and specific passions. Joe likes breakfast food, obscure trivia, beans, trips to the grocery store, and his grandma. He greets every day with a contented smile, stands beneath a pale blue sky, packs a balanced lunch that contains no surprises. (A turkey sandwich with cheese and a tomato, a banana, some trail mix, and as a treat, some cookies.) Joe, more than anything, is satisfied. His greatest joy is sharing these small pleasures with you, the viewer who exists on the other side of the fourth wall he has cleanly dismantled, often speaking quietly to the camera like he’s sharing a secret, just between you two. That he’s talking “with” and not “to” you is a crucial distinction in the show’s title: Joe never lectures nor rhapsodizes. Instead, he waxes poetic about what he loves and who he cares for and how he leads his life, telling his stories from a vulnerable position of welcoming you into his daily existence.” --“A Great Comedy About Being Good,” Allegra Frank for Vox

9. Anne with an E (2017-2019)

"Her life was not short on challenges, and still she held no grudges, believing instead that grace is perennial like the green, green grass."

While maligned for not being the 1980s version, this Netflix adaptation of Anne of Green Gables takes what many have read as an autistic subtext and made it text, giving Anne a performative quality that pushes a lot of the audience into the same irritation that the characters of Avonlea feel for Anne at first, and, thus, requires its audience to persevere toward the same kindness that Anne inspires in her adoptive mother figure, Marilla, among others, which is much more rewarding than simply identifying with Anne right away. In so doing, it enhances the development of its broader approach to acceptance--an approach in its insistence on the requirement of a community of kindredness (see Sebastian's excitement at finding out about the black community in "The Bog") that is much more rigorous than many other shows will cop to. Expanding far beyond literal adaptation into queer, black, and indigenous characters, without disguising history or disparaging the thematic seed of grace at the heart of the novels, Anne with an E imagines what it meant and what it might still mean to build real joyful community with others through kindness.

10. Little Bear (1995-2003)

"Interesting."

A childhood favorite that disguised in its simplicity a wide-openness to the world and an acceptance of different natures. While most child shows emphasize kindness, few do so with as much patience, wonder, and generosity extended to its viewers. Little Bear is a curious kid who goes on adventures in the woods around his house that can turn into games or small imagined experiences. He is sometimes with his friends Cat, Duck, Hen, Owl, and Emily, whose personalities, along with Little Bear's, bring about small tensions in their games that ultimately resolve, if not independently, then with the help of Mother Bear or Father Bear, who give each other knowing glances about the expected childhood behaviors. This is the first show that initially taught me to observe things while withholding my judgment, that first step of radical kindness.

12. The Andy Griffith Show (1960-1968)

"The key to happiness is finding joy in the simple things."

One really old and somewhat controversial throwback for my last entry. If you have concerns about a sheriff character representing radical kindness, I would encourage you to start with the third episode of season 3 where Andy, the sheriff in question, has to explain to the new mayor why he doesn't carry a gun and lets prisoners go to gather their crops. There have been some fantastic pieces written about the complexities of this show's bucolic fantasy and Southerners (of all races) attachment to it, but they all acknowledge a type of humanistic and deceptively simple virtue found in Mayberry that audiences long to witness, if not emulate themselves. It's a morality that resists the "hyperactive zealotry" and bureaucracy that the show satirizes through Barney Fife (along with guest characters like the new mayor) and instead emphasizes the understanding that one can have for each individual and the trickstery middle paths that one can find to address conflict.

#sorry this took so long to respond to!#honorable mentions include Hey Arnold! & The Good Place & Friday Night Lights & S1 of Ted Lasso (but only S1 lol)#atla #kindness prevails #likealittleheartbreat recommends #fruits basket #mushishi #natsume yuujinchou #hxh #andy griffith #joe pera talks with you #reservation dogs #little bear #skam #awae #boys like boys #mp100

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stratuspropertygroup · 5 months

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Office Space In Atlanta

Unlocking the Ideal Office Space in Atlanta: A Broker's Insight

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lawofficeofryansshipp · 6 months

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A Floridian Landlord's Playbook for Overcoming Common Rental Hurdles

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calder · 9 months

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super mutant coverage from Nukapedia's page on Disability representation. for better or worse. feedback welcome

The Children of the Cathedral are a cult in the ruins of L.A. who mutate and torture their congregants and captives to various ends, forever changing their bodies and minds. Some are transformed into pliable servitors through torturous consecration--an honor second only to baptism, the metamorphic birth of super mutants through the transformative FEV vats at Mariposa to the north.

Most super mutants are mentally impaired, but generally capable of reason. They are infertile due to their quad-helix DNA, which factors heavily into the main plot. All super mutants encountered in Fallout are slaves to the Master, so they are generally inclined to attack to the player, but almost (if not) all of them can be spoken to under specific circumstances.

Harry is a voiced mutant with a simplistic, childlike manner of speaking. If the Vault Dweller kills the various super mutants in the area, he will avenge each of his friends by name in combat, and mourn one as his brother.[1][2] If the player has already destroyed the vats, he will only ask to be left alone.[3][4]

When the Master is killed, super mutants flee the region out of fear.[5] For decades thereafter, baptized survivors of the Cathedral remained shunned from human society. Even those living in far-away rehabilitory seclusion are subjected to harassment, defamation, displacement, and genocide, engineered by the NCR government.[6]

These details contrast some later depictions of super mutants as interchangeable and inherently hyper-violent creatures incapable of peace.

Super mutants derived from prime normals (unirradiated humans) tend to exhibit hyper-intelligence, or at least normal cognitive function.

The mutant Lou Tenant speaks with a highly sophisticated and dramatic voice due to his hyper-intelligence. No other super mutant in the setting has exhibited this affected style of speech.

Some adherents are altered in a chemical process called "consecration."[7][8] The survivors of this process, though apparently human, are rendered insane.[9][10] The cult honors them as the "servitor" class, but non-believers pejoratively refer to them as "zombies" for their inability to think normally. Most of these "zombies" zealously espouse the cult's propaganda and show little individuality.

The servitor Dane is kept in the Inner Sanctum. He suffers terribly from disturbing hallucinations as a result of his consecration.[7] He converses with himself at length in two distinct intonations. At one point, he derides himself as a "schizo bastard."[11] He also experiences periods of lucidity, and begs the Vault Dweller to kill Father Lasher for his abuse of Calder the Flower Child.

Nightkin are the most exalted of the Cathedral's castes. Psychically inclined, they serve as high-level guards and military officers. They use Stealth Boys to stay invisible at all times, even when alone in their private quarters at night. A small library at the Cathedral is occupied only by nightkin, and a computer can be found in the nightkin barracks. The Master is able to communicate with them telepathically. Dane claims to hear the nightkin crying.

In Fallout 2, most super mutants live peacefully at Broken Hills, a settlement where all sorts of humans and mutants are welcome.

In Brotherhood of Steel, all the super mutants (such as Attis), are infertile. This is a key aspect of the game's plot, as the Attis Army are seeking a cure for their infertility.

Most super mutants are mentally disabled.

Several potential health and ability issues are indicated by a scene which depicts a super mutant relieving himself while flailing his arms above his head and screaming, as he blasts the back tank of a closed toilet from several feet away with an unthinkable procession of urine too visually graphic to further describe.[Video 1]

All super mutants in Fallout 3 except for Fawkes and Uncle Leo are portrayed as ravenous cannibals barely capable of speech. Fawkes is ostracized by the super mutants of Vault 87 for displaying complex thought. If the player eavesdrops on super mutant enemies, they seem to be constantly confused and angry.

Jacobstown functions as a haven and rehabilitation center for super mutants, especially the nightkin who are suffering from schizophrenia due to prolonged Stealth Boy usage. Two doctors reside here, hoping to find some way to help them medically with their mental struggles.

Lily Bowen, a nightkin herself and resident of Jacobstown, is an elderly woman with dementia. She frequently mistakes the Courier for her grandchild (Jimmy or Becky depending on the gender) and also suffers schizophrenia like most nightkin. Taking damage may cause her to lapse into violent behavior, similar to mood swings, during which she claims to be guided by a voice she calls "Leo." Her companion quest focuses on getting Lily to either take her medication consistently (to help control her psychosis and silence "Leo"), or stop taking it altogether (later resulting in "Leo" completely taking over and Lily becoming violently psychotic, perhaps permanently).

The mutant separatist Tabitha suffers from mania. She also seems to have some degree of dissociative identity disorder. A robot named Rhonda helps her manage the symptoms of her mental conditions. With Rhonda disabled, Tabitha's mental condition is deteriorating.

Tabitha's Black Mountain mutants are presented as a violent parallel faction to the peaceful community of Jacobstown.

A super mutant named Neil guards the pass to Black Mountain, and warns people to stay away for their own safety, especially at night. He maintains his post simply because he is in a position to prevent violence on a significant scale. Neil is not mentally disabled, and will not tolerate microaggressions pertaining to his condition, both out of self-respect and respect for differently abled metamorphic people. He is quick to forgive those who apologize, but any other option will result in him terminating the conversation.

The presentation of Tabitha as a violent nightkin with a comedic low-detail blond wig has been criticized as falling into cheap, antiquated tropes related to disabled and queer people. The depiction of Gail in Fallout 76 as a benevolent, dignified super mutant woman with mental disabilities has been praised in comparison.

The nightkin Dog and God has been called a portrayal of dissociative identity disorder. Both identities are aware of the other. Each desires complete control over the body and refers to losing agency to the other as being "put in the cage/basement." The nightkin's story ends with either an act of suicide that kills the body and both identities with it, one personality taking over permanently, or the Courier helping to create a new unified identity.

This new identity is, in turn, struck with amnesia, unable to recall any details of that which transpired before its synthesis.

Fans with similar conditions have suggested that the presentation of efficaciously "resolving" this person into a single personality to "unlock their good ending" is a simplistic and clichéd character arc. It presents the character's mind and identity as something to be immediately "solved" by a manipulative stranger, in the form of a life-changing ego death triggered by a single violent and traumatizing event. The relatively complex presentation of fellow nightkin character Lily has been praised in comparison.

Dead Eye is a blind super mutant who lives with a larger group of mutants.

Super mutants are once again depicted as disorganized cannibals who live only to pillage.[23] The only conversant super mutant characters (aside from the isolated case of Virgil) are Strong and Erickson, both of who were othered by their immediate groups for expressing different and/or complex thought. Super mutants in the Commonwealth can be seen impulsively carrying out suicide bombings using mini nukes, despite canonically having no ideology[23] or even an apparent internal hierarchy apart from leadership by strength.

Strong, a potential companion, became very interested in a line from MacBeth when Rex Goodman was captured while trying to teach it to the super mutants, though it seems he simply became fixated on the notion that "the milk of human kindness" was a literal physical liquid hidden somewhere in the world that confers the "power of humans" on the drinker; Strong believes he could find and drink this milk to become stronger. He was imprisoned along with Rex by Fist for this. He never particularly expresses a deeper comprehension of the literary themes of MacBeth past his obsession with finding the milk of human kindness.

Erickson became a survivalist after splitting from his group on the Island. He claims the Fog helped him "think straight," which made him unable to continue working for his brutal leader. He is the only super mutant in Fallout 4 to be seen speaking with proper syntax except for Virgil.

Virgil is a former Institute scientist who deliberately turned himself into a super mutant to survive in the Glowing Sea and hopes to reverse his condition. He retains his intelligence but suffers from anger issues. He also has difficulty articulating the use of his hands.

The super mutant merchant Grahm was arguably the only non-robotic NPC in Fallout 76 at launch. He travels with a brahmin he calls "Chally the moo-moo," apparently unable to pronounce the name "Charlie."

Gail is a super mutant woman who lives among the Core crew of the Crater Raiders. She is singularly concerned with protecting the human child Ra-Ra. She finds humans very annoying and confusing. She casually admits to not understanding some events which happen around her.

Ra-Ra mentions that she wants to grow up to be like Meg and Gail, suggesting that she sees both as powerful and dignified women.

Her design has no elements which might frame her masculine physicality as comedic, or imply she is "crazy."

Maul is a super mutant who exhibits the typical simplified speech and love of mayhem, but concerns himself with intellectual pursuits such as video games and comics. He wears a small pair of glasses, and he may respond to dialogue prompts with nonverbal scoffs. Maul is an archetypical "comic book guy" character, and accordingly resembles an autistic RPG fan. Like Gail, Maul finds humans and their interests to be obnoxious and inscrutable, and makes no attempt to hide his contempt for the player character.

Maul infodumps about his special interest fictions. His favorite IP seems to be Grognak the Barbarian.

Some of his analysis of fictional situations reveals a difficulty understanding social cues.

At times, his descriptions of the video game adaptation evoke discussions of soulslike games.

Contrasting his vocal misanthropy, he expresses great affinity for animals. He considers himself a dog person, because 'cat require more patience than Maul prepared to give.' If Maul had cats, he would name them Bramble and Zil.

#super mutant #fnv #fallout 76

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