#cc diana

[cheetoschildren]

I’m just gonna…

*walks over to Vidette & sits down with her as I also struggle when it comes to loud crowds*

Vidette's current mood: Vidette: YOU KNOW WHAT- gets up /She mutters a verse of "the sound of silence" under her breath, and a hush fell over the room. silence at last./ Guys, I know we're all excited to be here, but for Lucifer's sake, can we not talk loudly in this enclosed space??? /Everyone is silent/

Thank you.

/The spell is lifted, and everyone's voices return. Star wrangles Sky to get her to stop bossing people around, Mila goes to chill with Diana, and the three girls stop arguing./

[rheya28]

"Hello's"

[captainmartin20]

like mother, like daughter fr

[im-not-buying-it-ether]

Okay but now I feel compelled to wonder, in that fun AU of CC and Marilyn being Captain and Mary Marvel, what their lives as heroes would be like

Like, villains are the same for the most part with probable lack of antagonism with Sivana, he’s the dude who hired them for the dog in the first place with the public intent of a historical attraction at a park and on the side of the bus he’s campaigning for mayor. Other than that, villains seem to be the same from the brief moments we see.

They stay out of the limelight, they prioritize keeping their identities hidden for the sake of Billy and Mary’s saftey and childhoods, and they take their duties seriously.

But what’s tingling at the brain right now is how they’d interact with the rest of the world of DC, heroes and teams and whatnot, outside of Fawcett and the menagerie of characters there. We know CC accidentally stumbled onto some daring scene with Spy Smasher and the bunch (no joke, time was funky in Fawcett and CC was alive at that time) but I’d love to see him with other heroes

Like, say he fills the normal roles in comics Billy would’ve, joins JLI and, like his son, tries calling the other heroes out for acting like bigger juveniles than his actual kids and ditches bc apparently the people who save the world on the regular cant not try and fist fight the other every few hours. He’s on and off some team, focusing on his city and his family more and more, pops in for bigger fights when they occur but is mostly hometown based and handles his own issues.

Of newer stuff, I turn to YJ’s tv show for another idea. Aka, CC also being a chaperone for the Team at the same time Billy comes in but with a twist, turns out his kids have a percolation for magic and have been getting the hang of some spells so they’re joining the Team too while CC is on chaperone duty. So leads Billy and Mary’s attempt at a slow entrance into heroism that immediately backfires when they get captured, cue heartwarming scene of dad hugging his kids after a dangerous situation that follows him tearing the base apart looking for them. True dad fashion and all that. What becomes complicated is the World Without Grown Ups plot, in which I say have Billy and his had pre-the plot agree that Billy can have Shazam powers for super big emergencies and Billy definitely counts all adults disappearing as an emergency. Cue once more the fun father son bonding of Billy looking just like his old man with Shazam powers.

Onto Marilyn, who unfortunately doesn’t seem to have more beyond “clever” and “good mom” from comics, but she’s got her hutzpah and would probably be as active a hero as CC while still prioritizing her life and family over heroism. The whole Shazam thing is definitely more a job than it is what kind of person she is, she’s an archeologist and likes that profession more than she likes worrying about everyone else. She’s definitely more no nonsense and, if there’s a difference, she’d probably prefer the more grounded crime fighting than the mystical shenanigans CC would do in her stead. Billy and Mary end up closer to her in quality time since that focus of crime fighting keeps her grounded.

Also, the general vibes of the Captain Marvel tropes. Such as the identity shenanigans.

It is a fun thing of fanfic that, since his civilian identity is very vulnerable and people like their identity plots, Billy has his questioned or revealed a lot. Add in CC as Marvel instead and it flips a bit to be a man who is well known in his home city whose entire family, non-powered children included, could easily become targets if anyone knew who he was. And he’s deliberately secretive about it for that purpose, he’s protecting his children with his wife. So, perspective, there’s a new hero who comes in with a hero partner who is also their life partner. They have the power of actual gods and titans, they don’t explain anything past some nebulous Wizard they can’t name as to how they got their powers, they are very hush-hush on their normal lives but everyone knows they have to have one. It’s hard to contact them, you don’t know they’re working or traveling or with their kids because you don’t know they do work or that they have kids, so you worry what they’re up to for what seems to be every hour they aren’t begrudgingly saving the world with the rest of the heroes. You catch them talking to the other but the minute they hear you they clam up and change everything about how they were just a second ago, you could swear they were talking about digs or gods or bringing someone home but you don’t know anything because you don’t know them.

Cue the mistrust, the reveals, how it all goes wrong and someone gets hurt, be it the other when they don’t have their powers or their kids and suddenly you’ve pissed off the man who loves his family so much he was tearing the multiverse open to try and keep the timeline going where they were all alive and happy together and the woman who loves those kids just as much. Or, say that reveal had villains get both of the Batsons, and now those heroes have to look those orphans in the eye and beg forgiveness, and when fate still demands its heroes out comes two new ones that make it seem like the whole Batson sham was fake and no way Marilyn and CC were the Marvels, the marvels are still flying around after they’ve gone and gotten dead and buried. Cue those heroes looking at the new Captain and Mary Marvel, knowing it’s the kids they accidentally made orphans wearing the faces of the friends they betrayed.

[randomfoggytiger]

I don't want to shame or be age-ist, but why did they bring in Mimi Rogers as Diana? She looks so much older than both Scully and Mulder. Was she hot and in the market in the 90s? I can see that her assertiveness and self-assuredness could be attractive, but she just didn't seem to "fit in". It's almost as if Mulder went for her because of mommy issues and looking for an older woman like Scully did with Daniel and her daddy issues.

I don't know anything about the actress. My issue is just with the casting and that she fit more in line with being an older character that came across, to me, more like a wicked step mother than a potential mate.

I don't think the question is ageist. :DDD It's a reality that she does look older than Mulder-- but that really works for canon.

Actually factually, they hired Mimi Rogers because DD acted with her before (The Rapture); and he likes to bring his friends forward into new projects. But her casting also enabled David and Mimi to take their characters' interactions in a slightly different direction than the script dictated.

I get you completely, Anon-- and I agree. That angle worked for me, however: it underlined Mulder's personal growth over the past five years (and showed how glaringly unimportant Diana had become.)

Diana Fowley: the Definition of Manipulative Comfort

(Credit to: @iddoitforfreebaabe)

In the script, CC wrote Diana as a knock-out who subtly wielded her sexual prowess to draw Mulder's attention away from "the truth" (and to make Scully jealous, ahem ahem.) There was a sneering, preening quality to her that isn't present with Mimi Rogers. And I like that difference; because five years and a thriving partnership have changed Mulder as a person-- not completely, but enough. Sneering, preening superficiality would repel, not attract, the person he's become.

Moreover, Mulder is a man so haunted by his past that he sees his sister in every little girl-- or, to the point, he sees the love and security he lost in childhood in every feminine, devoted, almost nurturing brunette. (He's drawn to women who promise love, companionship, and ease up front, only to be duped by their intentions and strung along with breadcrumbs of affection later.) I don't think he's looking for other sisters or other mothers in his selection process; just that their standard of beauty has been normalized since childhood. Importantly, we see his own distinct sexual preferences separate from his traumas: Mulder is attracted to intelligent, outspoken women, be it Pheobe Green or Diana Fowley or Dana Scully (or Bambi Berenbaum, etc.) This trait doesn't define his on-screen interactions with Tena Mulder-- a very passive, emotional woman when around him-- nor distinguish Samantha in his memories. They weren't idiots, certainly; but that's not how he selectively remembers them.

Back to Diana.

THE NATURE OF DIANA AND MULDER'S PAST RELATIONSHIP

Diana Fowley is the perfect archetype of a person who latches onto potential-- for intelligence and companionship-- and stays until she decides to leave (cutting loose ends cleanly, and purposefully parting friends.) Relationships are for advantage, positive or negative.

We know this because of her reappearance: in The End, Diana expects to waltz back in and turn Mulder's affections back to herself with the snap of her fingers; in The Beginning, she chastises Mulder for doubting her dedication and loyalty to the files (read: him); and in One Son, she foists a kiss on Mulder when he is at his lowest point.

She's not a mother figure but a dangerous second thing: a prey animal who locates the wounded boy in the man and weaponizes that to her advantage-- hence, her full name (Diana meaning 'goddess of the hunt'; Fowley, a spin on the word fowler or snare.) (It's not until The Blessing Way that Mulder began to question his own mother's involvement in the conspiracy, posts here and here; which provides ample proof of the lengths his ex would have been able to twist him about without his suspicion.) Diana knows how to mask her control through silky "Fox, I know better; and you know I know better" language that skirts his animosity and detection. While Phoebe is cruel and callous and careless-- getting caught-out both times she and Mulder engaged in a relationship of sorts-- Diana is circumspect and calculating and careful. Diana exploits his weak spot-- self-punishment and a desperate need for love-- by disguising her attentions behind loving, near-maternal guidance and protection... something she would have known he lacked after Mulder unveiled his backstory. While Phoebe is reliant on relationships and adoration and praise to feel superior-- unable to face or accept rejection-- Diana doesn't rely on anyone or anything except herself (hence why CSM came to depend on her, too.)

DIANA, THE (PURPOSEFULLY) NOT-SO RAVISHING

All that logic and canonical consistency aside, the beauty in Mimi Rogers's casting is that she isn't a ravishing beauty to Mulder.

Mulder isn't head-over-heels for her like he was Phoebe Green or Bambi Berenbaum or (later) Scully. In the magazines and tapes that aren't his, in his dreams, in his Kill Switch illusion, Mulder fantasizes about larger-than-life sexuality: the Jersey Devil, Phoebe, Bambi, the blonde bimbo nurses, Jade Afterglow, Scully in sci-fi gear, etc. The exaggeration in their presentation captures his imagination and attention. (We see hints of Diana as a wanton, sexually deviant temptress here and there: namely in Mulder's vision of her in Amor Fati-- post here-- where he is not surprised to see her in aggressive, sexy lingerie-- but is surprised to hear she suddenly wants to settle down and have children, post here. And, again, "settling down" is framed as "It's time to grow up, Fox"-- another maternally slanted manipulation.) In casting Mimi, their dynamic changed from Phoebe-Green-enraptured to old-wound-manipulation.

Mulder himself wasn't gutted over their breakup-- telling Diana, without a shadow in his eyes pointing to past hurts or wounds or pain he'd overcome, "I've done okay without you." It was Diana who walked and Diana who returned; but it's Mulder who didn't ask her to stay either time. She was his partner: not in the "wildly understood definition of that term", but a literal partner who discovered the X-Files alongside him, who spent five years of her life with him, and who left-- without regrets, from either side-- for greener pastures. It had been a comfortable, not passionate, relationship. Afterwards, Mulder was content to burrow down in the basement, alone; and resented any intruder into his sanctum after she left.

And when Diana returns, he's stiff, tense; and takes a while to warm up to her presence. Yes, because of his past with her, yes because he hadn't informed Scully of said past; but mostly because he knows Diana is there for a reason. And, profiler that he is, Mulder suspects he's the reason. And he's right.

DIANA FOWLEY V. DANIEL WATERSTON

How does Mulder's draw to Diana differ from Scully's draw to Daniel?

Well, firstly, we have to discuss the similarities. Both Diana and Daniel are older partners, and both put down the instincts of their lovers (or would-be lovers, in Scully's case) to assert their own interests and end goals. ...The similarities largely end there.

The differences, however, point to the nuance of their situations.

Mulder isn't drawn to Diana because she was "his mother"-- he was attracted to her because his inner porch bug is drawn to the promise of a light at the end of the tunnel; and always coaxes him into the dangerous dark and straight towards the beam of a bug zapper. In this case, he got caught in the window screen, peering into the glow of a house but unable to advance towards or retreat from it. Diana and he had good times, comfortable times that they could remember fondly later; but their reminiscing consists of her helping on the files, not the years of their relationship beforehand. In essence, they have "the work"-- in whatever current form that was-- between them and nothing more (in contrast to his bond with Scully, which transcends Mulder's search for "the truth.")

Scully is drawn to Daniel because he is "other fathers"-- a man who not only understands her expertise and passion but rewards it with devotion and pride. While Diana left Mulder and was, apparently, perfectly content to be single as she carried out the Syndicate's aims (or because she left her options open to exploit CSM's interest), Daniel mourned and pined after his loss, letting his cracked marriage dissolve completely and abandoning his daughter to-- hopefully, maybe-- run into Scully someday. Diana and Mulder coasted five years-- another sign their relationship didn't healthily benefit either person-- before they decidedly separated. Daniel and Scully had a stormy (near) love affair, and split after the tempestuous blowout.

(By the way, Mulder and Scully, carry out those patterns with their ensuing relationships: Scully moving fast and strong with Jack and Jerse before they separate; and Mulder coasting on from case-to-couch, phone to his ear when he gets lonely at nights. Their partnership ultimately breaks each other's pattern, posts here, here, and here.)

Diana does fall in love with Mulder, though: by One Son, we see she truly has lingering feelings for her ex-- that take a backseat to her Consortium calling (and lack of characterization)-- and by Amor Fati, her affection has grown enough to manifest guilt, shame, and change-- that results in her death. However: the series portrays this as new emotional growth, not a symptom of their past relationship. Mulder doesn't expect that depth of feeling from her in The End nor The Beginning; nor even Two Fathers and One Son (hence his consternation with Scully's "jealous" suspicions, post here.) Again, "I've done okay without you" speaks volumes-- especially with the twinkle Mulder sports to show Diana that, for the first time in his life, he's found a spark: that his current "relationship" isn't comfortable or stagnant or in the past. (Which is why she reads between the lines and plans to break apart the partnership as deftly as possible.)

CONCLUSION

Hopefully these thoughts helped in some way or form. :DDDDD But what do you think, Anon?

Thanks for reading~

Enjoy!

**Note**: Here's the interview mentioned in the tags.

[besthoops]

🌷💫 mama dt and her biological daughter

[bardic-tales]

Creators' Club: Meet the Project: Fantasy Worlds Collide

For this week, I'm going to do something a little different. I'm going to be talking about the entirety of the 'Fantasy Worlds Collide' passion project. This project spans two fandoms (Final Fantasy 7 and Inuyasha), as well as original work centered on the kingdoms of the abyssal and infernal plane.

You could say that FWC was created 27 years ago when I first made Bianca. At the time, she was a human who worked at Shinra. I'm proud of how she evolved since them.

Warnings: complex plot, existential questions, temporal manipulation, dark themes, moral ambiguity, tragedy, emotional impact, assault, and violence.

More info, below the cut:

The Infernal and Celestial Planes are embroiled in eternal conflict. Azrakiel, now Asmodeus, Prince of Lust, yearns for omnipotence. Obsessed with a prophecy foretelling a being of light and dark reshaping the Omniverse, he abducts a guardian archangel, Seraphine, fathering Bianca Moore. To protect her, Seraphine sacrifices herself, sending Bianca to the future. Asmodeus relentlessly pursues her across time, dimensions, and other realms, including the Inuyasha and Final Fantasy 7 realms. Bianca, raised as human, discovers her celestial powers, faces exile from the Celestial Realm, and battles her destiny in a clash of cosmic forces.

Pairing: None

Main characters:

Bianca Moore: A Nephilim born from celestial-demonic love, she's sent through time to escape danger. Unaware of her celestial heritage, her encounters with Sesshomaru and Sephiroth shape her destiny. Facing heartbreak and darkness, her journey unfolds in a relentless pursuit of love and power.

Azrakiel: Azrakiel, a fallen Archangel, craved forbidden power, birthing Incubi and seeking cosmic supremacy. His pursuit of Bianca led to cosmic battles across dimensions.

Seraphine: Seraphine, a celestial guardian, embodies grace and wisdom in the cosmic tapestry. Her abduction by Azrakiel sets the stage for a universe-defining struggle, her influence spanning dimensions and eras.

Worldbuilding:

Pathway of Reality: The Pathway of Reality, an enigmatic and timeless location, transcends known dimensions. Its black rocky staircase leads to an ethereal nexus with swirling rifts serving as portals to diverse dimensions, including Gaia from Final Fantasy VII. The Pathway's most enigmatic aspect is its profound connection to the Edge of Creation, a mystery within the Final Fantasy 7: Remake, awaiting exploration and understanding in the grand tapestry of the multiverse.

Nephilim: A Unique Fusion of Infernal and Celestial Essence. Singular in Existence. Possesses the Potential to Unleash Unprecedented Multiversal Powers. Crafted as the Vanquisher of Deities—Gods, Celestials, and Infernals Alike. Revered as the Harbinger of Darkness and Madness Across Realms. Reverberating in Biblical Lore, the Nephilim is Symbolized by the Mighty Dragon.

Bianca's journey, marked by love, betrayal, and sacrifice, reaches a pivotal moment at Shinra Manor. There, she finds solace with Sephiroth amidst the chaos of the basement. Their intense, albeit brief, romance is challenged by Sephiroth's dark descent. Bianca grapples with her conflicting emotions, torn between love and fear of her powers succumbing to darkness. After Sephiroth's devastating actions, Bianca aids her newfound comrades but soon faces caputre and torture under Professor Hojo's experiments and daily infusion of Jenova cells and Shinra's control. Freed by Reeve Tuesti, she escapes, encounters a Sephiroth clone named SC X and journeys to the Northern Crater with the help of Sephiroth. There, Bianca stands as a sentinel, overpowered by her demonic heritage fueled by Jenova cells and bound to Sephiroth in love and destiny.

Pairing: Bianca Moore / Sephiroth

Main OC Characters + Canon Characters:

Bianca Moore: Fleeing from her father Azrakiel, Bianca Moore, a Nephilim born of demonic ambition, seeks refuge through another dimension and arrives at Shinra Manor. Grieving Sesshomaru's death, she unexpectedly finds solace in Sephiroth, whose dark allure and inner turmoil mirror her own. They have a bond intertwining them together, shaping their destinies.

Diana Ravenscroft: Diana Ravencroft commands Shinra's research as one of the lead scientists and assistant to Professor Hojo. She ruthlessly oversees experiments, including those on Bianca Moore, as she is driven by her need for scientific advancement. Her cold demeanor gives way to obsession as she tries to understand Bianca's celestial-angelic origins, much like Hojo's fascination with Jenova.

Sephiroth: Sephiroth, the legendary warrior of SOLDIER and son of Jenova, is both feared and revered. His silver hair and piercing green eyes mask a tormented soul. Amidst the chaos of his dark ambitions, he finds an unexpected love interest in Bianca Moore, who he has a bond with that shapes their destinies.

Worldbuilding:

Eternal Convergence: The soul-bond known as Eternal Convergence links Bianca and Sephiroth across space and time through a mystical 'red string of fate'. This connection allows them to feel each other's emotions and pains even when seperated by their alternate versions of Earth (and Gaia), which both shook off as phantom sensations. However, the ability to communicate, as well as having their emotions amplified, was awakened once Bianca was injected with S cells and Jenova cells, respectively. This bond transcends space and time, creating a twin soul link that influences their actions and decisions. It is represented by a red string tied around both of their wrists. This string appears when they are close to each other with red heart loops spaced half a centimeter apart.

Project N: Project N, an offshoot of the Jenova Project, is the code name for 'Project Nephilim" and is named after Bianca Moore's heritage and is lead by Professor Hojo and his assistant, Diana Ravenscroft. Once it is discovered that Bianca's demonic blood can slow the degradation of the Jenova and S cells, as well as her ability to regenerate completely, she is subjected to gruesome dissections and infusions that highlights the cruelty of Hojo and Ravencroft's ambitions and Bianca's own resilience, leading to a deep hatred for Hojo, Ravencroft, and Shinra.

Bianca, once loved by David and Sarah Moore, struggled with night terrors and violent episodes, leading to her institutionalization at 10. Her life was shattered by Azrakiel's cult, which murdered Sarah and burned their home, forcing Bianca and David into a life on the run. This unstable existence deprived Bianca of stability and security, casting a shadow over her formative years. At 20, Bianca, a successful author, met and married Sesshomaru, who had silently protected her throughout her young life. He sent her to the feudal era for safety, where she faced battles alongside Sesshomaru, Rin, and Jaken. Bianca's powers grew as she fought Naraku and Azrakiel. Despite suffering losses,Bianca's determination and mastery of her angelic and demonic heritage led her to victory.

Pairing: Bianca Moore / Sesshomaru

Main OC Characters + Canon Characters:

Azrakiel: Azrakiel, a powerful fallen angel, commands a devoted cult that wreaks havoc in pursuit of his dark ambitions. Ruthless and cunning, he seeks to control Bianca and harness her unique powers, leaving destruction in his wake. His malevolent influence shadows every step of her journey.

Bianca Moore: Bianca, a fallen angel with a unique blend of angelic and demonic heritage, journeys through the feudal era alongside Sesshomaru. Her strength and compassion make her a vital ally in their fight against Naraku and Azrakiel. Determined and resilient, she protects her friends while mastering her extraordinary powers.

Sesshomaru: Sesshomaru, the enigmatic demon lord, embodies strength and honor. Initially aloof, his connection with Bianca reveals his depth and loyalty. A fierce warrior and protector, Sesshomaru's evolving emotions and relentless determination to safeguard Bianca and their allies make him a pivotal figure in their battle against darkness.

Worldbuilding

Cult of Asmodeus: The Cult of Asmodeus is a secretive and fanatical group devoted to the dark entity Azrakiel (Asmodeus). Known for their brutal acts of violence and arson, they destroyed Bianca's family home and tragically ended her mother Sarah's life. Led by zealotry and driven by Azrakiel's malevolent influence, they pursued Bianca relentlessly, forcing her and her father David into a life of constant flight and instability. Their actions left a deep scar on Bianca's soul, shaping her journey as she sought security amidst the chaos wrought by the cult's devotion to Azrakiel's dark legacy. They have their roots in Japan's Feudal Era.

Solstice: Solstice, Bianca's celestial sword, is a masterpiece of craftsmanship forged from a rare silver alloy. Adorned with intricate engravings and Enochian inscriptions, it symbolizes her angelic heritage and connection to the divine realm. As Bianca wields Solstice, it becomes a beacon of light and hope, embodying her role as a warrior of righteousness. This Great Sword channels her inner strength and celestial powers, enabling her to unleash devastating strikes against her foes while protecting those she cares for. Solstice's radiant presence on the battlefield marks Bianca's unwavering commitment to justice and her determination to confront the darkness that threatens her world.

[forrestale]

DIANA CORTEZ | The Sims 3: Create a Sim + DOWNLOAD ✧*:･ﾟ

create a sim + download over on my youtube channel ♡

[cheetoschildren]

Abigail, how short is your tail now?

Abigail: If it didn't get amputated, it would be able to reach almost to my shoulder blades, but now it's only- like- the length of my forearm.

Vidette: I can try healing that if you want

Abigail: has your "magic which you've only ever used on demons" ever straight up regrown a limb before?

Vidette: well-

Abigail: that's what I thought. Mind your business, lady

Vidette: I was just trying to be helpful-

Diana: Abby doesn't really do "helpful". Your offer is appreciated, but I doubt demon magic will do much in favor of the living.

Vidette: :(

[scatmaan]

pov: you can't tell if they're happy to see you or not(they are)

@socialprawn

[rheya28]

“Trust me…”

[captainmartin20]

that’s her mini me.

[simostara]

Anne with an "E"

Barry's house is made by Frambis

[mx-cottoncandy]

Diana - Barbie 💗🌸

[blackstarchanx3new]

Creations AU FNAF 4, But I obnoxiously over explain it PT 3

FNAF 4 pages 60-90

*Warning ahead for heavily abusive language.

Oh boy I sure hope we get an answer.

Lmao mom and dad are fighting.

Yikes Diana that's not very nice.

Hah nope.

Okay but why did people think this genuine moment between William and his son was somehow malicious???

Dude is just talking to his son who is currently breaking down wtf is wrong with some people??? XD

This was after Sister Location on webtoon too so there should be no excuse for this bad faith reading of William's character after some of the scenes in that comic. I won't spoil but like...??????????

Like William is a bad person in cannon and this comic but it's legit-

William: *breathes*

Audiance: YOU BASTARD!!!!!

HE'S A PERSON TOO AND IS WRITTEN AS SUCH?

The reference to being a devil will only make more sense as the FNAF 1 ARC draws to a close.

Oh ho ho hooooooo.

So, that's why Sammy's a fucking weirdo about robots in the FNAF 1 Arc.

Also this gives context to the whole scene where Mike and his sister in law talk about Charlie still being alive while having a grave in the FNAF 1 Arc.

The one walking around is a robot.

So unlike everything implied in cannon: Creations William loves his children.

Is it always in a healthy/good way: NO. AND THAT WILL ONLY BECOME MORE APARENT AS FNAF 1'S ARC COTNENUES.

He even loves the one that indirectly KILLED one of his others lmao.

I just enjoy giving William an actual character. Lmfao. Unlike a lot of people who get on a high horse for making him a plank of wood. X'D

Yes. he's evil man you wrote the most basic boring bland mother fucker on the planet to be said antagonist. You're very cute making that your antagonist while not thinking about how making him that fucking boring and personalities affects the themes or ideas of your work. Here's a fucking cookie???

I hate this way of writing William if you can't tell lmfao.

"He can't have a motive or you're humanizing him" is such a horse shit take and I won't stfu about it considering how prevalent of an idea that shit was on Twitter. X'D

Idk if this is a wake up call that women can be abusers too but like, they can be lmao. Trust me on that.

Oops. The demon thing heard you.

William's default to dealing with Diana is to try and fix things and placate her enough to where she won't go nuclear. Which is sad, but he sucks in different ways.

Really they are a tale of "A match made in hell".

Everyone makes shitty choices here lmao.

Diana antagonizes somebody off their rocker and William's a spinless bastard to both his wife and his creepy demon.

He didn't wanna do it himself and I find that amusing.

The poorest of poor choices were made by everyone involved.

There's little sympathy for any parties here lmao. Except maybe Ballora. X'D

That instant regret lmao. "I MADE A MISTAKE WOOPS"

That's a repeat thing with our good ol Willy boy.

He makes a mistake, and then keeps repeating the same mistake lmao.

William is stuck in a loop of perpetually falling into making the same mistakes over and over and it is a theme of the series WILLIAM is the one who needs to solve HIS OWN problems.

William takes no accountability where it's REALLY NEEDED, blames and pushes it onto others can't find the strength to fight his own inner demons and falls into the same pitfalls over and over.

Hehe your house is a bit odd there William.

William's just fed up with everyone involved in this situation lmao.

I mean yeah, the demon thing IS a bad liar.

He directly cause Diana to die lmao.

And I like William calling him out on that. William in some part is scared of his own inner demons taking form as this thing that mimics him.

"The demon" as I call him is important and also a direct reflection of William's own mistakes. William not confronting or taking care of this "Demon" in any meaningful way part of the damn problem.

Why the fuck you lyyyyyyin.

Why you always lyyyyyyin'-

That bold faced lie will only become more apparent as the story goes on. This bitch has plenty of agency he just likes William to take the fall for everything.

Which in a way is fair. He is a result of William's as well. ;)

Once again have reached the image cap because WHYYYY