#and he takes care of her and protects her and he does succeed in a lot of ways--particularly with emotional support--but he also can't alwa

[neo--queen--serenity]

This episode really highlighted how close Marcille, Laios, and Chilchuck actually are.

The viewer is used to seeing our main characters behave like coworkers up to this point—even friends—and they express normal, understandable levels of concern and fear when their other party members are in danger. But when the nightmare attacked Marcille, it brought out sides of Laios and Chilchuck that the viewer hadn’t seen before.

Laios immediately notices when something is wrong with Marcille, and he tells the others as soon as he’s sure of the problem. Chilchuck and Senshi then follow Laios’ lead as it becomes clear that he intends to make her get some rest.

We see Chilchuck’s hands lay out the bedroll and Senshi’s hands set up the pillow, working in almost perfect tandem as Laios physically wrangles Marcille into bed.

Senshi is in a similar perspective as the viewer, and mostly sits and watches the ordeal unfold. He doesn’t have a shared history, like these three do, so he helps in little ways, but mostly waits on standby for direction.

From here on out, it’s mostly Laios and Chilchuck who take over in planning how to help her.

It’s uncommon for Chilchuck to openly show such distress and worry for one of his party members. He’s used to Marcille being able to defend herself; he’s used to her being capable and strong. He immediately defers to Laios for instruction, (rightly) assuming he will know what to do.

This actually produces a reaction close to real fear from Chilchuck, who outright SMACKS her in a panic to wake her up before getting any further information.

Laios has to quickly stop him, explaining that he could truly hurt her if he interrupts the attack this way. He tells them how he’s going to wake her, and he doesn’t hesitate. He jumps straight in, explaining what he’s doing for the others so that they (Chilchuck) won’t be afraid.

Chilchuck doesn’t question him once. He just does what he can to hurry along the process. He tucks Laios in with his blanket as soon as he lays onto Marcille—an unnecessary action that betrays how much he cares for both of them.

And Laios succeeds in helping Marcille out of the nightmare’s grasp. While trapped in her mind, he reassures her, protects her, tells her how much she’s valued and appreciated. He isn’t embarrassed or sheepish about it, either; he openly declares these things like it’s the most normal and obvious thing in the world.

He gets her out, he saves her. He did the exact thing he set out to do, even though he’d never done it before, and only had Falin’s secondhand information to work with.

Once he wakes, Chilchuck immediately checks on him to see if he’s alright. Chilchuck is clearly still rattled, displeased with having to wait while both of his close friends were unconscious, fighting a battle neither he nor Senshi could see or help with.

Marcille wakes up shortly after Laios, but Chilchuck is still on edge, worrying that she’ll fall back asleep. Laios, too, has a moment of alarm when he makes sure she won’t close her eyes again.

Once he takes the subdued nightmares out of Marcille’s pillow, only then do Laios and Chilchuck relax.

Laios, for his part, remained calm and collected almost the entire time. He did not show panic or fear when it became clear that Marcille was being attacked, nor when he told the rest of the party what he’d be doing to help her. And once the nightmares had been collected from her bedroll, he gently explained what happened, to everyone else’s horror.

Seeing this, it’s not a huge surprise that the Touden party is so successful. We’ve seen Laios handle danger with a level head; we know he’s capable.

But it’s an entirely different kind of talent to face a threat that’s targeting one of your closest friends—which can make even the most competent fighter sloppy out of fear of losing them—one that requires a high-risk, specific rescue style that none of you have ever tried before. And then pull it off flawlessly. Like damn, these guys are lucky to have him.

[webbluvrsugar]

okokok first up thinking about: ethan keeping you away from act 3 by less than morally sound means… drugging, kidnapping, convincing you to run away with him, (etc.) dealers choice!!!

*sorry if this is really broad, i wanted to leave room for creativity + i’m also on a bus home rn so i’m a little delirious lol but i’ll think of some more stuff to send your way when i’m home bc it’s time for ethan to come home for halloween the kids miss him😖*

a/n: faeeee you always be giving me the best requestsss, and also yes omggg Jack come home, there’s a kid waiting for you!!!

Ethan not-so-subtly “putting you to sleep” to protect you.

“I’ll take care of her, promise, just don’t touch her!” Was what he said to Quinn when they had a massive argument about you.

She called him soft, that he was falling for you.

Soft? Him? No, he was just fooling you, mocking you, you were the stupid one here, not him, you were the one who fell for him, he certainly doesn’t love you. He just… enjoys spending some time with you, enjoys kissing you maybe, sometimes he may even find pleasure in fucking you.

But he’s not growing soft and he is not falling in love… yet he finds it weird why he wants to protect you so much.

It’s getting even harder because you won’t fall for his bullshit excuses, you won’t fall for “Oh, they all cancelled, why don’t we stay in tonight?” or “I just wanna hang out with you instead.” so he has to get creative, lately he’s been putting sedatives in your drinks, that green smoothie of yours, — not morally correct, yeah, but so isn’t shoving a knife in your best friend’s guts, whoops, he’ll apologise later — the problem is that you’ve began to notice.

“Dunno, I just have been feeling a lot sleepier lately.” You mention, he sits beside you on the couch, watching you take clueless sips of your juice. “Do you think I’ve gotten the wrong powder? Maybe it has some random side-effects I don’t know about.”

His hand drives itself to your thigh, slightly flexes on top of your skin. “Have you read the full ingredients?”

“Top to bottom.” You huff, lean your shoulder into him.

“What about the side-effects? Does it mention anything about it?” He portrays himself as the perfect boyfriend, just trying to help you and your sudden tiredness, luckily, you fall for it.

“No, not really.” You sink even more into his shoulder, your vision already looking hazy.

“Huh… that’s weird…” he glances sideways at you, watching the way you make yourself comfortable, his arm leaves your thigh to wrap around you waist.

“Mhm..” you yawn, he bites down a smirk.

It’s like you don’t even notice, like you’re so clueless, but he likes you this way, maybe he’ll even succeed in his plan if he just keeps doing it.

He sees the how you allow your eyes to fall shut, how you trust him so much that you don’t mind getting this vulnerable next to him — it’s cute.

“Don’t worry, I’ll be here when you wake up.” He mutters, his hand slightly caressed your exposed skin.

He will in fact be here when you wake up.

But before that, he’ll make sure you’re comfortable in bed and go out to try and shoot Tara’s brains out.

[duskier]

Actually solemn knight Ghost who took a vow of silence after he wasn't able to save his clan leader.

The late Lord Cailean MacTavish had taken Simon in when he was a young boy. Had trained him to be a skilled soldier, fed him, vouched for him to others despite the reputation Simon's father, the late Riley patriarch, had sewn. Even sent money to Simon's mother to allow her to live comfortably all the way to her natural end. When the young Simon saw Cailean fall in the midst of the chaos of battle, his entire world rotted away. It felt like losing his father all over again- no, it felt like truly losing his father. And he couldn't help but entirely blame himself. If only he'd been faster... he should have sacrificed himself. Stepped in front of the spear and let it pierce his own heart. The world wouldn't have missed Simon Riley, but the loss of Cailean MacTavish was a scar upon the land that would not heal for generations.

For all intents and purposes, Simon Riley died the day Cailean MacTavish did.

Ghost who then spent his entire life protecting the young Lord John MacTavish after. Ghost, who was dark, broody, quiet. John, the bright-eyed, intelligent trickster son who didn't fully understand, who didn't know the vow of silence Ghost had taken or the guilt that weighed heavier than the world on Ghost's shoulders. John always trying to get Ghost to speak, even to make a noise. They were only a decade apart in age, but John's playfulness and Ghost's stoicism made it seem like they were leages apart.

Ghost fighting to keep John safe above all else if only in memory of his father, though Cailean's advisors Lord Price and Lady Laswell were always planning for the clan's future- vying for the throne. They only wanted what was best for John, the glory of the throne, but Ghost knew it would only bring danger. His nightmares of reliving Cailean's ashen face twisted and morphed into seeing John's face looking up at him instead.

John had grown into a fine man. Athletic, handsome, sharp as a nail. He doesn't remember his father as well as Ghost does, but he feels the weight of his need to finish his father's dream- to secure the throne for his clan. Ghost wants to break the vow of silence then and there just to convince him how stupid the idea is, how it could get him killed before he's even turned 25. He doesn't.

Ghost wasn't just taking care of John as a service to Cailean anymore. John talked to Ghost incessantly. While some had taken to mocking Ghost as a means to goad him into speaking, John had grown into speaking to Ghost as an equal. Sharing little jokes, his eyes sparkling as he watched Ghost chuckle dryly. John took care of Ghost, oftentimes feeding him before himself. John's big heart was part of what made Ghost ultimately realize he had fallen for him. Which only made Ghost more concerned about this fight for the throne. He could live with never telling John how he felt, staying by his side as his loyal companion as John would marry a beautiful maiden and have children... but he couldn't live in a world without John in it.

Against all odds, John succeeds.

Ghost lost a lot in his protection of John. His left arm was burned while saving John from a fire, his nerves shot and tendons frayed. He couldn't raise it above his shoulder anymore. Ragged scars ran the other side of his face, fighting off an assassin with a knife. One of his legs was weaker than the other, an arrow wound to the thigh he never properly healed from. Still, he remained the most steadfast and feared soldier.

They were always seen together, John always talking to Ghost. On the day of John's coronation, Ghost breaks his vow- no. His vow is fulfilled. Cailean's dream accomplished, his son seated upon the throne. It was like a knot in Ghost's stomach that had lived there for years finally untwisted, released at the sight of the crown atop John's proud head. Before everyone, Ghost held John's hand in his own. Kneeling before who he believed to be the true and rightful king. The love of his life. Vowing with a voice hoarse from disuse that he would continue to protect and honor King John until his final breath.

[imbecominggayer]

How To Write Character Motivation

This little (not-so-little) post is all about how to give your character a motivation for that goal all the while taking into account important things like the backstory, worldbuilding, themes, and such.

Keep in mind the fact that there are billions of different goals and connecting motivations so this advice is probably not applicable for everything :)

Again, these are just some tips. I am going to be assuming that you have some basic information about your character like what they want and where they come from :D

A) Questions, Questions, And More Questions

Take your character and ask them what their goal is. Then ask them "why?". Force them to answer. Then ask them different "why" questions based on what they answer!

For example: "Character A wants to kill the dragon"

Why? The dragon killed my family.

Why did the dragon kill your family? My father was a monster hunter who was upsetting the dragon's food resource.

Why did the dragon kill your other family members? My mom and my sister were collateral damage in the dragon's attack.

You can do this little exercise with any type of goal from crime, adventure, romance, to any other genre I haven't listed yet!

B) Deep Psychology

Now you have ask yourself, actually your character but you know, "what is this really about"?

What does this goal symbolize for this character?

Character A wants to kill the dragon because she believes it will end her own nightmares about the death of her parents. This is a thoughtless attempt to grieve without grieving.

Character B wants to steal a treasure of their home village because he believes that by gaining the financial rewards associated, he will be adored by his new community of outsiders. This is a desire for belonging.

You get the point. These goals aren't just about stealing your home's sacred treasure for wealth or killing a dragon for revenge. It's about universal desires we all share. To be loved, to be strong, to be great.

This is necessary because most people don't live in isolated villages housing secret treasures nor do they kill dragons. If you want your audience to connect with your character, the audience needs something universal to latch onto.

C) Themes And Misbelief

Most great stories feature a "misbelief" or mistaken assumption. This is the potentially fatal flaw of this character who believes something that is either not reflective of reality or will endanger something they care about.

Even if Character A kills the dragon ten times over, their family is gone. They can't kill their grief. They have to authentically work through it. Besides, I can't imagine how completely f#cked the food web would be if an apex predator like the dragon died.

If Character B used the sacred treasure to gain untold wealth they most likely would gain the acceptance and support of the "outsiders". But isn't it more important to protect the tradition. Their culture? Their people? It's a good thing to protect things that need to be protected!

These stories can either end as a cautionary tale, a lifeless happily ever after, and an impactful happy ever after depending on the character arc and ending of these characters.

If Character A and B "succeed" in their goals but this ruins their overall life, it's a cautionary tale.

If Character A and B succeed in their goals and they suffer no consequences for their mistaken belief, it's a lifeless victory.

If Character A and B choose different goals as a result of a character arc then they will succeed and reach a true happily ever after.

[starlight-bread-blog]

Three Books, Two Characters, One Story

An essay on Zuko and Katara's characters and character arcs

——————

Zuko and Katara, fire and water, red and blue, one rises with the sun, the other rises with the moon. And yet, they are similar, tied together and grew closer than they could have imagined. In this essay I will discuss Zuko and Katara's characters in Avatar: The Last Airbender. I intend to touch on their shared traits and backgrounds, on their development and on their points of convergence in their over overarching story. Now, without further ado, let's begin.

——————

The Common Ground

Zuko and Katara share their core traits and core events in their respective lives. Firstly, their loss of their mothers. Zuko lost his mother, Ursa; and Katara lost her mother, Kya. But if you ask me, it goes deeper than that. For Zuko, the loss was a loss of shelter from the cruelty of his father and the bliss of being a child. In Zuko Alone, we see how Ursa took care of Zuko, played with him, and gave him a proper childhood.

With that gone, he remained almost completely unprotected. But more importantly, he lost his childhood. (It is true that he still had Iroh, but Iroh can help to an extent. He can’t be at the dinner table when Ozai tells Zuko he was lucky to be born).

Similarly, when Katara’s mother died, something in her internalized it. As Sokka says in The Runaway:

We see Katara help fill the void many times in A:TLA. Namely in The Desert, where she takes care of the Gaang in ways ranging from giving her bending water to endangering herself to pull A\ang out of the Avatar State. Katara doesn’t like to be viewed as someone who lost her childhood, as her reaction to Sokka’s speech was to join Toph and go scamming. However, Kya’s death is an integral part of who she became. She wants to cling to her childhood, and she partly succeeds,but that speech was made for a reason. A part of it was gone with Kya.

Another parallel between their similar grief is sacrifice. Zuko’s mother left to save his life from Fire Lord Azulon’s ruthless order. Katara’s mother died when pretending to be the last waterbender of the South Pole when a Fire Nation raid came looking for her. Both of their mothers left because they protected them, saving their lives from the cruelty of the Fire Nation. In these parallel narratives, the themes of sacrifice against them are intertwined.

But beyond their grief, I believe that at their center, they are very similar. Zuko and Katara are filled with righteous anger and empathy even towards strangers. Although clearly everyone in the Gaang is a good person, doing their part in ending the war, it’s not a defining trait as it is for Zuko and Katara. In The Painted Lady, Katara insists on helping a Fire Nation village while Sokka pressures that they’ll leave to make it to the invasion, while Toph and A\ang remain natural. Her compassion clashes with the Gaang. When Sokka scolds her for being impulsive with her attempts to aid the village, Katara angrily responds with this:

Similarly, the thing that kicked off Zuko’s arc was this righteous anger. In The Storm, we learn that Zuko’s scar came from him standing up to a general who suggested sacrificing a division of rookies for an operation.

You can't sacrifice an entire division like that! Those soldiers love and defend our nation! How can you betray them?

It is their shared compassion and anger at the injustices around them that makes them and the way they interact with the world so similar. Iroh described Zuko as “an idealist with a pure heart with unquestionable honor”. How well does this describe Katara?

Moreover, it is not only their anger. They are both incredibly strong willed with how they act on their anger. In The Waterbending Master, when Katara found out master Pakku won’t teach her because she’s a girl, she didn’t give up. She challenged him, a master, to a fight to prove that she can do everything a boy can do. And Zuko’s strong will is almost over talked about. When A\ang escaped his ship, he jumped on his airbender staff. In Zuko Alone, Ursa said to him “That’s who you are, Zuko. Someone who keeps fighting even though it’s hard”.

To sum up, Zuko and Katara’s foundational events and personality traits are parallels to one another. They both lost their mother when they sacrificed themselves for them, and it marked the end of an era for them. They are both driven by compassion and righteous anger and have a strong willed personality. They are guided by their morals first and foremost. They are parallels to one another.

The Development

Zuko and Katara’s character arcs serve as parallels to each other, and bring them closer together. Zuko’s redemption arc is, to put it simply, about unlearning Fire Nation propaganda and coming to realize the horror his country inflicted on the world. In book 2 Zuko sees the harm they caused first hand, and in The Day of Black Sun he fully rejects the Fire Nation.

Zuko: Growing up, we were taught that the Fire Nation was the greatest civilization in history. And somehow, the War was our way of sharing our greatness with the rest of the world. What an amazing lie that was.

He rejects the lie that the Fire Nation is somehow helping the world - that it’s inherently good. His arc was about unlearning Fire Nation supremacy.

Katara’s arc is not as easy to pin down, but it’s nevertheless there. Her arc is about idealism, hope and a change in perspective. Katara started her journey as an idealist, the literal voice of hope in the opening, and with a black and white view of the world - the Fire Nation is evil, and everyone else is good. Throughout the show, Katara encounters both good people from the Fire Nation, and bad people from around the world of Avatar, such as Long Feng, Jet and Hama. In The Puppetmaster in particular she learns that waterbending can be just as destructive as firebending, if not more so. Her arc is about unlearning naivety and Fire Nation inferiority.

The symmetry comes from them learning to lean on the other’s view across the seasons. In book 1, they are rigid in their view. Zuko is still working a full time job tracking the Avatar, while Katara still clings to her black and white view of the world, such as when she had a conversation with a Firebender who told her firebending is inherently destructive. In book 2, Zuko becomes a fugitive and sees the Fire Nation’s horrors for himself, while Katara sees that the one safe haven from the Fire Nation can be evil too. In book 3, Zuko goes back to the Fire Nation to see that it’s not what he’d imagined at all, while Katara goes to the Fire Nation to find people just like her.

Not only are their arcs symmetrical, but they are what allows their bond to flourish. Katara can only forgive Zuko after she’d let go of her ideals, and Zuko can only seek to redeem himself in her eyes after he’d let go of his idealization of the Fire Nation. Their bond is a true testament to their arcs.

The Encounters

Zuko and Katara’s relationship carries a lot of narrative weight. Their journeys are intertwined on many occasions. For Katara, it’s significant that after Katara masters waterbending, it is Zuko whom she has to defend herself to. It’s significant that she sees humanity in Zuko, despite him being the face of the Fire Nation. It’s meaningful that she goes to find her mother’s killer with Zuko, and even bloodbends before him. And finally, it’s meaningful that she spends the 4 part finale with him.

For Zuko, it’s significant that when he truly connects with someone other than his uncle, it’s with Katara. It’s significant that he learns through Katara that revenge doesn’t always help. It’s significant that Katara is the last member he has to earn forgiveness from. And it’s meaningful that jumping in front of a lightning bolt to save Katara is his last act of redemption.

While Sokka and Zuko for instance never interact in book 1 besides some one liners, Katara and Zuko had a subplot around Katara’s necklace. Although their stories do diverge, such as most of book 2, they always return to spend the season’s finales together. They don’t drive each other’s characters forward as much as they represent milestones in each other’s stories. You cannot remove their scenes together and have the rest of the show make sense.

——————

In conclusion, Zuko and Katara’s characters follow a story of mutual suffering, personal development, and deep friendship. They have a common experience of sacrifice, sorrow, and unflinching compassion. These experiences have narrative weight because they act as development, redemption, and forgiveness catalysts, creating a connection that ultimately serves as a reminder of how far they’ve come.

[penkura]

Hi! I saw that your requests are open!

Would you be alright writing headcanons for a GN!Reader(Fem is fine too if it's a struggle) for Sanji and Zoro with an idiot reader? The type to throw themselves in danger, believe people at face value, able to succeed a mission by failing all the instructions ect.

Im a big fan of idiot readers because I am one myself, if you could add some cuddling in there too I would be so grateful

Take care!

Hi!! Gosh, this was fun to write lol. Sanji and Zoro are my boys, they would both def end up with idiot readers lol. I hope you like it! :)

Sanji

You, an idiot?

His precious, darling beloved?

Never, he’d fight anyone who said you were! He’d never call you that himse—

Oh there you go again, throwing yourself in front of Luffy. Haven’t you learned he’ll be fine?

You do it every time, and even after Sanji and the others tell you to stop being so self sacrificing, they get enough of that with Zoro

Its fine, its fine, Sanji knows you just want to protect your friends

Its even fine when you nearly fall for an obvious scam of some woman needing money to pay off debtors, and it just happened to be the same amount in your hand

Thank goodness he was nearby and able to grab your hand to get you away from that, telling you what was going on

You felt really stupid for that, but it was fine, no problems, Sanji kept you from losing your money, Nami would’ve killed you both if you had

Its not fine when you end up injured this time, jumping in front of him when an enemy throws a spear at him

It barely grazed you when you pushed Sanji out of the way, but he’s still horrified knowing it was because you were protecting him that it happened

No matter how many times Chopper tries to Sanji that you’ll be okay, it wasn’t as bad as it could have been, he’s still upset with himself for being distracted by another enemy

Sanji wants to distract himself but you won’t let him leave you alone, dragging him into the bed you’re staying in that night and demanding cuddles since you’re hurt (not that hurt but still)

He’s glad to obliged, holding you close and burying his face in your shoulder while you stroke his hair

“Sorry I worried you, Sanji.”

“You’ve got to stop throwing yourself in front of people…”

He just doesn’t want to lose you

Zoro

He’s the one that calls you an idiot the most

In a loving way the majority of the time, but other times he really does mean it

The day you almost got swept away to another crew because on of their members tried to sell you a sob story about needing medicine for a sick kid?

Yeah you were an idiot for that one

The time you run to protect Nami, shoving her out of the way and receiving a deep gash on your abdomen

Zoro knows you want to protect people, to protect your family

But you should let him handle things sometimes!

He was on his way to protect Nami himself, but of course, you being you, ended up jumping ahead and pushing her away from the Marine attacking her

After all the Marines are taken care of, Chopper has you in the infirmary on Sunny immediately to assess your wounds

You got the worst of it, good job!

Zoro hears you got the worst of it, say your prayers because he’s pissed

Not entirely at you, partially at the Marine that got you, but still at you too

“You’re lucky his weapon didn’t have poison on it or somethin’!”

“I don’t think the Marines use poison, Zoro.”

“That’s not the point!”

You let him go off, telling you everything that could’ve gone wrong

It’s rare for even you to see this side of him, but it’s nice to know he cares this much

Eventually Zoro calms down, taking a deep breath before he walks back over and drags you into a hug

“You’re such a damn idiot you know?”

You nod, but smile, “but I’m your idiot, right?”

He rolls his one good eye and nods himself

“Yeah, you’re my idiot.”

He wouldn’t change a thing if it meant you were his and he was yours

Though he would like you be a little more careful in the future

[wanted-game-if]

Wanted Game is a cowboy fantasy with some lovecraftian horror interactive fiction game

You wake up in the middle of nowhere, the sun blistering hot

no food,

no water,

and probably the most concerning thing of all you don't remember anything not your name, not where you are and not what you look like

You are found by a gang of outlaws the leader (or who you assume the leader to be) takes you captive but then offers you a deal you can't possibly pass up but things smell fishy.. they are outlaws who are there for their selfish reasons how can you truly trust them;

especially when they all seem to know something about you even though you have a mask stuck to your face they aren’t willing to tell what they know about you

no matter how close you get or how many tricks you try

• A customizable Mc though physical customization is somwhat limited until later in the story.

• Paint/design the mask and thought out the story their will be some options that will affect your mask

• Romance 10 of the charaters 7 main ones and 3 youll just have to figure out, one of the secret romances is a poly route with Oscar, got commitment issues or just looking for fun theres a large aray of flings along the road so dont you worry

• Doom or help the jobs succeed with your choices

• Grow relationships with the rest of the gang {{and even the group of bounty hunters chasing after you and the gang}}

• When not doing jobs entertain your self with a hobby or work on your skills

Oscar || He/They || 24 || 5’3

{{ Attracted to Men & Non-binary people }}

Growing up in the gang most would probably assume Oscar is mean, greedy, selfish but if given the chance you would find a soft caring man with a love for literature almost always with a book when he is not scouting or helping his ma with sewing up clothes the gang tend to wreck

Emile || Xe/Xem || 27 || 5’10

{{ Attracted to Everyone & Anyone }}

Oscars older brother Emile is very protective of Xyrs little brother emile is known to sleep around and be a massive flirt but never actually letting anyone be anything to Xem then a pretty face Xe can fool around with. sometimes you catch Xem staring at you with a expression you don’t quite understand

Louis || He/Him || 30 || 6’2

{{ Questioning }}

A very quiet man always tending to the horses or making wood sculptures hes very quiet keeping to himself not because of anything distrustful or rude he seems to just like being alone he is always looking to help out with jobs as long as he can keep his distance with people

Boss || He/Him || 58.. || 6’0

{{ Attracted to anyone but must be close to them emotionally before he does anything sexual in nature }}

A very talkative older man with alot of elegance for a outlaw he always has plans brewing though his number one goal is keeping the gang safe. He tends to be overprotective of everyone and can be a very hotheaded man its very easy to press his buttons

Ares || he/they/she || 28 || 5’11

{{ Attracted to anyone }}

Growing up in high society Ares learnt to be a very charismatic and social fellow most people would call her a charming, gentle, kind person but if you peer close enough through their wall you will soon learn that she is not at all what she appears and she has a more nasty complex towards commoners, rich folk and especially outlaws

Clara || She/Her || 40 || 5’5

{{ Attracted to men }}

Clara a sweet older lady recently joined up with the gang temporarily to help get funds to get her home but something about her story doesn’t add up, she seems like she wouldn’t hurt a fly so many dismiss her but some ought remember she is still an outlaw no matter how sweet she seems

Adelaide || She/Her || 37 || 4’9

{{ Attracted to women and non-binary people }}

Adelaide is the best with all things traps, distractions and explosives she cant be a bit much always adding a flare to everything and talking so fast you only barely understand she isn’t very observant when it comes to body language and tone so don’t expect her you realize your emotions straight away. she is also Boss’s Niece

T} ??? || he/him || 30 || 6’0 || Poly route with Oscar

{{ Attracted anyone}}

“They are so utterly perfect for him I’m jealous of them but i also want them aswell how selfish my heart is”

S} ??? || They/Them || 29 || 5’8

{{ Attracted to women }}

“In darkness she is the one stray ray of light that kisses my face”

J} ??? || they prefer just to be called by their name || 33 || 6’5

{{Attracted to women & men}}

“Its against my job, my morals,my life so tell me why it feels so right”

||Demo:TBA || Pinterest || Art Acc || My boundaries and asks boundaries

Sorry for any misspellings or weird way i worded things

[rabbit-reveries]

—𝑺weet Sister

Synopsis: Aemond fears his youngest sister might fall prey to Aegon's infamous appetite. So, as a dutiful brother, he decides to claim her before he can.

Warnings: Smut, canon-typical incest, innocence kink, slight degradation, pet names, praise, way too many "good girl"s, p in v sex, unprotected sex.

Word count: 5124

He watches his sister with one violet eye, trying to hide in his face the anger bubbling deep in his chest at the sound of her girlish laughter. She doesn't even realize, does she? No, of course she doesn't. Aeressa, innocent as spring's first bloom, gazes at Aegon with wonder, unaware of the web of lies he weaves to ensnare her attention. Watching is so hard— No, he can't risk letting his guard down. A second is all his brother needs. To protect her honor, he must continue to keep watch. In amazement, the girl turns to him and takes his hands in hers.

"Isn't it incredible, Aemond?" squeals her. Incredible indeed. The youngest of the five siblings and Daeron's twin, Aeressa has no way of remembering the event Aegon retells, but the second-born prince surely has, and it was nothing like in the words of the heir. Doesn’t his tongue burn from all this nonsense? Ever since the princess’ first signs of coming of age, he’d been pulling all sorts of stunts to try and capture her gaze, no doubt in hopes of deceiving their poor sister into buying his fake affection and giving herself to him. Aemond watched the same happen with Helaena years before. The fact that he still cares for Aeressa soothes his heart, a clear giveaway that his older brother has yet to succeed in his devious plans. Sweet, sweet Aeressa… Too precious for her own good. He holds her hand over his. If he could, he’d keep her locked to himself, safe from the dangers of the world and its men. 

She laughs again, the glorious sound filling the dining table. The prince watches Aeressa blush as Aegon leans in to whisper something in her ear, clenched jaw and hand protectively over hers. Her expression is soft and betrays no alarm, but she turns away to rest her head on Aemond’s shoulder. He relaxes the tiniest bit. So she hasn't fallen. There is still time. Aegon seems to notice it as well, all the hidden messages in such a small act, and it is clear on his face. He’s been growing impatient, and Aemond pretends not to notice. Pretends it doesn’t frighten him. He knows his brother’s only been playing nice because the subject of the matter is their sister, but that he has no qualms over taking what he deems his. The servant girls are all so very terrified of him. 

In what can only be a desperate measure, Aegon takes the hand that used to sit under Aemond’s and kisses it, leaning once more to whisper in Aeressa’s ear. Aemond turns to Helaena, hoping now would be the time for a jealous fit, but it is only a feeble expectancy knowing her. Characteristically, she picks at her food, seemingly unaware of her brother-husband's antics. It is only by the slight furrow of her brow that he knows the princess isn’t deaf and blind to the scene displayed in front of her. Alicent is sitting at the head of the table and watches her children with a look of worry. If she didn’t have the same look every time she gazed at them, Aemond might have considered it some small victory. Gods, don’t they see this indecency? Is he alone on Earth? Is he the only one who might be able to protect this girl?

When supper is over and all are dismissed, he notices how Aegon corners their younger sister before retiring. Aegon has never been one for subtlety, thank the Seven Heavens. Aemond runs after her, afraid to leave her alone in the empty hallway leading to her chambers. 

“Sister!” he calls, glad to see her grin when she turns and notices it is him.

“Brother.” she exhales, one hand over her heart. “You startled me.”

“Why? Did you think it was Aegon?”

She bites her lip, and it’s all the answer he gets.

“Has he been bothering you?”

Aeressa half laughs. “No, not BOTHERING… He’s just… a bit pushy.”

Aemond walks to her, stopping when he stands by her side. She tries to avert his gaze, but he picks her chin between his thumb and index to force the girl to look him in the eye. “Be truthful, Aeressa. What has he been pushing you to?” 

“Gods, Aemond…” says her, eyes big as the moon set on his “He’s not a bad person, you know?” She places one of her dainty hands over his arm, perhaps trying to appeal to his emotions, but all Aemond can think is how close she is, how his breathing fans over her delicate face. She is so beautiful he almost forgives her for defending their brother. Such a precious gem.

“You don’t understand, Aeressa. You never do.” he shakes his head. “You only ever see the good in people.”

She frowns. “And you only ever see the bad.”

He wants to say more, scold her for her trustful nature, warn her of Aegon’s malice, but no words leave his mouth when the hand that wasn’t holding his arm reaches to cup his cheek. As if by instinct, he covers her hand with his. She is so close. So close. He can smell the oils she bathes in, and see the world of wonders living in the space between her parted lips. She is so close. He could close the distance, taste her if so he pleased. 

Aemond forces himself awake from the fantasies, reminding himself of his place as her older brother. 

“He whispered in your ears during supper. What did he say?”

His inquiry breaks the moment and Aeressa pulls away, repelled by the shock of reality. “I don’t know, he said so many things…” she says, almost musing, and begins to walk down the corridor again.

“Aeressa.” Aemond pulls her by the arm. “I’m not playing with you. What did Aegon say?”

She opens a grin, and at that moment he can’t read her in the least. His grip on her arm tightens. “What did Aegon say?” he repeats, more forcefully this time.

“He wants me to come to his chambers at night. He says we’ll play this fun game. Why is it so important?”

It is universally known how taken with his sister Aemond is. She’d been his little pet from a very young age, always following her older brother like a shadow, her twin by her side. When Daeron was sent away to fight, her attention had been solely Aemond’s, and he’d grown to cherish her company. Now, however, hearing those words coming from her mouth with a smile… He’d never been this compelled to hit her. Stupid girl. His grip on her arm tightens again, this time enough to earn a whimper from Aeressa. 

“You’re hurting me, Aemond! What is going on?” she squeals, trying to free herself. She is so confused. 

Of course, she is. She doesn’t understand the ways of men, she’s just a girl. She has no idea what kind of game Aegon plays - or plans on playing with her. Aemond lets go of her at last.

“You will not visit him tonight, do you hear me?”

“Why not? What if the game is fun?”

He grits his teeth, looking back at his sister’s bewildered expression. How can he explain the world to her? How can he keep her safe? He takes one hand to his hair, mind making work of his questions like a big machine with confusing and missing pieces. Aegon will not stop, even if Aemond himself keeps watch on her door. He’ll find a way, a secret passage, a time of the day when no one will be able to come aid. If there’s one thing he knows about his brother is how stubborn he can get when denied things he wants. And if there is another thing he knows about his brother is how great his appetite is, especially for maidens.

Aemond turns back to his sister, who watches him wearing the same confusion. 

“So you want to play a game?”

“Embroidery gets very boring sometimes…” Aeressa tries to explain herself, gazing low on the ground, cradling the arm he squeezed. 

Gods, she’s afraid of him… What now? 

He sighs.

“Let us go to your chambers, I will play with you.”

She looks back up, childish delight mixed in with a slight distrust. “Will you?”

“Yes.”

She takes his hand and begins leading the way. The girl gets through the door and motions for him to follow, but he tells her to wait for a minute so he can tip the guard with enough gold to buy silence and one night in his sister’s bed.

It is the first time he’s entered Aeressa’s chambers in what seems like forever. It is covered in fresh flowers, the sweet scent filling the space between the four walls. The bed is grand as his own but wrapped in pink quilts and blankets. She sits on the edge of the mattress, swinging her legs a little.

“What game is it, brother?”

Aemond steps closer until he’s standing in front of her, looking down at her smiling face. If there is a time to stop, it is now. But if he stops… He knows Aegon won’t. Taking a deep breath, he cups her cheek much as she did to him in the hallway, face as stone. He loves her, he does, and because he loves her, there is no going back. This is his duty as a devoted brother. She can’t stay this naive forever.

“Have you ever played house?”

“Yes, of course! It was my favorite game with Daeron.” she says, innocent as ever.

“Do you want to play house with me?”

Aeressa laughs, that feminine, childish sound. “I think I’m a bit too old now… I haven’t played in ages.”

“Make an exception for today. I promise it’ll be fun.”

She looks away for a second but soon looks back at him with a smile. “If you promise.”

The prince takes another deep breath, trying to set it straight in his brain how this will go.

“This is the game: I am your husband, you are my wife, and this is our wedding night. Do you know what you are supposed to do?”

She hesitates for an instant. “Serve you…?” 

“Yes. And how will you do that?”

“With a kiss?”

He feels himself smile at that, caressing the cheek he cups. “Very well. Have you ever been kissed before, Aeressa?”

“Only by Daeron when we played house last.”

Aemond has to hold back a flush of jealousy. All this time worrying about Aegon, it seems Daeron had gotten a headstart before leaving for the military. His caresses stop and he holds her face with both hands. He thinks of saying something, but now that he has Aeressa looking up at him with big lavender eyes, there are no words left. All he wants is to claim her rosy lips, and that’s what he does. 

It is obvious she has little to no idea of what she's doing, which brings satisfaction to him. He tries to start chaste but soon finds himself tugging at her bottom lip, trying to get Aeressa to open her mouth for him to enter. When she finally gets the tip, his tongue slides in, and her hand flies to the arm that cradles her face, alarmed by the new sensation. It only amuses him more. 

Startled by the intrusion, she opens her eyes wide and pulls back.

“Your tongue, it’s-”

He can’t help but chuckle. “Yes. That is what a real kiss is like. Do you not like it?" 

A slight blood rush colors her cheeks. “It feels odd, but… It isn’t unpleasant.”

His thumb caresses her bottom lip, a starved look on his face. “Good. Try to match my pace, hm?”

Aeressa tries to pull back when he leans in, but she’s no match to the iron grip of the hands on her face. The prince kisses her again, this time stripping away all of the niceties he paid her at first, going straight for what he wants. His tongue laps at the inside of her mouth like fire licking at tapestries, spreading some weird warmth through her body. It might be the lack of oxygen, but she feels lightheaded, suddenly clinging to her brother like he, the arsonist, might save her from being burned alive.

She pulls away, struggling to breathe. The room is full of smoke. With her eyes now open, she can see the way Aemond gazes at her, and a tremble rushes through her body. His one eye is dark, veiled by a haze of something she doesn’t quite get. Desire? His hands pull her back for another kiss, searing, hot, all-consuming, and this time they don’t stay put on her face. Aeressa notices with confusion he is laying her down on the bed. Aemond can hardly hold back now, pulling her skirts up to grab at her legs. 

“Aemond!” she yelps, sitting up. “You can’t lift a lady’s skirt!”

Yes, maybe he got a bit carried away… This is his sister, his beautiful, sweet, innocent sister. She must be so shaken by his actions. He stops and looks back at the youngest princess and her red cheeks. “Dear wife, it’s all part of the game.” he says, trying to sound confident and not as eager, his hands running up and down her thighs. “As your husband, I’m allowed to see you bare, understand?”

He descends from the bed to kneel on the ground, takes off her shoes and kisses her feet, then starts a trail of caresses that, when close to her thighs, are open-mouthed and fervent. His fingers grip her skin hard enough to leave marks - she doesn’t know it, but this is Aemond struggling to keep his composure. The room is filled with the smell of flowers and Aeressa’s labored breath. Without realizing it, her hands fly to his hair, and she’s pulling him back up for another kiss. 

“Greedy, aren't you?” Aemond chuckles. He can’t help but give her what she wants, though, relishing in her grabby hands trying to pull him closer, impossibly closer. He kisses her ardently, kisses her, and kisses her, his own hands trying to pull her to him. How many nights did he spend awake, fisting his cock, fantasizing about her touch, her heaving breath, her tongue on his, on him… And now she is pulling at his hair, kissing him back as if her very life depends on it.

He pulls back, earning a frustrated sigh from Aeressa as she searches for his mouth again, but he holds her chin and makes her throw back her head. He begins another trail, this time from her lips to her cheek to her ear, where he nibbles at the lobe. “I’m going to make you mine tonight. Mine, no one else’s.” he growls, and, close as they are, he can feel the chill running through her back. “Am I clear?”

“Yes.” she breathes.

“Yes?”

“Yes, sir.”

He only wanted to hear her say his name, but the title might be even better. Grinning, he begins following south, down to her neck. “Little princess Aeressa seems to be quite sensitive...”, he thinks, drinking in the heavy breaths she takes when he kisses her neck. Against his better judgment, Aemond sucks in a hickey or two and leaves a bite that makes him want to leave a hundred, hearing the whimper she lets out at the first. He is hypnotized by how her chest rises with each breath, barely contained by the bodice of her dress. 

With greedy hands, he tugs at the strings that hold her gown together. Impatient to have his attention solely on her again, Aeressa helps, and soon the fabric is loose around her. “Are you… Are you sure this is right?” asks her, holding the front of her bodice to not let her breasts spill. She wanted him back on her, but now that it is time to be seen naked, she is too timid to let go of the gown. 

“Yes, this is right. I have never been so sure.” is what he thinks, wanting nothing more than to free her of this godforsaken dress and feel her skin on his. As to not startle her, though, he forces himself to hide the feverishness and smile calmly. “Do you feel wrong, my sweet?”

“...No.”

“Then how could it be anything but right?”

Hesitantly, she lets go of the bodice, letting it fall on her lap, her round breasts now on display for only him to gaze at. Aemond thinks they’re just the perfect size, custom-made to fit inside the palm of his calloused hands. “Good girl.” he praises and kisses her again. Aeressa arches her back in his embrace, entranced by his words, drinking them in. “Good girl.” he repeats. His hands travel along her torso, feeling her up, squeezing, pinching, and scratching. He lays her down again and tentatively pushes up the fabric of her dress, half expecting his sister to stop him again, but this time all she does is lace her arms through his neck to keep him closer, pressing her chest to his.

With her beneath him, whimpering so softly, Aemond feels like he might be in one of the Seven Heavens, or perhaps all seven at once. His hand snakes down between her thighs, and he can’t stop a groan from escaping feeling how slick she is. He wants nothing but to fuck her hard, have her scream his name so loud Aegon won’t be able to miss it… But she is his sister, not some common whore, and he owes her love and respect. This is all for her, after all. His finger circles the entrance of her cunt, the heel of his palm pressing down on her clit

The feeling bubbling down at the pit of Aeressa’s stomach is so foreign, strong enough to make her tremble inside her prince’s embrace. Her mouth is on his like he is the air she breathes, only pulling away at the feeling of intrusion when he inserts a finger inside her. 

“Are you enjoying this?” he asks, hovering above her, his long white hair falling over her face. His finger pumps in and out of her with ease. As if to punctuate his question, he rubs the heel of his hand on her pearl, earning a sharp mewl from the girl.

She grabs at his shoulders, trying to still herself, eyes shut tight as if not being able to see her brother’s expression will somehow stop him from staring this intently at her. At this point, the princess is a blushing mess, her chest and neck covered in hickeys and bites, hair falling disheveled around her like a fallen angel’s halo. 

“Well?” he presses on, now making hither motions that squeeze more sounds out of her. “I’ll stop if you can’t answer.”

Aeressa is often told she is too kind for her own good, always ready to see the good over the bad. At this moment, however, she is sure her brother must be some kind of demon, the only possible explanation for how he toys with her body and mind, so obviously enjoying the shame in her features. “...Yes”

He grins, wicked, and leans in to kiss her. Aemond swallows the cry she lets out when he surprises her with a second finger. “Good girl. Thank you for your honesty.” says the man, in a tone that asks “wasn't so hard, was it?”. Her body is on fire and he’s watching like it is something amazing. Because it is; because he’s completely entranced.

Her heavy breathing and moans fill the room, mixed with one or two sloppy sounds coming from her wet cunt. The symphony is shameful and burns in her ears. Aemond wishes he had the kind of self-control to let her come undone on his fingers, maybe on his mouth later on, but, suckling on her right breast as he masturbates her, he fears this might be too much for him to take. He is so hard it hurts, his trousers now the cruelest prison.

His sister whimpers loudly, unsatisfied, and frustrated when he pulls his fingers out of her. In the candlelight, his hand glistens with her wet. “What? Why did you stop?” Aeressa whines, lying under him with uneven breathing. The one-eyed prince licks one long stripe on his hand, too taken with the flavor to dignify her question with an answer. She tastes sinful, devilish, the forbidden fruit untouched. 

“Open wide.”

“What?” she asks. He can’t possibly mean…

“Do as I say.”

Obedient as she’d always been, she parts her lips and allows her brother to stuff his fingers on her mouth. She can feel herself on his digits, the humiliation bringing the heat in the pit of her stomach to bubble like a witch’s brew.

“Good girl. Such a good girl…” Aemond smirks and kisses her once more, the taste dancing on both their tongues. Aeressa figures he would go back to his ministrations and spreads her legs just a bit wider, waiting for his hand to dip in between them again, but it never does. He pulls back and leaves the bed, standing in front of her confused form now. Why did he stop? She didn’t want him to stop.

Her eyes follow his every move as he begins undressing, making quick work of his clothes. He has a lean, athletic body with marked V bones on his hips, which lead the girl’s gaze to the cock that is proudly erect in front of her. She hadn’t seen one since she was a kid and the servants bathed her with Daeron. His certainly didn’t look like that.

“You’re staring, wife.” chuckles Aemond, subtly reminding her of the game they played. The hand that played with her moved to stroke his manhood, jerking it a few times if only to put on a good show for her. 

“I…” Aeressa starts but is unable to finish. 

He is amused by her innocent yet curious demeanor. Flawless… Legs spread for him, dress pooled at her waist, breasts out just for him to ogle at. She half sits up, supported by her elbows on the bed, waiting with the most perfect expression for him to do with her as he pleases. 

“Now, this might hurt a bit, but I need you to be brave. I promise it'll feel good once the pain dulls.” says Aemond, climbing on top of her again. She lets him, even if in her face she wears some shade of apprehension at the mention of pain.

Kissing her mouth as a distraction tactic, he begins aligning himself with her center and pushes in slowly. It is too late now. Too late. Tears sting on the corners of Aeressa's eyes, which she closes tightly shut, her face contorts itself into a pained grimace, and he can hear a whimper from her, but it's well past the point of stopping. He is inside her, trying to force himself further, squeezed by her insides. She is tight and hot and it might just be too much. He presses his forehead against hers, the tips of their noses touching, their breaths mixing as the two try to keep their composure.

Beneath him, Aemond can tell his sister is crying. Is he being too rough? He could swear… He is trying so hard to be good for her, to go slow. 

“Brother?” she asks, grabbing at his arm like he might keep her afloat. 

“What is it, my love?”

“When will it start to feel good?”

The prince can't help but smile at her words.  She is trying to be brave for him, just like he's trying to be good for her. So adorable it hurts. With tenderness, he kisses her forehead, then the tip of her nose, then her cheeks, and, finally, her mouth. “Soon, my sweet. Very soon.” She looks up at him through wet eyelashes like she so badly wants to believe his words. “You are doing so well, baby. You're such a good girl for me.” 

He moves inside her, slow like he believes that maybe if he goes slow enough, she might not feel the pain of the stretch or the breaking of her hymen. A cry from the girl proves his hopes wrong, and he attempts at remedying it by cooing sweetly at her. 

“No, don't cry… You're a big girl, aren't you? You've been doing so good!” says the man, cupping her cheek and caressing her face. 

“It hurts, brother!” 

“I know, I know…” He kisses her teary eyes, salt on his lips. “But you can take it. I know you can. Look—” he nods towards where they are joined, her pussy having swallowed all of him. “You did it. You're such a good girl, such a sweet baby… Such a perfect cocksleeve.”

She looks up at him with violet orbs big as the moon. She didn't think she could do it, but she did it! Isn't it amazing? “And you're proud of me, sir?”

He smiles. “So proud.”

Aeressa laces one arm through his neck and pulls him in for a kiss. She kisses him, sweetly, so adoringly, and only pulls back to wince when he starts moving again. 

He stops immediately and asks, worried as a dutiful brother “Do you need more time to adjust? Is this okay, sister?” 

She bites her lower lip so strongly she might draw blood, but nods. “Yes… Yes, it's alright. Please, move.”

So he does. Slow, excruciatingly slow. It takes all of his self-control to keep himself from ramming into her. Everything about how she feels around him is perfect, and he just wants to make the most of the sensation. But he loves her, he has to remember that - that she is to be loved, not fucked. Slowly, very slowly, he goes in and out of her, one eye studying her every squirm, examining the signs her body gives. Slowly, her whimpers give way to soft moans, and, with patience and shows of affection, Aemond is capable of extracting from the young princess encouragement to move faster. So he does.

Aeressa is squirming under him, large breasts bouncing softly with the movement. She pinches her nipples, runs her nails through her white skin, and does as he had done before, chasing after the heat the actions spark in her belly. It feels so different, to be full, but the more the pain subdues, the more she enjoys it, and begins to dread the moment her brother bottoms out of her, leaving her empty. Thankfully, it's only for a short moment before he fills her again. "Faster, please!" asks her, guided by an instinct that says a quicker pace would be more pleasant. 

Aemond is enthralled by the vision before him, one he only dared dream of. She is angelical, perfect, pierced by him, belonging only to one man now and forever. He smirks and leans forward to suck in a hickey on the pale pulse point of her neck, hips snapping against hers. Every bruise he leaves on her body is a work of art and a show of passion, a sign of ownership he will not let Aegon question. King-to-be or not, he lost this match, and with this victory under his belt, the younger prince finds that he does not mind losing the war all that much. He kisses his sister’s mouth with a pure mix of love and lust. “It feels so good! I might go insane!” the girl whimpers against his lips, prompting his hips to go harder.

“You’re doing amazing, Aeressa.” he smiles at her, sole eye taking in the beauty of her reactions, the perfect ‘O’ of her lips, the hitch of her breath. Aemond finds that she likes it fast, but it is when he goes hard that she gasps and cries out his name. “Such a perfect little bitch.” He cups her cheek with one hand, the other next to her head, holding his weight on top of her. He keeps praising her, locking onto her amethyst eyes, knowing it to be the way to her heart. “Such a good girl for me. The best hole in the Realm.” 

She can feel it, how every word has her clenching around him, how every thrust gets the band in her belly to stretch further, closer to snapping. The princess is completely lost in the feeling, cockdrunk. Her brother searches for her, but there are no thoughts behind her pupils, only a thirst for release. Aeressa is vocal in bed, loud, and forgotten of consequences. She cries multiple “sir!”s and “brother!”s, gripping hard at her partner’s forearms. He can only chuckle at how gone she is, and give her his thumb to suck on.

Without waiting for more encouragement, Aemond sets a pace that is passionate and quick, almost wild, and has his sister screaming to the Seven Winds. He can’t deny he’s getting close. Gods, he’s getting close. Decided to extract one orgasm from the princess before giving in to his own, he retracts the hand that cupped her face to have it play with her clit, the spit-covered thumb slick as it circles her button. It earns a loud moan from the girl under him.

“Good girl, such a good girl!” he groans, hips snapping. 

Her walls clench around his cock. He can’t help but imagine her womb thirsty, ready to receive all of him.

“Aemond, I-” the princess gasps.

“It’s alright, let it go. Let it go for me.” His thumb speeds up on her clit. She flutters, legs shaking, chest heaving, and the coil deep in her stomach snaps in fevering euphoria. Aeressa reaches up to press her brother’s lips to hers, the kiss marked by gasps and delirious moaning.

The prince bottoms in and out her with passion, now chasing only his high, which approaches at rapid speed. With a grunt, he cums inside his little sister, whole body clenching. He fucks her shallowly through his orgasm, pushing his seed deeper.

Both out of breath and absolutely spent, the siblings eye each other. Aemond’s senses return, making him wonder “what the actual fuck.” as he pushes out of her and lays down by her side. Before he can linger on the guilt of ruining the princess, she curls up on his chest, sweat sticking their bodies together. He wraps an arm around her and tucks his chin on the top of her head.

“Was that good, husband?”

He can’t lie to her, or to himself. “That was fucking amazing.”

[thesaltycat]

Possibly Hot Take:

Wayne Family Adventures is the correct canon and as a person who was raised on Batman, it's what got me back into the fandom, period. I get that people enjoy their gritty Batman, who hates everyone and is awful to his family, but that's not Batman. That's not the original Batman. The original Batman is the one who had "old-school" goofy programs on TV, aka the original 1960s Batman TV Program. The one that had goofy sound effects, and life lessons (and occasionally some slight drama). The original Batman is Batman: The Animated Series from 1992, where Batman's story is pretty much laid bare from the start. These programs show that you can have drama, and trauma, and not compromise a character by making him the antithesis of everything he is said to stand for. That's the Original Batman. That Batman lost his parents. Tragically. Horrifically. And because of that, his sole purpose in life was to make sure No Child EVER went through what he went through again. Every episode, he would get angry, fight a villain, put them in jail, but he would never kill. People seem to remember this half of him pretty easily. But they forget the second half. When a child shows up, that anger disappears. Because he cares about children, especially his own.

This is shown repeatedly through both series, and in many comic strips that ran at the time. A great example is the episode See No Evil from Batman: The Animated Series. In it, a little girl is almost kidnapped by her father, who is an Invisible Man, and Batman has to take him down. This episode is made all the more traumatic by the fact that the Invisible Man actually nearly succeeds in kidnapping his daughter, with Batman only being able to stop him last second, after the little girl realizes what is happening and becomes terrified. This ending is where you see the difference in how he treats villains, civilians, and children. Because in one second he's focused on taking out the bad guy, and the next he's focused on making sure that little girl is okay. And the episode ends by Batman visiting her at the window every night, to make sure she's okay and prove to her that she's protected, since that was the window her father used to access her.

A couple other good examples of Batman as a hero/friend/father are the Justice League (TV Series) and Young Justice (TV Series). Does he mess up a lot? Yes. Does he lack trust in people he should trust? Yes. It's literally a running gag/plot of the shows that he has a contingency plan for everyone on the Justice League and this translates to Robin having one for everyone in Young Justice. But, when he messes up, does he fix it? Also yes. He also cares for the kids in Young Justice, and for the kids they interact with in the Justice League. This is shown time and time again. Especially in the bond he and Robin have. Throughout Batman: The Animated Series, Justice League (TV Series), and Young Justice, Batman and Robin have always cared about one another. They've gotten into spats, and they're angry at each other occasionally, but that's how families work. You aren't always going to agree. But throughout it all, Robin always looked up to Batman, and Batman was always proud of Robin (even when he couldn't show it).

Here's where the trauma comes in:

Batman is going to screw up as a parent. Every single parent does. Especially when you're as traumatized as he is, and all of your adopted children/family are also as traumatized as you are. It is inevitable. But what differentiates Original Batman from the Batman that made me quit reading anything about him for years is the response. Original Batman would try to make things right. Because he would recognize that what he did had caused harm, and not only that, it caused harm to his children (and family). And he would hate that. So he would do everything possible to fix it, including working on himself and doing better. The newer age, grittier Batman doesn't do that. Because he's missing the very core of what it means to be Batman: caring about his family and caring about kids. This is why I left the fandom. Because that grittier Batman, is not Batman. He lacks the key piece of what makes Batman the character that he is. And it replaces that piece with drama for the sake of drama. No resolutions, no trying to be better, just hurt for the sake of hurt, and angst for the sake of angst. And I detest that. You can have drama without compromising his character. Joker is a murderous man who's gone insane, with the sole intent of hurting Batman and Gotham as sadistically as possible. That's been true since the 1960s Batman show I mentioned earlier. He would, and does hurt the Bat Family on a regular basis. And there are so many villains that do the same. Batman doesn't need to become one of them to "make the story more interesting". It already is. In fact, I'd argue that him staying true to himself and working with his family throughout it creates much more interesting dynamics than gritty Batman ever could.

And that's where Wayne Family Adventures comes in:

When I first saw WFA, I wasn't going to give it a chance. Because I'd been so burned by Batman Comics before that I didn't believe this one was going to be any better. But something made me give it a chance. Maybe it was the art style, maybe it was the fact that it was on Webtoon, I don't know. But when I started reading it, I was pleasantly surprised. And I was even more surprised to find out that it is a Canon (yes it is Canon, not Fanon) DC Batman Comic. Many people disliked the first season because it started out majority-wise as "fluff". However, if you cared to read past the first few episodes, more and more backstory started to pop up. Along with this, the "fluff" all connected. Because that "fluff" was necessary to break free of the shackles that the Batman franchise has been in for decades now. And for the first time, it showed the Bat Family with the heart of the Original Batman. The more you read, the better it gets, because the more fleshed out their world becomes. And it draws very important Canon from other franchises in ways that don't make it feel cheap. It also proves something that I think has needed to be proven for a long time; You can have substance in a story without it being entirely grim. Not only can you have substance, you can have deeper substance. Because the connections everyone in the Bat Family has to each other allows us to explore issues in a way they haven't been before. Through communication.

Spoilers below:

We get to see Jason go through a very large PTSD episode. And it isn't just "All people with PTSD are violent". In fact, the only one who thinks he's a danger to the world is himself. Everybody else recognizes that he's hurting, and that representation is enormous. We get to see insights into everyone's pasts and how it's affected them. In Season 3 (which is a fully fledged/connected arc, not "fluff"), we get to see how PTSD affects Bruce, and because he's on good terms with his adopted family, we get to see how it affects him and Jason, both similarly and differently, at the same time. We also get to see how Jason's previous death impacted Bruce and how that plays into the Joker's plans and Bruce's reactions to everything. We get to see Dick step up as Nightwing again, and his and Barbara's trauma, involving parents, the Joker, and having to go against someone you should be able to trust. We actually get to see Duke. And how all of this has affected him. We see how his parents being (currently) permanently "infected" by the joker has absolutely broken him in ways he hasn't yet processed. And how he can overcome it, while also leaning on the support of his family. We see how Damien's world-view is affected due to being raised by assassins, and how he slowly comes out of his shell the longer the series goes. We get to see wonderful examples of how loved ones can help bring us out of a crisis and back into a headspace that can do something about the situation, because sometimes brute forcing it won't work. And we get to see what coming out of a toxic relationship looks like through Harley Quinn, and how just because you're a different (better) person now, that doesn't mean the person you were before is completely gone from the minds of those around you. Bruce was still afraid of Harley when he was dealing with his PTSD responses. Because Harley Quinn did help the Joker do some really bad things. And Harley recognized that and understood.

Season 3 isn't over yet, and it's already done all of that and more.

And because of that, this series has singlehandedly brought me back into the fandom. Because it made Batman feel like Batman again. And it recognized that trauma is more complex than just piling darkness on top of darkness over and over again.

I want more people to give it a chance because it's done something genuinely special that DC hasn't had in a long time. And I think it could get so many Batman fans back on board who've been missing this version of Batman for decades, because it shows so well what Batman was always about. I also want newer Batman (grittier Batman) fans to give it a fair chance, because it has far more substance than many people will ever even care to look for. And that substance can do so much for people who empathize with characters like Jason, Bruce, Damien, Duke, etc.. As well as bring awareness about these topics to people who may not know anything about them, or only know a stigmatized version of these topics, especially PTSD.

[iwritenarrativesandstuff]

Why We Never See Elendira's Story

In a story that emphasizes the human or otherwise sympathetic aspects to its focal characters, it’s very intriguing that Elendira remains an enigma right up until the very end of her story.

We receive some tantalizing hints that there is much, much more to Elendira than what we’re explicitly shown – asides from her apparent sole interest in witnessing the end of the world (to which she'd prefer to see Knives' chosen ending, but is prepared to act herself if he fails), she looks somewhat resigned when saying that nice men “die so easily”, that no matter what Vash does, humans will “ruin it”, and so on and so forth.

[ID: Two screenshots from Trigun Maximum Volume 11. In the first, over a rocky ground, Elendira says "I liked you better when you had nothing to lose. What a shame." She looks down, somewhat resigned, and continues "I don't like nice men. They die so easily." In the second, she stands, frowning and saying "No matter what Vash the Stampede does... there will always be those..." On a close up of her right eye, she says "...who ruin it." End ID.]

Elendira seems to have little to no faith in humanity, and in that sense, she seems a lot like Knives. Knives, who aims to become more and more powerful, and in the process, severing all meaningful ties he has with others on his quest to ensure no one can take advantage of him or use him. We know, of course, that Knives doesn't quite succeed here... but Elendira has. She is the peak of human (or part human? We never get an answer to her unexplained abilities) capability in speed, skill, and strength. The only reason Livio stood any chance in that fight was due to his incredible regeneration.

(As an interesting aside, she also has an interesting commonality with Vash - what comes to mind is her telling the kids to bury Livio because he "died" trying to protect them. Why does she care about that? Why does it matter? None of the other GHGs do this. This is not important to the point I'm making here but it's just interesting to me. There's very few characters who explicitly make a point of burying the dead.)

The point being, Elendira is the height of strength... and at the top, she is alone.

[ID: A panel from Trigun Maximum Volume 13. Elendira is in the action of dropping her white coat, which she has taken off to reveal an underarmour suit that is almost skeletal in appearance. She looks confident. End ID.]

In a story where characters' motives and pasts are told through their connections with others, through their memories with people they cared for, and through the eyes of the people who care for them...

Vash's story is eventually told in pieces to humanity through Meryl, through Luida, and through his sisters. Rem survives in Vash's memories, and we see the part of her story that young Vash saw, just as we also see his own past from this recollection of her.

Milly is a clarifier and communicator who sees so strongly the sides of Meryl and Vash that they suppress, all that grief and fear, for the sake of remaining steadfast. She is the one whose eyes we see through. It had to be seen to be told. Wolfwood does this too.

The rest of GHGs get some elaboration also. Hoppered is defined through his loss of the woman he cared for in July. Midvalley is defined by his fear and contention with Knives. They also have a dynamic between them that few of the other GHGs shared - and it's likely for this reason we received more elaboration on the two of them than many of the others. But even characters like Rai-Dei, for whom we don't get very much at all, has at least his sunk-cost fallacy explained through the memories of the people he's killed to get to that point.

Chronica's story, though largely removed from the people of No Man's Land, is given definition and stakes through the loss of Domina, and we are told about her incredible determination and strategy she has through her reputation with the Earth fleet.

Legato, desperate to play a singularly important role in Knives' story, tells his own through that lens and that lens only. The moment his life changed was the moment Knives entered it, and that is likely the most important memory to him - Knives is the only meaningful bond he has (sadly for him, this was not reciprocated). Well, an argument can be made for the contentious dynamic he builds with Vash too.

Even Knives, for all that he tried to separate himself from others, is known and seen through his connection with Vash - and his acceptance and unwillingness to fully lose this connection is not only what eventually saves him, but also the reason we, as the audience, know his story so well.

We see characters' stories in Trigun mainly through the bonds they share with others - never the whole story, but the sides that others knew of them.

So, who does Elendira have? Every interaction she has is shallow, dismissive, and exceedingly temporary. Through her dislike of Legato, we get that she may be somewhat bitter about his important status to Knives... but there is no elaboration, because it goes no further than that. Knives calls her directly on the phone, and she is very invested in his vision for the end of the world and intrigued by him... but it goes no further than that. He does not really seem to care about her beyond her effectiveness, and she does not offer any information about herself. Even her allegiance is kind of flimsy. She's only there because she wants to be.

During their final fight, Wolfwood lives on through Livio, through his actions and resolve. It is the teamwork between him and Razlo, in the spirit of Wolfwood, that eventually overpowers Elendira. Amusingly (at least to me), Livio is quite literally never alone, because he always has Razlo - and now, Wolfwood too.

"Yer too strong... and that's why yer gonna lose."

[ID: A screenshot from Trigun Maximum Volume 13. Livio narrates over a shot of his eye, Razlo's eye, and finally, his whole face, with Wolfwood's final vial of serum between his teeth. "...to me... to Razlo... and to him." End ID.]

Elendira has succeeded in separating herself from everyone – she is the most powerful of the GHG, and every battle with her is basically one-sided – but she’s alone, and that’s not only why she loses… it’s also why we never get to know her in any meaningful way.

Because no one knows her. She has no personal connection with anyone. Her motivations never get any clarity. We don’t even know who did her modifications or how she gained her power. Even if she did have someone she cared for in the past, she apparently does not hold onto their memory. And maybe that's the reason she told the kids to bury Livio - not out of respect, but because to her, that is where the past belongs - dead and buried, soon to be joined by the rest of the world and humanity as it all comes to an end.

We never see Elendira’s story… because there is no one from whose eyes we can see it in any capacity.

[battlekidx2]

Hazbin Hotel Episodes 5 and 6 Thoughts

Wow. These two episodes of Hazbin Hotel were easily the best out of the series so far. They’re still working at a breakneck pace, but these episodes were so much more focused than the first 4 that it worked significantly better. The A and B plots of both these episodes were cleanly tied together so that no one part felt insignificant.

One of the biggest problems with the first four episodes was the fact that the split focus pulled the episode in different directions and made it so that reveals didn’t get the build up they needed to really feel impactful and pushed the Hazbin Hotel to the background so it felt insignificant in its own show. 

The second biggest problem in those episodes was that Charlie’s wish for her people, for redemption, and attempt to get into heaven to avoid extermination felt like it wasn’t the driving force it should have been. 

But these two episodes really fix that and expand on the characters really well. I’m just going to go through what I loved the most.

Alastor

I absolutely loved what we got from Alastor in episode 5. He really is the highlight of the show for me. There’s just so many layers to his character that the show isn’t rushing to peel back like it is with everyone else and it makes his character so intriguing.

I liked the fact that this episode hints that he truly does care about the hotel and wants it to succeed. It’s not only entertainment like he initially claimed. That moment where he sends Mimzy away was really telling. There isn’t even a hint of sinister subtext, sarcasm, or a joke in his voice or face when he tells her she can’t stay if she isn’t going to take redemption seriously.

The way his eyes twitch when she says he can’t seriously care about the hotel is such a great little detail.

I really like this point. The main theme of the show is redemption and showing that even someone like Alastor can care about the hotel is a direction I wanted the show to go in from the pilot, but something I wasn’t sure we would actually get. But I liked that it’s getting hinted at this early, especially since we now know there’s a season 2 and it can get fleshed out much more and can probably get to the point where he might grow into an actual mentor for Charlie instead of it being performative to spite Lucifer like it was in this episode.

(side note: I like that Charlie defends his actions against her father. She sees it as protecting the hotel, which we learn is the truth. He did do it for pride, but he also cares about the hotel and does want to protect it. I like to see that Charlie’s ability to see the best in people does pay off at least somewhat.)

That little hint of care to his actions with the hotel isn’t all we get to see of Alastor's layers. He is still the infamous Radio Demon after all, so we also get to see his pride at play.

It’s his pride being hurt by Lucifer that causes him to play up his role in Charlie’s life. It’s his pride being hurt that leads him to taking on the loan sharks alone both to remind everyone of his power and to show what else he brings to the hotel.

It’s also what causes him to go off on Husk. Husk is the only character willing to call Alastor out. He knows Alastor better than anyone else at the hotel because of their past and his ability to see through his facade. And he hurts Alastor's pride when he calls him out with the truth: That he's on a leash just like him.

The reveal that Alastor is also on someone’s leash was expected, but well executed.

This episode let Alastor’s mask slip a bit and we got to see more of his real emotions/feelings about things.

Alastor was the character I thought would have the most layers to them. Characters like Charlie, Angel Dust, and Vaggie wear what they feel a bit more openly than a character like Alastor (or at the very least their true feelings come out more frequently). There are motives and mysteries behind Alastor’s actions that aren’t clear with him like they are with everyone else and his demeanor, words, and actions can conflict with his true feelings and that’s what draws me to him so much. His usual (kinda) goofy and cavalier attitude, cold and ruthless demeanor that can come out at the flick of a switch, and infamous past make it so learning about Alastor's true intentions and introducing the idea of him changing and coming to care is very intriguing to me.

I just think that Alastor is the character that is working the best in the show right now because his plotline and development is not going at a breakneck pace. We’ve only gotten hints about why he was gone for seven years, who he sold his soul to, why he appeared to help with the hotel, etc. His character progression is also taking its time. This is the first real hint we get that he does genuinely care about the hotel in his own way and it’s 5 episodes in. This is the kind of pacing and development that the whole show would benefit from. 

This isn’t meant to be a shot at the show. I think it was put into a complicated situation because it was picked up initially for only 8 episodes (this is the type of show and large cast that needs at least twice as many) and was only renewed about halfway through the production of the first season, which I think explains why these episodes felt more coherent and fleshed out than the first four.

I really can’t wait to see where his character heads. He's still a walking question mark as of right now and every time we get a glimpse at his true intentions it's always fascinating because it's never clear cut where he stands.

Side note: I find it hilarious that Alastor created a rivalry between himself and Lucifer. The literal king of hell. Lucifer hurt Alastor’s pride and he immediately decided he would be as petty as possible towards him.

Charlie

I was always in the boat that Charlie was an interesting protagonist. The pilot set up a character that was very intriguing for the setting she was placed into. I didn’t think the three episodes necessarily handled her the best, but I think that was more a result of the rushed pacing and bloated plot. She’s handled significantly better from episode 4 on.

Episode 6 is where I think Charlie really came into her own as the protagonist of this series. The song where she stood up to heaven really sold me on her character. 

“If hell is forever then heaven must be a lie. If angels can do whatever and remain in the sky. The rules are shades gray when you don’t do as you say. And you make the wretched suffer just to kill them again.”

Up until this point Charlie felt a bit limited in her actions. It really amounted to trust exercises and the hotel residents acting out made up situations. She seemed naive and well meaning, but ill equipped to actually address the mental health issues her people had due to the fact her upbringing was so sheltered. There was the potential for more, but it wasn’t given the time I felt it deserved.

But this is where she really got to step up and call out the inequality and hypocrisy of heaven. This is where we got to see her backbone and the true extent of her care for her people. She won’t back down or accept the flimsy excuses they use to persecute the denizens of hell.

I also really liked her belief in Angel Dust. Yeah, he made some mistakes (at least from heaven’s point of view), but Charlie had complete faith in the fact that he would meet their requirements. It’s this characteristic of her’s that is intrinsic to bringing out the best in the residents of the hotel and before this point it was on the periphery (like with Angel Dust in episode 4) or implied. 

Episode 6 showed how important that characteristic is, especially to people who feel like they’re damned. (I like that Charlie is a good judge of character. It’s easy to take someone that’s privileged and naive and make them too trusting, but these two episodes show her belief in the best in the people at the hotel is founded.)

Another point I liked is that she was getting through to some of the angels. It’s a recurring gag that her presentations aren’t great. They’re written in crayon, flowery, and a little basic, but it’s the passion and critical thinking that she expresses in her presentations that shows that she can be a capable leader. 

She effectively poked holes in their argument that the sinners in hell deserve to be there and had their chance.

Her duet with Emily was really good. The way she brought back “Hell is Forever” to call the angels and exorcists out was the best (as you could probably tell from the fact that I quoted it). It also introduces a theme that the next generation will work to change things. Both Emily and Charlie want things to be different and clash with their parents who are both afraid that their child might end up like Lucifer. It’s a very clear parallel that sets up a lot of plot potential.

Charlie really was great in these episodes.

Angel Dust

I will admit I think aspects of Angel’s arc are rushed. Him standing up to Val is a big moment and I like the fact that it happened while Charlie is trying to show heaven that they are wrong about sinners, but I wish that we had gotten more time to build to Angel Dust being able to “stick it to the man” because of how powerful I think his arc is and the themes it deals with.

Episode 4 was the first time we really got to see beneath Angel’s mask and truly see the potential for change that Charlie does. We only really got hints that Angel wanted to change, but was scared to try in the first 3 episodes. We also know that he doesn’t feel safe even when he’s not around Valentino. 

Episode 4 is the turning point for him. When Val was abusing him he asked him not to hurt Charlie. His concern was solely for her in that moment despite the fact he was in the more tenuous position. He even forgives Charlie at the end because he knows her intentions are good. Plus his connection with Husk helped him find understanding so that he could come to feel like he could change. 

It was the real start of his growth and it was well done in my opinion. 

I just wish it had gotten a little more breathing room because while I do really like the plot points that occur in this episode I feel like they happened a bit too soon. (I know that it's been a few months in canon, but we didn't get to see that, so that slow progression doesn't have the impact it should)

I also liked that it called back to the pilot where she told the news that he was their patron and he ended up making them look bad because he was indulging in all his bad habits from before, but now it’s almost the opposite. Yeah, he drinks and does some drugs, but he shows his growth and proves Charlie’s point about sinners and it makes the angels argue among themselves.

Vaggie

The reveal that Vaggie was an ex-exorcist was something a lot of people made theories about. It was one that I wanted to be true because of what it would mean for Charlie and the dynamic of the hotel. I liked how it was revealed to Charlie.

This is another plot point that I think is rushed, but I think the execution is better than a lot of the other reveals that happened earlier in the series.

I feel like this reveal was a bit necessary for Vaggie’s character and the episode’s focus wasn’t split and I think that’s why I’m not as hard on it being rushed as I am on earlier plot points. Vaggie was the member of the hotel I thought suffered the most from the limited time/episode count.

The only focus she got was episode 3 and her arc in that episode was a bit clunky, which wasn’t helped by the fact that the other half of the episode with the overlords of hell was more interesting because it set up what looks like it will be a long term conflict and revealed a major plot point. 

The rest of the hotel residents got slower paced, less cluttered focus. Alastor has been subject to quite a few plot lines and is a slow burn mystery with a lot of potential for growth. Angel Dust is the hotel’s first patron and the character positioned to be the poster boy for redemption, so of course his development is given the spotlight. Husk has a unique dynamic with everyone (Alastor and Angel in particular) and is a foil to Angel Dust which makes him a central figure/mentor in Angel getting himself together. Etc.

I think this creates a lot of potential for her character leading into the last two episodes and gives her depth that I really want to see explored. I don’t really know what to say about the reveal beyond the fact that I’m really excited to see how this shakes Charlie and the hotel. How will this effect the other residents? Will Vaggie take a stand against the angels when they come for the hotel? Will we see her grief/conflict over her past actions now that they’ve been revealed?

There’s so many directions they can take this that I can’t wait for episode 7.

One smaller note is that I wish that the threat of Adam telling Charlie about Vaggie's secret had played more of a part in the episode and Vaggie actually had to choose between standing beside her girlfriend or stopping her. She just excuses herself to the restroom instead of making that choice and it felt like a missed opportunity.

Lucifer

Lucifer is a very interesting character in the limited screen time he’s had so far. The direction they took him is different from most of the other dads in Hazbin Hotel/Helluva Boss. The fact that he does care and was the person that was the original motivation for Charlie to open the Hazbin Hotel is a refreshing direction to take after all the bad dads this series has. 

He’s so afraid that Charlie will end up like him. That she’s putting her faith in the wrong people. That hell’s denizens aren’t capable of redemption. All these fears stem from his own crushed dreams from his fall at the hands of heaven. 

It’s a nice change of pace.

I also love how he’s just as petty as Alastor, taking any shot he can at the Radio Demon to one up him when it comes to their respective relationships to Charlie.

Extra Thoughts

Sir Pentious having a crush on Cherry Bomb, but being absolutely horrible at acting on it was really funny. Sir Pentious is such a fun character.

I love that the theory that Alastor made a deal with Lilith seems more and more plausible with every episode. It certainly would explain the fact that they were both gone for seven years and how Alastor was such a dominant force in hell from the start. I want Alastor’s backstory asap.

I like that Alastor’s overwhelming power among sinners is re-established here. He’s someone that you don’t mess with. And I like that the way that people don’t react to him as much as before is because of his 7 year absence. I did think it was strange that he’s so infamous for brutally toppling powerful overlords, but people don’t go running like you’d expect in the first few episodes.

Alastor and Husk have such a complicated dynamic. I really want to learn more about their history. Alastor has no problems tearing overlords that come across him apart, but Husk ended up with a deal to keep his power. Why is that? And while Alastor does own his soul Husk will call him out on things and can read him so much better than anyone else. Alastor lets these slide until he points out that Alastor is also on a leash like him. And Alastor had to have told Husk that he sold his soul because how else would Husk know that. All these things make for one of the most interesting and complicated dynamics of the show.

I do want to make clear that I think Alastor is a character of duality and contradiction. There's a hint that he does care about the hotel and the possibility of him growing to care for the residents, but he's still the sadistic and cruel Radio Demon. There's just a glimpse of change there now.

I really like the parallels between Emily and Charlie. I really like the idea that this seems to set up that the next generation is going to step up and take a stand against the mistakes of the previous generation. This one episode set the groundwork for a really interesting arc for Emily and her potential dynamic with Charlie.

I love Angel Dust. That's it. I just wanted to say that.

[adamarks]

The thing is. Not gonna put this on fox’s post bc it’s a tangent. Anyway the thing is Ed and Stede are kinda codependent? What they are, though, is a) two animals who have pair bonded and b) ed seems to have more of an actual clinical depiction of codependency.

The big thing about codependency is that it’s not actually “one partner keeps the other partner good and pure and keeps them from being Mean and Bad.🥺” Codependency’s whole thing is control. It’s a saviour complex. And THE THING IS? It doesn’t work. You cannot “save” a person from being themself, from engaging in their addiction, from hurting themself. They need to make the executive decision to change, the codependent person cannot do that for them. Thus it becomes a cycle. Try to save -> see that they’re not doing what you want -> get angry/upset/punish yourself for not succeeding/sink with them -> rinse and repeat.

Izzy? Now HE is codependent on Ed. You can be codependent on someone who is perfectly fine. He tries to control Ed’s every move, doesn’t succeed, and inevitably gets angry. If you pick up an on god actual textbook, or like any Melody Beattie book, you will see that he is the very definition of codependency.

Cycling back to Ed, though. I do think he’s codependent. You don’t kill your alcoholic father to protect your mother. We don’t mysteriously never see his mother again and know that he went to sea at a young age for no reason. He tried to save her, it backfired. A woman telling her child that they’ll never have better because god decided they’d be miserable is not ready to be saved, is not ready to get out of an abusive situation.

Then, of course, there’s Jack. Jack is eternally getting Ed to do shit for him. To help him because he’s so helpless uwu or whatever. A douchebag who can’t seem to take care of himself and is on the hunt for someone to cater to him??? Mmm yummy! A codependent’s dream! In the episode, he caters to Jack’s every whim, makes excuses for him, and finally does the “sinking with him” thing when he inevitably pushes too far. This is partly because of Jack’s manipulation, partly because that’s what Ed’s family situation had been.

Now that we’ve established all of that, back to my original point: you don’t stop being codependent just because you get into a healthy relationship. I’m certain that a small part of the breakup era sads was that yet again he’d done something huge, sacrificed something big, and his efforts had gone wholly unwanted, just like what he’d done for his mom. And then there’s that fear. Ed knows the power that people he loves have over him. He knows how he acts in love! He knows how much it hurt when Stede left him! It makes sense, then, that he would run away when he sees Stede doing something he’s not too keen on (going full pirate party animal when Ed doesn’t want to be a pirate anymore). It’s fantastic that he’s running away though! He’s not doing shit he doesn’t want to do to humor Stede like he did with Jack. He’s not trying to force Stede to change directions. He’s not trying to control the situation! He’s seeing that he’s freaking out and he’s removing himself. Albeit poorly, but this is a step closer to being able to actually communicate things. He realizes he’s the variable he can change in dynamics.

So to close up, yeah the relationship is maybe a little codependent but not in the way people seem like to say? It’s codependent in that Ed has codependency issues and those will inevitably crop up in any deeply intimate relationship you’re in. It doesn’t mean you shouldn’t be in a relationship. It doesn’t mean that the relationship is bad or unhealthy. It just means you’re a human person with shit to work on.

[dolche-tejada]

You know, usually after a decade most people tend to take a step back from the works they love to think about it more objectively but it seems like Pricefielders are still unable to do something that simple.

Seriously, what the fuck. Admire this level of mental gymnastics, we're at least on an Olympic scale right there. It's because of this kind of bullshit that Warren fans and Carlos Luna (his voice actor) got harassed for years and still receive death threats, just because Pricefielders are crybabies who can't cope with their fav also being interested in men and that their precious sapphic ship isn't Max's everything or the whole point of the game.

So given that I've got some time to waste, I will debunk here their delusions, or at least most of them because trust me, the list is long.

1. "Warren is an incel !"

They act as if he's forcing Max to give her affection, regularly crossing her boundaries, is only interested in her for sex and playing the Nice Guys to get in her pants so let's take a look at how he acts through the game and Max's interactions with him :

Regardless of the player's choices, Max introduces him in her diary as a very good friend whom she sees as honest, an ally at Blackwell and someone who makes her smile.

Across the game, she grows even more fond of him after seeing him stood up for her and himself, calling him notably an "Everyday Hero".

Although his attraction to Max is obvious, he doesn't force his feelings on her in any way.

He jokes that being nice means not getting laid… Like any 16yo awkward teenager who doesn't know how to talk to girls. Hell, even Max jokes with him about it, get real.

When Nathan threatens Max on the parking, he protects her without any hesitation even though she mentioned he was wielding a gun in the girls' bathroom, and gets beaten up to allow her to flee.

Max can accept to go Ape with him, saying it's exactly what she needs.

She trusts him so much that she wanted to tell him her secret from the start, regardless of how you define the nature of their relationship.

After Kate's suicide (attempt), he comforts Max by putting his arm around her, while making sure to leave some space between them. The kind of sweet thing an incel would NEVER do. No romantic act or intent of any kind here, just a friend worried about someone he cares about. If you see this as a deceitful attempt to get laid, it says more about your view of male-female relationships than it does about him.

If Max failed to save Kate, he reassures her by reminding it's not her fault, something Max speaks about in her diary with "I hung out with Warren on the lawn so I could feel grass under my feet and watch the fluffy clouds. He’s such a sweetheart, he kept telling me I did everything I could for Kate. Even though I know I didn’t.

If she succeed to save her, Warren send her a text about how he's proud of her, to which Max comment in her diary : "He’s such a sweetheart, he kept telling me how proud he was that I stopped Kate from jumping. I don’t believe that I did, but I have to say it’s better to be treated like a hero at school than like a twee loser.”

He helps and informs Max several times throughout the game without asking for anything in return, even if the player refuses to accompany him to the Drive-In, just because they're friends.

Max literally changed his grade into an A to thank him for what he's doing for her, even saying he deserves more.

He stands in front of Nathan once again to save Max and Chloe, even though he was about to draw a gun and that Nathan literally lives in the same corridor as him.

When Warren mentioned at the Vortex Club's party that he's invisible to everyone, Max reassures him by telling him he's important to her.

Unlike most of the cast, he never pressured her to listen to his problems or help him in some way, he's at the contrary the only one who just wants to be there for her.

If Max don't want to go ape with him, he's logically disappointed but he doesn't make a fuss about it, he even jokes about that by quoting a famous line from Planet of Apes.

When you kiss Chloe and the latter texted Warren about it, he get that Max might be interested in someone else and propose to step back while encouraging her to go with Chloe, but Max remains decided to go ape with him if this is what you choose.

Max can literally kiss him to "let him know her feelings", and then comment this choice in her diary with this

2. "He's violent and dangerous, look at what he did to Nathan !"

Nathan was about to kill Max and Chloe, the fuck Warren was supposed to do ? Talking him down ? Yeah sure, great idea. Because it totally worked for Chloe in the bathrooms.

Besides there's a little thingy called "context" that you conveniently forgot once again, here that Nathan bullied him for seemingly a long time and this notably through homophobic slurs. When you push people to their limits and threaten to KILL their friends, you're not the victim.

3. Max's nightmare

For fuck's sake, everyone was horrible during this nightmare sequence, what's even your point ?? That Max would be secretly afraid of him ? Lmao sure, one nightmare sequence based on Max's irrational fears against a whole game of interactions like this one, geez I wonder which side holds more weight than the other...

Her only canon fears are Jefferson, the Dark Room, Chloe using her, and her powers fucking up everything. That's it, nothing about Warren or men in general.

But if this nightmare is allegedly intended to reveal how she really feels about Warren, then what about Chloe ? Because when Max was talking to her own counterpart, the Nightmare Max openly mocked her for letting Chloe bullying her into a Stockholm Syndrome relationship, before adding she'd be even more preoccupied about Chloe killing them than Jefferson.

Hell, even the real Max said in this exchange that Chloe is good at guilt-tripping her.

So if this nightmare was about Max’s real feelings towards Warren, David or even Samuel, I guess Max is genuinely scared of Chloe for guilt-tripping her into an abusive relationship and leading them to a certain death, right ?

4. "Fans like him only because all the other males in this game are criminals"

That or we just like him because he's a funny, dorky, sensitive and caring nerd who's always willing to listen to Max and protect her at his own risk. Can you guess which option is the good one ?

5. Alyssa

Firstly, nothing in their interactions shows they were that close in the past.

Secondly, blaming someone for having several relationships in the past is the kind of shit you'd be rioting about if it were against Chloe or Rachel but apparently when it's Warren, it's okay.

Thirdly Alyssa is literally one of the most bullied character of this game alongside Kate and Warren so here's a rhetorical question for the slowest in the back : Did Warren or Alyssa might have paired themselves with the other on a school desk for some unexplained reason ? Or way more realistically, someone wrote this to mock them like bullies actually does a lot irl ?

"B-b-but Alyssa hides herself in his shoulder when her close friend jumped from a rooftop, it's definitely a proof !"

You know what, by intellectual charity I will just ignore this, the sheer level of stupidity speaks for itself.

6. "In the alt timeline, he's with Stella ! That proves he's only interested by sex !"

Not only it doesn't prove jack shit on his intentions but watch out you dimwit because this might blow your mind :

This other Warren might have been interested in someone else because in this alternate timeline, Max is an elitist jerk from the Vortex Club ? Same Vortex Club that also includes Nathan Prescott. Why a victim of bullying would be interested by someone who's at best bff with his bullies or at worst a bully herself ?

7. His movies choices

I'm not even kidding, that's a real argument used to trash him. Like wow, he likes "Faster, Pussycat! Kill! Kill!" and laughed his ass off while watching "Cannibal Holocaust", how shocking I don't know if I could get over it someday.

Apart from the blatant stupidity of this “argument” and that his haters apparently never heard of dark humor, it's quite surprising that I don't see anyone criticizing Max for also liking this kind of films.

Besides I like how each time someone talk about that, they conveniently forgot to mention the little note he left with the flash drive, warning Max about the graphic nature of his movies. Almost as if he was aware that it can potentially disturb some people ?

And finally this accusation coming from people who don't bat an eye at Chloe taking drugs, taking money from disabled people or stealing and playing with firearms reeks of irony.

8. "He looked at Kate's video two times and a half !"

Everyone watched it, you fucking idiots. And not only he wasn't proud of that but he was also one of the rare students worried about her from the start. In addition to this, Kate herself called him an angel if Max managed to save her, just saying.

9. "He ditched Brooke for Max"

That's your headcanon. He asked Max first and if the player isn't interested, then he just chose to go with someone else. Believe it or not but people do that all the time, because there's nothing malicious in having back-up plans.

If one of your friend isn't available or interested to go out with you, that doesn't mean you have to cancel your plans.

10. "He photoshopped Max on his selfie !"

Nope he didn't, he just developed the selfie in Jefferson's class and Max made no comment whatsoever on an eventual edit, learn to read properly.

11. "Max doesn't even like him, she's not interested !"

Ohh it's gonna be fun...

So Max isn't interested in him, that's the hill Pricefielders want to die on ? Hm okay, okay... So then, why at several points in the game she admits finding him attractive ?

When Chloe thought Max friendzoned him, why did she immediately denied that ?

Why did Max choose to flirt with him by letting this note in front of his room ?

Why was she hoping that "something" might happen between them by accepting to go Ape with him ?

Why was Max so distressed and sad after seeing Warren with Stella in the alternate timeline ?

Why does she regrets not having kissed Chloe or Warren during the Storm, if the player didn't romance neither of them ?

And at the opposite, why does she openly admits to herself her feelings for him after kissing him ?

"But at some points, Max said Warren is just a little brother to her !"

Oh you mean almost as if Max was a shy and closed teenager with low self-esteem who was mostly searching excuses for herself ?

I probably forgot some other takes along the way but I think I made my point : You guys are desperate to frame him as some creepy incel like Eliot in which Max would be uninterested, to a point where it's both sad and hilarious at once. If coping was a source of energy, I'm sure y'all could supply all the dams in my country.

Max is bisexual, she can be as interested romantically in Warren as with Chloe and independently of your choices, she will always value him as someone very important to her.

And this, it's not arguable. It's not subjective. It's factual, as evidenced in this post. If you can't cope with that, fuck off.

[melrosing]

If Jaime was a girl? How will her relationship with tywin, cersei, and Tyrion will be like and how will she feel about brienne?

Will she still be the prodigious knight?

I might have answered something like this before but i can't find it again so i will share new thoughts....

CERSEI like w a previous hypothetical where the twins are brothers, i think as sisters they'd probably be quite distant. Tywin's yearning for a son to succeed over his eldest daughter really chafes Cersei but she doesn't confide that in Jaime, who can't really care less about the line of succession. I think they both want very different things. Cersei, like in canon, is grasping for whatever power she can find and hopes to be matched with a prince, Jaime has more romantic notions and I think would be a lot like Lyanna Stark. so the twins don't get each other at all and in this au I don't think they try to. they'd probably argue a lot if they weren't wandering off in completely different directions

TYWIN because this version of Jaime is a bit of a Lyanna, I think the relationship is coloured by Jaime's wilfulness and Tywin's displeasure at that. he still seeks a lot of control over her, but is more focused on Cersei so Jaime manages to avoid his full attention. probably Tywin is just generally a whole lot more focused on Cersei (as his eldest child and daughter) and Tyrion (as his only son who he despises), so in contrast to canon, Tywin is pretty disinterested in Jaime for the most part.

TYRION this is still the most positive Lannister relationship, but slightly different to canon. I think the upsides are that Tyrion doesn't have to feel jealous of Jaime, and maybe even feels protective of her as she does him. however, I think the fact that canon Jaime is this kind of westerosi platonic ideal of a man (supposedly) is something Tyrion takes comfort in besides the jealousy - because that's his brother, who loves him and looks out for him. Jaime's status bestows a kind of warmth in Tyrion's life by association. in the early books he's really reassured by the idea of this 'big, strong brother' on his side, and you kind of wonder if he'd feel as reassured by a sister. maybe the idea of a female Jaime who's good with a sword would make Tyrion feel a little worse - he's supposed to be the warrior, and yet his sister fits the bill more readily. and can a sister really protect him the same way as canon Jaime can?? etc. I think they're still fast friends but taking canon Jaime away leaves Tyrion with a new sense of vulnerability

BRIENNE v hard to imagine how they meet in this AU, like Jaime just wouldn't have anything resembling the history he has in canon and so that strips away the foundations of their relationship. to buy some of that texture back it would need a whole fic really bc otherwise i can only imagine them meeting on purely neutral terms at court which like.... as i say, would probably best resemble some kind of 'what if brienne met lyanna' scenario

oh yeah and would she still be a prodigious knight. i think again she would probably do a lyanna and enter tourneys as a mystery knight. so she wouldn't be known as such but she wouldn't settle to just put swords away

[jazzmckay]

'I am your Paragon': a Branka analysis

companion piece to my other meta, 'Killing's what swords are for': an Oghren analysis.

upon playing dao for the first time, branka instantly fascinated me with how complex of a character she is. you hear many others speak of her long before you ever get to speak with her yourself. she is the only living paragon in four centuries. you walk into orzammar and immediately can overhear a conversation between a mother and daughter about how the daughter should strive to be more like branka. everyone has an opinion about branka, if you ask--many assume she's long dead, because no one can survive the deep roads for two years, while other consider that she had an entire house with her to protect her and there are still many ruins to take shelter in the abandoned thaigs. regardless of what they assume, both the men who are vying for the crown are searching for her, because her support would win them the election in a near instant. they can't afford to pass up the support of a living paragon. they especially can't afford to let their rival find her first, if she is still alive.

branka is more important than the prospective kings. she's more important even than king endrin's dying wishes--his naming of harrowmont as his heir is hotly debated and cannot be proven. some take it to heart, while others assume it's a lie, or that harrowmont manipulated a dying man into saying something he wouldn't have otherwise. but a king can be pronounced with a crown forged by a paragon, and said paragon does not need to be present for it to be taken as a decree. all that's needed is the warden to claim which king the paragon supported. a paragon is a living ancestor, a figure that the dwarven people look up to like gods.

branka is a paragon, and that is a weighty title to uphold.

in orzammar, castes and titles are everything. they define who a person must be, right from birth. the caste divide and the effect it has on the people is present everywhere you turn in orzammar. dust town shows you how little the casteless are regarded, including the story of a mother shunned by her family for having a baby with a casteless man. dagna's father insists she is a smith, and if she must pursue the field of magic, he can get her into enchanting, but there is nothing for her anywhere else. oghren is of the warrior caste, and his entire life is a fight. when warriors aren't busy defending their home, they're fighting in the provings. a person's caste comes with expectations, and not meeting those expectations comes with great risk.

as a paragon of the smith caste, it is branka's purpose to create something magnificent and long-lasting for the dwarven people. the invention that earned her paragon status is important, but not enough--once she had that title, the expectations were pilled on even more. caridin, a paragon of the smith caste before her, created the anvil of the void and provided the dwarves with the unstoppable golems to protect their empire. who is she to do anything less than he did?

an excerpt from your first conversation with branka:

Branka: [...] I don't care if the Assembly puts a drunken monkey on the throne. Because our protector, our great invention, the thing that once made our armies the envy of the world, is lost to the very darkspawn it should be fighting. The Anvil of the Void. The means by which the ancients forged their army of golems and held off the first archdemon ever to rise. It's here. So close I can taste it. [...] The Anvil lies on the other side of a gauntlet of traps designed by Caridin himself. My people and I have given body and soul to unlocking its secrets. This is what's important. This has lasting meaning. If I succeed, the dwarven people benefit. Kings, politics… all that is transitory. I've given up everything and would sacrifice anything to get the Anvil of the Void.

to branka, the election is nothing compared to her expedition for the anvil. the election is just one king who will probably die in a few decades, and very little will change in the grand scheme of things. orzammar is crumbling under the weight of the darkspawn, and what they need isn't one king over the other, it's the anvil.

Branka: Look around. Is this what our empire should look like? A crumbling tunnel filled with darkspawn spume? The Anvil will let us take back our glory!

and she feels like she must be the one to do it. she's a master of her craft, a paragon, and so she's the one who can give her people what they need, no matter the sacrifice.

the sacrifices she has made are many. 'body and soul', she says. her entire house ventured into the deep roads in search of the anvil, counting on her to make the risk worth it. they traversed abandoned thaigs that few have ever seen themselves--they're crawling with darkspawn, and considered lost. still, they make it through. the anvil isn't where they expected it. they have to push further. further into darkspawn territory. branka leaves a journal behind so that if she fails, someone who follows in her footsteps might be able to pick up where she left off, because this isn't about an individual, this is about the good of orzammar, and she believes the anvil is necessary to their survival. they end up in the dead trenches, a condemned place where only darkspawn and the legion of the dead dwell. and this is still only the beginning. ruck and hespith show us what happens to those who have nothing to sustain themselves with in these abandoned places except darkspawn flesh. hespith's haunting poem whispered within the tunnels tells of what branka did to counter caridin's traps--the members of branka's house became fodder at best, and at worst, one became a broodmother, capable of spawning yet more fodder for the task of defeating caridin's defenses. branka did this to her own people. to her own lover. it is not out of lack of caring--she still calls them 'my people'. it's simply that they had no other choice, in her mind.

during the first stretch of the fight towards the anvil, in a cavern littered with bodies, branka stands above, muttering to herself about what it took to get this far. she has anger for those to tried to oppose her. she tries to justify her actions. a common refrain is that this is their purpose, and they should have faced it bravely, no matter how horrific it was.

to the average player, this is horrific and unforgivable. hespith, branka's lover herself, calls it unforgivable too, and feels guilt for not being able to stop branka. the whole scene is dark, tragic, and unsettling. yet branka's actions are in line with her beliefs and motivations. she is the only living paragon in generations. her people are wasting away. the anvil could stop this. if she can use the anvil, even if it requires the sacrifice of her own soul, it would be worth it to save the rest of the dwarven empire. she speaks of the darkspawn with disgust and hatred, but turned one of her own into a broodmother because in her mind, that's what it would take. that's what had to be done.

branka isn't the only one to feel this way. it's an ideology that many dwarves hold. from a banter between oghren and shale:

Shale: My question is this: had the Anvil of the Void not been destroyed, does it believe the dwarves would have used it? Oghren: Hmm. You mean to create more golems? Oh yes, faster than you could squish a nug. Shale: Even knowing the agony that it caused? They would still inflict it on others? Oghren: No need to inflict it. There'd be plenty ready and willing to sign up, just as you did. There's fewer and fewer of us each year, and the darkspawn never run out. If it meant saving Orzammar? There'd be plenty who'd become a golem, sure.

the dwarves are always dealing with the darkspawn threat, not just during a blight. for them, protecting their city and people is paramount, and sometimes that requires ultimate sacrifices they are willing to pay. for branka specifically, there are extra expectations. there are heights to rise to. it may not seem like she has sacrificed herself, since she still lives while most of her house is dead, but she as an individual has been sacrificed to a cause that has taken everything from her. she is also likely not in entirely sound mind--like the others, there is little for her to eat in the dead trenches other than darkspawn flesh, and, if you side with her, you find out she's been hearing voices. you also find out that she didn't understand the full horror of the anvil. with high coercion, the warden can convince branka that she has gone too far, and she will destroy the anvil herself, even after everything she has poured into this expedition.

Branka: I can hear it! It wants to be used again. It speaks in a hundred different voices. Surely you can hear them. Warden: You mean the voices of all the dead souls trapped inside? Branka: The dead? You think that's who I hear? But… no! It's the Anvil, calling to be used! Oghren: Did you hear what Caridin said? Hundreds of people were bound into golems, trapped inside the Anvil when their bodies were destroyed. That's who you hear! Branka: No! It's not true! You lie! Warden: (Persuade) Think clearly and ask yourself where its power comes from. Branka: But… I will not believe that was Caridin. Caridin would never turn on his own invention. He was a genius. The best of us all! He… must have been wrong. The Anvil was Orzammar's salvation! Warden: Caridin was ready to die to see the Anvil destroyed. Branka: The voices… they've been calling to me for so long, and I didn't even… oh, Hespith tried to tell me, but I wouldn't listen. Oghren: You have to make this right. The Branka I knew would do what is right. Branka: The Anvil must be destroyed. It's an abomination. Go. Return to Orzammar. It's better they never know what became of me.

regardless of what happens at the anvil of the void, branka does not survive. branka, who became a figurehead of cunning and innovation, who became like a god. branka, who was not an individual anymore, but a purpose and a cause. branka, who gave up everything, including her entire house and her lover, for the protection of orzammar. her title told her what she had to be, and failure was not an option, even when her actions became atrocities. when you first meet her, the conversation ends with oghren questioning what has become of the woman he married years ago.

Oghren: What has this place done to you?! I remember marrying a girl you could talk to for one minute and see her brilliance.

and she replies, before turning to walk away,

Branka: I am your Paragon.

[cometblaster2070]

bonus malenia + morgott thoughts but i just found it cool to think on how that out of the demigods they're probably the only 2 who don't really have like self-centered motivations concerning what they're doing.

like godrick is just a power-hungry asshole who tries grafting in an attempt to make himself stronger because he knows he's the weakest of the bunch and this is apparently his best idea to get stronger.

rykard is ALSO a power-hungry asshole(affectionate <3) but he takes it like 10 times further and goes yeah i want more power so im going to feed myself to the "god-devouring serpent" I'm sure that'll work out fine with zero consequences whatsoever.

radahn is interesting because i don't really know if he cares for power or not??? (pls share your thoughts!!!) but his main motivations do lie primarily with his horse and as frejya puts it in the DLC, war suited radahn best so I'm assuming my guy just wanted to wage war forever so.

ranni is the funniest because she straight up tells us that she did EVERYTHING in an attempt to be free of the 2 fingers and whatever bullshit destiny they were enforcing on her which is valid (and also she succeeds in her goal without going batshit insane so good for her yk).

mohg is tricky because after the dlc I'm not quite certain how much we know about mohg is true to what he was like before he was bewitched but I think that mohg did indeed crave power and that he was willing to do whatever it took to attain that power which in this case is MAYBE becoming an empyrean's consort??? (again this is a bit muddy so bear with me pls) even if that isn't true I still think his primary motivation is to get power so.

and of course miquella, despite his altruistic ambitions of helping everyone and making the world a kinder place; still has the rather self-centered notion of like "oh I have to be the one to become a god and I have to become a god because I'm the only one who can fix things!!!" bottom line: good intentions perhaps, still just wants to become a god.

morgott and malenia are interesting because they don't technically have ambitions of their own they sort of act on behalf of someone else in a sense.

in the game everything morgott does he does for the sake of the golden order. despite the fact that he's an omen he loves the golden order and protects the erdtree and he's so devoted to it wholeheartedly that he sees his other siblings as 'traitors' for betraying the order despite the fact that it's the fucking worst.

anyways in this case, morgott acts on behalf of the golden order.

malenia's just a slam dunk for this because her title is literally malenia blade of miquella and I'm sure anyone who's fought her has heard that like at least 200 times; she's wholeheartedly devoted to her brother, would do anything for him and his cause and fucking nuked an entire continent because he asked her to fight radahn.

and in this case malenia acts on behalf of miquella.

both of them don't really have "selfish" motivations in a sense; morgott doesn't love the golden order because he hopes it'll give him something back and malenia simply does everything for miquella because he's her brother and she loves him more than anything in the world.

bless these cursed children i love all my war criminals but I'm afraid that these two are my favorites.

also side note: bear in mind the reason some of the demigods might be batshit insane might be because of the corrupting power of their great rune (or yk in mohg's case because of miquella) so who knows what their actual motivations were and how those motivations were corrupted yk.