#and overcoming personal prejudices

[li-nox]

No disrespect but some of us are poc and don’t need to like a character that has been openly racist. He grosses me out and I’m not guilty about that. It’s fine to like problematic characters but it’s too much to get mad that other people don’t like them too. Especially when he’s not problematic in a silly fictional way but he is literally just racist. I think if you had experiences with people in real life like his with Chim and Hen he would gross you out too.

No disrespect taken. I do see where it comes from and I never glossed over Tommy's past. I'm not in any position to invalidate the experiences of POC people. I never did that. And I never will.

So, it's not about being right out mad at people that don't like him. It's about bluntly ignoring, that he's changed off screen like so many other characters before him. And making things up just to write him off.

Don't like him as much as you want. Just don't lie. And use tag.

Yes, he would absolutely gross me out, if he'd still act that way. Because in fact, I did my fair share of calling out internalized racism in my environment. That has actually explicitly raised me to be open and liberal.

As I said once: People who truly want to change, can. You just wouldn't necessarily know, because they've overcome racist behaviour. And don't talk about their past. I strongly believe til this day, that Tommy was one of the fireman that stood up for Hen behind Gerrard's back.

And let's not talk about Ryan's #defendingracistslurs gate back in 2020: Personally, I'm still not over it sometimes, but I'm not part of his life. And for that, I can acknowledge that the people it concerns have sorted it out.

In real life, it'd only be up to Hen and Chim to forgive him. What they did. And considering how inclusive Minear and the whole cast of 9-1-1 always have been, I'm pretty sure they know what they're doing.

This doesn't mean - to be absolutely clear - that you must (always and without exception) forgive people who have constantly disregarded you and your person in any way. That is (and always will be) an individual decision, depending on what has happened.

[itspileofgoodthings]

and ANOTHER thing —sorry I’m almost done—the creation of that lust filled space also creates such an unempowered state for Kate to be in. there isn’t anything she can really do except sort of stand there doe-eyed and take it in. Also that’s so dark!

[weedle-testaburger]

i just finished the witch boy and it's wonderful and trans af, but I'm just fixating on this...

shoutout to charlie for trying to get aster into su

[flower-sniffing-friend]

my biggest secret is that way deep down i have the slightest desire to like birdflash. wally is so midwest, upper-middle class conservative that wally having to unpack all that and deal with the anger that comes from dick just being too damn attractive would be really interesting (and funny)

the problem is i don't like wally :(

[vvitchering]

tbh with how lazy the writers are, it just makes it seem like Din can maybe learn to be ok with a droid on friendlier terms.... but when given enough incentive, he backslides to generalizing them. He's fine with showing aggression towards them despite their obvious discomfort. If he were really open minded, he would have readily accepted working with other droids instead of insisting they revive the one droid whose memory was likely already fried from destruction. This "growth" for Din seems like an afterthought and at this point I don't buy it anymore.

The thing is, we’ve already seen evidence of Din moving past his issues with droids in general. His initial mistrust of IG-11 is completely turned around when IG not only saves Grogu’s life, but everyone else’s. He allows IG to remove his helmet, which is the real clincher for me. IG might not have actually been alive, but Din allowing a droid to see his face and render life-saving first aid was HUGE for him, imo.

Some other smaller instances are his interactions with Peli’s pit droids, which he previously wouldn’t allow anywhere near him or the ship. He shows back up for repairs and immediately allows their help. They also assist him directly when he’s repairing the N1 in TBOBF and he’s perfectly civil and gracious to them.

I think his insistence in wanting IG-11 back in S3 makes perfect sense. IG is his friend, someone who protected him and his son at the cost of its own life, so Din knows it’s a trustworthy companion. Of course he’d want someone he already knows and trusts with him on an important journey. And besides that, I think he’s been carrying some guilt ever since IG’s death and when he saw parts of it were recovered, he jumped at the chance to bring it back and give it another shot at life. That all seems very much in character for Din.

Where this all falls apart, imo, is when we see him interact with the droids in last week’s episode. He’s harsh, blunt, and aggressive with all of them. Exactly the way he would have acted towards them in early S1 before he’d had any change of heart. This was bad enough, but what really sold the regression for me was his reaction (or non-reaction) to the battle droids. Those were the same model that attacked his planet and orphaned him. I was expecting a more intense or traumatic reaction to them, not just more of the generalized “I hate droids again for some reason” hate. He HAS a valid reason to still have trauma regarding battle droids specifically and the writers missed out on an amazing opportunity to delve back into Din’s past by simply having him flippantly kick and yell at them.

Din was cheated out of a lot of growth opportunities this season by shitty writing but his droid phobia was already addressed and resolved in past seasons. There wasn’t any reason for them to write it back into Din’s character.

[jeanmoreaux]

rereading ck and “why do you keep staring at him?” Kuwei said. “i look just like him. you could look at me.” pls from minute one jesper could easily keep them apart they haven’t even kissed he’s just so tuned in to wylan as a person it’s all about who he is that intrigues jesper don’t you understand

[crickwater]

took a like 2 week break in the middle of reading the priory of the orange tree. finally finished it today. my final review is it's mid

[luna-azzurra]

Some examples of challenging obstacles for characters to face

Personal Tragedy, The sudden loss of a loved one throws the protagonist into a state of grief and despair, forcing them to navigate the complex emotions of mourning while still grappling with their responsibilities and goals.

Betrayal, A trusted friend or ally betrays the protagonist, revealing hidden agendas or turning against them at a critical moment, leaving the protagonist feeling betrayed and alone, and forcing them to reevaluate their relationships and alliances.

Physical Limitations, The protagonist suffers a debilitating injury or illness that threatens to derail their plans and ambitions, leaving them physically weakened and vulnerable, and forcing them to find new ways to adapt and overcome their limitations.

Social Prejudice, The protagonist faces discrimination or prejudice based on their race, gender, sexuality, or social class, making it difficult for them to achieve their goals and forcing them to confront systemic injustice and inequality.

Impossible Choices, The protagonist is faced with a series of impossible choices, each with its own moral or ethical consequences, forcing them to weigh the lesser of two evils and grapple with the fallout of their decisions.

Internal Conflict, The protagonist battles with their own inner demons, such as addiction, trauma, or mental illness, which threaten to sabotage their efforts and undermine their sense of self-worth and purpose.

Rivalry, The protagonist finds themselves locked in a bitter rivalry with a formidable adversary, such as a rival athlete, business competitor, or romantic rival, pushing them to their limits as they strive to outmaneuver and outwit their opponent.

Existential Crisis, The protagonist wrestles with profound existential questions about the meaning of life, the nature of reality, and their place in the universe, confronting their own mortality and searching for purpose and meaning amidst the chaos and uncertainty of existence.

[senseandaccountability]

HR department romance plots

I just… beyond the surface level of enjoying a new game with new relationship dynamics to explore, I really can’t feel much about the DAV companions or their romances.

They all just seem so disconnected from the story, from Rook (who in turn is entirely disconnected from all kinds of feelings because Rook is just Employee Of the Year), from the world, from themselves. I feel like Cole here, looking at them and saying in my gentle, fleeting voice: even the dwarves don’t really remember dwarves. It really feels like the interpersonal relationships are written by the HR person who sits with you as union rep to tell you that you should use a positive language, that "we are all simply employees here, it doesn't matter what title you have", give a little pep talk about teamwork and how to get the job done. That's what we're here for. Everyone's equal. We all want the same thing here, your boss is your friend. Have you tried talking to this person, see their side of things, mmmm? It's just... yeah, they're cute, all of them. But why do they like each other? Why do they want to be with Rook? Who are they even in relation to the world of Thedas, what do they believe in, what have they overcome, what do they hate, what sort of prejudices do they carry around? I have no idea.

And since I’m also replaying DAI again, I wanted to compare these romances to my canon romances in DAI.  With Blackwall, you immediately get a sense of attraction and a sort of flirting on his part that suggests this is something he falls into quite easily - “you know a lot about girls” to quote Cole - BUT it’s also something he really, really thinks he shouldn’t be doing now. Why? He is tied to the Warden plot, if you bring him along you get a sense of a man hiding shit but you don’t really understand what, and he still comes to see you (flying/climbing up your balcony wall idk) because he can’t step away. You get to tell him he’s a good man even though you know shit about that at this point, like with Anders in DA2 you can give your PC over to this passion/love despite knowing that there’s something off, something potentially harmful or dangerous. There is conflict, there are things that jar, that can even make you uncomfortable. 

Blackwall as a character is open and compassionate. He approves of mercy, shows mercy, he isn't judgmental of others. In sharp and delicious contrast Blackwall’s crime is vile. He isn’t bound by any sort of oath, he can back down, there is no greater good whatsoever in his actions. It’s inexcusable. And yet. YET. You can CONTINUE THE ROMANCE. He killed a wagon full of kids, THEN RAN AWAY AND LET HIS MEN TAKE THE BLAME and hates himself so much that he tries to become someone else by erasing his previous self from the face of the earth. You can still kiss him and tell him you want him to live and redeem himself. It’s fucking incredible to think about this in the light of Veilguard actually. Your LI, the child murdering coward. 

With Iron Bull you have the doubts all spread out on the table. He’s a spy, how could you ever trust him? He also doesn’t respond to your flirting, why the hell not when you hear through ambient dialogue that he’s fucking half the chantry, isn’t he supposed to be a fuckboy? But he’s fun, he’s a mystery, he’s got fascinating banter with everyone, he’s brought his found family along, he’s a Qunari who at least somewhat believes in the Qun - he’s got AMAZING conversations with Solas that characterizes Bull as deeply intelligent (and Solas as much more caring than he’d let on) and knowledgeable about surprising things like architecture. Cole, as always, gives us more insight into Bull’s mind along the way and even before the offer to ride the Bull, the idea of him has been through some adjustments. You change his idea about a lot of things and in return, Bull challenges your idea of him, your idea of the Qun, your idea of the world and possibly, depending on how you react to his romance, your idea of intimate relationships. The game’s writing allowed me to imagine a rather frumpy circle mage in her mid 30s reluctantly forming a friendship with this strange fellow, only to find herself very much attracted to him, only to find herself being cared for in a way she would never have let anyone do before simply because Bull told her that was the only way he’d be with her. This is how we’ll do it, are you in? Your LI, the service top Qunari spy who is terrified he’ll run mad without his belief system to dictate his actions. 

And Solas. I mean mythical love stories culminating in mythical endings aside, what I really fell for in this relationship was the refreshing dynamic not of enemies to lovers but of two souls just sort of connecting instantly during strange events, taking a few hard looks at each other and going oh shit it’s you, you get me HOW is it possible you get me when nobody else does? There’s so much external drama surrounding them, which is why I personally LOVE and ADORE how calm their internal connection actually is. They know, so early in the game, that this is it. You’re my home, you understand the bones of me, you ask questions no one else thinks of asking, you care about the world in a way I haven’t seen anyone else do. He is LITERALLY the only one who understands your Lavellan when they make her the herald, when she protests and they keep pushing and pulling and sing their song after Haven, and Solas is there to be sarcastic about it. If nothing else, I'd fall in love with that. And there’s this sense of impossibility from the very beginning, a sense of it being almost unreal because the first kiss is in the Fade, the second is in a frenzy where Solas goes from 0 to I LOVE YOU, MY HEART and then leaves and you know, you know how this is coded and YET - he seemed so wise and kind and sad, it goes like this, the fourth, the fifth. And even with this connection of souls, things chafe - he’s an absolute bastard about certain things, he mocks your heritage and you don’t know yet that it’s because a huge guilt blanket rests on top of him since thousands of years back, you can just argue back and receive his disapproval. He says it’s selfish of him to start anything with you yet he does - WHY DO YOU DO THAT, SAD EGG? Your LI, the ancient god of rebellion, treachery and lies, depending on the story. 

Even beyond my favourites, there are conflicts. Sera is A LOT (affectionate) if you're an elf, with Cullen you get a substance abuse story-line tied to his general dismay about his past as a really fucked up templar, Dorian has personal trauma and cultural prejudice he struggles with for the entire game, Vivienne is so complex half the fandom hates her and has very awkward and uncomfortable banters with almost everyone (save for Bull because he treats her like he would a tamassran), Cassandra is constantly challenged in her personal beliefs, very clearly reflected in her conversations with Solas and Cole has a whole personal plotline about deeply existentialist matters. What does it mean to be alive? Who is a person and who gets to decide that? He could have been a person, Varric says. Isn't he already? Does this unit have a soul? Not to mention that Cole functions chiefly as a speaker of truths, bringing a lot of complexity to the others. 

DAI is not perfect by any means but I feel like I know these bastards. I feel like my PC or even I could actively dislike some of them, because they are written to create dynamic conflicts inside and outside of their own arcs. I can write fic about them, I can imagine what they're doing during the events of DAV because I know them.

Because they are written like actual people in a world where some people have power over others and some people have been raised with a certain belief system and some people just have shitty takes on society, may they learn. 

[penguinwraith]

one thing I love about Matthias’s character is that he’s such a flawed and prejudiced character but it isn’t made out to be like he’s just evil. Like he isn’t sanitized and “uncancellable”. He has harmful views about people in his world, and those don’t immediately go away when he meets the protagonists. It’s a journey that he really has to work for, and really has to change his whole mindset for. Idk it just really shows the idea that people can overcome prejudices, and it doesn’t have to be immediate, and that a person isn’t horrible just because of what they were taught.

[literaryvein-reblogs]

Character Sheet Template

Basic Information

Name (aliases, nicknames etc.): Explain the significance or origin of their name. Do they have a story behind a nickname?

Age: How does their age affect their worldview and behavior?

Gender: How do they identify and how does that shape their experiences?

Place of birth: How has their birthplace influenced their personality and opportunities?

Residence(s): Where have they lived, and where do they live now? What does their living space look like? Describe their present accommodations.

Ethnicity: How does their ethnic background influence their interactions and experiences?

Culture: What cultural values do they uphold? Have they faced any cultural conflicts?

Occupation(s) or specialties: What are the specific duties or skills in their job? How do they feel about their work?

Socioeconomic status: Has their economic background influenced their opportunities and personality? Has their status changed over time?

Appearance

Defining facial features: What do these features say about their character? How would a friend describe them? An enemy?

Height, build, body type: How do they feel about their physical appearance?

Mannerisms and gestures: How do they express themselves physically? Are these mannerisms a result of their background, or personal quirks?

Style: How does their style reflect their personality or status?

Dress: Do they dress differently for different occasions? How do they choose their clothes?

Accessories: Are there any accessories they never leave home without?

Other visual features: Do they have scars, tattoos, or other unique markers?

Personality

Defining traits: List of traits and attributes. What are the origins of these traits? Have they changed over time?

Personality type: MBTI, Enneagram, astrological sign, etc.

Archetype: Which common tropes do they exhibit?

Strengths and weaknesses: How do their strengths help them achieve goals? How do their weaknesses hinder them?

Flaws: How do their flaws affect their relationships and decisions?

Beliefs and spirituality: Do they believe in a higher power?

Morals and values: What events shaped their outlook on life?

Hopes and dreams: What steps are they taking towards these dreams? What obstacles stand in their way?

Skills: Which skills are they most proud of? Are there any skills they wish they had?

Interests or hobbies: How did they encounter their interests? How do others react to them?

Powers (if any): What are the limits and costs of their powers? How do they balance them with “normal” life?

Intimacy: How do they feel about physical intimacy? Emotional intimacy? Have they ever been in love?

Tastes and preferences: How do their preferences shape their daily choices?

Fears, phobias, or prejudices: How do they cope with their fears? Have they tried to overcome them?

Contradictions: How do they reconcile these contradictions, if at all?

Pet peeves: How do they react when annoyed?

Habits and quirks: Are their quirks known to others, or are they hidden?

Focus and obsessions: When did they acquire this focus? Do their obsessions cause problems or provide solutions?

Possessions of value: What sentimental items do they keep and why?

Health: Do they have any illnesses or conditions?

What they like about themselves: How do these positive aspects help them in difficult situations?

What they dislike about themselves: How do these negative aspects create internal conflict?

What they admire in others: What traits or worldviews do they consider positive? What makes them notice somebody?

What they dislike in others: What traits or worldviews rubs them the wrong way, and why?

Relationships

Family or guardians: How has their relationship with family members/caregivers shaped their personality?

Found family (if applicable): What binds them together?

Pets: What are their pet's personalities?

Friends: How did they meet these friends? What are their strongest memories together?

Allies and enemies: How did they gain allies and make enemies?

Past and current partners/love interests: Have they ever been in love? Describe any partners through the character’s eyes.

Mentors and confidants: How have these figures influenced their decisions and growth?

Heroes: Do they have idols, or someone to look up to? Which behaviors or traits influenced them the most?

Trust: How did they come to trust or distrust these individuals?

Background

Upbringing or parenting style: How did their childhood experiences shape their current behavior?

Formative memories: Which memories are most vivid for them, and why?

Education: How do they view their educational experiences? What subjects did they find fascinating, and which did they hate?

Major life events: How have these events redirected their path?

External experiences: Have any world events, conflicts or changes affected them?

Accomplishments: What achievements are they most proud of?

Failures: How have their failures impacted their self-esteem and future decisions?

Disappointments: How do they cope with disappointment? Have they learned from it?

Motivations

Goals: What short-term and long-term goals drive them?

What do they want?: How do their desires align with their goals?

How do they try to get it?: What strategies do they use to achieve their goals?

What happens if they do/don't succeed?: How do they handle success or failure?

Internal conflicts: What are their inner struggles and how do they manifest?

External conflicts: Who or what stands in their way, and how do they deal with these obstacles?

What are they trying to hide?: Why are they hiding this aspect of themselves? How would they manage its exposure?

How do they wish to be perceived?: How do they work towards this perception?

What are they proud of?: How does this pride influence their actions?

What are they ashamed of?: How does this shame affect their decisions and relationships?

What do they regret?: How do their regrets shape their present actions?

What is their legacy?: What impact do they hope to leave behind?

Communication Style

Language(s) spoken: How proficient are they in each language? Do they switch languages in different contexts?

Literacy: Are they good with words, or do they struggle to get their point across?

Accent: How does their accent influence others' perceptions of them?

Vocabulary and cadence: What unique speech patterns do they have?

Common turns of phrase or catchphrases: Are they funny, morose, profane, etc.? How do others respond to them?

Emotional range: How does their communication style change with their emotions?

Body language: What are their most noticeable non-verbal cues?

Visual cues or “tells”: How do others read their true feelings?

Style of humor: What type of humor do they prefer, and how do they use it in various interactions?

Emotional range

How do they display and react to...

Affection:

Joy:

Sadness:

Fear:

Surprise:

Anger:

Disappointment:

Praise:

Criticism:

Irritation:

Antagonism:

Attacks:

Sources: 1 2 3 4 Writing References: Plot ⚜ Character ⚜ Worldbuilding

[verdantwyrm]

Anya, The Virgin Mary or the Vengeful Bitch

Or, shorthandedly, the Anyalysis.

I'm going to be occasionally stealing some points from my Curly thread over here, which you should absolutely also read. And also some segments from here, my small analysis of Jimmy and him being a monster vs choosing to be.

This analysis will be going over partially some of how she's treated in-game, but also how she's treated outside of the game as a representation of sexual assault and abuse victims, which is to either make her a mournful, bleeding heart virgin Mary, or a vengeful, final girl that's a violent, hysterical she-bitch. Which she is neither.

I think it's perfectly fine to orchestrate fictional characters killing their abusers, there's nothing inherently wrong with just that, it's more how people actually write it.

Just like any other trope, there are ways to go about it that are extremely harmful and ways that are generally inoffensive. As a victim myself, I personally see so many issues in wishing harm against your abuser, and there is nothing wrong with acting that out in characters you feel comfortable and relatable towards, but there are ways to do this that don't end up doing more harm than good— which is where most people fail. It's an objectively hard topic to address, because it requires nuance and understanding, possibly even lived experience to truly understand why someone would want this. Grieving, the absence that comes with being a victim, is not straightforward or black and white, it's an uncomfortable topic thats often on a spectrum of anger, grief or sadness that most people do not want to engage with because they have a very nearsighted opinion on how a victim should react– the perfect victim.

No one actually likes her as a character, they only like her for what she represents.

The Sexism of the Final Girl

I am sick and tired of people making up the realities in their heads where Anya overcomes Jimmy and kills him,

The trope of a "Final Girl" is not the feminist girl boss you want it to be and is incredibly misogynistic. The definition, as told by Wikipedia

"the final girl in many movies shares common characteristics: she is typically sexually unavailable or virginal, and avoids the vices of the victims like illegal drug use. She sometimes has a unisex name such as Avery, Chris, or Sidney."

There are feminist ideals and intentions behind it, but it is not inherently feminist as a concept and is often very misogynistic despite its intentions to display the woman of the group to be strong, better or uphold moral superiority for declining sex, drugs or any of the vices mentioned forehand. It is a sexist trope, and all it does is ridicule women for "falling" for said vices as if that inherently makes them inferior or deserving of murder or assault.

On the surface, the use of the final girl trope may seem like a progressive portrayal of feminist strength and ideology. It can be satisfying to see a strong, independent "girl boss" overcome an otherworldly predator or rapist. However, upon further examination, it is clear that this trope perpetuates prejudice and reinforces societal expectations for women. The final girl is typically portrayed as a straight, white, morally superior woman who abstains from "immoral" activities like drinking, drug usage and sex. She serves as a voice of reason and represents the ideal woman in our society.

Most importantly, she survives while those who deviate from societal norms face violent deaths. This trope is a subtle commentary on the expectations placed on women in our society - good girls will prevail while those who do not conform will suffer a violent and brutal death, usually at the hands of a man. Ultimately, it seeks to shame women for behaving in ways that are not considered "ladylike."

The film industry as a whole has a history of using females as vessels for pain and suffering. Hollywood loves to profit off of female suffering. These male directors may believe they are earning brownie points with audiences by having female survivors in their films, but in reality, they are simply using feminism as a disguise while indulging in the fetishization of female pain.

It is rather exhausting seeing who we are being reduced to one note Virgin Marys with bleeding hearts, scorned mothers or wounded victims of assault who will never recover, never love or never will have sex again. I do think Mouthwashing does an excellent job of telling the story of a rape victim, but how other people treat her beyond that, it's almost impossible to even have a character like Anya or even Angela from Silent Hill 2 without people stripping them and violating what their character is and instead of focusing on what they represent, a victim.

But back to Anya specifically, she does not even exert any interest, desire or want to murder or harm another person. People dehumanise her the same way Jimmy dehumanises her. They strip her of everything she could be, everything she wanted to be and make her out to be a perfect victim, a bleeding heart, a weak and pathetic woman.

How about Anya has a nice day, how about Anya smiles, and she's happy and safe. What about that? Huh? Or do you only like her when she's a victim. People care more about Anya being a victim they can save, a victim they can nurture and heal and rescue than anything else. They care more about her being weak, sad, frail and miserable. Always the mother, always the victim, always the virgin Mary and a sacrifice but never ever a woman and most definitely never a person.

It's even worse when I see people continuously writing and "re-imagining" Anya being Raped just so Curly, Daisuke, Swansea or even a self-insert reader situation to save her. I totally get that you want her to be happy, and to be rescued and for that to never happen but you severely miss the point of the story that there was no one there to save her. And constantly rewriting it to put a man in the favour of the situation comes off as very shallow and misogynistic the way you're all so ready to have someone rescue her like she's some distressed maiden in need of a big strong man, it also takes the point away from her entirely.

The horse that bites

Jimmy's constant dehumanisation of Anya affects how other people perceive her character as well, that she's weak, small or a crybaby in some sense because of how she responds to situations - emotionally, which is then amplified by Jimmy's pre-existing hatred and lack of respect for her.

Jimmy tears her down every chance he gets, makes her feel little and even compares her to Polle in his hallucinations. And Anya knows that he and Curly have a very lengthy history, so her caution and anxiety about even mentioning the incident, let alone saying the word “rape” is borderline impossible for her. It’s a manifestation, it’s a verbal acceptance and confession that it’s even happened. Something she has been trying to avoid coming to terms with.

And when she does eventually tell Swansea what happened, as much as you want to think she told him- she most likely told him to not do anything, to try and keep the peace for as long as possible.

Again, her vagueness is not her fault, nor is it her responsibility. It was Jimmy’s responsibility to not abuse and rape her.

It’s also very present that Jimmy is verbally abusive to her, putting her down at every opportunity by ignoring her very talented medical skills by saying Pony Express only hired her to cut corners in an attempt to reduce costs because she failed Medical School and that she’s not a “real nurse” because of that, and how he constantly questions her skills despite keeping Curly alive for such a long time in such a state.

After being insulted by him multiple times, she fawns to get him to actually do something beneficial because she knows he responds well to praise, and he complies, all while still insulting and belittling her for being "weak" and "sentimental"

Anya shows a clear fear of Jimmy and has consistent fawn responses around Jimmy. She is extremely careful not to make him upset and praises him to keep him amused and compliant to a degree.

Just like Anya says, our worst moments don't make us monsters. It's one thing to fuck up, and immediately suffer the consequences and acknowledge your mistakes— But it's another thing entirely to purposefully make it so you never have to deal with the repercussions and then make yourself out to be the victim. Jimmy takes every opportunity to blame everyone around him. All the time and Anya is no stranger to this.

Curly genuinely saw the good in Jimmy, in the same way, Anya sees the good in others and possibly even tried to see the good in Jimmy despite the pain as one of the key important things about how everything went about is that Anya never directly refers to her rapist as Jimmy, nor does she ever actually insult or talk badly about him, she only expresses her disinterest in talking to him because of his reluctance to cooperate with her. They both believe that our worst moments don't define us, and Curly had his own interpretation all of how we're defined by our past, but not slaves to it.

She is scared, she is terrified at this point and there is absolutely nothing wrong with that nor should we rush to change that. Her being scared is realistic, she is a scared lady in a very scary situation with an even scarier man who constantly switches between dissociation and lashing out depending on what's going on around him. And she is not that person to fight back, to be violent or to hurt him and that is perfectly fine. She doesn't need to be a girl boss feminist and fight back, she can just be a scared and quiet woman stuck in her own terror, and trying to infer that one Is the "better" option downplays victims who freeze in their own terror and makes them out to be weak or a hapless damsel because they're incapable of "standing up for themselves"

She has every single right to be absolutely terrified and that is in no way a bad thing. I actually really, really dislike the interpretation that Anya is angry, resentful or has any revenge towards Curly, or that she has to be this, hysterical mad woman sent out to kill or hurt Jimmy. I don't believe she's either of this. Anya deserves peace, and I think it's extremely important to understand just how similar she is to Curly. And I'm full of the belief that if Anya had actually done something to Jimmy (hurt him, kill him, whatever) she would be demonized and the misogyny she already faces in the fandom would be worse tenfold. Do not lie to yourself.

Not to even mention one of the many, many reasons as to why Anya OD'd in a room with a lock in the first place. It was to make sure Jimmy could never touch her again? Or do something awful to her body, even when it was lifeless and cold? It was to keep the gun safe, to protect Curly, to protect herself, to take control of the situation, to finally not have to worry about him ever touching her again. And Jimmy still violates it, even after she's dead.

He touches her, drags her body, and props her up in that chair. Even after death, she is never free from him. She thought she was going to finally be free of him, his rage, his desires, his touch, and she died thinking this, that he would never ever be touched or hurt by him ever again. She died thinking all was well, that it would all work out in the end, it had to. She died thinking Daisuke and Swansea would somehow make it out of there, tell her story, and make Jimmy face the consequences of his actions, it was the ultimate sacrifice, it was the greatest thing she could ever do.

Jimmy ruined her life, and he ruined her death, her sacrifice. To keep herself safe, to keep Curly safe, to keep the gun away from him, it all meant nothing.

Thinking outside the Ship

Anya is fun, she is enthusiastic, loves to make jokes, draw, play board games with Daisuke, read, and teases Swansea about his love for sweets which he doesn't even bother to object to and Swansea hands her a note so that she could give it to Curly during his psychological evaluation,, implying that they're casual enough for an exchange like that to occur, and even has what seems to be a budding relationship with Curly himself, taking to his comment about being fit to fly in her eyes like it's a common exchange of flirting between the both of them and she even teases him at the birthday party to "hop to it" in terms of the cake. She is at ease around him, her walls have dropped, and she feels safe to talk to him, and even attempts to try and get him to open up more to her.

She reads psychology books, she is extremely determined having applied to Medical school on total of eight different times and obviously has the skills and interest to keep doing it despite failing and only joined Pony Express so she could make money and keep trying to get into medical school.. She also has good taste in music, one that Swansea and Curly enjoy very much. She also seems to get along well with Daisuke and even allows her emotions to show with anger when they play games they seem to have much of the same sense of humour, judging by how Daisuke is genuinely worried about her when she locks herself in the Medical, they seem to have a positive relationship. We don't know much about her relationships with the others beyond what the wiki can provide.

She seems to have the best relationship with Curly, although. And after the crash, she can't bear to give Curly his pills due to him being in visible agony and her own trauma of forcing him to do something he very obviously doesn't want to endure, likely due to memories of her assault being triggered by both the act of forced insertion and the sounds produced by Curly during it.

Anya also spends most of her free time studying. She runs to clear her head. And when she really needs to destress, she binges on the worst reality television and fast food. She is a very free-spirited woman who is eternally doomed to be reduced to nothing but a hapless, miserable victim.

Final Comments and Thoughts

I don't have much to say here unlike my last analysis, but the situation on the Tulpar is not as straightforward as people would like, I understand it's extremely cathartic to think of a situation where Jimmy gets what he deserves but it isn't realistic, and thats what this game is trying to say. Abusive corporations, exhausting capitalism, this environment breeds Abusers like Jimmy and victims like Anya and Curly. There was nothing that could be done. Pony Express is what doomed them all, they're the catalyst.

Anya deserves to be written and viewed as more than just a representation, a victim or a vengeful hysterical bitch. She deserves to be happy!

Thank you for reaching the end of the thread, please don't be scared to share your thoughts in the tags or in my inbox, I'd love to hear them! good job! (っ˘з(˘⌣˘ ) ♡

[fealtyfaggot]

Cheery Littlebottom is actually the best fictional character ever, demonstrated below:

Got fired from being an alchemist for exploding the guild council

Consequently eyebrowless when we first encounter her

Not only transgender, but arguably the inventor of transgenderism among dwarves

Immediately becomes girl best friends with Angua

Overcomes her prejudices against werewolves, is defended in turn from dwarvish [trans]misogyny by Angua. Girls supporting girls. I love them.

Have I mentioned transgender

Singlehandedly creates & maintains a forensics department

Has to be the person to tell Vimes that spoons can't be made of arsenic

In the face of transphobic vitriol is still able to show kindness and compassion to Dee when she needs it

Is, once again, transgender

[glitterypin]

I think the real appeal of Mr Darcy isn't that he's handsome, rich and has the whole "redeemable jerk" vibe to him.

I think the real appeal is that he sees the worst in Lizzy and still loves her. He thinks so little of her, feels genuine contempt and still comes out the other side wanting to be with her. It doesn't matter that what he perceives as "flaws" is basically classist bullshit, just the fact that he sees flaws in her and still wants her is enough.

Personally, I won't believe anyone who tells me I'm perfect. I know I'm not and even if I believe they think that of me, I will spend my time dreading the time they figure out the truth and possibly reject me.

But what if someone showed up and already thought ill of me? Even better, someone who believes about me the worst of the things I believe about myself? Someone who thinks I'm lazy and awkward and I talk too much and I spend too much money and I eat more than I should and I can't properly take care of myself? And what if that person also loved me and chose to be with me, because I am so kind, honest, intelligent, funny and artistic that they figure I'm worth their love?

THAT is where the appeal lies. And this aspect of it is perfectly encapsulated in that line from Pride & Prejudice's quasi-adaptation, Bridget Jones's Diary:

so, it's not that we like ill-mannered jerks. We just like the idea that someone would go to such lengths and overcome their own selves to date trashcans like us. What a compliment.

[doreimifasola]

hot take: effie would not have wished haymitch a happy birthday. in fact, hayffie would not have worked at all!

first off, the cultural differences between haymitch and effie would have a huge impact on their relationship. throughout their upbringings, prejudice was ingrained into them. if katniss dislikes the capitol so much, readers can assume that the divide between the districts and the capitol was worse when haymitch was a teenager. if this was normalized, expected even, it would take SO MUCH for haymitch to work through his implicit bias.

effie is definitely not exempt from that either. her prejudice is extremely apparent when interacting with or speaking about the districts. some interesting effie quotes include:

“The pair last year ate everything with their hands like a couple of savages” (The Hunger Games 44).

“How you’ve both successfully struggled to overcome the barbarism of your district” (The Hunger Games 74).

effie’s implicit bias prevents her from fully empathizing with haymitch’s experience in the hunger games and growing up in the districts. she views the games the same as other capitol folk—she sees nothing wrong with them! she doesn’t care too much about the district 12 tributes dying or about why there are more name slips than eligible children, she just wants a promotion!!

additionally, haymitch and effie just don’t get along. their personalities clash and they are forced to put up with each other in order to help katniss and peeta. effie is described to be “muttering obscenities under her breath” (The Hunger Games 55) after an interaction with haymitch. another instance details how “Cinna and Portia seem to have a civilizing effect on Haymitch and Effie. At least they’re addressing each other decently” (The Hunger Games 76).

effie wouldn’t wish him a happy birthday, she would steer clear of him! god forbid he tries to embarrass her on stage again. and that’s if she even KNOWS it’s his birthday.

furthermore, it is probable that haymitch still hasn’t healed from his young love. he may still have feelings for her, and even if he doesn’t, their relationship has likely left a lasting impression on him. this could prevent him from entering any relationship. not to mention his substance abuse issues and trauma!

the romanticization of the hunger games needs to be studied. some fans fail to realize that they express behaviors that suzanne collins critiques with her use of the capitol and its people.

[aqours]

pssst you! yeah you!!! person who is probably seeing this through looking up Ravenloft related tags!

do you like the Vistani? do you want to expand on the Vistani but also you aren't sure of what to change other than the Obvious Really Bad Problems They Had To Errata And Still Didn't Fully Fix It? not 100% satisfied with the direction they went in Van Richten's Guide to Ravenloft? want to expand on Vistani culture and ideas but not 100% sure if you want to create a ton of homebrew or not? you interested in seeing Van Richten's 2E character growth where he was a prejudicial man who was a victim of a horrible crime but realized he can't just blame an entire ethnic group for it and gradually learned to overcome that prejudice into becoming a better man?

please consider giving Van Richten's Guide to the Vistani a read, and here's a free link! consider it me just sharing the pdf given i bought it legally so even if you for some reason don't like piracy i'm just sharing what i bought!

it's an old 2E supplement that's completely about fleshing out the Vistani. it's not a perfect guide: it's for 2E so pretty much anything it adds gameplay wise doesn't work with 5e/5.5's mechanics, some of it is still pretty dated (it says gyp*y a few times still). but it still delves a lot into Vistani culture and stories (including some of their origin stories they claim is responsible for the Vistani becoming who they are), and the Tasaques: essentially the three large ethnic clans among the Vistani and the tribes that make up said Tasaques (i say the main group of Vistani in Barovia during CoS are Kaldresh Vatraska), and some other stuff!

nothing's perfect, but if you're looking for a step 1 for fleshing out the Vistani more and you don't want to do a complete homebrew from scratch route, consider giving it a read and see if you can build off of it if you want!