#and the fact that they're just not very good antagonists

[kitsumidori]

My opinion on Tyreen before beating 3: "Yeah you're annoying, but you're slightly more tolerable than your brother."

My opinion on Tyreen after beating 3:

.

.

.

.

.

.

My opinion on Troy before and after 3:

[july-19th-club]

favorite type of villanous characters are the ones whose motivations boil down to

like they dont even have to have any stakes in the broader situation. they just have take pleasure in destruction

[goleb]

Is the DHMIS Gem AU mostly wholesome like Steven Universe, or does it have some grim things happening to the main characters?

I'd argue Steven Universe has a plethora of really dark moments and concepts that get overlooked or aren't dwelled on too hard due to having Steven as the center focus, so in that way, yes, it's exactly like Steven Universe 😂 But in all seriousness, while the overall plot isn't as concrete and developed YET (mostly from being a relatively recent creation, compared to something like, say, my KGTV Gem AU, which is also significantly darker and flavourably edgier in terms of themes, but we're not here to talk about that) I'd say it's a lot more domestic slice of life than anything else. It's actually pretty close to the Orphanage AU in that regard, haha. 

I don't wanna leave you with that short of an answer so, uh, here's some of my brainstorming attempt doodles. 

Sketchbook is a glass prism because light refraction makes rainbows out of something that's clear, and drawing in a sketchbook makes something pretty out of empty pages. That's it, that's my logic. Theoretically Sketchbook could have been an iris agate as well, but I left that option for one of the fusions instead. Bit of an off-colour, but aren't they all… 

Tony is a blue star sapphire, because sapphires in the show are associated with time through their future vision (or past vision, in Padparadscha's case) so it's reasonable to assume a star sapphire would be as well. Also an excuse to keep his face markings, to be honest. Not quite satisfied with the gem colour-wise but who's gonna stop me from taking artistic liberties on that? 

Shrignold is a permafusion of a Rhodochrosite (associated with love, has variants that go from Sugary Pastel Pink to Raw Meat which I trust I don't have to explain in relation to Shrignold, haha) and an Aquamarine (considering the aquamarines already present in the show, butterfly theme and all), making a butterfly jasper (for obvious reasons). 

Colin and Laptop are quartzes, because quartz is commonly used in computers and stuff (and to keep time!), at least as far as I know. It's a deviation from the show because I was never fond of the whole "every gem of this type has the same role and looks and body type and corrupted form" for quartzes especially. I had to actively keep myself from making them heinrichites because it looks like a circuit board and, well, you know. Computers! And for some reason I automatically associate anything lime green with Colin even though there is nothing lime green about him. But who knows, maybe I'll go back on that decision, everything I say is still subject to change. Gilbert is also there, by the way. He's an Azurite-Malachite. 

Spinach Can is a moldavite, Lambchop is a red agate, Bread Boy is a bronzite, and I'm a bit on the undecided in terms of what Fridge ought to be. I sort of settled on scolecite. Didn't want to make it something as obvious as literal ice. Finally, Lamp Guy is a blue goldstone. It looks like a night sky, that's obvious enough 😂 

🤫🤫🤫 

Both Yellow and Special One are half-gems, a childrenite and a pink petalite respectively. Roy isn't a gem in this one, but you know me, I do love my AU variations, even if they don't ultimately lead to anything proper. He is inherently a citrine though, if you're wondering. And that's my favourite gem C: 

[unproduciblesmackdown]

being alive at the time i gleaned some general elements abt encanto but never actually heard we don't talk about bruno beyond awareness it existed popping off & i think i heard like the title recited off key off rhythm but in a way that indicates speak singing nonetheless lol so upon experiencing it it's like oh but it's the Verses? while the last refrain goes harder but prior to that it's comparatively underwhelming to said verses which feels appropriate like verses / pieces of a larger picture & that a "we don't talk about him" as a disappointing Lid on infinitely richer more characterful & dynamic "but: talking about him" instances. like well personally it'd be like um seven foot frame....anyway besides being able to firsthand go like oh damn Real (the kind of thing you know exists if alive at the time) it's like alright hang on lol. one thing when a core theme is yeah like "is it a refuge if 'especial' vulnerability ultimately gets pushed out rather than made safer" subset like the parties whose even observation of truths (problems) & drawing attention to them is seen as Ruining Things, like if you're painted as Making futures that aren't simply what's desired or reassuring rather than a guidance via just observing & sharing the truth. but then it's like whaddaya mean living in fear of bruno stuttering and stumbling you could always hear him sort of muttering and mumbling lmao like now that's just Association between the Truth Perceiving & Telling behavior & behavior that's just apparently distinctive of the same person. & like Not Accidentally when [what if people were magic] specifics are obviously primarily abt a metaphorical meaning & like, indeed it was made clear like oh this situation isn't Just b/c [boo we hate your prophecies] & that [an Ability that isn't directed towards what anyone Wants / is "weird" even by these magic standards] isn't Coincidentally given to someone who just so happens to already be "weird" in other ways & be set up to have a different perspective & be pushed away due to having the supposed "extra" vulnerability of unmet needs / insufficient support, same as someone who doesn't "correctly" have any kind of magic ability....like yeah banger and also like Oh Yeah Kind Of Devastating re: that metaphorical resonance allowing for like [set the metaphor aside] now hang on with this about this disabled family member lol. misinterpretation to The Ruinerrr / The Problemmm / The Maliciousss etc (i.e. the scapegoatinggg) despite their efforts likely entirely to the contrary. then despite like, efforts aside, Just Existing, always kind of muttering & mumbling like & what of it. & then like oh sorry weird pets. weird [auspicious for adaptable tenacious thriving surviving; either way simply creatures, existing] pets.

truly like As Is The Idea I'm Sure quickly becomes like hands behind back standing at the window Uh Oh Sisters musing on all the [disabled person] metaphorical & already literal elements there. blair witching it in contemplation like We've All Been There whether being so resented for the mere disruption of "existing in a group as the 'abnormal' odd one out" or like people talking shit abt anything associated w/you as soon as you've left the room, which is also made relevant like, this wasn't Only directed at this person when seemingly permanently gone, nor were they unaware / unaffected prior....pacing in the Musing parlor like things don't Have to be compared to billions but i only ever even see so many things & it's like billions sure is like "get scapegoated rword" & then said scapegoating is presented as only beneficial & we hate autists & even beyond that it's like, grabbing billions, Imagine If Things Meant To Be About Something Were About Something. quite a contrast when they are & furthermore like, deliberate thought & Care for [who gets scapegoated & why] & the truth of like, people getting pushed aside & out who have a key perspective & are primed / liable to come through for others similarly vulnerable & the supposedly Ruinous, Problems Generating disruptiveness is actually the strongest effort to make essential changes to a group. & come through with like, it'd be undermining thee point if it was "reassuring" us like oh haha people will be supportive b/c bruno will be more normal, so great that it Didn't like no, no Normality Reassurance(tm), presence of abnormalities(tm), Good, & everyone Can Deal b/c if you don't then it's pushing this person away, is exactly what happens, including even if they're still Around but are being mistreated b/c that is entirely part of that pushing away like anyone's victim blaming is ready to pounce at any time but if someone can't stand to stay / leaves b/c they can't see another option like that's not out of nowhere nor Regardless of what full support & flexibility they were getting lol. these Active Measures everyone loves so much, which are everywhere always & would include Staying & Trying To Make It Work & those efforts would be "disruptive" & resented & Bringing It On Oneself & etccc smh

that is to all say like. Woww when clearly basically the core thread was these beats of like, the crucial site of [thee scapegoated], & why that comes down on someone & how that plays out. endless ideas about how someone weird(tm) & disabled (&/or queer. but there's no Or here lol. & again like it's a Context like, to even be the one person without kids? likely not living up to "full" correct sexuality in that way alone; any oppression's logics of "inferiority" being logics of ableism, ready examples being that "inferior" race, gender, sexuality (& their experiences as people classed as inferior) all being pathologized as disordered) are seen & treated as someone Ruining Things & who cannot belong like whew. bracing. winding. which, i also recall like i was watching with headphones & during this one dialogue pause i was like "?? what's this Extra Sound i heard there" & had to go over it like twice before being hit upside the head like well it Was still the dialogue pause but it was also bruno Stuttering in a very quiet whisper for the duration of that pause before continuing like iiiiiiii x_x

[atlasofoverthinking]

The Problem with the League of Villains

this is just me ranting after reading many people say that the lov deserved a better ending (i agree with them don't worry). most of that stuff has already been said but i'm bored and need something to write

so why is everyone disappointed?

by definition, an antagonist is someone that goes against the main character(s) and a villain is someone who does immoral and/or illegal things (wow, shocking)

so by definition, the league of villains is aptly named. shigaraki and dabi are mass murderers, toga is a killer too, and even if the others are 'less dangerous' they're all guilty of terorism and kidnapping a teenager.

not nice, right? then why would anyone would want them to have a good ending?

long story short: horikoshi made the league too sympathetic and relatable

when horikoshi has decided to make them funny, he's decided to make them likeable. that's not enough though. you can find a fictional villain funny and not root for them (for some reason the examples that comes to my mind are the disney villains. captain hook is hilarious but no one wants him to win)

the cause of everyone's disappointment is the relatable part. everyone in the league has gone through stuff viewers can relate. touya, shigaraki and toga have been abused; twice has mental health issues (and stuggling to get a job is relatable too lmao); spinner has been discriminated against... you get the idea

and even without knowing their backstory, most of the league's fights can be considered noble: they want to change society and make the world a better place. to take a more precise example, the league kidnapped bakugou because they thought he had gone through similar struggle as them

(this is mr compress talking in chapter 85) as far as i've seen, most of the fandom either think bakugou being chained and muzzled at the end of the sport festival was just comic relief or agree that it was fucked up

so yeah, you can't put a group of people rejected by society, who just want a better world and expect people to not like them

and that's why their ending is disappointing (the rest contains heavy spoilers of the last few chapters of mha)

they're all either in jail or six feet underground. we rationally could understand it, they're all criminals/villains so of course they wouldn't get a happy ending and face consequences for their actions. the only one who could have gotten away with it is shigaraki because of all the grooming/brainwashing he's gone through and maybe toga because she's a child

but if you relate to a character, you want them to get a happy ending. of course fans would want dabi to be at peace, but instead he's forced to spend his last moments being stared at by his abuser). of course fans would want shigaraki to be free from afo (but instead his only freedom was death). of course fans would want toga to be understood and cared for (but she never had that opportunity)

that's not very 'save to win' out of you horikoshi

maybe it's just a shortcut made by the fandom, but the league are seen more as victims of abuse than actual criminals. i mean, what's more important in dabi's story? the fact that he burned himself alive after overworking himself to get his abusive father's attention, or the fact that he's burned people alive? probably both, but there's more focus on the first element.

and obviously we would want abuse victims to get a happy ending

basically, their ending isn't coherent with what we've seen of them, and that's why people are disappointed

btw, the same logic applies to stain. some fans agree with stain's reasoning bc he's fighting against corruption. of course, his logic is stupid and he's delusional but he's introduced not long after we've discovered shouto's past. you can't say "one of the most popular heroes is abusing + all he wants is to get n°1 to satisfy his own ego" and then follow with "see that guy fighting against corruption? he's bad, don't do that"

the clever way to make sure no one would agree with stain would have been to make the heroes fight against injustice with good methods. i live for the fanfics in which izuku takes down the hpsc

okay i'm done ranting thanks for reading

[forpiratereasons]

all right. i'm ready to talk about izzy.

izzy is a great character. in s1 he sits in this great position as an antagonist that's close to the main characters, and in s2 he sits in this great position as an antagonist who's gotten everything he wanted, and found that actually - fuck! - that's not it at all. the world changes enough in s1 that there's no satisfaction in izzy getting what he wants out of blackbeard. and it's not just ed that's changed, it's not just the crew, izzy himself is fundamentally changed too. even before s2, and that change continues to grow and flourish through the series.

in reality, death is cruel. and death is senseless. and death is unfair, and shitty, and it happens to the wrong people at the wrong time, too early, with too much to live for, who mean too much to too many. it happens.

maybe izzy's death is all of those things, but i don't think that's the point. it's not meant as a lesson in mortality; it's not meant as retribution for past crimes; it's not meant as a commentary on who deserves to live and who deserves to die. it's not about deserving. if anything, it's about the fact that deserving doesn't come into it at all.

the point is that izzy healed.

a lot has been made of the fact that izzy is the only character who bears visible scars from the kraken era - the scar on his head, as well as the leg. but i don't think they're meant as a reminder of the injury, or as a sign that izzy is "damaged" post-kraken era. they're representative of the fact that izzy healed. the scar is there to remind you that izzy survived. you see it heal over multiple episodes because that's the work izzy is doing - he's healing from blackbeard's actions, from his own actions, from his history, from his constraints.

it's not too late to heal. it's not too late to find your place. it's not too late to come out. it's not too late to let people in. it's not too late.

and all those things are worth doing despite the fact that our time here is limited. we are all going to die. but we are here right now, which means it's not too late, and it is worth it to free ourselves to be who we need to be regardless of who we have been and who we are now and what time we might have left.

izzy isn't suicidal in ep 8. he's healed from that. izzy isn't abused or depressed or alone in ep 8. izzy is strong, and competent, and respected, and loved.

and some folks have been disappointed it's not romantic love. i get that. but i think it's super important too that izzy's healing is worth it without romantic love. familial, platonic love is so fundamentally important to the queer community. found family. friends. solidarity. the look when some stranger sees you and you see them and you both know the other is family, that they're safe. the way we fight for each other - for our rights to love who we want, fuck who we want, to marry, to adopt kids, and also for housing, for jobs, for healthcare. for our rights to use the bathroom, for our rights to choose our own names and our own bodies and our own families. we're fighting for our right to exist and that, guys, it's not romantic. the foundations of our community is about - well, i'll let izzy say it:

it's not about glory, it's not about getting what you want. it's about belonging to something when the world has told you you're nothing. it's about finding the family to kill for when yours are long dead. it's about letting go of ego for something larger. the crew.

ed and izzy, following s2e3, interact and communicate on izzy's terms, and that's made clear. that's the last relationship for izzy to heal. when izzy finally approaches ed in ep 6, it's - not great. it's a start. you gotta start somewhere. he lets ed apologize, in their very closed, guilty way of speaking to each other, but then goes back to the crew, back to his safety.

he finally finishes his healing arc with the drag performance and la vie en rose, and then he and ed DO have good moments. he teases ed about stede. he directly reverses his previous actions in s1 and tells ed to listen to his good feelings. that's where djenks is getting this (imo, still a bit weird) father-figure business. the scene in the republic where ed's watching fishermen and izzy comes to say hey, it's all right, hey, listen to your gut. they don't need to directly come out and have some deep serious conversation about their relationship because that's just not like them, man. they're doing their healing their way. i think it would be nonsensical to expect these two to be open and honest with each other regardless of how they are with everyone else because their relationship is not like their relationships with anyone else.

until they run out of time.

and this, i think, is important. izzy controls this last conversation because it's what ed needs to hear, because izzy no longer needs to hear it. izzy doesn't need to hear that ed's sorry, izzy knows ed's fucking sorry. ed's whole arc this season is about the guilt he's carrying. izzy says what he says because he knows ed needs to hear it. ed, you weren't a monster all on your own. ed, i saw you. i saw you outgrowing him, and i didn't want that to happen because i was worried about what it meant for me, but i see now that it could have meant this all along - family. balance. something to die for, sure, but something to live for.

you could argue that ed and the crew don't think of each other as family. i think it's a bit more complicated than a yes or no on that one, but when izzy says, ed, you're surrounded by family, maybe it doesn't matter whether that's fact. maybe it's a statement of possibility. look at this family who can love you if you let them. look at this family who will forgive you even when you don't deserve it. look at all the ways you can still heal. look at how worth it it all is.

just be ed, izzy says, there he is.

he says it to ed because izzy already knows he can be just izzy. izzy already knows he's dying surrounded by family. izzy already knows that love and belonging and family are worth it, and he uses his dying moments to make sure ed knows it too because despite everything, despite everything he did and despite everything ed did and despite not being ed's romantic choice, he loves ed. it's worth it to use his dying moment to make sure ed knows this because izzy loves him.

it's worth it.

izzy is the stand-in for the stereotypical pirate, the villain - the representative of how repression and oppression work together, of how race and class and colonization interact with each other, of the lines between love and obsession and power and rage and fear blurring beyond recognition - and he heals. guys, the point of his story is not that he was all those things and paid that price. the point of his story is that he could grow beyond all those things and that growth and healing was all worth it despite the fact that yeah. our lives will inevitably end.

historically, israel hands is said to be one of the only major pirates who survives the golden age of piracy, and he doesn't survive it well - according to the contemporary account of "captain charles johnson" (almost certainly a pseudonym) in A General History of the Robberies and Murders of the most notorious Pyrates, published 1724, hands dies a beggar in london sometime between 1719 and 1724. it has been suggested by some pirate scholars that hands may have actually been the source for much of the information johnson is able to relay regarding blackbeard - and that johnson's apparent wealth of information contributed significantly to the legacy blackbeard left behind and his lasting fame. i had actually really hoped to see this play out in ofmd - izzy protecting ed and stede through perpetuating stories about blackbeard's 'death' (fake, i'd hoped) and legacy.

but i think - he is. in his way. he's there on the hillside, keeping watch. he's there to hold all the stories and all the memories of pirates and what it meant to belong to something, even as the golden age of piracy sets. he's there to show what it is to love and to be loved in return: eternal.

i don't like that izzy died. i think he's a great character, i think he's great fun to have in the ensemble, i think his dynamics with ed and stede are so fucking chewy and delicious. i think con o'neill has done the work of a lifetime on this character and, i hope, had and continue to has the experience of a lifetime with this fandom. my heart goes out to those of you who are devastated; i've been there in past fandoms, i know how achingly difficult that is. i'm so sorry.

but izzy's story is worth telling. izzy's story is worth celebrating. izzy is about making mistakes - bad mistakes! - and finding your way back to something better. izzy is about healing, and about community, and about hope that even when things are shit and people are shit - they can change. things can change.

and maybe - yeah. it's about the role stories play in our lives. about using fictional little scenarios to deal with our traumas. we're here. we're alive. we're coping. we will heal.

not moving on is worse.

[project-sekai-facts]

Does the play in revival my dream is really racist/stereotypical ?

Yes, I don't think it was intentional at all in fact it's pretty clear the intention was to say "don't judge those who are different from you just because you don't understand them" but ultimately they failed at that.

The play presents it as a very "both sides" kind of issue in terms of the natives and colonisers not understanding each other. There's also this line:

Before this the town dwellers (colonisers) had been incredibly rude towards and fearful of the forest people (natives). The girl Emu is playing rescues a solider after her people attacked him, even though the soliders had literally just invaded their land "just to check" if the natives were gonna attack the town. "They're not all bad" to the officer who just led a march onto someone else's land just in case is not the right message here at all.

Also ultimately it's revealed that the conflict between the both sides was instigated by a third party. The worse coloniser who wants to exploit the natives for their natural resources. The townspeople are the good colonisers who should be forgiven for their actions because they were manipulated by the antagonist who is a bad coloniser is also not a good look. Like it really hammers in the "not all bad" message here by introducing the only character who you are meant to think of as bad. Not like the other townspeople were incredibly racist before they made amends with the natives. That can be forgiven because they don't really think like that they were just manipulated by the evil exploitative coloniser. Do you see how bad that message is.

(Also there's a line about how the townspeople might sell Emu to another country for interacting with them and maybe we're meant to view it as an exaggeration but either way. Why are we meant to be forgiving towards these people again?)

While the movie Emu and Nene's cards seem to take inspiration of is based on the Emishi people, it's more likely that the play is based on Ainu people, due to the more recent archetecture used in the sets, as well as the costumes for the officer and subordinate (refer to Tsukasa's rmd untrained). Emishi people are believed by historians to be ancestors (but ethnically distinct) to Ainu people. I strongly suggest looking into the history of Ainu people and the oppression they faced from the Japanese government and other countries (European ones surprise surprise), because the oppression dates back over a millenium and is far too much for me to reasonably cover in any detail. In brief, the government for centuries has regarded the Ainu people as a primitive and barbaric group (both terms are also used in the rmd play), and in recent centuries took their lands in northern Japan with the expectation that the Ainu would assimilate with the Yamato Japanese people. Post WW2 they were denied rights to their traditional practices and even their language due to governments pushing for monoculturalism.

That's not even going into the fact that the reason wxs is the only unit that has card sets based on other cultures (this and island panic) is because they're treated like costumes, which in itself is an incredibly dehumanising and racist way to think.

[kanonavi]

Spoilers for Simulanka Day 3

There's a conversation that I've had with friends from time to time about the fact that the world of Teyvat is, at its core, incredibly kind. Shockingly so, even for most fictional stories that aren't directed towards children. Even though the traveler has faced many antagonists on their journey, the people around them have always banded together to overcome those challenges. Even when people are hurt it's very rare for anyone to die, and many of the antagonists in question aren't pure evil and have their own reasons for taking the actions they take. They may not always operate on the same morality as the traveler or the player, and they might not be "good people", but they still believe that what they have to do is right, or at the very least necessary.

To put it more simply, Genshin is filled with characters that are made to be liked. Not every player will like every character, but very few of them are actively trying to work against you, and even when they do there's still something there to like. Except for like, Il Dottore, but he's likable for how unlikable he is (I have to say that or my Dottore enjoying friend will be sad lmao).

I got to thinking about this when playing the last part of Simulanka because it was a reminder of how, despite the kindness that they've been shown by Teyvat for the past three and a half years, the traveler's morality is still shockingly black and white in many situations.

We see this the most in how they interact with the Fatui. The Fatui, particularly the Harbingers, have cause a lot of damage in the past, but a lot of the grunts are just ordinary people following orders. the commission line in Mondstadt with Viktor, Golden Apple Archipelago 2 and The Chasm come to mind for times when we've interacted with Fatui grunts in a way that really humanizes them and shows that a lot of them really are just people doing a job. Some of them have just been surveyors or low-level guards, but the traveler and Paimon treat them like they're cartoon villains until proven otherwise (and sometimes even after proven otherwise).

The way that they acted towards Simulanka Durin before the party gave him their blessings also seemed to reflect this, especially in comparison to the other party members. Wanderer was obviously the most sympathetic to Durin, since his memories were like looking into a mirror for him, but Nilou, Navia, and Kirara all stepped forward to give Durin their support while the traveler was still showing doubts. They were thinking about how the residents of Simulanka might not forgive Durin, or how his form was too big and scary to coexist with everyone, which was an incredibly unsympathetic outlook even though they were ultimately able to change Durin's form.

It honestly reminds me a lot of how the traveler treated Scaramouche/Wanderer in Inversion of Genesis, like he was a person to be kept the company of only out of necessity as a means to keep him under control, even after Nahida said that she trusted him. Even though something did go wrong at the time, it still showed that the traveler's suspicion and distrust of Scaramouche was strong enough to outweigh their trust of Nahida, despite Nahida having proved herself many times to be wise and worthy of trust in the past. That mistrust and even disdain for him even carried over into when he reappeared with no memories, as the traveler was forcefully adamant that he needed to reclaim his memories and atone, to the point that it seemed like they were being a little bit mean about it.

It's arguable that Scaramouche deserved that treatment, since he was kind of a little shithead who caused a lot of harm in the past, but the traveler was also witness to how deeply he was hurt and manipulated in the past, and therefore would have some kind of understanding of why he turned out the way that he did.

Despite the traveler's usual helpfulness in Simulanka, Nilou, Navia, and Kirara all feel like contrasts to them. Nilou's whimsical outlook and positive mindset allowed her to grasp the magic of creation and even gave her the initiative to try and change Durin's form with magic in the first place. Navia is used to taking care of "the little guy", as it were, through the Spina, and was therefore willing to listen and empathize with the toy people who didn't want to undo the power of prophecy. (With those guys also being called "conservatives" or a "conservative radical" in English, that doesn't really have a good connotation depending on your political leaning, but Navia listened to them anyway). And with Kirara, while I haven't played her little sidequest yet, the description of her outfit described how the little cat burglar stole and returned the emotions of the cats that they hadn't been given when they were created, casting her in the role of someone who can understand the balance that anger, sadness, and pain bring to happiness.

The three of them, as well as the Wanderer, all carry Teyvat's fundamental kindness with them, and it was then coaxed out of the traveler only when all of them had already stepped forward.

It made me wonder if this is some kind of lesson that the traveler has to learn before reuniting with their sibling, that they need to be more willing to put their trust in people, or at least be more understanding of others. While the abyss twin hasn't divulged too much of what they've learned yet, they've made it clear that there are lessons that the traveler needs to learn about the world before they reunite. While that likely has a lot to do with various truths about Celestia and the sky being fake and all that, perhaps they're hoping for their sibling to learn that at least in Teyvat, sometimes people who cause harm to others are simply trying (or have tried and failed and lost hope) to find a path towards co-existing with others.

Since the abyss twin is supposedly born of Teyvat as well, perhaps they've already understood that part of this world from the very beginning and are waiting for their sibling to catch up.

[kittyandco]

something i've been thinking about for the last few... forever.

shout out to the people who identify so strongly with, and/or find the most comfort in, the worst character(s) of any media that you're into. some of us find connection and similarities with the most terrible figures that canon has to offer. often, you're expected to identify most strongly with the good guy, or aspire to be like them (and not to say you don't, because i do sometimes). but that often doesn't happen for me, and i see more of myself in the evil impacting them.

not because i think i'm a bad person, and not because i aspire to be a flamboyant supervillain, but i often understand their feelings, their mindset, i understand how they got there, because i often went through a lot of the same things they did, even if only emotionally. it often goes beyond sheer appreciation for me (though i often find them more interesting from a narrative sense). and if i were in their world, i might become like them if things were even slightly different. if i didn't try to unlearn the fact that destruction is the only way to get what you want. catharsis is a powerful motivator.

i think it's important to embrace the "they're just like me" perspective when it comes to characters who aren't always "morally sound," and i do unequivocally include the "unsympathetic" ones. we're always going to find fictional characters we admire so long as art keeps being made, and sometimes admiration moves into "i identify with this character because of our background/personality/etc.", and sometimes these characters are the ones you're supposed to hate and root against... intentionally or not, many antagonists are very relatable (though often in unspoken ways).

none of this is to say that your taste in favorite characters means anything about you as a person, because it doesn't. how you treat others says all it needs to say about you as a person. i've seen this first-hand: people being surprised that i am friendly and compassionate (i try my best!) simply because i have a deep love for fictional guys who commit atrocities. yes, my worldly experiences, and the way i view them, as well as my fantastic taste draws me to fictional bad guys, but at the end of the day, i strive to be the best i can be every day. i aim to exude the kindness that i didn't always get when i practically begged for it. on the other hand, you could like the most sugary sweet, do-good fictional characters ever created (and good for you! no shame here!) and still be a nightmare to those around you.

i don't like the idea that you CANNOT like these characters, or identify with them, without condoning some sort of evil or being a bad person. they are people (or robots, or monsters, or whatever they are) who did bad things, whatever their reasons -- here's no inherence about it, and i think that belief has helped me in trying to understand them. i try to practice this with everyone i encounter. and along the way, i actually find that we aren't so different

[bloggingboutburgers]

So, a while ago you said that you aren't active in fandom spaces in part because they tend to be so overwhelmingly sex and romance saturated that they're basically unnavigable to a sex-averse aroace. (I remember because I am also annoyed by this, and actually write a lot of gen fiction myself. The sort of tropes and interactions I like to read can basically only be found by trawling romantic relationship tags, though, even if I don't care for the sexual or romantic part.)

I just found out that Squidgeworld - a fanfiction repository that uses the same code as AO3 - has a QPR category! There are less than two hundred works in the category, but the mere fact that it exists is heartening. They also have an "antagonistic relationships" category, which I am delighted by - watching rivals interact is way more fun for me than watching lovers interact.

Anyway, I'm not sure that this is something which you would personally take advantage of, but you have a pretty large following in the ace/aro spectrum community, and I have little doubt that this will be a good resource for someone. Maybe it'll even sew the seeds of a more active aroace-safe fanfiction community.

It IS a very valuable resource, thank you so much for sharing it!! I hope it comes to help a lot of people facing the same challenges we do TwT

[spiritseeeker]

This singular frame was all it took to undo my very extreme hatred of Adam, Vivienne Medrano how dare you make me feel sympathy for this man-

Like, Adam before this scene? A blatant misogynist and a hypocrite who unabashedly revels in sinners' suffering. A guy who has no regard for anyone else, and who pisses pretty much every viewer off with patronizing jabs like "sorry sweetie" and "try to chillax, babe." Ugh, disgusting.

As the first man, it seems like he got an easy pass into Heaven. Maybe the angels were just saving face, given that their core pair of humans both took the fruit of knowledge of good and evil willingly, ordaining Adam on the technicality that "Eve did it first." But I think we can all agree that it was not on the merit of Adam's virtue.

And then Charlie draws blood during their fight in Episode 8, and, for the first time, Adam genuinely realizes he can be hurt. Like, for the first time in the duration of the show, in his entire fucking existence, someone shows him that he is not, in fact, an all-powerful symbol of power and superiority. He's just a guy with privilege who is just as vulnerable, just as flawed, just as human as the rest of them.

But once the mask is shattered, revealing the rather unexceptional man underneath, does Adam back down? Of course not—he doubles down. There's nothing worse than a narcissist who is virtually incapable of seeing the error of their ways, even when they're clearly backed into a corner. Bruised and bloody, he bellows that he's THE man; everybody should worship him.

For me, that pretty much hit the nail in the coffin. There was no redeeming a character like Adam (ironic, since he's one of the few characters in the show not in need of redemption).

So isn't it fitting, then, that his death didn't happen in some grand display requiring all of Lucifer or Charlie's might? Isn't it fitting that Adam falls to Niffty—not Lucifer, not an overlord, but a common sinner, who sees him as nothing more than a foot soldier that needs to be eliminated, a pest as easily squashed as a roach? For someone as self-aggrandizing as Adam, this has to be one of the most humiliating ways to die. The perfect end for an insufferable antagonist.

But nooo, Vivziepop didn't end it there.

Because INSTEAD, we hear Lute's heart-wrenching screams as she realizes that Adam has just been defeated; we see the look on her tear-streaked face when it registers just how badly he's been injured. The fear in her eyes at the prospect of living in a world without the angel she idolizes, the man she serves.

She's not concerned that she's just lost her arm, or that Vaggie is standing right there. In that moment, the only person in Hell is Adam, and all she wants is for him to stay with her.

Adam could have easily dismissed her feelings entirely. He could have spent his last breath hurling one last insult at Lucifer, getting the satisfaction of having the last word before his death. He could have thrown himself a pity party and cursed his fate.

Instead, this greedy, selfish, murderous fiend has the audacity to see Lute in his field of vision and flash her one last, tender smile.

We don't know for sure what Adam was thinking in this shot, but personally, I think it was something along the lines of I lost. Proud of you, Lute. I'll miss you. Goodbye.

Whatever his final thoughts are, we can surmise from his expression alone that he's accepted his fate, and that he's grateful his last seconds alive are locking eyes with someone who's important to him. Someone he cares about.

And THAT—that was enough to crack through that thick shell of hatred I'd developed for Adam and shatter it like the mask he wore for seven and a half episodes of the show. THAT 8-second moment was enough to make me reconsider my stance on Adam as an irredeemable villain.

(CURSE YOU, VIVIENNE!!!)

Does this scene cancel out all the heinous things Adam does throughout Season 1? All the lives he destroys, all the pain he causes to thousands upon thousands of souls? Absolutely not. But it does change my perception of Adam from "obnoxious egomaniac with no self-awareness" to "obnoxious egomaniac with no self-awareness that is a product of the flawed system he perpetuates."

And, I gotta wonder, what would Adam have been like if Heaven had been different?

[bobbile-blog]

Okay so I've finally gotten to Jessicalter's Oprec and now feel qualified to talk about Come Catastrophes or Wakes of Vultures. holy shit. This went straight into my list of top Arknights events. Fantastic event, spoilers will be under the cut so I HIGHLY RECOMMEND reading the event first. It's really good and worth your while.

Anyway, what follows is a scattered mess of thoughts about this event and things that stuck out to me.

First off, plot stuff! I'll probably cover this when I do my next plotline recap post, but what I took away from the end is that Clip Cliff seems to want to make Blacksteel independent, or at least more self-determining than it is now. He seems to be gathering resources and assets like mobile city plates and investing in long-term infrastructure like merc training, so he definitely has a long game he's pushing for. I don't think we know enough go speculate about his goals, but we'll definitely be coming back here again. After all, Tila has an infection monitor in her art, which probably means she's going to be playable at some point in the future.

Next, having looked into this a little on my own, I was interested in some of the previous places Raythean has shown up. Specifically, the ones that stood out were the drones in the Kazimierz Major and arming Silverash's forces in Kjerag, which might be referring to the Tschäggättä. It's not just notable for their apparent level of technology, but also as a faint connecting thread between three separate capitalism plotlines. I don't know if that's going to be meaningful in the future, but I found it interesting enough that I thought I'd bring it up.

Now on to more narrative things. While I love Liskarm and Franka, I do think it was the right choice to give them less screen time in this event. They're both (for the most part) fully-realized characters who understand their own motivations and morals. This is above all else an event about Jessica learning to stand on her own as an adult, so it makes sense that they're more here to support her than they are to play their own roles in the story.

Speaking of said roles, I liked the event's commentary on cops. It pointed out an interesting distinction that I wouldn't really have ever thought of, that between mercenaries and cops. To start: cops exist to protect property, not people. The police exist to protect things and do not have an obligation to err on the side of people over things, and in fact are supposed to do the opposite. This event understands that, and that role os the core of how the bank treats the Blacksteel mercs. CV, however, raises an interesting point that mercenaries are bound by the letter of a contract and not the larger obligation to property cops are, so they can actually raise moral objections and point to their contracts, sort of a Lawful Evil/Lawful Neutral to cops' Neutral Evil. The independence of their position with respect to cops allows for more of an independent morality than you'd get in a cop story and I like that, I think it's a really smart direction to take your writing in.

On a (mostly) separate note, holy shit Arknights is really good at writing cowboy stories. Between this and chapter 9 (and I would argue An Obscure Wanderer), Arknights has repeatedly made it clear that they Do Not Fuck Around with their cowboy stories and I'm surprised I haven't heard more people talking about it. It kinda has everything:

- It takes place in a rural, working-class setting undergoing a larger imminent societal shift that can inform the larger narrative, and deals with a semi-mythologized past that is rapidly disappearing.

- It has a protagonist and an antagonist that serve as foils, both very heavily affected and defined by the (same) violence in their past that they've both had different reactions to. Our protagonist has come to terms with the violence as a tool to maintain order, while our antagonist has used it for personal gain and in some ways lost control of it.

- It's a story about community, and heavily emphasizes local and personal community over larger artificial corporate "community". That's my reading of the recurring motif of the cold btw, warmth represents the close, personal community Davistown used to have and the cold that now pervades it comes from how the bank has systematically dismantled that community.

- And, I'd argue most importantly, it understands the narrative power of a bullet. The Showdown at the end of a cowboy story is powerful because we've spent the entire runtime of our story with these characters, and they are now facing each other down with the intent to end one of their collective two stories. The entire weight of the narrative so far comes to rest on a single moment of tension. It's really hard to gather up the kind of narrative momentum you need to make that hit like it does in CV. For example, it requires a really light hand with actual action in the story, so that it really does feel like it's an even standoff between our protagonist and antagonist. On the other hand, though, you do actually have to establish the relative skill of both parties and actually sell the danger of the moment to the audience. It's really hard to toe the line between tension and actual action in a way that makes for a satisfying resolution, and CV does it extremely well.

Honestly, Arknights just seems really good at getting the vibes of American media right. This is something I noticed in DV and Lonetrail too, and I haven't really been able to put my finger on what it is about them, but the vibes are just really on-point. I want to write more about this at a later point once I actually figure out what it is that I'm feeling, but maybe it's the setting, maybe it's the cast, maybe it's the plot points, maybe it's something in between — it just seems to understand the spirit of period cowboy stories in a way that I can't describe. Good shit.

Finally, I wanna end this with where Jessica is now. The events of CV take place In between the events of Loneterail and Ideal City, so the current "now" of the story is a few months ahead. Jessica left for the frontier along with Woody, Helena, and Miles. They live together in a small new settlement, building the place from the ground up with Woody and Jessica acting as town sherrifs. At the point we're at now, rhe town is fairly well-established and Woody has temporarily left on other business, leaving Jessica the sole sherrif of their new settlement. However, she's risen to her new station, and is growing into a stronger person than she ever was before.

[bonefall]

.. opinions on wind runner? i feel like im one of the only ones that genuinely hates her sometimes

If you feel like the only one who genuinely hates her, I think you need to look around more. Wind Runner is a very widely disliked character, because she's often used within the story as a small antagonist who "threatens" the authority of Tall Shadow. Gray Wing dislikes her. Thunder is openly cat-racist to her. She spends several books trying to break through the moor cats' xenophobia to join a group that came to HER LAND.

Then, when Moth Flight is old enough to be a relevant character in Forest Divided, Wind Runner is turned into Yet Another mean mom the very moment Moth displays ADHD. She's contrasted to her mate Gorse Fur, who is a Soft And Good Dad, and ultimately MASSIVELY punished with the harrowing events of Moth Flight's Vision (even though, for most of that book, she's completely right.)

Ask yourself why they're especially harsh on WIND RUNNER for being mean to her child, in the arc with Tom the Fucking Wifebeater and his redemption death, plus Thunder being forced to stop being mad at his abuser Clear Sky, please.

To me, Wind Runner is an intense, ambitious woman who's demonized for it in a way that men just aren't. She's subject to several misogynistic trends within WC, plus a huge helping of xenophobia that goes absolutely unexamined. If DOTC cared at all about women, it would have treated her with the nuance she deserves.

Wind Runner is treated with nearly endless suspicion by Gray Wing through books 1 - 3, while he's bending over backwards to suck Clear Sky's toes.

Her wanting to join the group that came TO HER HOME and being a bit pushy about it earns a stronger reaction from Gray Wing than Clear Sky murdering people.

She's pressured into changing her name "to fit in," and it's still not enough. She wanted to join the group so bad she changed her name, at the request of the Mountain Cats, for a chance of being better accepted

This came after she'd already saved Jagged Peak's life when a burrow collapsed on him. She's plenty trustworthy.

She keeps doing shit to try and prove herself to this group of assholes. Remember Bumble being dragged back to her domestic abuser? Gray Wing interprets this as a power struggle, when WIND RUNNER WAS NOT EVEN PART OF THE GROUP AT THE TIME.

From Wind Runner's POV, she did something that the Moor cats wanted done. It was fucking evil. It was committing violence against another member of the out-group the cats see her as.

But who actually has the power here? Tall Shadow does.

Gray Wing said it himself that she could have come up with some excuse for Bumble to stay, and she didn't. In fact, any cat could have spoken up. No one did.

and still. STILL. Wind Runner gets nothing. Her reward is Gray Wing surmising that actually, her doing their sick dirtywork was a political move.

It's more consistent as a motivation with how Wind Runner wants to join their group. The thing she's been doing.

She only actually gets to join the group after Thunder starts publicly hurling slurs at her for suggesting they need to be ready for Clear Sky to attack them. "What do you know about peace? Last time I was here you were NOTHING BUT A ROGUE WITH A ROGUE'S NAME"

Gray Wing even starts purring when she gives birth, because her ambition goes away briefly and she "stops bossing everyone around." this is treated like a sweet thing. god forbid women retain their personalities when they have kids

She loses her first premature child to a seizure and Gray Wing starts proselytizing his religion to her. "Maybe it's a good thing your weakest child died because Jesus has them now" I want to beat him with a hammer

When her second child gets sick, Clear Sky has a bright idea that involves killing it. I refer to this as his "reverse leper colony" suggestion. He only develops a sense of humanity towards the sick when his brother's pregnant wife is in danger. Wind Runner and her kitten barely seem to clock as people to him.

It's only after her SECOND baby succumbs to a horrible, painful death that she decides the moor cats are assholes, and she goes to start her own group. It's LONG overdue. I was extremely excited to see it.

Now. Listen.

I've been treated just like Moth Flight before. I've practically heard the scolding in Book 6 Chapter 3 verbatim. I'm not downplaying anything about Wind Runner being harsh to her; being yelled at like that never fixed the problem.

What I'm saying is that this is the SAME arc that summons the hollowed-out ghost of Storm to coo that Clear Sky "never drove anyone away" with his abusive behavior and gives Tom the Wifebeater a heroic redemption death.

So why is the scolding from Wind Runner treated as unambiguously harsh? What's the difference between her and them?

Why is it that outside of this little bubble of the community, you can get buried in a flood of people crying about how "Clear Sky made Summisteaks Butt he thought it was the right thing :((( He feels bad about shoving Thunder's face in a weeping, pus-filled wound and trying to kill him :((((" but Wind Runner is mean about Moth Flight not catching a rabbit and she should be skinned alive

Why is WIND RUNNER held responsible for the death of Clear Sky's child in Moth Flight's Vision, WHEN IT WAS COMPLETELY HIS OWN FAULT??

So, why should I hate her? Because she's mean to the idiot protagonists? Because she's Yet Another Bad Mom whose actions ARE treated as Bad in the story, in the arc famous for openly weeping whenever someone's mad at their abusive dad?? When she has this whole horrific, unexamined story about how incredibly bigoted The Settlers are towards her and the extremes she goes to in order to please them?

I'm glad she's mean, actually. She should have been even meaner. I think she should have a gun

[lollytea]

I know people find it gratifying when the antagonists in stories face some kind of karmic justice or they go through a redemption arc and make things right with the people they've hurt. But also I think there needs to be more stories about coming to terms with the fact that you will never get an apology for the way you were treated. The person who hurt you will not face consequences. And sometimes there's nothing you can do about that without hurting yourself some more in the process. I know it doesn't FEEL as cathartic but I think storytelling norms have made us too comfortable with the inevitability of karma. And if there's no karma, we don't know how to deal with it.

I think rotting your life away waiting for the situation to pick back up in some shape or form and fixated on how that person will never feel the impact of what they did is a very common experience and its a hard truth to swallow when you realize the situation is truly dead, only living on in your mind and yours alone. I think there should be more stories that take your hand and help you through that.

Personally I don't think karma is real. At least not in a cosmic sense. I think it definitely applies in a domino effect kinda way. Your actions will have consequences. But sometimes people are just randomly lucky. Sometimes they're good at dodging heat, no matter how much damage they've done. And that's just how life is and sometimes obsessing over the injustice of it is only going to make you feel worse.

[smahell]

is there a villain in obey me?

yes. according to this simple search, diavolo is the antagonist we should fear. and date. and collect cards of. for some reason.

this was sent in a discord server I was in as a very very obvious joke (hopefully) and this result is surely ai generated, or google's done a whoopsie-doodle and taken something off of reddit.

yes, diavolo can assert himself as an antagonistic force, but all of his actions are always within logical reason. though it may be against the wishes of the brothers and MC, he always does what is right for the devildom, whether that may be putting lucifer on house arrest, or locking belphegor away from his brothers.

diavolo is literally just trying his best, and he's been doing that since his father basically dumped the responsibility of a whole realm on his shoulders and abandoned him to sleep at the bottom of the devildom. his past is genuinely so sad.

so, who's the villain in obey me????

you could certainly say it's belphie.. but you can also date him. belphie changes through our the story, and as of right now, he holds nothing against humans and anyone in general. though it was a short span of time, he has gained the (somewhat undeserving) forgiveness of everyone around him after trying to kill MC.

like yes, michael, but it's very obvious with him disguising himself as raphael, going against god's will, and even his manipulation of the brothers that he wants the brothers back, and still sees them as family. even if that may not be reciprocated.

you could say father. but in a sense, lilith broke the rules, and so did the brothers. they all needed to be punished accordingly. and the brothers still refer to him as "father" and not by any other name. they don't hate him as of now.

they feel sympathy. an attachment. a connection.

in the og where michael was mentioned once or twice, the fandom was quick to assign him as The Bad Guy™, but getting to know him through nb, he really is just like all the other characters in terms of role. and throughout nb michael is doted on fondly by the brothers. it's that sort of difficult familial love estranged families can relate to.

are these good decisions? no

but he's not a villain.

if you lost the loving family and friends you knew, and you had the power to get them back through such unconventional means... michael is just using the powers he was given.

"so then.. maddie's the bad guy." okay grandpa, let's get you back to your wheelchair..

she's barely even mentioned for starters, and from what I've heard, she's not even been mentioned in nb. all she's done is made mammon cry at some point, and tried to marry diavolo. she might be a shitty person, yes, but she's never even involved enough to make out lives, or even all the brothers's lives a living nightmare. she's a very minor nuisance, at most.

all the characters do something antagonistic. every single one of them. if there was a villain it would discredit the fact that the game isn't about heroes and villains and morality, but about people. and that's what makes obey me so good. and if there was (a villain), the story would've ended by now, long before the franchise's fifth anniversary. ****

every character is morally grey, and the fact that it leaves it up to the player to annotate what is good and bad makes the whole experience more immersive and personal than ever. however, it speaks volumes concerning a lack of media comprehension that anyone would try to assign a villain to obey me.

obey me is about dating silly demon boys, and watching people live, whether that be in peace and harmony, or in tense, on-the-brink-of-destruction moments. the story has no need of a true antagonist, when we have well developed and wide range of characters gets that impact the story no matter what. enjoy the game, hate or love the characters.. whether they're antagonists or not, just have fun.

****(because the devs weren't very good at writing the first game.. so I doubt they could've had the support to have written a second one)

[edit: this was brainstormed between @prettylittlelambs and i on discord :3 thank you for sort of inspiring me and going me come up with more ideas]

[comicaurora]

When did you decide on introducing Falst as a fakeout villain? in my head it's such an ingrained part of the arc but I have to imagine his intro wasn't always like that.

It wasn't! In the very earliest version of the story, aka the loose pre-scripting nebulous idea for how to get him in with the group, it was a pretty simple scenario where Falst was victimized by some bad guys and the gang helped him out, validated his existence, etc. It was functional for what it needed to accomplish - getting him in as a Main Character - but it had a lot of problems, namely that he had no agency in any of it.

I realized as I got closer to introducing him that Falst had a characteristic that none of the other protagonists had: he was rough. Erin isn't nice like Kendal and Alinua, but he's not going to go out of his way to purposefully hurt anyone who hasn't hurt him first. Erin can be rude and thoughtless, but he likes explaining things, and that does a lot to smooth over potential miscommunication. Falst isn't like that. Despite suffering deeply from loneliness, Falst is not good at making himself palatable for other people, and for the most part doesn't want to, in part because he shouldn't have to. It took a lot of bad stuff to grind him down to the point of seriously contemplating turning himself human to make it stop, and even then, he typically responds to antagonism by hitting back twice as hard, not making himself more inoffensive in the hopes of making it stop. In the trifecta of fight-flight-freeze, he defaults to fight, and he has a lot of reasons to wall off every conceivable vulnerability and snap out at people instead of giving them an in-road to hurting him by being nice to them. This makes him incredibly vulnerable to conflict and miscommunication plotlines because he will never explain himself if he thinks he has any other more combative option available, and that makes it very easy to turn people against him if they aren't willing to reach out and potentially take a hit trying to close that gap.

What I like most about writing Falst is that none of this makes him a monster, and none of it makes him unworthy of chances, love or understanding. He's a ball of sharp corners and he hurts people, and he's very easily framed as an antagonist because of that. And framing him opposite a kind, soft-spoken, eloquent, handsome small town doctor makes it easier to see him as a villain. And the fact that the doctor is actually a manipulative villain doesn't undo any of the stuff Falst did during their initial encounter when they didn't know each other and he made his introduction by robbing the party and lightly maiming Kendal. Falst is not perfectly nice, and it doesn't take much to get him to be actively mean or unnecessarily defensive. It is easy to convince characters and an audience that a character like that is a Problem, because if he weren't a Problem he would be nice and non-confrontational and conventionally attractive. Undercutting aesthetic morality is always fun, and sometimes you just gotta judge a character by their actions and conclude that they might not be good at making you like them but they're not actually doing anything all that bad.

Falst is kind of a jerk. He also has a lot of qualities that are not jerk traits. Falst found people who like him, and the fact that he's a jerk doesn't contradict that. We're all jerks sometimes, and we all tank hits from our friends being jerks sometimes. Falst is at his most interesting when I let him be emotional, hostile and imperfect, and I think it's nice to give him people that love him without undercutting the things that make him believe he's unlovable.