#clara is the most tragic character in the game and you can fight me on that

[yourdeepestfathoms]

Clara is an extremely tragic character, but the thing that hurts my heart the most is her relationship with her Saburovs. she’s a little girl who needs and clearly wants loving parents, and the way that she gets this olive branch extended to her in the form of a mother and father, only to have it brutally severed when she’s disowned is so sad. the way she then mourns the loss of her relationship and stability only adds salt to the wound, like how she cries to the Albino about Katerina or how she runs to Anna Angel’s house to hide while sobbing because she was just cast out and is being hunted. again, she’s a child who needs a family, but even that isn’t given to her, and she never gets it back.

[ninakaina]

why do you like maria kaina so much? ì'm just really curious.

this is the most exciting question i’ve ever gotten in my life

[image id: a screencap from the pathologic wiki, which says “personality: femme fatale.”] 

EDIT: im gonna make this into a video essay sooooooo read it if you want or stay tuned for a video in like a week and a half

first of all, i’m a lesbian and she’s a goth girl. secondly, she combines many of the tropes that i adore in female characters, and i’ll try to get into some of it as concisely as i can. in short: femme fatale, magic woman, scary woman, cassandra, sublime. i’m going to draw some concepts from the essay “the woman in the red dress: sexuality, femmes fatales, the gaze and ada wong” by jenny platz in the beginning here.

in the scope of their function as femmes fatales and the ways they transcend the typical boundaries placed on femmes fatales, ada wong resident evil and maria have a lot of similarities beyond obvious similarities in design (you can see patterns forming in my interests but also if you don’t know anything about ada this should still all make sense). so we’re all on the same page, a femme fatale is a woman of dubious morals and unknown or false motives who uses her sexuality and wit to get what she wants from men. the femme fatale has a long, uncertain, and pervasive history, and a love-hate relationship with the misogynistic writers/audiences/societies that create her, but ada and maria break free of many of the tropes that allow the femme fatale to be part of a misogynist power fantasy. together they have functionally very similar relationships to their male protagonists, although i wouldn’t say maria cares about daniil half as much as ada cares about leon if at all, in which they’re more than willing to lie to the men and put them in harm’s way to achieve their own unclear ends, while serving an essential function in keeping them alive, often without their knowledge (in the changeling route, maria sends daily letters to clara to keep daniil from getting murdered by artemy).  they add an element of unease verging on horror to their games through their sheer power - which stems from a weaponized womanhood, the player’s unfolding understanding of the vastness and nature of their power, and the fact that you have no idea what they’re going to do with it. the weaponized womanhood is relevant here because in theory, to a male audience, it adds its own level of horror, but to me it adds a level of love.

like ada too, and unlike the typical femme fatale of books and movies even in the modern era, maria is never purified or punished; in fact, she only becomes more powerful over the course of the game. her death can only come via the plague; there are no plotlines where she may die. even when she’s caught red-handed by artemy in patho 2, he has two options: to tell her father, who is unlikely to stop her and even less likely to punish her, or to note that this is maria’s world and we’re all just living in it and move on. in classic she can get married at the end, but not for love and it’s made explicitly clear that her husband’s role is to serve her, like victor served nina; instead of finally conforming to a patriarchal mold like the archetype would predict, she again uses a man to advance her agenda. (she still deserves better though. killallvlads2020)

another similarity between maria and ada that’s also the biggest way they diverge, is their expanded power of body over the typical femme fatale. where typically the femme fatale is just a wickedly smart, sexy woman (good for her), she has little power beyond the sexualization of her body, and little recourse when she’s in danger besides getting a man to help her out of it. the way this is subverted is the most obvious in ada, so it’s a good lead-in; her power of body also translates into fighting skills greater than that of most of her peers-- she uses acrobatics and melee attacks more often than other characters, making her distinctly equipped to survive without anyone’s help and destroy her opposition. maria, obviously, is not a fighter, and she’d die immediately if she was locked in a police station with zombies, so at first glance she seems to fall more into the wicked damsel aspect of the trope. but thematically and functionally, pathologic is not a game about physical fighting or even physical power. in a game world where guns and bullets are exceedingly rare while information (as well as picking truth out of lies) is the form of power that gets characters to the end alive, maria has, in herself, the access to more information than any male character. aside from mark’s (and grief’s) special role as the fool, clairvoyance and particularly mistresshood are specific to women, and come to maria from the steppe. she’s also “sensitive to lies and deceptions” and “can instantly see one’s true colors”. she is shown barefoot in pathologic 2, which symbolizes her personal and physical connection to the wild earth, a power of body in itself. maria and ada are both apex predators, perfectly suited to their particular environments and narratives- on that note, maria is never endangered at all, aside from typical plague mechanics and distress in her issues with aglaya.

okay, enough about ada wong. beyond her connection to the femme fatale trope, maria’s narrative in itself also draws on a really compelling archetype. i mentioned that maria is never purified or punished, nor really endangered, but  that doesn’t mean her story is without tragedy. instead, her tragedy is more personal and psychological, as she’s one of several characters who deal in the theme of lost childhood, and maria’s particular refrain has a hint of lost humanity. these are characters who are forced to grow up, often too fast, and for whom growing up carries an inherent trauma where some aspect of who they were or who they could have been is ripped away from them. i would also call maria and capella’s stories lost girlhood, since there’s a lot of... you know, it feels like stuff that mitski would sing about. i could talk for ages about “i can hear [your mother’s] voice [in you]” and how effectively it’s played for a bittersweet horror. in classic we are very clearly shown maria changing from who she is at the beginning, acting completely differently, and it’s left unclear as to whether this is simply the new maria or her mother’s spirit is literally possessing her (again, some obvious metaphor here). in pathologic 2, they make a change that i really love. maria has already taken up the mantle of mistress or at least claims she has and is in the process of change-- “a mistress in the making��, but it’s mentioned that artemy remembers her from before he left the town. 

he says “i remember when you were just a kid. who would have thought you’d grow into-- this?” if you read my writing, you may have picked up that i seriously fixate on this piece of her narrative. from when she was a girl (16 at the oldest) to when she’s 21, she’s changed so much as to be almost unrecognizable, and more than unrecognizable, she’s become a complete mystery, a nightmare. this is a tragic horror, in the sense that tragedy is horror that’s already happened. from the uncanny valley of the familiar turned unfamiliar, the creature-that-was-once-maria, the not-quite-nina, to that same sense of loss as someone who was once just a girl is forced to be more grown than she is and more grown than any person should be expected to be. as anna angel wears willow’s hair, maria wears her own. that one haruspex line asks a thousand, unsettling questions to which we can expect no answer. who was she before? who is she now? what happened to her? when did she change? what has she lost? what has she gained? is this who she wants to be? did pressure from her mother shape her, or grief over her mother’s death, or something else entirely? is this who she was always going to become, or could she have been something else? all of these and more lead into the central questions that define both the dark/scarlet mistress and monster movies: what is it?, what is it capable of?, and what does it want? these questions are, naturally, never answered, although it’s likely we’ll get a little more insight into her motives in the bachelor route of patho 2. 

stepping back from the specifics of mistresses, this again carries strong themes of coming of age and lost childhood/girlhood; the idea that in order to ascend so to speak and to take on role greater than you are, you have to either destroy yourself or be yourself destroyed. maria’s version of this story is, again, a tragedy. she is plagued by the stress of her destiny, haunted by nightmarish prophetic visions (which fucking DANKOVSKY doesn’t even BELIEVE), and completely alone, so much so that to express her love physically would destroy the object of her love, and yet she is still the incredible femme fatale i was talking about before. this is where i end up with the quote i captioned my painting of maria with: “a girl burns, and the sublime blossoms.”

i used the word sublime to describe maria twice in my writing, in that quote and in “her eyes are fierce, dark, sublime.” this is literally the best word i can come up with to describe the scarlet mistress, and the sublime is a big concept in aesthetic theory, but one which is hard to describe in itself. i try to portray elements of the sublime whenever i write or draw her although i’m not THAT good yet lol. it doesn’t have any physical or functional criteria except the feeling it causes (for a good example i think of the earthrise photo). this quote on the sublime, by edmund burke, feels very reminiscent of the way nina is described in game: “the passion caused by the great and sublime in nature, when those causes operate most powerfully, is astonishment, and astonishment is that state of the soul in which all its motions are suspended, with some degree of horror.” it’s awe-inspiring, it’s scary, it’s a force of nature, both refined and wild and personally impersonal, and it’s pretty much the only word i have for the iconic maria quote.... you know the one. “and you know, mother, that forge is me. sometimes i wake up with a burning in my chest, and the sky becomes crimson. in that very moment, if i kiss someone, they can see it too. it’s true.” 

one last thing i LOVE about maria is the power of self and autonomy she retains, especially in 2. in the diurnal ending as the utopians are planning to cross the river (which was her plan in classic), maria says she doesn’t want to; she wants to stay and create, not art or buildings but people, to bring them into the sublime. her cruelty is how she nurtures those around her, as opposed to capella whose nurturing is in many ways cruel. and it’s in the diurnal ending that we first hear the title “crimson mistress”; where in classic, nina was the scarlet mistress and maria became the scarlet mistress, in 2 nina was the dark mistress and maria becomes crimson. there is no question that she’s not her mother. after all she’s endured, she forges herself into something new, not necessarily brighter but more visceral, takes her mother’s legacy and makes it her own.

so i guess tldr: what’s not to like about maria kaina?

[isagrimorie]

The Doctor Who showrunner wars is still in full swing despite the three Doctor Who showrunners being friends IRL, and some things they’ve done and implemented can all boil down to preference.

I wanted to weigh in with my thoughts on this.

I like some things RTD did in his time in Doctor Who, I am very grateful to him for bringing the show back from the war but I also remember slowly getting disgruntled with his writing.

He is a drama writer, and one of the best; RTD has a way of turning a phrase that just fires up the imagination like:“Skaro Degradations, the Horde of Travesties, the Nightmare Child, the Could-Have-Been-King with his army of Meanwhiles and Neverweres.”

He has also written and help re-write my favorite two-parter of Revival!Who Impossible Planet/The Satan Pit, Midnight, Turn Left, and Children of Earth. The problem is as much as he loves both camp (sometimes the results can work, sometimes it doesn’t), RTD’s cynicism does leak through.

He tried to fight against those instincts in Doctor Who but you can see the strain show as he struggled to keep that cynicism away from the show.

There’s also the part where his frequent joke targets are middle aged women. And TBH, I was tired of Ten’s God Complex (“I am the final authority!”) and how the narrative rarely call him out on it. Unlike Nine, he started to believe his own press and the press of other people

I wasn’t keen on the way he joked about appearances of women above thirty, and tbh, I was tired of Ten’s God Complex (“I am the final authority.”) and how the narrative refused to call him out on it.

Ten believing his own press could have been interesting if the narrative didn’t think he was right. For example, The Water of Marscould have been interesting but I thought WoM resolved Ten’s Time Lord Victorious moment far too soon and easily.

I thought they could have explored more about the ‘Time Lord Victorious’ moment for at least another episode, or have The End of Time comment on it.

Apart from series 1, all of RTD’s series finales were heart-wrenching; each finale I ended up feeling like I was going twenty rounds against a meat grinder.

It was why I loved and will continue to love series 5 and how refreshingly happy the ending was.

No one was trapped in another dimension! No one had to single-handedly stop an apocalypse and have their family enslaved, or mind-wiped.

In the scheme of things, I think in certain aspects, Moffat’s storytelling style is more on line with my tastes. The fairytale seasons. Even Twelve becomes a fairytale Doctor, and I wager that his arc in series 8 is remembering the joy and becoming the fairytale Doctor again.

Another reason why I love series 5, coming directly from Ten’s Lonely God thing, was that a lot of people called out the Doctor on their God Complex and made their self-loathing a lot more text. I also loved the fairy tale aspect of his seasons.

But like with RTD not everything Moffat’s done is my favorite, there were some stories that had missteps, and one of those missteps was Moffat trying to out clever himself. Credit to him for swinging for the fences but he also started to spread himself too thin working on two shows, and the seams showed.

One of the criticisms about Moffat’s writing is character work, and he had no interest in the Companions’ families.

I’m in the middle. I have issues but also (especially after rewatching) I was more forgiving, as an example, in the end I didn’t care as much about the state of Amy’s parents.

No, that’s wrong, I did care.

I cared the first time I watched Angels Take Manhattan, I cared so much that when Amy and Rory disappeared I was so angry because all I could think about was Amy’s parents and Brian (Rory’s dad). I cared to the point that it was one of the reasons why I stopped watching.

On subsequent rewatches, I’ve reconciled with the idea that Companion families and family dynamics (the Companion’s parents) isn’t something Moffat was interested in. It took Chibnall to give Rory a dad (interesting that parent-child dynamic is really something Chibnall is drawn to).

Honestly, if family dynamics isn’t something he is interested in, that’s fair. Also, Amy’s parent’s weren’t a factor since series 6 and Amy’s parents might have well fallen back into the Crack for all we know.

Rewatching also helped me come to terms with some narrative choices I wasn’t fond of. Binge (re)watch tended to sand down any rough parts and I find rewatching can help me hold the shape of a story more.

Still, it took a while to realize Eleven acting big and bombastic was deliberate. Moffat needed Eleven to be big and loud, and full of himself so he can also go crashing down. It falls in line with what River describes the Doctor she knew: “Now my Doctor, I’ve seen whole armies turn and run away. And he’d just swagger off back to his Tardis and open the doors with a snap of his fingers.”

One of the things I wasn’t satisfied with Moffat’s writing (and there were plenty) was how series 6 dealt with child loss. Or, how s6 initially didn’t deal with child loss. The writing would eventually address it, and most prominently in The Wedding of River Song in a fantastically chilling scene between Amy and Kovarian.

But even then I felt it wasn’t enough. Emotional continuity during this time was very low.

This brings me to River. I loved her the moment she stepped on screen in Silence in the Library but my love for her character cooled because of series 6. My theory is Moffat wrote himself into a corner trying to out grand series 5.

For those taking notes at home, I watched Doctor Who sporadically during series 7 and then stopped watching at Angels Take Manhattan. I stopped watching until Day of the Doctor happened.

**DotD* reignited my love for Doctor Who! So much so that I went back and binged series 7.

I liked s7 well enough except for how Amy and Rory left, that still sticks in my craw. I would have been okay if the Ponds left at the end of the Power of Three. Unfortunately, for Revival!Who, there’s an expectation now that Leaving Stories should be hard and tragic, and breaks your heart. I don’t always need grand leaving stories.

TBH, with the exception of The Day of the Doctor, Series 7B is one of my least favorite Moffat seasons.

One of the many factors was the way the writers kept giving Matt Smith big speeches. The writers know he can do big speeches so they kept writing big speeches for him. It was their default.

Also, as one podcast speculated series 7B could have been where the writers realized (belatedly) that Smith was actually quite hunky. This and Moffat being too busy to manage the next half of the season because of The Day of the Doctor can explain the disaster that was the Time of the Doctor.

TotD remains as one of my least favorite Doctor Who episodes ever. (Well, not ever, there are some series 2 and 3 episodes that stand above it).

And then the Capaldi era.

This was the turn around where I started loving Moffat’s work again. It wasn’t easy to get to that point though, and like the previous series, there was a time I fell off the Doctor Who wagon because the first half of Capaldi’s season didn’t click with me.

I found him far too mean and unlikable which broke my heart since I loved Capaldi.

But a binge, again, sanded down all sins (well, notall) and now the difficult and prickly series 8 is something I really enjoy because knowing where Twelve ended up in his character journey helped.

This is why, I don’t mind getting spoiled about a show, as long I only get the broad strokes but not the details. I love finding out what his journey was and I don’t think I would have come back if I didn’t know where he ended up.

I think I saw snippets of Zygon Inversion speech on YouTube, and then I decided to give Husbands of River Song convinced me to finally watch all of Twelve’s run.

And now Twelve is my favorite Doctor.

Moffat’s writing didn’t magically become perfect (to me) but I loved the themes he chose to tackle for Twelve. Twelve is another PTSD!Doctor but unlike Nine, he had an opportunity to grow from that trauma. (And get fresh ones — thanks Time Lords!).

I love that Moffat used Twelve’s stories as a way to interrogate Ten’s stories culminating in Heaven Sent/Hell Bent.

IMO, Twelve’s relationship with Clara is similar to Rose and Donna. Twelve and Clara developed quite a co-dependent relationship by the time series 9 rolled around. They never quite achieved the height of smugness that was the first minutes of Impossible Planet nor have they ever been as obnoxious as Ten and Rose were in Tooth and Claw. Possibly because the Doctor’s older at this point and knows the perils, and similar to Donna because of how Donna kept Ten grounded. And, of course, because of the mindwipe argument that was definitely Moffat’s answer to the mindwiping of Donna, and as Moffat said in the War Games commentary, to the mindwipe of Zoe and Jamie.

And then we have Bill with Twelve, showing the very final form of the Twelfth Doctor. Twelve as a grown-up, feeling settled with himself, finally. He learned a lot of lessons and committed himself to stay in one place.

I love the relationship he built with Bill and while I do love, love, love Jodie Whittaker, I was sad to have only one season of Bill and Twelve. Especially since after Lie of the Land Missy’s story began to have more prominence over Bill’s.

(And there’s the whole Missy thing which tbh would make this a longer post than it already is!).

TLDR. Both showrunners aren’t perfect, sometimes their views don’t align with mine. I loved series 1 because it was my entry point into Doctor Who but there are also things about RTD’s run I wasn’t happy with. Same with Moffat there were things I adored and things that really didn’t sit well with me.

There were points during both showrunner’s time on the show I had to take time off.

Now with Chibnall, the same thread runs through: I like most of his stories in series 11 but it also isn’t perfect and has a lot of room for improvement.

/EDITED

[crystalmoonarcher]

Answer the OC questions please

The Question Answering begins!

1. Your first OC ever?

Ice the Dragon. Still under Development.

2. Do you have a personal favourite among your OCs?

Oh Yes I do!  My personal favorites are Kenneth, Mirai, Rin, Kin, and Ryoko.

3. Have you ever adopted a character or gotten a character from someone else?

No I have not adopted a character.

4. A character you rarely talk about?

Uh... that would be Ice the Dragon.

5. If you could make only one of your OCs popular/known, who would it be?

Ryoko. I just love her cause she is adorable and a bit of an airhead. She’s everything I’m not when it comes to the social life.

6. Two OCs of yours that look alike despite not being related?

Oh. Rhyme, and Ryoko look quite similar. Minus the eye color.

7. Are your OCs part of any story or stories?

Yes. Rin, Kin, Jade, and Nightmare are in a story I’m working on.

8. Do you RP as any of your OCs? If you do, introduce one of your RP OCs here!

Ryoko is one of the OCs I’ve done rps with.  Rei is another.

9. Would you ever be willing to give any of your OCs to someone else?

They are my babies!! I can’t!!!

10. Introduce an OC with a complicated design?

Uh... Kin. I’m still working on a drawing for her. Her damn tails are complicated.  And she has like 9 of them.

11. Is there any OC of yours you could describe as a "sunshine"?

Jade the angel.

12. Name an OC that isn't yours but who you like a lot

I like @futariwadorkycure ‘s Clara.

13. Do you have any troublemaker OCs?

Oh yes. Nightmare, Jenna, Rin, and Kin are troublemakers. And trouble always finds them back.

14. Introduce an OC with a tragic backstory

Rin has a tragic backstory.  Her family was quite poor, so she had gone out to steal things.  But the elder of her village did not approve and killed her family.  The poor kasha has been traveling with Kin since then.

15. Do you like to talk about your OCs with other people?

Yes.  I’ll talk.

16. Which one of your OCs would be the best at biology (school subject)?

Kyo Kurian.  She’s quite smart.

17. Any OC OTPs?

RonXYuki.  They are going to get married one day.

18. Any OC crackships?

NightmareXRin.  They are mortal enemies though.

19. Introduce an OC that means a lot to you (and explain why)

Kenneth! He’s an adorable little cinnamonroll!  He’s so shy, sweet, and kind!!! He loves almost anyone and is afraid of almost everything.  Kenneth is one of the strongest in his little group, but his fear often gets in the way.  The rabbit got hyper after his first chocolate.  AAAH HE’S SO CUTE!

20. Do any of your OCs sing? If they sing, care to share more details (headcanon voice, what kind of songs they like etc)?

No. They don’t sing...that often.

21. Your most artistic OC?

Ryoko.  She draws on her free time.

22. Is there any OC of yours people tend to mischaracterize? If yes, how?

None as of now.  Most of them aren’t known by much people.

23. Introduce OC that has changed from your first idea concerning what the character would be like?

Ryoko.  She was actually completely revamped.  What everyone who has done an rp with her is experiencing now, is the new Ryoko.  The old one was actually a villain at some point.  The more you know!

24. If you could meet one OC of yours, who would it be and why?

I’d want to meet Rei. She’s philosophical and quite the nice person... if you don’t ask her to repeat herself.

25. The OC that resembles you the most (same hobby, height, shared like/dislike for something etc?)

I’d say Ryoko.  We both share a love for games, art, and an interest in the supernatural~

26. Have you ever had to change your OC's design or something else about them against your will?

Uh.. I changed the design before.  But that’s because it was similar to someone else’s and I didn’t want them to accuse me of copying.

27. Any OCs that were inspired by a certain song?

No. Haven’t thought of one.

28. Your most dangerous OC?

Rei is the most dangerous.  Do not underestimate this book nerd.  She will kill you! She used to be a trained assassin.

29. Which one of your OCs would go investigate an abandoned house at night without telling anyone they're going?

Definitely Ryoko.  So if you don’t see her, that’s where she went folks.

30. Which one of your OCs would most likely have a secret stuffed animal collection?

Kenneth would!~

31. Pick one OC of yours and explain what their tumblr blog would be like (what they reblog, layout, anything really)

Jade would call her blog “sweetcake985″.  She would reblog anything about food, the sky, flying, and mainly cake.

32. Which one of your OCs would be the most suitable horror game protagonist and why?

That would be Jenna.  She has survival instincts and would be able to handle herself in most situations... minus drowning.

33. Your shyest OC?

Kenneth is the shyest.  Again, he’s afraid of almost everything. Including his own shadow.

34. Do you have any twin characters?

Nightmare and Jade.

35. Any sibling characters?

Again. Nightmare and Jade.

36. Do you have OC pairs where the other part belongs to someone else (siblings, lovers, friends etc)?

Not yet. Maybe one day.

37. Introduce an OC who is not quite human

Kin is a demon fox.  She has a humanoid form though.

38. Which one of your OCs would be the best dancer?

Jade is best dancer.

39. Introduce any character you want

Mirai is the Queen of the Changelings in the land she lives in.  She currently works as a Holy Knight under the kingdom of Lioness.  But she still performs her queen duties.

40. Any fond memories linked to your characters? Feel free to share!

Uh... I don’t know what to sat.

41. Has anyone drawn fanart of your OCs? If yes, maybe show a picture or two here (remember sources & permissions!)

No can do.

42. Which one of your OCs would be the most interested in Greek gods?

Jade would be!

43. Do you have any certain type when you create your OCs? Do you tend to favour some certain traits or looks? It's time to confess

Type... uh.  My OCs are usually smart. I repeat usually. Jade and Ryoko are a small exception.

44. Something you like about your OCs in general

Not all of them get along with each other.  And are willing to murder each other if put against each other in a fight. Kenneth won’t though.

45. A character you no longer use?

Ice the dragon

46. Has anyone ever told you that you treat your OCs badly?

Yes. Some people have.

47. Has anyone ever (friendly) claimed any of your OCs as their child?

There was one person a long time ago.

48. OC who is a perfect cinnamon roll, too good for this world, too pure

Kenneth!

49. Which one of your OCs would most likely enjoy memes

Jade... she totally would dig it.

50. Give me the good ol' OC talk here. Talk about anything you want

Ryoko is an OC for the YuGiOh fandom.  She likes the supernatural.  Her favorite food is chocolate and she dislikes salsa(no offense to anyone).  Ryoko is 1/4 French, 1/4 Japanese, 1/4 British, and 1/4 Australian.  She would have a bit of a British-Australian accent.  A common quote from her is “Bloody hell mates, what did you do?!”

[vriskarlmarx]

@bestahlia tagged me in a “name 10 fave characters from 10 different fandoms” thing so here goes

1. vriska serket - homestuck honestly the one, the only, if you know me you know i could not possibly start with anybody else. i could definitely talk for days about eveything i love about vriska, from textual to meta pespectives, she is a goddamn revolution of character.

2. roy mustang - fullmetal alchemist i love my tortured precious flame alchemist boy, i love him in every incanation of fullmetal alchemist, i love him in every scene, he has gone through so much and come out stronger and broken and eternal. such a good bean.

3. sansa stark - a song of ice and fire/game of thrones the bae tbh, literally the definition of a Good Egg in a world full of bullshit. sansa stark is a genius but she’s loving and soft and gentle and kind and i would die for her

4. loki - marvel COMICS universe not the movies, and specifically young avengers-agent of asgard era wait wait hear me out. in the comics, loki is a genderfluid pansexual trickster who’s gone from being the god of lies to the god of stories and their arc in young avengers/agent of asgard is one of the best fighting against fate stories i’ve read. i tragically continue to be disappointed by everything else starring loki since but that loki is one of my favorite characters of all time.

5. darlene alderson - mr robot lil self destructive ray of sunshine fighting the good fight trying to keep morale up in the ranks, she’s brilliant and wonderful and teetering on the edge this past season. the episode that just revolved around her and fsociety was a damn gem.

6. frank frink - the man in the high castle i love my angry lil jewish bean. i love how he’s Literally Me if i were in his situation. kept his head down but now throwing down with the esistance, recklessly endangering his friends who would rather keep their heads down, thank you very much.

7. rey - star wars my daughter whom i gave birth to that deserves nothing but the best. i love how her eyes shine and she’s so brave and smart and powerful and ready to kill fascism. she’s such an ideal honestly i would die for her.

8. shaolin fantastic - the get down Please Watch This Show honestly shao is a sweet sweet boy who deserves 0% of the bad shit and 100% of the good shit. he’s in love with zeke and im dead. just needs a hug. he has such a beautiful good pure soul.

9. joana coelho - 3% again, Please Watch This Show. joana kicks 11 kinds of ass and despite everything still manages to see right through bullshit. i dearly hope the show gets a second season so that i can see her kicking ass fighting for her cause.

10. clara oswald - doctor who How Did I Get This Far Without Clara, Honestly. i love clara, i would die for her but she doesn’t need me to because she’s out there protecting space with her equally immortal gf. how did i get so lucky that a character like clara oswald exists, defined by the love in her heart, by her determination, and by her love of adventure. if you only ever watch one episode of doctor who, let it be Face The Raven, the near-culmination of her character arc as the most incredible, mature, loving, curious, adventurous character in this show.

thats it folx thats all. these arent really in any order (clara would’ve been higher) except for vriska always being my number 1.

ok so i’m tagging @snaps-wexley @rocketwolvs @devinlefey @gottahida @aureliansgrotto @capltu @awaketotakeintheview @dicaeopolis if yall want to do this