#Villain!deceit

[loganslowdown4]

Today I was thinking about how the dark sides are represented as ‘villains’ because c!Thomas thinks that that side of himself is reprehensible. Like he sees completely in black and white. And because of this, any thought or action that comes from that side is immediately villainized, to the point where they act and even look like cartoon villains.

His point of reference for ‘bad guys’ has always been from his experience with the media he consumes, like cartoons or video games. It’s actually an immature way of looking at himself.

I get the wanting to separate good from bad, and this works for the big moral yes or no questions. But there gets to be a point where we grow up and realize that most instances in our lives have shades of grey answers, which is actually why Janus and Remus are there. We eventually just accept those sides of ourselves as part of us.

And eventually, they become more mellow and we realize they’re just there for self preservation. It’s not selfish to look after yourself if you have to lie about something. We’re not bad because we have intrusive thoughts. Being bothered by them literally shows us what NOT to do. In their way, they are a form of moral compass.

Neither sides are there to make him comfortable, but being comfortable leaves you vulnerable when you need protection. So Janus and Remus aren’t great sides but they aren’t ‘villains’ either, as Thomas sees them. They deserve acceptance just as much as Virgil does, because, like Virgil, they’re working to protect Thomas just as much.

Just some food for thought today! 😁 Also check out the colours in Thomas’ tie whoa 👀🤍🖤

[justjanusthings]

[larrythefloridaman]

WOAH, HE'S BIGENDER? I DIDN'T KNOW THAT!

[hollownekomata]

//hi yes me roseposting again, was looking for the Kinshara Butodan's panel and

//goodbye friends I am deceased.

[etruatcaelum]

On Semblances.

As this post mentions, neither Salem nor Ozma have ‘true’ ancient magic anymore: her immense power derives from the pools of light and darkness, and when Ozma created the maidens, they sacrificed their divine gifts but awakened their aura. Both now wield powers functionally identical to the aura and dust-based magic of modern humans; the sole difference between them and ordinary humans is vastly greater experience and, in Salem’s case, the interaction between her infinite aura and her grimmness.

(That is the subject for another post, but in essence grimm flesh and atrum ‘burn’ aura and this reaction can be controlled and channeled just like dust; Salem, who is grimm, uses this to her advantage to mimic ‘true’ magic.)

And, because their ‘magic’ is really just aura trained to a level beyond what any mortal could achieve in a single lifetime, both of them do have semblances.

Salem’s semblance is less an outward projection of her self than an inward one. It developed through the slow reconstruction of her mind and soul after a long period during which she had no sense of identity and was just kind of mindlessly dreaming all the time; her semblance sparked from the need to become whole and to know herself again. What it does, in essence, is immanentize her thinking.

Think method of loci, but crystallized from the imaginary construct into a real, tangible place—in a sense, the interior of her soul, her semblance, is a realm. Not one anything like as vast or complicated as Remnant or the Ever After, but quite a bit larger and more intricate than the vaults, and accessible only through doors she chooses to open.

It’s how she keeps herself sane and also why her sense of identity and conviction are so unshakable in the present: Salem knows herself extremely well and nearly everything that defines who and what she is, she made a deliberate choice to include as a fundamental part of herself. She is capable of change—and in fact capable of changing herself very rapidly and easily, once she decides to do so—but she cannot be forced or coerced or compelled or worn down or manipulated into it. Because the only way she can change is for her to literally disassemble and reassemble parts of herself and her semblance will not let her do that if she doesn’t truly want it to.

Ozma doesn’t know that they even have a semblance, because their semblance fluctuates from one life to the next; they believe the permutations of their own semblance have all been semblances taken from the lives they steal. What’s actually going on is that their very fragile sense of self gave them a semblance that lacks clear definition because it has yet to be fully-realized. It warps and bends and molds itself into the hollowed-out masks of every host, then loses that shape once those masks crumble again to expose Ozma.

There are, however, some constants:

The base essence of their semblance is remembrance and accretion of time. It’s the grasping for another chance and the tearing pain of almost and the venom of what if and maybe then and it wasn’t supposed to happen this way all rolled into one. It’s the aching possibility on the trailing edge of a mistake. Often, it takes the form of small-scale temporal manipulation: with Ozpin, it became an ability to ‘skip’ a second or two here and an idle moment there and ‘save up’ that time to spend all at once, squeezing several minutes worth of action into a single fraction of a second. (<- Ozma still has this ability and Oscar can tap into it for a while, but after the events of V8 it fades as their self-identification as Ozpin disintegrates.)

As themself—once freed from their curse and restored to live as their own person—their semblance is effectively only half-formed: not quite latent, but not truly manifested either. They will need to find themself and know themself before they’re able to fully bring it out. In its true, unalloyed form, Ozma’s semblance is unbinding: the breaking of chains, the opening of doors, the snipped thread of fate to unleash boundless possibility.

In less poetic terms, they will be able to reach back and bring forward the moments when what is now became inescapable. Nothing can be undone, nothing erased: the past cannot be unwritten, but what they can do is create a second chance to rewrite the future, whether by literally making a new possibility that didn’t exist before or by cutting through whatever beliefs or rationalizations a person clings to to pretend that they have no other choice.

Their fully-realized semblance will turn inward and confront them whether they like it or not; toward other people it is entirely under their control. (<- It is also quite likely the one thing capable of reaching into Salem’s head and shaking the foundations of her self, by drawing out her line of reasoning for committing to those choices and asking her to walk those paths anew, decide again.)

Oscar does not have a semblance and will not have a semblance until he’s separated from Ozma. If the integration were completed he would eventually produce a new permutation of Ozma’s, but it wouldn’t in any meaningful sense belong to Oscar, because Oscar as an individual would, for all intents and purposes, be dead.

But once he’s separated from Ozma, and once he sorts out who he is and who he wants to be outside of the looming existential dread of becoming Ozma, he’ll be able to discover his semblance.

(<- Also his aura, when not subsumed by Ozma’s, will turn out to actually be orange. Like a pumpkin. Because his Ozian allusion isn’t Tip OR Dorothy, it’s Jack Pumpkinhead)

Oscar’s semblance is… essentially, a hyper-specialized form of empathy: he can take the words people say and unfold them to reveal the things they mean, the feelings they’re trying to express but can’t communicate clearly, and then find the words to articulate those things back. He’s an interpreter, not of language but of emotions. He’s able to very quickly talk through to the heart of a problem, and he’s preternaturally good at listening in a way that makes people feel seen and heard. It also has the side effect of making him almost impossible to lie to.

Even with Ozma in his head, there are traces of this latent ability eking through to the surface—his determination to connect with Ironwood throughout V7, his intuitive sense for what to say to Hazel and Emerald to earn their trust, and even earlier, his realization that Ozpin is lying and his ability to break through long enough to spill Jinn’s name: these are all inklings of what could be, if not smothered by Ozma’s curse.

That sort of rising-to-the-surface is very rare among Ozma’s hosts. With Oscar, it’s happening partly because he’s fighting so hard to hold on for as long as he can, partly because his upbringing gave him a pretty strong sense of identity to begin with, and partly because the nature of his semblance itself resists falsehood and obfuscation. Latent though it is, it still gives him a firm place to stand when he pushes back and asserts himself against Ozma’s resignation. This struggle also has the effect of deepening the potential of his semblance—in effect, training it before it even properly manifests—so that once he’s free and it emerges fully he gets in tune with it fast.

[lyricalchrysanthemum]

piper is such an inherently fun character to think about for me.

especially during bw and his villain arc. ESPECIALLY when he's at he's peak villainy.

like YEAH he gets manipulated by team plasma into making him think people are out to ruin him and is believing in a false ideal... but he's still kind of a villain. moreso than n and hilda. like at least those two don't pretend to be people's friend nor does he try to harm them and ruin an entire wealth of childhood memories for said false ideal. he goes out of his way to throw hilbert to the wolves.

he is a victim... but just because he's a victim doesn't mean what he's done is ok.

like he is VERY self motivated in the end. he's hurting hilbert and bianca for the sake of HIS future, HIS feeling of fulfillment, HIS feeling of being alive. and like going as deep in this path as team plasma has lead him on it makes him feel so alive unlike he's ever felt before that he has. an evil villain laugh about it. when his true nature is revealed and he has his villain monologue (before the monologue about how much he hates hilbert)

He's BURNING alive compared to his ever desolate feeling of cold, empty, dead-ness.

and the fact that hilbert still loves him after everything he's done infuriates him!!! like it fills him with so much turmoil and rage it makes him see red and they INSTANTLY start a pokemon battle. i think his face would be one of those shots where the camera is just ultra focused on an anime characters eyes.

and he may try to write his wrongs but AGAIN. the damage he causes has been done. and at some point, he was willing to get even worse had it not been for the cruel wake up call given by Bianca, and of course, what happened to Hilbert.

he's just a fun guy to think of. especially when i think of what he'd be like as a villain and his true alliances gets revealed to bianca and hilbert.

[talesofsorrowandofruin]

Three revised outlines later, and Houses Full of Deceit has somehow turned into a combination of The Thirty-Nine Steps and The Three Hostages. I don’t know what to make of this ¯\_(ツ)_/¯

[uraandri]

hii what did you think of anatomy of a fall i saw that you watched it

hii i liked the movie a lot, especially the acting but i might have to rewatch it again because we had a chat about the movie with one of my professors and she said that she did not like it because it felt like a commentary on the metoo movement (in the negative sense) but i understood the movie to be more of a commentary on the way media villainizes women in these types of situations (it felt more like a commentary on th heard/depp trial but i don't know if that was the intention i did not read anything about the movie, i almost never do unless i hate it enough) and also our obsession with true crime. the choice to never reveal if she did it or not felt like great meta-commentary but i do think the final twist with the kid kinda cheapened it for me because of how smooth it went. it's a 9/10 movie for me but her comment is making me think it over simply because i can't see where she's coming from so if you plan on watching it keep that in mind and then let me know your opinions after

[jewishcissiekj]

going into Phase II barely knowing anything is great beca- WAIT NO. NOOOOOOOO KEVMO DON'T GET LEVELEDDDDDD WHAT THE FUCKKKKK

[justjanusthings]

Wearing a bower hat and a cape like a discount Disney villain

[luna-azzurra]

List of character flaws that can be prominent in villains

Rebellion: Strong opposition to authority figures and societal norms.

Manipulativeness: Tendency to exploit others for personal gain.

Cruelty: Enjoyment or indifference to causing suffering in others.

Narcissism: Excessive self-love and lack of empathy for others.

Arrogance: Overestimation of one's own abilities and importance.

Impulsiveness: Acting without considering consequences or long-term effects.

Deceitfulness: Habitual lying and deception to achieve goals.

Entitlement: Belief that one is inherently deserving of special treatment or privileges.

Distrust: Difficulty trusting others, often stemming from past betrayals or trauma.

Insecurity: Deep-seated feelings of inadequacy or worthlessness, leading to defensive or aggressive behavior.

Jealousy: Resentment towards others' successes or possessions.

Vengefulness: Desire for revenge against perceived wrongs or slights.

Machiavellianism: Willingness to manipulate and exploit others for personal gain.

Sadism: Deriving pleasure from inflicting pain or suffering on others.

Paranoia: Irrational suspicion and distrust of others' intentions.

Egocentrism: Difficulty seeing beyond one's own perspective and needs.

Addiction: Dependency on substances or behaviors that impair judgment and control.

Rage: Explosive outbursts of anger or violence.

Perfectionism: Setting unattainably high standards for oneself and others, leading to frustration and resentment.

Hubris: Excessive pride or self-confidence, often leading to downfall.

Sociopathy: Lack of empathy or remorse for one's actions, often accompanied by manipulative behavior.

Psychopathy: Antisocial behavior, lack of empathy, and disregard for social norms and moral standards.

Obsession: Fixation on a particular person, goal, or idea to the detriment of everything else.

Fearfulness: Paralyzing fear or anxiety that drives destructive behavior.

Isolation: Withdrawal from social interactions and relationships, leading to further detachment and hostility.

Codependency: Unhealthy reliance on others for validation and self-worth, often resulting in manipulative or controlling behavior.

Nihilism: Belief in the meaninglessness of existence, leading to a disregard for moral and ethical considerations.

Megalomania: Delusions of grandeur and a desire for unlimited power and control.

Impatience: Frustration with delays or obstacles, leading to rash decisions and reckless actions.

Self-destructiveness: Subconsciously sabotaging one's own success or well-being due to deep-seated issues or trauma.

[nil-the-glitch]

therapy (or in my case finding out one of your friends is a therapist and they accidentally go work-mode on you) is truly wild because you'll be like "yeah there's a lot of things i can't enjoy anymore because i associate them with this person/these people and engaging with those things makes me feel like i'm somehow being clingy and not letting go" and they'll just look you in the eye and be like "have you considered spite? you should consider spite. go enjoy things spitefully" and you're just left there like. well damn. fuck, even. shit, perhaps.

[endless-ineffabilities]

the sapphire and his sun

Aemond Targaryen x f!reader

Musings about Aemond Targaryen and the only one he truly needs. His one true hope and love. His beloved wife.

a/n : i had to write something after that episode! holy Aemond! This pretty much wrote itself and I could expand it in the future ~ if inspiration strikes true!

word count : <2k ▪︎ masterlist

Aemond used to think his only solace was himself.

His mother had never been much of a mother in her own right, too muddled in the web of deceit that she and Otto spin at their fancy. Criston posited as something of a father figure, but his true loyalty is to his Queen. His brother has always been a wastrel, and his sister wasting away in her own mind.

Aemond never had anyone. Not truly.

Until you.

He still remembers the day you walked into his life, a lone ray of sunlight breaking through the clouds of stormy grey. You appeared to be a frail-hearted young lady, eager to please and to be a devoted wife to her prince. All the while he saw your spirit dimmed from being offered by her House to be Prince Aemond's newly betrothed.

All to secure an alliance.

There was no promise of loyalty or love. Being the prince, he is able to take into bed any whore he wishes. But one look at you - just the one - and all thought of any other lover vanished from his mind.

The first night he was supposed to take you to bed and consummate your marriage, the meek cast in your eyes had disappeared, and in its place a defiant glint he hadn't seen before.

"If I am to be used by my prince, I will do it with the remaining shred of my dignity. I will not cry, I will not beg for a life I have already lost. If all that I am now is a vessel for duty, then so be it." You looked at him, as if for the first time, and with the flames dancing across your face, Aemond would remember that moment as when his sun first shone down on him.

He felt his anger flare for but a moment, his constant fear of being betrayed taking over him. Had everything been an act? Was this to be a marriage of unpleasantry and resentment?

But it quickly dawned on him that the act - the betrayal - was that if his wife was willing to play a fool and dance under his strings like some marionette.

He preferred this. He preferred you.

"Mayhaps I will not bed you tonight, my lady wife. Not yet," he had said, your face slowly twisting in surprise. "I will let you keep more than just your dignity, for you will also possess the choice. Trust that it is only for the time being, at least, until it is imperative that I produce an heir. From this moment forward, I swear to take no else to bed as it is my oath as your husband."

He watched the minute switches in your expression. The wariness. The confusion. The relief. And he already felt it then, as silly as the notion might be, that you had recognised who he really was and that you accepted him.

Aemond was no scoundrel. He wasn't a villain in your story. He wasn't some mighty, untouchable prince.

He was a boy. He was now your husband. He had decency. He had a heart.

And you may not have yet realised, but this heart - wretched as it might have been - he was surrendering it to you.

With the turn of the moon came ill tidings - the death of his father Viserys. Although he was also not much of a father to begin with. Aemond felt numb to it all and there was no time for any emotion to take root, for the conspiracy festered like an open wound. His brother was to be made king.

"Must you go and find him?" you asked. "What if something were to happen?"

He had been blank and unfeeling, unsure of what to make his father's passing. But then, some warmth bloomed in him at your concern. His darling wife cared. He hadn't yet been allowed to indulge in the pleasures of your flesh, but your nights were filled with conversation and confiding.

He took your hands and pressed a kiss atop each one. "It is I who understands Aegon's doings, my wife. Ser Criston is in need of my aid. My brother would sooner sail away than fulfil his duty, which is why he must return at all cost."

"Let him sail away. Let him go and live as he pleases, husband. He never possessed the temperament of a king. You on the other hand... "

His father is dead. His brother could be gone. The enemy encroaches.

But gods be damned, you believed in him.

Aemond didn't know for certain what happiness felt like, he'd never had a single taste of it. And how morbid it was for him to possibly feel it then. But...

"You would make a far better ruler than anyone, and I don't just say that because I am your wife."

Happiness. How fascinating.

How utterly... simple.

For he realised that he had felt it before. Not even in grand moments, no, but in the littlest of things.

He had felt it when you once laughed in pure bliss when he first rode with you atop Vhagar.

When you would help fasten him into his training armour.

When he would watch as you read one of your stories.

His happiness was standing right in front of him. His ray of light, his sun.

And his sun persisted even when he singlehandedly cast the realm into macabre blacks and greens.

Shaken and despondent, he stumbled into your chambers to deliver the news to you first. In the passing hour, everything will change. Will you turn on him too?

"It was an accident," he confessed. "I thought I could control Vhagar, but... she is her own beast. She always has been. I admit I was angry and it was my folly to seek vengeance, but I did not mean to... " His voice broke, and he felt your finger wipe at something wet from his cheek.

He did not even notice that he was crying.

You still said nothing, so he grew frightful. What if nothing he said would ever be enough? No explanation, no apology. He can't lose his light.

"I never held any love for him," he carried on painfully, "but he was my blood. And I... I just - "

"It wasn't your fault, Aemond."

A ray of hope. A remaining strength.

You repeat, "I believe you, and it wasn't your fault."

It mattered not whether his mother would shun him, or his grandsire would frown upon his gruesome action. Rhaenyra was coming for him, as sure as dragonfire, and he would soon have to face the consequences of his actions.

But none of that worried him, not then.

He had to stay alive, however he can, so that he can protect you. It was not remiss of him to overlook that the ladywife of Lucerys' apparent murderer would also have a target on her back.

Aemond knew that the fight was inevitable, and he was going to win it. For you.

In tears, in love, in pale shades of grief, he kissed you with everything he had in him.

A solemn promise. A declaration of love.

"No one shall know the truth of it, my love."

"What do you mean?"

"They will not know, but you will. And that is all that matters. There is no stopping it now and I must face the war head on. What the realm will come to accept is that I intended to fell my nephew and that I do not regret doing so. They have to fear me. This is how I can keep you safe."

"Aemond - "

"Do you trust me?"

The only thing that mattered, the one answer that decided whether he bent or broke. The Seven Kingdoms were to be covered in gloom and shadow, its fields marred with blood and many a broken bone.

His world, however - his world still had light.

"I trust you. With everything I have, I do."

To be tagged in Aemond or Daemon fics, comment on this post !

[xelidonia]

:O thanks so much!! (And I guess I need to post those 50 episodes of alternate universe evil Scar now, huh--)

SCAR GOODTIMES?

ARCHIVAL ASSISTANT SCAR GOODTIMES? STUPID IDIOT CLUMSY SMUG MOTHERFUCKER SCAR GOODTIMES??? CHESHIRE CAT BASTARD SUPERNATURALLY INCOMPETENT CUCKED BY THE NARRATIVE BIGGEST CLOWN IN THE CIRCUS LAUGHED OUT OF TOWN DISNEY ASS SCAR GOODTIMES???

STOP pinning me when I talk about Scar from The Hermit Archives. I hate him so much. Why can't he die like a normal person? Who invited him to Grian's personal hell? How in the name of Smirke's 14 did he get from that murder arena in the middle of NOWHERE to the Void Institute just so he could torment Grian even more? He is DEAD and he is a BASTARD and I so dearly wish he would stay that way, but no, he keeps coming back and making his stupid immature imbecilic infuriating JOKES about it, just to rub it in my face, just to taunt me with the knowledge that From the Archives will never be rid of him. Archival Assistant more like ASSistant. I don't even know why I hate him so much. He sounds and speaks exactly like my beloved YouTuber GoodTimesWithScar and yet he is NOT HIM. I've listened to End Condition five times in a row clenching my fists and seething with rage JUST for the satisfaction of hearing his death. But even that satisfaction is taken away from me. Who allowed SCAR to get out of Death free with no penalty no price and no major karmic drawbacks whenever he wants?? He has to be evil. It's the only explanation. If the Scarchival Assistant isn't evil then why is he a little bitch?? Why did he gaslight the Archivist? Even Elias had the decency to apologize for the deception. I understand why the Universe is constantly trying to kill Scar. This man inspires so much primal violence and rage that if I were in RLGL I would have killed him before Grian even got the chance. Except it wouldn't have made any difference to the story, because he would have respawned, and then sat on the sidelines giggling with his quirky little laugh while the pre-Archivist Grian stabbed me to death with his murder knife. I don't care, because killing the Assistant would have been worth it. I am not breathing, I am HYPERVENTILLATING. If Scar is not revealed to have evil motives in the remaining few statements of From The Archives, I will REJECT CANON and write my own ending in which everything is actually his fault and he gets punched in the dick about it. I will probably have to rewrite the entire AU to do it, but I don't care. I'll write fifty statements and they'll all be about how much I hate him. And it still won't be enough; because no mortal number of words could contain the burning hatred I feel for the man who doesn't die when he is killed.

[frailsituation]

Tips for writing a villain

1. Give them a twisted backstory

• A compelling villain has a past that explains why they became who they are. Make their history dark and personal, shaped by betrayal, loss, or abuse.

• What works? Their backstory should not justify their villainy but rather explain how it festered into a desire for control or revenge.

• Example: A villain who was once a loyal soldier but was betrayed by their closest ally, sparking a thirst for power and retribution.

2. Give them a ruthless goal

• Villains and antiheroes are driven by desires that justify any action, no matter how destructive. Their goal should be selfish, twisted, and all-consuming.

• What works? Let their desire for power, revenge, or domination overshadow everything. They believe they are justified, even when causing harm.

• Example: A villain who seeks to overthrow a kingdom, not out of idealism, but simply to make everyone bow before them in submission.

3. Make them calculating

• Villains are often detached, seeing people as pawns in their grand schemes. They plan meticulously, moving with purpose and efficiency.

• What works? Their actions should be deliberate and strategic, not driven by impulse. Show their intelligence, but also their complete lack of empathy.

• Example: A villain who uses people as tools, manipulating alliances and backstabbing to climb higher, all while remaining eerily calm.

4. Embrace their darker nature

• Villains are not plagued by guilt—they embrace their dark nature. Let them find power in their cruelty, and let it drive them forward.

• What works? Show them as unapologetic and even proud of their actions. They have no qualms about being feared and are often defined by their cruelty.

• Example: A villain who enjoys tormenting their enemies, finding satisfaction in their pain and suffering as a means to assert dominance.

5. Make their flaws have consequences

• Villains don’t have redeeming qualities. Their flaws—greed, pride, wrath—define their path and ensure they fall further into darkness.

• What works? Let their flaws be the driving force of their villainy, and don’t shy away from making them destructive.

• Example: A villain whose pride is so consuming that they refuse to ever admit fault, causing their empire to crumble because of their refusal to accept failure.

6. Show their manipulation

• Villains thrive on control, often using manipulation to bend others to their will. They know how to push buttons, exploit weaknesses, and get what they want without lifting a finger.

• What works? Let your villain be the master of deceit, convincing others to do their bidding without them ever truly getting their hands dirty.

• Example: A villain who manipulates a group of rebels, using their emotions to stir discord, only to turn them against each other in the end.

7. Make them evil

• A villain’s cruelty knows no bounds. They do what needs to be done, and that often means eliminating anyone who stands in their way—without hesitation or remorse.

• What works? They should be willing to destroy people, relationships, or even entire societies for their goal. Show no mercy.

• Example: A villain who doesn’t hesitate to wipe out entire villages to send a message, and enjoys the fear that it instills in others.

8. Let their obsession to consume them

• Villains are often driven by obsession. This obsessive need for power, revenge, or control blinds them to everything else—relationships, morality, or even their own humanity.

• What works? Let their obsession escalate over time, showing how it spirals out of control until it consumes them entirely.

• Example: A villain who is obsessed with immortality, willing to sacrifice everyone they care about, including themselves, to achieve it.

9. Allow for betrayal and treachery

• Villains thrive on betrayal. They have no loyalty but to themselves, and they often betray others before they are betrayed.

• What works? Let your villain double-cross anyone in their path—friends, allies, and even family. Their only loyalty is to their goal.

• Example: A villain who promises to spare their rival, only to turn on them when the rival is most vulnerable, solidifying their role as a traitor.

10. Let them unravel

• As villains grow in power and dominance, the pressure to maintain their control will cause them to crack. Their downfall can come from their inability to manage the very chaos they’ve created.

• What works? Show their confidence slipping, as the consequences of their choices catch up to them. This can bring about their ultimate defeat or destruction.

• Example: A villain who, after accumulating power, loses control over their empire, eventually crumbling under the weight of their own tyranny.

11. Allow for redemption (or not)

• The possibility of redemption adds complexity. However, it’s important that it feels earned. Alternatively, allow your villain to continue spiraling if redemption is out of reach.

• What works? Either let them evolve toward redemption—or show that their flaws are too deeply ingrained for them to ever return from darkness.

• Example: A villain who, after everything, is offered a chance to change but chooses power over love, reinforcing their villainous arc.

Follow for more!

[cy-cyborg]

The Untrustworthy Fake: Disability Tropes

[ID: A screenshot of Willy Wonka from Charlie and the Chocolate Factory as he limps towards a crowd using a cane. In the picture, he has a brown top hat in his hand, and he's wearing a suit with a purple jacket, multicoloured bow tie and cream coloured pants. Beside him is text that reads: "Disability Tropes, The untrustworthy Fake" /End ID]

Tell me if this sounds familiar: A new character is introduced into a story with some kind of disability - usually visible but not always. Maybe they're a seemingly harmless person in a wheelchair, maybe they're a one-legged beggar on the street, or maybe they're an elderly person with a cane and a slow, heavy limp. But at some point, it's revealed it's all a ruse! The old man with a cane "falls" forward and does a flawless summersault before energetically springing back up to his feet, the wheelchair user gets to their feet as soon as they think the other character's backs are turned, the one legged beggar's crutch is knocked out of his hand, only to have his other leg pop out of his loose-fitting tunic to catch him.

All of these are real examples. Maya and The Three introduces one of it's main protagonists, Ricco, by having him pretend to be missing a leg in order to con people (something that works on the protagonist, at least at first), Buffy The Vampire Slayer had the character Spike, pretend to be in a wheelchair, until the other characters leave and he gets up, revealing it's all a ruse and Charlie and the Chocolate Factory introduces Wonka by having him slowly limp out into the courtyard of the factory, only for his cane to get stuck, causing him to "fall" and jump back up, revealing that he's actually perfectly fine. Virtually every single major crime show in the past few decades has used this trope too, from CSI to The Mentalist, Castle, Law and Order and Monk all having at least one episode featuring it in some way. Even the kids media I grew up with isn't free from it; The Suite Life of Zack & Cody sees Zach faking being dyslexic after meeting someone who actually has the condition in the episode Smarter and Smarter and the SpongeBob SquarePants episode Krabs vs Plankton has Plankton fake needing a wheelchair (among other injuries) after falling in the Krusty Krab as a ploy to sue Mr Krabs and trick the court into giving him the Kraby Patty Formula.

No matter the genre or target audience though, one thing is consistent: this trope is used as a way to show someone is dishonest and not to be trusted. When the trope is used later in the story, it's often meant to be a big reveal, to shock the audience and make them mad that they've been duped, to show the characters and us what this person (usually a villain) is willing to stoop to. Revealing the ruse early on though is very often used to establish how sleazy or even how dangerous a character is and to tell the audience that they shouldn't trust them from the get go. Gene Wilde (The actor who first played Willy Wonka) even said in several interviews that this was his intent for Wonka's character. He even went so far as to tell the director of Charlie and the Chocolate Factory that he wouldn't do the film without that scene because of how strongly he felt this trope was needed to lay the foundations for Wonka's questionable intentions and motivations. His exact words are: "...but I wouldn't have done the film if they didn't let me come out walking as a cripple and then getting my cane stuck into a cobble stone, doing a forward somersault and then bouncing up... the director said, well what do you want to do that for? and I said because from that point on, no one will know whether I'm telling the truth or lying."

There's... a lot of problems with this trope, but that quote encapsulates one of the biggest ones. whether intentionally or not, this trope ends up framing a lot of actual disabled people as deceitful, dishonest liars. Now I can already hear you all typing, What?! Cy that's ridiculous! No one is saying real disabled people are untrustworthy or lying about their disabilities, just people who are faking!

but the thing is, the things often used in this trope as "evidence" of someone faking a disability are things real disabled people do. A person standing up from their wheelchair or having scuff-marks on their shoes, like in the episode Miss Red  from The Mentalist isn't a sign they're faking, a lot of wheelchair users can stand and even walk! They're called ambulatory wheelchair users, and they might use a wheelchair because they can't walk far, they might not feel safe walking on all terrains, they might have unstable joints that makes standing for too long risky, they might have a heart condition like POTS that has a bigger impact when they stand up or any number of other reasons. Also even non-ambulatory wheelchair users will still have scuff marks from things like transferring and bumping into things (rather hilariously, even TV Tropes calls this episode out as being "BS" in it's listing for this trope, which it refers to as Obfuscating Disability). A blind beggar flinching or getting scared when you pull a gun on them isn't a sign they're faking their blindness like it is in Red Dead Redemption 2. Plenty of blind people can still see a little bit, it might only be a general sense of light and darkness, it might be exceptionally blurry or just the fuzzy outlines of shapes, or they might only be able to see something directly in front of them, all of which might still be enough to cue the person into what's happening in a situation like that. Even if it's not, the sound of you pulling your gun out or other people nearby freaking out and making noise probably would tip them off. A person needing a cane or similar mobility aid sometimes, but being able to go without briefly or do even "big movements" like Wonka's rolling somersault, doesn't mean they don't need it at all. Just like with wheelchairs, there's a lot of disabilities that require canes and similar aids some days, and not others. Some disabilities even allow people those big, often straining movements on occasion, or allow them to move without the aid for short periods of time, but not for long. Some people's disability's might even require a mobility aid like a cane as a backup, just in case something goes wrong, but that still means you need to carry it around with you, and unless it can fold down, it's easier to just use it.

Disability is a spectrum, and a lot of disabilities vary in severity and what is required of the people who have them day to day. This trope, however, helps to perpetuate the idea that someone who does any of these things (and many others) is faking, which can actively make the lives of disabled people harder and can even put them in very real danger, physically, mentally and even financially.

Just ask any ambulatory wheelchair user about how many times they've been yelled at for using accommodations they need, like disabled toilets or parking spaces. How many times they've been accused of faking and even filmed without their consent because they stood up in public, even if it was to do something like get their wheelchair unstuck or as simple as them standing to briefly reach something on a high shelf. I've caught multiple people filming me before, so have my friends and family, and it's honestly scary not knowing where those images have ended up. This doesn't just impact the person either, a friend of mine was filmed while standing up to get his daughter (who was about 4 at the time) out of the car. He was lucky to have stumbled across the video a few days later on facebook and contacted the group admins where it was posted to get it taken down, but had he not stumbled across it by chance, pictures with his home address and his car's number plate, his child's face and his face all visible would have just been floating around, all because a woman saw him stand briefly to pick up his daughter.

Many people don't stop at just saying a nasty comment or taking a photo though, a lot of people, when they suspect people are faking, will get violent. I have many friends who have been pushed, slapped in the face, spat on or had their mobility devices kicked out from under them. I've even been in a few situations myself where, had I not had people with me, I think the situation would have turned violent.

There's even been cases where those photos and videos I've mentioned before have been used against real disabled people and they've been reported to their country's welfare system as committing disability fraud. While cases like this are usually resolved *relatively* quickly, in many parts of the world, their payment will be halted while the investigation is in process, meaning they may be without any income at all because of someone else's ignorance. If you're already struggling to make ends meet (which, if you're only living off one of those payments, you probably will be), a few weeks without pay can mean the difference between having a home and being on the streets.

Not to mention that when there's so many stories about people faking a disability in the media, especially when the character is doing it to get some kind of "advantage", such as getting accommodations or some kind of disability benefit, it perpetuates the idea that people are rorting the systems put in place to help disabled people. If this idea becomes prevalent enough, the people in charge start making it harder for the people who need them to access those systems, which more often than not results in disabled people not even being able to access the very systems that are supposed to be helping them. A very, very common example of this is in education where accommodations for things like learning disabilities require you to jump through a ridiculous number of hoops, especially at higher levels, only to have some teachers and professors refuse to adhere to the adaptations anyway because they're convinced the student (and usually disabled students as a whole) is faking.

Yes, the "untrustworthy faker" is a fictional trope, and yes, it does occasionally happen in real life, but not as often as media (including things like news outlets) would have you believe. However, when the media we consume is priming people to look for signs that a disabled person is faking, it has a real impact on real disabled people's lives. "Fake-claiming" is a massive problem for people in pretty much all parts of the disabled community, and it ranges from being just annoying (e.g. such as people spamming and fake-claiming blind people online with "if you were really blind, how do you see the screen" comments) to the more serious cases I mentioned above. It's for this reason a lot of folks in the disabled community ask that people leave this trope out of their works.