#how to write an actually evil antagonist

[3hks]

How to Write a Truly Terrifying Villain

Have you ever wanted to create a villain that's actually evil? One that can scare your readers yet also leave them with an everlasting impression? An antagonist is so much more than just a "bad guy", and in this guide, we'll explore how to write an evil character effectively!

*GOALS/MOTIVATIONS*

No matter what kind of character someone is, their objectives alone speak volumes about who they are as a person. Therefore, with this villain, I suggest forming a goal that stems from their selfishness.

Although, what does that really look like? Selfishness is actually quite subjective. From what I have seen, a self-serving goal tends to be quite specific since it's a personalized aim. Don't give them a target that's too broad or too generic because chances are, it won't really benefit them. (Ex: World domination)

Am I saying that you absolutely need a greedy antagonist to highlight their malice? No, but it truly is a great place to begin at.

*EMPATHY*

Next, let's talk about empathy. How well do they understand those around them? Do they care?

Many villains we see lack empathy; they aren't concerned about their victims, and sometimes, even their own followers.

However, there's also the opposite case, where the antagonist does have empathy and fully understands what others may feel, but still doesn't care. This dark empathy is truly a testament of their malevolence because they're aware of the physical and mental consequences of their actions, yet they do it anyway. That, in itself, is rather terrifying.

*NEUTRALITY*

If your villain isn't the main antagonist, this might be something you want to consider.

As I mentioned before, this type of character prioritizes themselves over anything and everything. If helping the hero will benefit them, then why not? If assisting another antagonist will be rewarding, then it's worth it. While your character is a villain, their alignment itself might be a bit blurred.

Although it could seem counterproductive to have an "evil character" who occasionally aids the protagonist, the switching of sides actually maintains a sense of unpredictability for your character.

*INTELLIGENCE*

If anything, I highly suggest not making your villain stupid. While I'm sure there are intimidating dim-witted antagonists out there, the truth is, if your character understands themselves, their limits, their abilities, and the events taking place, your readers will automatically see them as competent and intelligent, which is critical to their credibility.

Have them think things through, plan carefully, and act responsibly. They know what they're doing, you just have to prove it.

*ISOLATION*

Another thing that helps is to keep your villain isolated. You don't need to physically keep them away from everyone, but they might be figuratively, emotionally distanced from others. Sometimes this is on purpose, and sometimes it's not.

*LASTING IMPACT*

This may seem obvious to some people, but there's got to be some key event regarding your villain that has lasting impact on the plot, characters, setting, and/or protagonist. It doesn't need to occur during your story, it could have occurred beforehand, but it still must affect the current time period.

Show why they're the villain.

*REASON, DON'T JUSTIFY*

A lot of people (primarily readers) nowadays are obsessed with the idea of justifying a character's poor actions. But the truth is, you can't justify everything, not to mention that it's just unnecessary. It's unrealistic. Instead, provide a reason as to why they chose to do something. What instigated their actions? What goes through their heads? Did their past influence their current motives and character?

Don't try to balance everything out! In the end, a wrong is still a wrong, and it's okay to let it remain as such.

*CONCLUSION*

With all of these ideas taken into consideration, you have to remember that an evil character doesn't exactly correlate to a hateable character. Are there hated villains? Yes! But don't go out of your way to make them loathsome in order to establish their "evil-ness".

At the end of the day, they're still people too, so give them dimension, complexities, and weaknesses to prove it.

Happy writing (and New Year)~

3hks <3

[squeakadeeks]

i was listening to evil eye by franz ferdinand and thought ohehooehhehe

[greensaplinggrace]

lb was really out here like ‘i’m going to create a message about the dangers of power and corruption!’ and then proceeded to create the least nuanced breakdown of the way power is alloted by a system and the impacts it has on both the masses and the individual that I have ever seen in my life

[jrueships]

sometimes i'll think abt a Fandom and wish it were bigger, and sometimes i'll read something from a fandom.. and wish it were smaller

[im-an-anthusiast]

The Butterfly Too, Will Follow

Twin island of black and red, swimming in seas of milky white. Santi had never really liked the eyes they were born with. Neither have they ever liked the rest of their body. Sickly pale and frail – they have always stood out, being so unlike the rest of their peers. Santi saw the unspoken words, and the looks they were given tasted like ash on their tongue. But that was all fine. It really was. Because someone understood. 

“You in there, Santi?” 

“Y-Yeah. Sorry. Be right there.” 

-

Two dark, hollow pits of a shadowy grey, swimming in an ocean of cloth. Santi had always found the featureless mask covering the entirety of their face, head, and neck to be comforting. Much like they did with the 3-piece suit covering the rest of their body. Dark grey and sleek – it didn’t make them stand out, but was fashionable regardless. Santi could always divert the curious gazes, and the whispered words dispersed like steam if they wished it. It was all fine. It really was. But no one- 

“Ah, there you are, Santi” 

“So I am.” 

- 

Santi swallowed thickly, doing their best not to let the stress get to them – and failing. They followed Gabriele closely, holding their friend’s hand as the two of them approached the mansion’s doors. They had never even seen such a... beautifully grand building. They felt out of place in front of such opulence – feeling almost measly compared to it. Still, Gabriele went on and grabbed the large metal knocker on the dark oak door. 

“I-I’m not... I’m not sure about this, Gabriele...” Santi said, a hesitant tremble shaking at their words. 

“Oh, Santi, don’t be like that now! My parents and I went through so much trouble to prepare all this for you! Surely, you wouldn’t want our effort to go to waste?” Gabriele replied, pouting, though her eyes were twisted in a smile. 

“I... suppose not.” 

“Good answer,” she cooed sweetly, with what Santi thought might be a condescending smirk twisting her features for just a second before melting into a smile instead. Gabriele rapped at the door with the heavy-looking knocker, the vibrations of metal against wood rattling Santi to their core. 

- 

Santi sighed deeply, hoping to release their stress along with their breath – and failing. They followed Gabriele cautiously, keeping in mind where her hands were as the two of them approached the limousine’s doors. They had never seen a car so grossly grand. They felt sick, standing in front of such disgusting opulence – everything around it feeling measly and dirty in comparison. Still, Gabriele approached it with almost-glee, looking back at Santi facelessly. 

“You coming?” she trilled, her voice muffled a surprisingly small amount. Santi didn’t reply, not increasing the slow pace of their stride towards the vehicle.  

Gabriele continued, “Oh, Santi, don’t be like that, now! I went through so much trouble to arrange this all for us. We both know how busy it can get for the other, no?” 

“I’m sure that you do,” Santi said with all the calmness they could muster, finally having come up to the car. Gabriele flexed her jaw and scoffed quietly enough that the usual person would not be able to hear. But Santi did. Regardless, Gabriele grasped the door handle on the side of the limousine and knocked on the window – likely signalling for something – the dull sound of knuckles against glass making Santi clench their gloved fists. 

- 

“Do you like it?” asked Gabriele, wildly gesturing across the entire dining hall with her arm. 

“It’s... pretty,” Santi said cautiously, eyeing Gabriele’s reaction. At Gabriele’s satisfactory hum, Santi let themself actually inspect the room. Orange lights danced across an assortment of dark woods and black stone, pouring from the lit fireplace in the far wall. The ceiling was incredibly high, with an assortment of metallic chandeliers hanging from it. Impressive though it all was, Santi’s attention was drawn to the long, tall table – it was like from a fairy tale Santi’s mother would read to them. It was beautiful – fit for a king or queen. Fit for royalty. 

“So,” Gabriele exclaimed, clapping her hands together in delight, “you wanted me to show you... Magic. To teach you.” 

“Y-yes.” 

“You want to be like me?” 

“Yes. Yes... please.” 

“Then you will have to promise to do as I say, okay?” 

“...Okay. I promise.” 

- 

“Do you like it?” asked Gabriele, wildly gesturing with her hand at the car’s interior, as she sat comfortably opposite to Santi. 

“That’s irrelevant.” 

“So dismissive,” Gabriele said with a huff, removing the brimmed hat previously casting shade over the blank layer of skin stretched over her actual face. Then, she took her sunglasses off, though her eyes were still clad in shadow – visible only due to the holes torn into that second layer of skin. Grotesque though it all was, Santi’s attention was still drawn to Gabriele’s hungry, arrogant gaze – it was like from a fairy tale Santi’s mother would read to them. It was sickeningly cocky – fit for a king or queen. Fit for royalty. 

“I assume you’re not going to be removing that ridiculous thing?” Gabriele asked, though she didn’t wait for an answer before scoffing and continuing, “So, you really want to know about... them?” 

“Yes.” 

“Then I expect you to cooperate.” 

“Sure.” 

“Really cooperate.” 

“Sure.” 

- 

Santi’s eyes were wide with wonder. Drops of liquid perspiration trickled down Gabriele’s face, and her eyes were squeezed almost completely shut. However, that was not where Santi’s attention was drawn. Instead, their eyes were glued to the small – no taller than half a metre – figure, standing on the table. It was dressed up in fancy clothing, almost resembling a doll. Its lack of a face, however, quickly shattered that illusion. Regardless, the blank, faceless figure moved around gracefully, its movements fluid, yet not natural.  

“It’s... it’s amazing! Can I do this too, Gabs?” Santi praised and asked in an almost-shout, still not looking away from the figure. 

Gabriele smiled widely, before saying, “It’s called a Puppet. And of course, you can, Santi. You just have to do exactly as I say! Especially for this next part.” 

- 

Santi’s eyes were narrowed with focus. Drops of liquid red dripped down Gabriele’s real face, and her eyes were half-lidded, staring at Santi in a challenging manner. However, that was not where Santi’s attention really was. Instead, they were focusing on channelling Magic into their hands – as they took their glove’s hem and stretched the glove further onto their hand – performing their Gesture. Feelings of doubt and uncertainty – Santi’s Magic – flooded the interior of the limousine, the intensity making Gabriele flinch – and drop the knife she had used to ‘unmask’ herself. 

“How in the...?” Gabriele muttered with her – now fully revealed – eyes wide, before speaking more loudly, “Right, Santi is all grown up now... This is how you want to play this, is it?” 

“With effort, to answer your previous question. And no. This is how I have to play it, Gabs,” retorted Santi, poison seeping into their usually neutral demeanour. 

“What was it that we said about cooperating?” Gabriele hissed in response, her face – paler than the rest of her deep brown skin and slick with blood – twisted in a scowl. 

“I was just levelling the playing field. This is cooperating – in the sense that we’re both playing the same game, on the same board, for once. Now, give me what I came for.” 

- 

“Don’t look at me like that, Santi! You wanted this, remember?” 

Santi stared at the slab of meat wordlessly. The flesh hadn’t even been stripped of the skin. It was still raw and red – with blood pooling under it, staining the gleaming, white plate. 

“Dig in, Santi. You wanted Magic? You wanted to be like me? Then eat it.” 

“P-please... do I have to?” they pleaded meekly, their vision spinning and bile threatening to climb up their throat. 

“Don’t be ridiculous Santi! You promised!” Gabriele snapped, though her enraged voice had a hint of an odd elation in it, “This is all for you! For your own good! Don’t you want to be better? Like me? Don’t you want to change – climb into a chrysalis and emerge a beautiful butterfly?” 

- 

“Don’t look at me like that, Santi! You wanted this, remember?” 

Santi stared at the images wordlessly. 

“Why so down, Santi? You wanted to know what happened to your family? Your parents? Now you know.” 

“Sh-shut up,” Santi growled weakly, their vision spinning and bile threatening to climb up their throat. 

“’Same game’... Don’t make me laugh. You don’t know my game,“ Gabriele said condescendingly, before chuckling and continuing, “I have to admit, you had me scared, there, for a second. I thought the old Santi was gone... but no, my pure little butterfly was just hiding. You never changed, no... I didn’t let you, after all...”  

- 

“I’ve always adored the saying ‘like a moth to a flame’. Imagine loving something so much that you are willing to die for it, to sacrifice everything else. But I think that such a person would also need to have nothing else – for the flame to be its only love, the only thing it needs. So that it is willing to get burnt,” Gabriele said, the skin of her jaw stretching oddly as she spoke. Hearing barely a slurred string of somethings – only somewhat resembling words – as Gabriele spoke, Santi stared at what seemed to be a short flap of skin stretching across the edges of her face, ending perfectly evenly – looking almost cut. “Don’t you think so as well, Santi?” Gabriele questioned, before suddenly – with the slightest gentleness – cupping their chin and wiping the mix of blood and saliva coating it with her thumb. Meeting Santi’s unfocused eyes, she continued, “Because if it has nothing else, can it even tell that the burning of its wings is not love? Does it even care? Still, it will fly to the flame.” 

- 

“I don’t think you quite understand, Santi,” said Gabriele, a strained, almost incredulous guffaw quickly dying on her lips. “Like a moth to a flame, like a lamb to a slaughter, I want the beautiful butterfly too, to follow.” 

-- 

“And if it doesn’t?” she continued both times, two snarling voices melding to one, “I will make it.” 

[mekatrio]

hate these kind of posts sm

[phanerozoicfossilgardener]

[Image Description: "I just think goodness is more interesting," Morrison said. "Evil is constant. You can think of different ways to murder people, but you can do that at age five. But you have to be an adult to consciously, deliberately be good - and that's complicated." End ID.]

cruelty is so easy. youre not special for choosing it

[absolutely-esme]

I have seen too many posts where a time traveling member of the JL decides to kill Danny to prevent Dan from happening and not nearly enough where they decide to kill Vlad for the same reason.

Even if a hero was pushed to the point of preemptively killing one of the two people Dan was made from in order to prevent his creation, why would they pick the one who is currently both a hero and a kid instead of the one who's already a villain and a grown ass adult?

Also, it would be so much more fun to read about Vlad getting hunted down by Booster Gold or scrambling to try and stay one step ahead of the world's fastest man while desperately trying to figure out which of his evil schemes they found out and got this hero's attention and pissed them off this much.

Was it bugging his nemesis's house? He can see how that probably looks bad out of context, but he swears the video surveillance of a teenager's bedroom was regular supervillain creepiness, not other types of creepiness!

Edit: Two things.

First off, my wording about having seen too many of the other thing was intended playfully. I am not putting those fics down. You don't have to justify it to me, and I am genuinely sorry if I came across as antagonistic. I think everyone should be allowed to write whatever they want and I don't expect it all to adhere to my likes and dislikes.

That said, I wanted to address something else. I've gotten a few different people just talking about how they would have no reason to target Vlad because of what looks like an older version of Danny, and I wanted to clarify.

Here's the thing: Dan does not look like an older version of Danny, he looks like a fusion of Danny and Vlad.

Unless someone they have reason to believe tells them that Danny grows up to be Dan, there's no reason for them to assume that Danny and Dan are the same person (especially considering that Dan is a name the fans came up with and not something the character himself went by).

So this time traveler sees a teen hero fighting an adult villain both of whom share differing physical characteristics with the Future threat, and the most likely conclusion to draw is that it's a Conner scenario.

Alternately, maybe they did actual research on the origins of the threat before time traveling instead of just hoping that murdering the first person they saw with a familial-level resemblance to the threat would prevent him from going on a rampage.

Here are some pictures of them

See how much Dan gets from Vlad's side?

[kerorokai]

it's really interesting to see how people perceive kabru cause there seems to be a bit of a disparity between how he really acts and how he's portrayed in fanart and fan memes and such

with the way people talk about him you'd think he's this huge flirt or actively trying to use his good looks or whatever to get a leg up but he really.... doesn't? at least i can't think of a significant time where he does. is it cause he teases rinsha? or kisses her as a fish? i think those are dubious examples, but also even if you do read them as genuine flirting theyre pretty small and not repeated with any other character.

it reads more like he's just genuinely charming and good with people. he never tries to make a pass with anyone, people just like him cause he's.... likeable. and in universe characters do act aware of how charming he is (see: mickbell, holm, daya), but they never seem to insinuate that he's actually a tease or that he like, gets around. i guess there's a mention of "rumours" here? have most people seen this? is this what they based it off of?

it's also worth noting that in the same comic those exact rumours (whatever they may exactly be) are proven to be unfounded, kabru is just the type of guy people feel like they can open up to. they don't even talk about him like he's doing it on purpose!

if it's cause he MIGHT be half incubus, my friend brings up a good point: it feels like an intentional subversion to not have him be a sexual "siren" in that way. ryoko kui is very intentional with her world and characters, and to have kabru's succubus/incubus-identity up for debate while also having him be not particularly flirtatious seems like the type of irony she would write on purpose.

to me, really, it seems very indicative of how fandom at large views brown men. kabru's in an interesting position cause he seems to get most angles of this type of flanderization. he's seen as both overly sinister and drama-seeking while also being extremely flirtatious and a whore when.... he's kind of neither of those things?

he's not evil or particularly more violent than anyone else, he's just really utilitarian and has this false impression at first where you think he's gonna be some sort of secondary antagonist but he's way too smart for that. he doesn't manipulate people any more than any other character. and he's not really a whore at all he just.... likes reading people? and knowing people? and people like him? idk man.

it's part of this larger issue where brown men in fiction are both demonized and sexualized at the same time. i don't even think it's on purpose, i just think that most people don't even realize this is something they need to unlearn. it's not even cause i don't like shipping kabru! i do! i just don't agree with flanderizing him to do it.

i think kabru is much more than the first impressions of him you might have, or even the first impressions of him the characters in universe may have. and while i don't think someone posting ooc fanart of kabru is directly racist, i think a lot of it upholds the racism people are already accustomed to. it makes me a little sad!

[yourqueenb]

I often talk about how much I’ve forgotten since I first played this series. But one thing that has always stuck with me is “the chocolate incident”. I remember being so sickened and infuriated by that scene and the limited ways in which MC could respond as Hana’s friend that I almost exited the chapter right then and there. And the responses I saw from many of the fans at that time made it worse. There were, of course, people who felt similarly to me. But seeing just as many people downplay, defend, and even praise Madeleine for what she did was upsetting (and that’s an understatement).

As you so astutely pointed out, Madeleine’s statement about wanting to break Hana was not only sick on a human level. It, and her overall treatment of the latter, were also proof of abuse as an employer and her sadistic glee in psychologically and emotionally tormenting Hana for literally no reason, going to the point of making her think she was beholden to her and could send her back home in disgrace at any moment. However (and perhaps this is predictable of me), I’d like to take it a step further and say that the optics of all that with regard to Madeleine being a white woman and Hana being a woc… do not look good to say the least. White women have abused their social power to the detriment of women of color for their own benefit and entertainment for centuries and continue to do it to this day. And whether the people harmed by that reach their breaking point or not, those same women often turn around and weaponize their tears to steal sympathy and feign innocence. And it’s very clear that PB didn’t consider or care about any of this when they were going out of their way to reflect all of it in the writing for Madeleine (giving her a sob story, painting her as the ultimate patriot, downplaying then retconning the narrative AND pinning things on Kiara, another woc, forcing everyone to coddle her, etc.) and even worse, using the woman she abused to make her appear less villainous.

I mean “Madeleine would be most likely to take a bullet for Liam”? Were they serious???

Hana and Madeleine: When You Reward Your Favourite Bully with One of Her Victims

Series - TRR's Alternative LIs: The "Romances" That Didn't Happen

Previous - Maxwell and Penelope: When You Like the Side Character So Much, You Gift Her A Shiny New LI

A/N1: Apologies, again, for the length of this. There was so much damn retconning to wade through that it felt like a rollercoaster to write. There is also not going to be a lot of Hana in this, as I needed to unravel so many inconsistencies in Madeleine's writing. I also didn't want this to become a repeat of my essay series on Hana (which you can read here).

CW: Descriptions of bullying and intimidation, as well as dismissiveness of the same both in canon and from fandom. A mention of the 'infertility' plotline written for Hana in TRH1. Mentions of parental abuse and neglect.

In every other essay in this series, it's been important for me to analyse the potential of the pairings TRR went for. No matter how badly PB handled them later on, one could find promise in the possibilities of these pairings, and if written well they could result in a sweet, happy ending for the LIs we didn't marry. With a better sense of balance from the writers and less vitriol and double standards (in some cases) from the fandom, they could have worked.

Not so for this pairing.

In the case of Hana and Madeleine,it would have been far far better if this pairing had never happened at all. The problem wasn't just in the development; the roots of such a pairing itself were rotten.

(White) Female Antagonists

Before I delve into the characters involved in this pairing, it's important we take another deep dive into a narrative practice we often see with PB. Their blatant favouring of specifically white female antagonists.

Now, it's not as if white men in antagonistic roles don't get favourable writing from their teams and adulation from sections of the fandom (one has to only look at some of the posts Gaius Augustine of BB, Caleb of Hero, and Kane of TE got - just to name a few). But we also often see fans of such white women decry the (very little compared to their black counterparts) condemnation that their faves get for their actions in comparison to both antagonistic and romanceable white men. Such readers often neglect to acknowledge exactly how much the narrative bends over backwards to accomodate them, in a way that they never have done for even mildly hostile/wary black and brown women. And often this is with ample support and encouragement within the fandom itself.

One cannot even pretend this is a recent development. The early books had their fair share of white-woman-adulation and you can see some of the patterns that would solidify in PB discourse already take shape in their early books.

One excellent example of this is TCaTF. Compare the treatment that white women like Helene Leventis, Hex and Zenobia Nevrakis are given, to what Rowan Thorn - a black woman - gets. Helene is allowed to escape never to return, or join Kenna, despite being the woman who killed her mentor and close friend Gabriel. Hex is well known in the series for her sadistic torture devices and for destroying an extremely prosperous kingdom. Yet, she is captured - alive - and there are two options that allow her a bit more mercy, and only one that recommends the harshest of punishments. Rowan in the meantime only betrays Kenna if the latter is an absolute tyrant to her, and letting her go if she betrays her is touted as a failure. Her loyalty doesn't ensure she will live like Diavolos' does - you can in fact leave her to die if you don't have enough diamonds/prestige points.

The Freshman was an improvement on this: even if Becca Davenport started out as a classic college mean girl, her redemption arc involved her needing to work to regain trust with the group and her best friend Madison, regardless of the MC's fondness of her. Her housemates immediately set her straight when she lashes out at them at the beginning of TS, and Becca has to plan for almost a-book-and-a-half to get her friendship with Madison back to normal again.

Sadly, this is something that rarely ever happened again. Discrepancies in character treatment became more and more obvious as the years passed. Books where black and brown women behaved even mildly unimpressed or catty with the MC, showed them either suffering grievous fates or written out of the narrative (eg. Scarlett not even getting a proper future in the VoS bonus scene) or being mistrusted and misunderstood constantly by the MC and their friends (Aurora). Books where white women could cause grievous harm depicted them being let off without so much as a slap on the wrist (eg. Aunt Mallory of RoE being rewarded with a happy life, a man and reconciliation with the niece she tried to kill and the daughter she emotionally abused).

(Screenshots from SavageLordBarlow's YouTube channel)

Perhaps the worst and most obvious case to date was that of Vanessa Blackwood of MoTY, who called a young child "guttersnipe" within minutes of encountering her, outed a lesbian teacher, encouraged her son's bullying, provided legal counsel to the MC's ex husband just to see the woman suffer, and engineered a plot to frame the MC for theft so she could lose her job. Once Vanessa had crossed her limits, PB ensured they laid on the sympathy narrative thick, having her show sad faces when the MC scolded her in a paywall scene, punishing only her brown lackey (both the white people involved - Vanessa and Guy - are never named when Tallulah is exposed, even though she literally stole jewellery and framed the MC for them). In the series finale, Vanessa was rewarded with a cushy diamond scene where the MC can choose (in what is the understatement of the century) to call her "classist and a little bit racist" - all she is given at the end of the book is an extremely softball form of criticism.

Compare this to Xanthe of ACOR, who had far less power, who was repeatedly slut shamed by the MC and others for doing her job, and whose end was met in a "comical" scene that implied she'd been sold into sexual slavery while two black members of her scholae gloated over her plight (in a manner so uncharacteristic of them that even players who didn't necessarily like Xanthe were shocked. I would highly recommend you read @cassiopeiacorvus' excellent essay on her, "Xanthe: Courtesan, Rival, Pawn").

In an essay I'd written years ago, I'd noted the following:

"Check out who the narrative rewards you for treating well, as opposed to who will be made to support you either way.

You're allowed to show basic decency to a black or brown woman. But you're expected to show kindness, understanding and empathy to a white woman, and richly rewarded if you do. In some cases you will also face consequences if you don't. (Fandom - take note of the difference, and be sure not to forget it)."

Madeleine Amaranath is probably one of the best examples of this - with blatant retcons, unfounded adulation and obvious pandering lasting over five books.

Rules of Engagement

When we look at the full cast of TRR, we find at least six characters who are callbacks to its sister series, Rules of Engagement. Leo, Constantine, Regina, Bastien, Madeleine and Rashad (the last one was an addition from TRR2 onwards). Part of TRR's appeal as a series was its ability to reference the earlier one through these characters, but this time from the PoV of Leo's younger brother instead.

Madeleine appeared in only 2 chapters in RoE. She was Leo's fiancée, in an arranged match that not only their parents but their citizens expected, unfazed by the "commoners" Leo brought to his bed and secure in the knowledge that no matter who he slept with she would eventually become his Queen. Leo dashes these expectations, however, by abdicating his claim to the throne - whether the RoE MC chooses him or not.

At this point - when TRR was barely even a concept - Leo was a clear fan favourite. Players liked the idea of romancing a rogue prince from a fictional European country; it meant they could revel in the luxury of touching royalty, while being away from all the hard, unsavoury parts. The Madeleine angle provided them with a rival to fight off, and at the time that was all that mattered.

Was Leo's behaviour in RoE, towards both the RoE MC and Madeleine, dishonest? Definitely, but not many seemed to care much at the time and it hardly created a dent in his fanbase (most of the criticisms against him and his cheating ways and irresponsibility would emerge later - when the Leo stans became Drake stans, and it was more convenient to badmouth Liam's family).

Jeffrey Herdman, a Junior Game Writer with Pixelberry for over 7 years, was a part of both the RoE and TRR teams, and proudly admitted in the TRR2 pre-release interview, to being the one in charge of writing Madeleine:

Q: Very funny. (Just so we're clear, Jeffrey is joking. Sort of.) Out of curiosity, who's your favorite character to write in The Royal Romance?

Jeffrey: Madeleine. It's fun to write someone who's constantly trying to spin a situation to their benefit, and making power plays along the way. I've actually been writing for Madeleine since her appearance in Rules of Engagement: Book 2, so we're practically besties.

Excerpt from The Royal Romance: Book 2 Interview

(If we were to compare this adulation of the character from Jeffrey, to the person who wrote Hana - head writer Jennifer Young, you'd find a surprising difference. In this very interview Jennifer talks about enjoying the process of writing Hana, but pointed to Drake as her favourite LI - "In my personal game, my love interest is definitely Drake, and I totally make Kara write him just so I can read his scenes and enjoy the romance. =)".

Perhaps if Jennifer had spent less time fawning over Drake, and more time doing Hana's story justice, that LI wouldn't be stuck in a situation where the team constantly erased her experiences and history to benefit their favourites)

When you look at Jeffrey's open admiration of Madeleine, and trace her fairly choppy and largely incoherent narrative journey through the books...a lot of things begin to make sense.

TRR1 - Would a TRR1 Madeleine Have Been A Better Fit for Hana?

When you look at the first book, you can tell that the possibility of any of the other alternative pairings besides Liam and Olivia wasn't really entertained. There is no buildup at all for Maxwell x Penelope, Drake x Kiara - and not even a single direct interaction between fellow competitors Hana and Madeleine. In fact, TRR2 often had to cover up for the lack of interaction in certain cases by making the alternative LI come up with justifications for why they weren't approaching the LI before.

There is maybe one implied interaction between Hana and Madeleine, that I don't think even the writers paid much attention to at the time. In the pie baking scene in Applewood, Hana is assigned to Madeleine's team if the MC doesn't take her along. Whichever group Hana is in, she is in charge of the pie design.

In the diamond scene, she takes the MC's suggestions and gives her advice on the amount of apples required for the filling. Given that she gives credit to the MC (in front of Queen Regina) in this option, and doesn't not do the same for Madeleine, it is likely that she was allowed to decorate for the other team, but not with much input from the captain.

This pie has a rose design, which is beautiful but lacks the intricacy and the challenge of the Cordonian Royal Seal, which the MC can suggest in the diamond scene. It's possible that by default, Madeleine handled the baking herself (since Penelope couldn't even boil water and in fact is so distracted she unwittingly helps sabotage the pie), and Hana was assigned strictly decoration duties. But even these possibilities rely on conjecture and guesswork, with no real dialogue or interaction shown.

There are no other scenes where the two women talk or do anything together. Hana may be present in one or two scenes where Madeleine is speaking (such as the dining scene in Ch 17 where Madeleine tells the court ladies about the upcoming Engagement Tour), but the two never directly engage with each other. It's more likely that (like Maxwell and Penelope, or Drake and Kiara), the writers may have thought of Hana and Madeleine only in the second or third book - more likely the third, but there are possible hints in TRR2 if you squint.

Hana is an interesting anomaly among the cast of TRR. She is both Cordonian and foreigner; the ways of the Cordonian court are, in equal parts, both familiar and confusing to her. This serves as an double-edged advantage to the MC - Hana is both skilled and knowledgeable enough to ease her into the culture, and isolated and vulnerable enough for the MC to step up as a hero on occasion. We also find out in Lythikos (TRR1 Ch 7) that she was so deep in the closet that she couldn't fully articulate her struggle to love the romantic English noble who wanted to marry her, in the presence of the woman she was slowly beginning to love. Within the competition itself, Hana is shown having a hard time finding people who will associate with her, often shown left out of events and her yacht party abandoned during the Regatta. The broken engagement could have a hand in making her appear to be struggling in the competition, but tbh Olivia is the only one who brings it up. Overall, she does well in the competition, but gets little credit for the same.

Madeleine is the polar opposite of this. Even though the ladies of the court initially view her with a mixture of pity and respect (due to her broken engagement with Leo, and her position as a Countess and winner of the previous season), their views on Madeleine once she enters the competition range from anger (Olivia), to speculation (Kiara and Penelope), to indifference and later suspicion (the MC).

Madeleine comes into the social season with several advantages: her pedigree and her years of experience at court. Both Bertrand and the MC note that Madeleine hails from a "powerful family" and "is immersed in the intrigues and maneuverings of courtly life", and therefore the MC is cautioned by Applewood to pay more attention to her than to Olivia. If the MC fails to win court favour, both Penelope and Kiara show allegiance to Madeleine. Where Hana is shown to be vulnerable despite her skills, charm and intelligence, Madeleine is meant to be viewed with respect even by her peers - and expected not to return that respect to others unless they're the king and queen.

I often view the Madeleine of Book 1 (and early TRR2), and the Madeleine of the latter half of Book 2, as two separate people (more on that in the next section). Early Madeleine was depicted as a clear threat. While she does nothing too out-of-pocket during the competition, her threats to the MC once she is (optionally) the favourite frontrunner, her singular focus on only the king and queen (and largely ignoring the Prince), and inability to respectfully lose, ensure that the reader registers her as a figure of danger early on. The first time she (optionally) faces an obvious loss and sees the MC crowned as Apple Queen, Madeleine tells her to "savour these moments. You may never hear the phrase again".

Her very extreme attempts to belatedly win Liam's favour after ignoring him the entire season (we later find out that she barged into his sleeping quarters the previous night and suggested the arrangement that Liam speaks about in TRR2), earns her speculative looks from the MC and wariness from Liam himself. Given that the outcome was so different in TRR2 but the buildup to said outcome was so rushed and chaotic, there is a 70/30 chance that Madeleine's buildup in Book 1 was meant to highlight her as someone with the capability to harm the MC, rather than just as a red herring. At the very most, Book 1 would highlight her as powerful, with the intention that Book 2 would follow through with showing her as a cog in a very vicious machine.

But because Madeleine's actions in TRR1 don't result in any direct harm, it's honestly hard to envision her as dangerous beyond the subtle threats (that people could brush off as basic rivalry) and rank classism.

Would Hana's pairing with the Madeleine of TRR1 have worked? It's equally hard to say. If we take only Book 1 into account, and ignore the very real possibility of a threat that Madeleine represents, there's a sliver of a chance that such a pairing could work...if Madeleine works on herself. At this point she hasn't manifested as a direct threat to Hana in a way that, say, Olivia has - and all the MC has at this point are theories and speculation. You'd have to probably change half of Madeleine's characterization, but it could be workable if the foundation for such a pairing was mutual respect from the start.

Still, when you take into consideration that Madeleine being involved in the plot against the MC was a very legitimate possibility, it's hard to see any opening for this pairing. Even Penelope - whose coddling from the narrative knew no limits - was no longer entertained as a potential alternative romance for an LI the moment her role in the plot was uncovered. If any harm was done to the MC, and Madeleine was found to be behind it, there is no way Hana would even be allowed to entertain the thought of her as an alternative LI at all.

You see - hurting Hana is no big deal. But hurting the MC and still getting an LI to show interest in you? Now that would be beyond the pale!

Madeleine: A Red Herring...Or A Villain Retconned?

As I have mentioned earlier, there is one writer - who has seniority in the company because of his many years there, who has always been in charge of Madeleine's writing, and who has always loved writing her. On close inspection one can say for certain that Jeffrey Herdman had a fair bit of sway in the team itself, especially from the fact that one of his weirdest writing suggestions - the MC's supposed obsession with hats - was retained in the books as a gag for a very, very long time (TRF finale livestream interview). When you take both Jeffrey's sway in the team, and the writing of Madeleine in TRR2 and 3 (and beyond), one can make several educated guesses about what Madeleine was built up to be, and how that changed midway.

Plenty of fan posts written in the gap between TRR1's finale and TRR2's release, took for granted that Madeleine would have some role to play in the plot against the MC. While one may assume this was due to "jealousy" from players or "hate for a bitchy character", there were enough signs in TRR1 and 2 that this was the route the narrative was initially planning to take with her.

The MC does voice suspicions of Madeleine in the first book - mostly after Madeleine herself voices threats to the MC during the Apple Queen ceremony. Madeleine also looks apprehensive at the (optional) public support Liam shows towards the MC at the Beaumont estate, and even shows him a suspiciously huge amount of attention at the Coronation. The MC even confronts Madeleine during the Coronation festivities when she gets a note threatening her to withdraw from the competition, believing it was sent by the latter. But beyond this, Madeleine's own words in TRR1 often sound ominous and laced with subtle threats. Still - going by just TRR1's evidence, Madeleine could still work as a good red herring, since she's not exactly crossed a clear line with anyone yet.

TRR2 seems to go in one direction when it comes to Madeleine's arc, then makes a sharp pivot in the opposite direction post Chs 7 and 8. The first half of the book has both the MC and Liam regard her with doubt and suspicion, especially when the MC learns that Madeleine had come to Liam's rooms the night before the Coronation, and insisted he continue the relationship with the MC on the sly while making her the queen. The book presents several contrasts between Madeleine and the MC, presenting their possible ruling styles and envisioning how each woman would fare as a future queen.

In a diamond scene in TRR2 Ch 4, Liam asks the MC how she would handle a plate of curry chicken falling on someone - an incident that has already occurred in some playthroughs to Madeleine (who got recognizably frustrated and called the whole episode "a disaster"). In contrast, the MC can claim she would either defuse the situation with humour or help clear the mess - both of which establish that unlike Madeleine the MC knows how to adapt to different situations, and prefers to find a solution rather than take her frustrations out on everyone else. Liam points out the differences between the two women as the MC "having perspective... every gaffe isn't a disaster".

Multiple scenes in the story focus on Madeleine's rigidity, her inability to adapt, her hunger for power, her belief that becoming queen gives her a free pass to be a tyrant, her hubris that allows her to outright harm some of her ladies in waiting and believe she will never face consequences, and her overall lack of real impact during her own engagement tour (only if the MC fails miserably does the Italian statesman Francesco even mention Madeleine). A lot of this buildup indicates that she won't be as effective a queen as other characters claim she will be.

Her overall behaviour in the first half of TRR2 seems to highlight overconfidence, and a willingness to overstep every possible boundary in the belief that nothing will now prevent her from getting what she wants ("the best part about being Queen is that I don't have to care about what you think"). Even though she isn't queen yet, both Madeleine and everyone around her behave as if she has already been crowned! That kind of overconfidence - especially from someone who should know better than anyone that winning the competition doesn't necessarily mean she'll be crowned - makes more sense when she is aware that there are powerful people (like the former king and her aunt, the former queen) to back her.

There is also the fact that Penelope's involvement in the plot never got any proper buildup. There is just one scene, in TRR2 Ch 6, where she speaks about feeling uncomfortable at parties and balls, and how much she hates crowds. The reveal of her being the culprit is in Ch 7; the reveal of her social anxiety is in Ch 8. Before this, you have zero indicators of her being involved in this level of deception - even though her history of "social anxiety" should have ideally made that kind of subterfuge difficult, and she should have been able to leave a few tells, signalling her guilt. It is very clear on rereads that Penelope's involvement in the plot was a last-minute narrative decision.

But perhaps the strongest evidence that TRR2 was originally meant to establish Madeleine as part of the plot against the MC, is a line from the very first scene of the book. When a confused MC asks Bertrand how it's possible for Liam to break his engagement, Bertrand mentions a constitutional provision:

"The king is able to change his selection in specific cases for the good of the nation". The MC being proven as framed and unfairly disgraced achieves very little in this context, because the focus is clearly on the king's final choice. This means that the engagement cannot be voided on the basis of the MC being innocent, but on the basis of Madeleine being unfit for the role.

What happens to this "constitutional clause" once Penelope is declared the culprit among the court ladies rather than Madeleine? It disappears completely. If she was really meant to be a red herring from the start, the team would never have added this line in the first place. Nor would they have left the "buildup" for Penelope's anxiety till Ch 6, just one chapter before her reveal. If Madeleine was really meant to be a mere red herring from the start, there would have been more than just one crumb presented for that trail.

It is highly possible that the team had plans for Madeleine to be involved in the plot, or in something shady enough to justify breaking the engagement. It is just as highly possible that Jeffrey, the writer in charge of her character, allowed his favouritism for that character to dictate his writing of her, and convinced the team to change the trajectory of the story to benefit her.

Hana and Madeleine - The First Half of TRR2

Most of the interactions between Hana and Madeleine in TRR2 are overshadowed by one incident in Ch 7 - the one most popularly known as "the chocolate incident". Madeleine was already not too popular as a character when this scene came out, but her admission that she wanted to break Hana crossed enough of a line that a number of players would bring it up as a reason for why they couldn't ever like her, no matter how often she was retconned in canon.

A common misconception made about the "chocolate incident" from Madeleine lovers and haters alike, is that it's viewed as a singular episode rather than as an escalation in an ongoing pattern of threats that Madeleine was already making to Hana.

Viewing it as an isolated incident is precisely what allowed both Madeleine stans, and the canon narrative itself, to severely downplay what Madeleine did, and what she openly declared she would continue doing to Hana. Therefore, it is essential to look into Hana and Madeleine's interactions before Ch 7, as well as the context behind Hana's return to court and the very real and grave threat that Madeleine represents to Hana specifically.

To do this, we must first look into how Hana's return to court (after her parents forced her to leave post Coronation) is depicted. There are two versions of this story - Madeleine's version...and the truth.

Madeleine's Version: "If it wasn't for me, she'd still be on the other side of the world. I've heard dogs remember those who feed them. I hope you'll keep this in mind and remember that dear Hana is here by my personal invitation". This is a half-truth at best and ironically, this is the version Hana sticks to. She is never allowed to tell us differently.

The truth, as said by Liam to Hana post Coronation: "I am the King of Cordonia. I'm sure Lady Madeleine knows that if she wants to keep our engagement, she'll have to give me something. Perhaps I can convince her to make you part of her court". Hana never gets to tell us this. That honour is given to Drake!

Even after the MC (optionally) gets to know this truth, she never talks to Hana about it, and Hana is never allowed to veer from Madeleine's narrative even in private. In the process, Madeleine gets to use her half-truth as a form of blackmail - threatening Hana at least twice to send her back to China if she paces even one toe out of Madeleine's arbitrary line.

In TRR2 Ch 4, Madeleine is shown antagonizing her entire court (ordering Penelope to get lemonade and comparing her to dogs, telling Kiara to exoticize herself by not speaking in English [which itself has colonial/Orientalist connotations]). But none is more ominous and disturbing than her subtle threat to Hana before introducing her to the two suitors:

Being sent back to her parents is a terrifying prospect for Hana...for two reasons. For one, Hana is committed to being there for the MC, to contributing to her investigation (and she does! Massively. Perhaps more than anyone else in the group). For another, she is just beginning to realize what a damaging environment her parents' house is, and she also knows they are already growing suspicious that she hasn't found another suitor yet. By the end of this conversation, Hana is visibly distraught... to the point of needing moral support (something she rarely asks for herself).

Remember - this is an arbitrary rule Madeleine comes up with, that applies only to Hana. In the same conversation, neither Kiara nor Penelope are placed under this kind of pressure. Though Penelope claims in Ch 6 that her parents won't allow her to come home if she doesn't get a suitor, Madeleine doesn't levy any other threats of this nature on her (she harms Penelope in other ways).

Madeleine is aware that Liam was the one responsible for Hana's return. It is implied that she is also aware that neither Liam nor Hana can say this in public. By this coin, she'd know that she shouldn't be the one who can take a call on sending Hana back - Liam is. Yet she issues this sort of a threat, and worse still...is allowed to get away with it through Hana and the MC's silence, both in private and in public.

Unlike the MC and Olivia, the other three ladies of the court are present in official positions to the future Queen, and are expected to publicly pledge loyalty to her. The narrative of TRR2 alone seems to give the King's fiancèe powers and influences similar to an actual Queen Consort's. And Hana, Kiara and Penelope aren't just random "court members" - they are Madeleine's ladies-in-waiting. They cannot even speak to certain people unless she approves of it (Ch 1), she orders them around with the disrespect that many in that nobility reserve for their servants (Penelope in Ch 4), she publicly humiliates and insults them if they make a single mistake (eg. Penelope not getting a metallic dress in time for the bachelorette), and she can get away with causing them grievous harm (Hana). There is no actual point to any of this behaviour - it achieves nothing and (by the narrative parameters of the third book) is actually foolish, because Madeleine's actions could cost the royal family their relationship with the Great Houses. Neither the MC nor Liam (the actual monarch), would be allowed by the narrative later to abuse their power the way Madeleine can, in a position that isn't even hers yet!

It is easy to view Madeleine's interactions with Hana and Penelope especially, as just some regular mean-girls shit, with all the excuses, justifications and crocodile tears that the fandom can shower on said white/white-passing mean girls. Canon itself encourages this reading when they use the word "hazing" to describe what Madeleine put Hana through. But when we speak of Madeleine's behaviour in her engagement tour that way, we miss a very important aspect of her dynamic with these two women. They are no longer competitors or mere allies. They are not just people she knows in court.

They are not Madeleine's equals. They are her employees. She is directly in a position of immense, unquestioned and unchecked power over them. Publicly, she has the authority to invite them into her court, and to throw them out of their jobs. It is from that lens, that we must view her behaviour, especially in Ch 7.

The "Chocolate Incident" and Its Aftermath

Another reason to believe Jeffrey's favouritism for Madeleine allowed for an actual change in the story, is the way this above scene - and the ones preceding it - were handled immediately in both the immediate and long-term aftermath.

Often dubbed "the chocolate incident", this scene takes place in Italy (the first stop of the engagement tour) during Madeleine's bachelorette. For anyone who has forgotten the incident, Madeleine's ladies-in-waiting are supposed to organize different fun activities for her bachelorette, and the MC uses each event as both a PR exercise and an opportunity to check the credit cards of the ladies.

The final activity is Hana's, an intricately-planned chocolate fondue party complete with chocolate-themed games and treats. If one reads too much between the lines, one could maybe notice the tiniest sliver of a romantic hint in Hana's conversation with the MC over her confusing an actual bachelorette party with the show The Bachelorette (It is just as possible tho - if not more - that this is a comic aside pointing to Hana's lack of exposure to modern media).

However, things take a turn for the worst at this juncture. Madeleine heavily berates Hana for not knowing that she is "allergic to chocolate", accusing her of an attempt to murder and even threatening to remove her from her position in court. This leaves Hana so distraught that she ruins her own dress in the process, and is damn near inconsolable. The MC can - if she chooses - comfort Hana along with their friends. At the end of the night, a heavily drunk Madeleine gleefully admits she lied about the allergy and gloats about wanting to keep hurting Hana till she breaks, because she "wants to have a little fun".

She claims, when asked why, that it's because "everyone wants something, but the nice ones like Hana don't even have the decency to act like it". Which sounds like the sort of sick logic that fandom often happily accepts from their favourite white antagonists, where they can project whatever sob story they want to make such a reasoning palatable. Such attempts ignore the fact that Madeleine is torturing someone for supposed "duplicity" when she is herself well-known for being insincere.

Later, when it was convenient for the fandom to hate on Hana, she would be either blamed for the torture Madeleine put her through (because she was "weak" or "too nice", or that she was "spineless and deserved this treatment". I even saw posts that claimed it "wasn't that bad" (in the case of one particularly memorable instance, a Madeleine stan went so far as to say, agreeing with a post expressing a fondness for Madeleine: "...before anyone mentions the chocolate prank: Did Hana die, tho?"). Some also tried to reason that it was fair for Madeleine to target Hana, either to showcase her "wiles" or because of her sad sad childhood.

As I pointed out earlier, every single one of these takes tend to downplay Madeleine's bullying/abuse so that it sounds more like a schoolyard squabble that happened only once, rather than a person in power consistently placing their employee's job under threat, with the stated intention of harming them mentally and emotionally on a regular basis, until they experienced a breakdown. The center of this conflict isn't about different people with different approaches. Nor is it about court maneuvering or wiles because honestly, nothing worthwhile was achieved through Madeleine's abuse, and she had no purpose for doing those things beyond deriving a sick pleasure from other people's suffering.

It isn't about nice vs tough, nor ambitious vs generous, nor "naive" vs "jaded". It is about a gross power imbalance. An imbalance that results in the exploitation of the more vulnerable party...which is later brushed aside by the one who claims to be the latter's "friend" like it means nothing.

Structure wise, one can see striking similarities between this chapter, and TRR1's Ch 7, where the MC can view Olivia in a new light in the first half of the chapter, but be disturbed by her vindictive nature by the end of it. Here too, the MC comes into the investigation of the credit cards fully expecting to see Madeleine as the culprit. Over the course of the evening she finds Madeleine treating her ladies-in-waiting badly, but also calling out the press for targeting only the MC but staying silent on Tariq's involvement (ironically, Madeleine herself didn't exactly believe the MC if she tells her she was set up). She is also shocked when she realises Madeleine isn't the culprit at the club. Still, the court is given a rude shock when Hana is accused of putting Madeleine's life in danger.

Clearly the aim of such a chapter was to make the MC soften a little towards Madeleine, while still keeping some of the antagonistic tension. However, the more direct impact of Madeleine's huge ego trip on Hana made the harm far more visible than Olivia's jibes towards a woman who was far away...plus the scenes that followed in the former sequence centered Drake, far more than the ones in the latter that involved comforting Hana.

Madeleine's bullying also clashes - quite conveniently - with the reveal of Penelope's betrayal, so that the latter overshadows what Hana went through altogether.

It is important to note at this point that the MC is the only person not directly tied in an alliance to Madeleine (besides Olivia and Maxwell, who are then missing at the fashion show backstage scene in Paris) who knows Madeleine's intentions towards Hana. She is the only person present at the event in Paris, who knows that Madeleine intended to continue harassing her until she broke. Hana herself is never made fully aware of this, and if she is left in a vulnerable, dangerous position while on her mission to support the MC's investigation - then the fault lies to a large extent with the MC for keeping silent, rather than protecting her friend from someone who fully intended to hurt her.

I say this because in France (Ch 8), the MC's exposing of Madeleine is by choice, rather than default (this essay has a full breakdown of said scene). Moreover, the option where the MC can "expose" her will result in Madeleine lying about the act being an "official hazing" she does for all her ladies-in-waiting. Not only does the MC neglect to contest Madeleine's claims (or even tell Hana the full truth in secret), she also parrots Madeleine's lie in a conversation with Adeleide in NY, as if it were the truth (Ch 14).

Remember how I mentioned Jeffrey - the writer who was in charge of Madeleine's scenes and sang her praises in TRR2's pre-release interview? His influence here is obvious in the way the narrative sharply pivots away from Madeleine's characterization so far, to engage in a full-blown pity party.

The abuses of her power (towards Hana and Penelope in particular) stop. The parallels that canon makes between Madeleine and the MC as future Queens, stop. No reference, ever, is made of her actions before Ch 8.

For over seven chapters, Madeleine largely fades into the background - sometimes there will be scenes where she is present, but without any dialogue or actions. Sometimes she may make a catty move like getting the MC to pick up her wedding ring, but from a safe distance. Because she doesn't openly antagonize anyone or show up much in Chs 9-15, the sense of distance could allow some to soften in their memories of her. Especially when the only strong reminders of Madeleine in these chapters come from Adeleide, her mother.

Adeleide is an important cog in the machinery that resulted in the retconning of Madeleine's character in TRR2. Without her, Patriotic!Madeleine wouldn't have become canon. Adeleide sets the stage for this extremely inaccurate reading of her, with complaints on two occasions about how Madeleine is "putting too much pressure on herself" and working too hard. Which contradicts her very real actions in Applewood and Italy, where she regularly antagonized her entire court and where she doesn't get much notable approval from foreign dignitaries (Signor Francesco) unless the MC is that bad.

The narrative, at this point, expects us to view her with sympathy, as someone who could have been "an excellent queen" (Adeleide's words, not mine). The stage is clearly set so that we pity her when Liam calls off the engagement and she loses this position, that we can see her loss as "unfair". It ensures that there is an overflow of sympathy for Madeleine's plight, especially since she had already lost her chance to become Queen once before with Leo. By this point, many readers had actually forgotten the "chocolate incident" altogether, and were more than willing to view Madeleine as a patriot who wasn't given her due. A description that, ironically, more accurately fits Hana.

Is Hana Really Just A Nice Girl who Never Fights Back?

As I mentioned before, Hana's "niceness" and "weakness" were sometimes presented in fandom as justifications/reasons for Madeleine's bullying of her, often in an attempt to shift blame or make it sound like Madeleine's stated "reasons" (in TRR2 Ch 7) to hurt her were legitimate. Almost as if to say that Hana was targeted because she presents herself as an easy target.

To be clear, I don't subscribe to such a train of thought myself. Different people react to bullies and abusers in different ways - and not being able to push back aggressively in tense situations doesn't make anyone a lesser person. In fact, canon itself doesn't mind providing a "weaker" person protection against someone like Madeleine...as long as that person is Penelope. So we cannot even claim that Hana's "weakness" is why Madeleine targets her, or why the MC shouldn't have to protect Hana better.

Canon also doesn't help much in this respect, especially with their preferences for the meaner white women. In fact the narrative doesn't even allow Hana the chance to speak up in private against Madeleine's half-truths about her return, and she is made to easily accept Madeleine's "hazing" excuse. Let's not even get into how she speaks about Madeleine in TRR3. Additionally, no one in Hana's own friend group provides adequate protection or support - they stay silent where it counts.

But is Hana really that incapable of fighting for herself? According to the finale of TRR1, no.

Even though the scene is hidden behind a paywall, Hana's pushback against Olivia's treatment of her during the social season is strong, decisive and done entirely on her own initiative, with no prompting or involvement from the MC. She is honest about the ways in which Olivia has hurt her, but also makes it clear that Olivia's opinions and vitriol no longer matter - effectively reclaiming her own power in the process.

Such a scene is a clear indicator that Hana is capable of pushing back, and isn't afraid to speak truth to power - as early as TRR1. While one could say that as a diamond scene, it is possible that it can't be fully shown as canon - there are ways the writers know how to incorporate such things. Often, they have managed to write in similar scenes or the same information into free scenes later on (eg. the selling of Liam's bachelor party photos, which wasn't even that important to the story of TRR2). Hana could have had a free pushback scene with Olivia if the writers really wanted to give her one.

That aside, it's safe to say that there is a precedent for Hana being able to fight back before TRR2, and canon could have found ways to ensure that she could safely do so with Madeleine too. Or at least have more protection and care from her friend group, if her position as lady-in-waiting prevented her from speaking out. Penelope got to demand protection later on, after all - and she wasn't even our friend.

We must also take into account the positions of power that Madeleine, Olivia and later even the MC hold. Madeleine is a countess in line to become queen in TRR2. Olivia is a duchess, and the MC herself is given this honour in Book 2. Hana - despite her skills, knowledge and charm - never gets lands, nor a title unless she marries the MC. Hana's experience in Cordonia isn't just about "other women" being mean to her with the MC being "not like other girls" - all three of the above women are in positions of power over her, and even the nicest of them uses her more often than she helps.

TRR2 doesn't exactly build Hana and Madeleine as a pair. In hindsight one can read romantic hints into Madeleine's mocking usage of the word "darling" around Hana, Hana's attempt to replicate The Bachelorette for Madeleine's bachelorette party, and read parallels into both their toxic family histories (particularly Hana with her mother and Madeleine with her father). But there is no actual romantic content there that one could find with the other three pairs, which leads me to believe that Hana and Madeleine was only taken seriously as a romantic prospect in TRR3.

How did Madeleine become the final romantic choice for Hana, and no one else? Because the relationship was never made Hana's benefit - it was for Madeleine's. Given all the evidence laid out about TRR1!Madeleine, TRR2!Madeleine and including hints that she may have actually been written as the villain at some point, it's more likely that Madeleine's main writer ensured some changes in the writing of his favourite character midway into the story, resulting in her staying longer in court and several retcons that painted her as a tragic heroine and completely erased any actions that contradicted such a narrative.

This specific narrative also seems to draw upon a narrative trope that is seen sometimes in certain stories featuring queer couples - the Armoured Closted Gay. It is employed often enough, mostly to show the pervasiveness and immense pressure heteronormativity can have on some queer people - that sometimes, they hate themselves for not adhering to the norm and therefore project that self-hatred onto people like them. PB had done a similar kind of story in TF and ILITW - with Zig and an aggressive teammate Manny (but with discussions on sexual harassment and about being closeted) and with Lily Oritz and her crush Britney. Unlike Zig's and Lily's cases though, this sort of narrative hardly centers on Hana.

Hana is hardly treated as a person in her own right in this narrative. She is treated as a "consolation prize" for Madeleine's "good behaviour" and "hard work". Which is still a really, really hard story to sell when one of the characters states outright that they'd abuse their power over the other till she breaks.

So how does PB get back from that kind of cruelty, and convert it into an actual romance?

Madeleine in TRR3 - The Royal Retcon

(In order: MC complimenting Madeleine to Godfrey (Ch 3), response to Madeleine's "send my regards to Hana (Ch 9), Madeleine asking for a dance (Ch 16), Optional response about memories of Madeleine's bachelorette in Hana's Vegas diamond scene (Ch 16))

By gaslighting an entire fandom, of course.

TRR3 requires us at the very start to do two things - to recruit Madeleine into replacing Justin as our press secretary, and to convince her family to join the Unity Tour so that Cordonia knows its nobility stands with the Crown. Until this point, we've only had hints of Madeleine's so-called "patriotism", mostly from Adeleide. TRR3 Ch 3 goes full force on this reading: having Madeleine claim (in the most positive option) that all her efforts to become queen was "for my people...it was always for Cordonia", having Hana claim that Madeleine "would mostly likely take a bullet for Liam... because you'd never leave Cordonia without a King". Coupled with Godfrey and Adeleide's toxic family dynamics, the story is set to push forward a narrative where we are meant to sympathize with her and preferably downplay her behaviour from the previous book.

Throughout Madeleine's tenure as press sec, we are expected to laud her "work" - even though the truth is that she makes our work harder by giving us heavy folders and 100 note cards of materials just minutes before our meetings, and leaving out important information (like Zeke) for us to scramble about and find. Where during her time as future queen, her ladies-in-waiting were expected to have every detail perfect as per her desires otherwise face her wrath - as our employee, we are expected to appreciate efforts alone, and be lenient when she doesn't follow our rules (eg. wearing gold for our bachelorette when she was supposed to wear muted colours, trying to sneak in a white dress to our wedding). Most of our responses to her "work" involve fulsome praise, or at most a very light criticism that still claims she's good at her job (she isn't). And it isn't just the MC - even Justin (who recommended her) and Hana are made to sing her praises.

Having canon claim Madeleine does a good job when she actually doesn't is... frustrating, but not as awful as the retconning they do for her past behaviour. But it is part of a pattern that whitewashes Madeleine altogether so the readers can consider her deserving of the rewards that the narrative so badly wants to give her, whether her actual conduct matches up to these fulsome praises or not.

One clear tactic that is used to achieve this, was to have the person she harmed the most, speak of her in glowing terms. In TRR3 Ch 3, you have at least two instances during the "Cordonia's Most" game where Hana uses the game to compliment Madeleine. Here, she compliments Madeleine on knowing how to "charm a crowd...her confidence and poise", and claims her to be very patriotic. If the MC refuses to coddle Madeleine during their private conversation, the onus to be kind to her rests solely on Hana's shoulders, where she is required to say, "maybe it's time to see if you can catch more flies with honey". Hana is also shown wanting to include Madeleine in group activities (TRR3 Ch 6, before going to the spa), in the same way she tried to include Olivia in TRR2. When we're shown a Hana who is not only willing but enthusiastic to speak to Madeleine, it further encourages the reader to befriend her - almost as if to say, "if Hana doesn't mind being friendly with her, why should you?".

And this wouldn't be possible at all if canon was honest about Madeleine's conduct in TRR2. So much about Madeleine's advice to us in TRR3 directly contradicts her own behaviour as future queen in TRR2 ("having an entourage isn't about vanity...it's about support"). Had canon actually been honest about her conduct, this statement would be viewed as extremely ironic, a huge portion of the blame for Penelope's reluctance to return to court would be (rightly) placed on Madeleine's shoulders and we would be able to call her out specifically on her tyrannical behaviour as future queen, as well as her inability to adjust her work to suit her client now. We would not be placing Madeleine on a pedestal ad nauseum, or paying much attention to her childish complaints that her "efforts" are going unappreciated.

Whenever the early part of the engagement tour is referenced, it is spoken of in the vaguest, most milquetoast terms. The narrative will speak vaguely of "meanness", but never actually specify what Madeleine did. The closest we get to any sort of confirmation of this is in the Costume Gala (Ch 9) if the MC warns Madeleine to stay away from Hana...and even there, the MC just says she did "mean things". Which is the mildest possible way I have seen of someone describing a person who gloated about breaking Hana. Like the word "hazing" from the previous book, all these vague references leave it to the readers' faint memories, or imagination, to figure out what Madeleine did.

But all of these are just hints at best, and most of what we could assume of the writers' intentions came largely from guesswork. There was constantly a sense of something not being right, but many of us at the time couldn't completely articulate it. That is, until Ch 16, and only if we pressed a specific option in the Vegas diamond scene, in just Hana's playthrough:

Unlike the previous scenes - which were mostly attempts to obfuscate the events of the previous book - this scene replaces what actually happened with blatant lies. Not only does it wipe out entirely what Madeleine did, replacing it with a casual comment from Hana about her "fun side", it also smears Kiara for something she didn't do at all during the bachelorette (for clarity, Kiara found out she was a great dancer, and looked quite annoyed if the MC chose a wrong dialogue option as an excuse to see her card. The MC never saw her lashing out at Penelope during this event). Even if the MC and Hana were so drunk that night that they wouldn't remember events clearly (which isn't how they're depicted at all when the "chocolate incident" took place), it wouldn't be replaced with things that never actually happened. The writers were more than ready to throw Kiara under the bus to make Madeleine look better, and have those lies come out of Hana's mouth (and mind you, Hana liked Kiara so much she chose her to be her MoH in Ch 18 of her playthrough, so it can't even have been spite towards Kiara on her part).

In contrast, Penelope is allowed to be open about Madeleine's mistreatment of her. In fact she cites it as the main reason for her reluctance to return to court, and even complains at the MC if the latter asks her if she didn't get the memo on the bachelorette dress code in TRR3 Ch 16 ("oh no, no, it's like Madeleine all over again!"). The group is required to protect her from Madeleine; in Ch 4, when Penelope is upset at the very sight of Madeleine, Drake comes to her rescue and reassures her ("She's with us, Penelope. We won't let her bite."). While Madeleine herself is protected from any consequences for what she did to Penelope (besides an optional tiny jibe in Ch 4), the MC and her group are required to reassure her that they will never allow it to happen again. In a very disgusting contrast, the narrative pushes Hana at the forefront of the diamond scene with Madeleine, without ever considering her comfort or safety around the person who wanted to break her. Not only does the group involve her without ever asking her if she wants to be part of it - Drake and Maxwell safely distance themselves when the time comes for Madeleine to speak personally about her troubles, and the MC can choose not to be sympathetic in certain dialogue options. Which means that the onus to comfort and persuade her is largely on Hana's shoulders. We must also remember that, unlike Penelope, Hana is deprived of the full truth of Madeleine's intentions in the last book too.

Where the writers were ready to at least admit that Madeleine's behaviour affected Penelope deeply, they went to the extent of completely rewriting the narrative of her TRR2 bachelorette to erase what she put Hana through.

The "Romance" in TRR3

(First four screenshots from my playthroughs, next four from the Adventure...Romance...Thrills YouTube Channel, and the final row's screenshots from the Annabelle Lee YouTube channel and the Skylia YouTube channel)

The Hana and Madeleine "romance" is hinted at in 5 scenes (4 in other playthroughs, and just one in Hana's own). As with most of the other romances, Madeleine's feelings are the most prominent. To the more romance-coded overtures, Hana's reaction is usually shock and disbelief, with a small suspicion over whether Madeleine is doing this to trick her into humiliation later. But the narrative gives her very little opportunity to even talk about anything related to Madeleine, especially anything negative. You do have a scene at the finale that is meant to provide closure, but not in a romantic way. This scene is very different from the others, and in some ways puts an end to the possibility of this relationship happening anytime soon.

How did we get from those scenes to this final one in Ch 22? It would be useful to look at the scenes, within the timeline of TRR3's release and with the context of fandom reactions.

1. The "Cordonia's Most" Scene (Ch 3)

This diamond scene is written to give the MC/reader a bit of background on Madeleine's past and family, which will prove useful later when she has to convince the Amaranths to fix their relationship with each other. It is set against the background of a drinking game where an asker can quiz everyone else about who would be the most likely to do a particular action. Hana references Madeleine twice in the game (in a very complimentary manner), and Madeleine references Hana once. It was her comment about Hana being "stupidly sweet and perfect" that caught the attention of some readers and made them wonder if that was the route PB was planning to take with Hana. This dialogue shows up in Hana's route as well.

In later chapters, we see instances of Hana trying to include Madeleine in group activities...such as in Ch 6 where she invites the latter to come with them to the spa after the football match with Jiro and Camellia.

2 and 3. Cross-Referencing Each Other at Costume Gala (Ch 9)

This is a very interesting development, at an equally interesting time. Around the time Ch 9 released (end-April 2018), PB announced that TRR's team would be taking a hiatus, mostly to work on "some exciting stuff" during that break. It also gave them the time to work on certain things the fandom was demanding, and do away with others due to stan vitriol (Kiara's attraction towards Drake being one of them). The next chapter would only appear a month and a half later (mid-June).

Ch 9 sneaked in a scene that hinted at Hana and Madeleine as a romance option, but in a way that made it very hard for players to notice on a casual read. The scene is split in two parts: the MC can choose to speak to either Hana and Olivia, or Maxwell, Justin and Madeleine. Hana and Olivia's scene shows the two commenting on Gala outfits, which kickstarts a conversation about diplomacy vs bluntness. The latter option explores a variety of topics, mostly revolving around an appreciation for Madeleine's "great work".

Both Hana and Madeleine reference each other in their scenes. Hana's dialogue depends on whether the MC is her fiancèe or not; in other playthroughs, she admires Madeleine's costume, the compliment on her good looks very personal. In her own playthrough, she compliments Kiara's outfit but in a more distant fashion ("subtle and clever, just like her...very well-chosen"). In Madeleine's scene (which is the same across playthroughs), the ending involves her telling the MC to "send my regards to Hana", in response to which she can choose a line of questioning (which ranges from "protective towards Hana" to largely indifferent. In all three options, thankfully, the MC can close with "don't let me catch you antagonizing her", but that really is one small mercy in a pile of blatant retconning.

What marks Hana's dialogue about Madeleine as an LI-specific option, is that she says something entirely different if the MC is getting married to her. This is an indication that the dialogue was intended to be read as romantic, and that it couldn't be said by an LI who was already in love and ready to marry the MC. Pretty much in the same way that Olivia in Liam's playthrough cannot hold his hand in Applewood or dance with him in Vegas.

I wrote an essay on this at the time - both on the possibility of the pairing and why it was a bad idea - and the overall response I received at the time was mixed. Those who remembered exactly what went down at Madeleine's bachelorette and weren't her fans hated the prospect, but some weren't as convinced and some refused to believe it would happen. So there was some pushback for it, citing Madeleine's "chocolate incident" (thankfully, since there were players who had forgotten about it), but it was very low-key and didn't gain much traction.

4. An Offer to Dance in Vegas (Ch 16)

The most obvious indication of Hana and Madeleine being a romantic possibility was in the Vegas chapter. It was impossible to miss for people who didn't romance Hana. This scene, again, featured only in playthroughs where Hana wasn't getting married - which meant that many Hana-romancers didn't get to know of this pairing unless they were told by a friend or saw any such posts on their dash (some even found out years later, to their shock and dismay).

The mild pushback from Ch 9 resulted in a scene where the writers could be emboldened to continue writing this pairing, but confirm (in the vaguest possible way) that Madeleine treated Hana badly. Madeleine's non-apology "apology" really reads more like an attempt to get into Hana's pants than actual regret, and is followed by a reaction from Hana that is confusing in its mildness. Hana is surprised at the offer to dance, asking Madeleine whether she's trying to trick her. While the mild suspicion is a slight improvement from Hana's fulsome praise and enthusiastic attempts to involve Madeleine in group stuff in previous chapters, it still downplays what Hana suffered at Madeleine's hands by making her present the weakest, most milquetoast examples of "fooling someone", examples that pale miserably in comparison to what Madeleine actually put Hana through.

With both the "stupidly sweet and perfect" dialogue and this scene, you'll notice that Madeleine is not only the one who initiates the conversation, but is also the only one with an actual voice in these exchanges. Forget having an opinion on whether she wants to have anything to do with Madeleine or not - the narrative doesn't even give poor Hana the opportunity to properly react beyond mere shock.

There was a stronger reaction to this scene than to the Ch 9 one, because it was way more visible (though you could avoid it just by letting Madeleine stay in her hotel) with Madeleine's romantic intentions on full display. Her asking Hana for a dance immediately after the no apology made it pretty obvious. Players who didn't see the Ch 9 scenes or who didn't believe the divergences meant anything, now couldn't deny that this was positioned as an alternative romance. Additionally by this time, those who forgot about the "chocolate incident" did get reminded of the exact scene, so the vagueness with which Madeleine "addressed" her actions in TRR2 felt criminally inadequate for a number of readers.

Most of us, however, didn't know about the retcon in Hana's Vegas scene, until years later. Those who didn't do Hana's playthrough would have had no idea, and those who did more likely chose the more romantic options.

5. "Jealous?" (Ch 20)

This scene is unique in that the option shows up across all playthroughs, but the specific reaction only shows up in two of them. It's understandable that Hana stans would have missed this - the dialogue is an option, the response is very fleeting and you would have to look through the same option in other playthroughs to recognise the variations.

In the cases of both Drake and Maxwell, Madeleine's response to this jibe from the MC is "ugh, please". Dismissive, almost mocking the idea that she would have any interest in them. In Liam's and Hana's cases, she appears shocked for a minute, then composes herself and gives a more neutral response ("I...I refuse to dignify such a ridiculous question with a response"). In Liam's case, one can safely assume that even though she had no romantic interest in him, she was still on the verge of marrying Liam and that alone would make the situation awkward. In Hana's case there is really no other reason for her to feel that awkward besides having lingering feelings that she cannot suppress.

While this version of the scene doesn't feature in playthroughs where she is single at all, it's still a very strong indicator of authorial intent. Even in the face of backlash against the pairing, the writers clearly wanted to continue hinting at the possibility, if they were slipping in hints of Madeleine's feelings for Hana as late as Ch 20 (just two chapters before the finale). The most plausible theory for this inclusion would be that the backlash was a lot more than it was after Ch 9, but not entirely enough to do away without the pairing completely...yet.

6. "I Wanted To Break You" (Ch 22)

No one knows what happened between Chs 20 and 22, and there's little I can think of that would account for such a quick change in such a short span of time. The finale has a scene featuring Hana and Madeleine, that begins by drawing more obvious parallels between the two women and their families (until now, the parallels were not as pronounced. It's not exactly a great parallel to begin with, since Madeleine has at least one supportive parent and doesn't get punished to the extent that Hana has been, if she openly protests against her parents' methods. But in TRR3 the narrative sometimes does use Hana's toxic parental situation as a parallel to garner sympathy for Madeleine's).

However, once the parents are out of the picture, the attention then turns to Hana and Madeleine, setting the stage for either a romantic confession or a full apology. This time, canon opts to go for the latter.

Unlike all the others, this scene is bluntly specific not just about what Madeleine did but what exactly her intentions were. It has her use the word "break"; it has her actually say the word "sorry". It allowed Hana, for the first time, to fully hear the truth about the harm Madeleine planned to wreck on her. And most importantly, it also allowed Hana her own voice in response to Madeleine's revelations, making it very clear to her that her forgiveness needed to be earned, over a period of time.

The dialogues used to talk about Madeleine's bachelorette in the finale are poles apart from the language they'd used earlier ("hazing", "put my ladies through their paces", "mean things", "refuse to coddle", "wronged"). The finale scene was a more accurate return to the original language and purpose of that bachelorette scene. In fact it sounds less like what canon had been attempting to gaslight their readers into believing thus far, and even seemed to borrow verbatim from the language of the readers who closely followed this issue.

One could call it a good closure scene on the surface level...but there are many, many problems with it.

One was the reaction of the MC. Her angry "excuse me?" in response to Madeleine's confession is still a very obvious retcon. It may have been done to preserve the myth that the MC is a good friend/wife to Hana, but reads as extremely dishonest when you remember that canonically, the MC knew the truth about Madeleine's intentions the whole time and just chose to leave Hana in the dark. It's an attempt to make the MC seem protective that ultimately rings false.

Another is the excuse Madeleine gives for why she targeted Hana. "I wanted to push Hana too far, and for her to drop the nice-girl act once and for all! Only, it isn't an act, is it?" My response when I first read this was "if Hana was faking it...so what. So fucking what. Who was she harming". Coming from the reigning queen of duplicity herself, Madeleine is really not in a position to be judging anyone for putting up a front. This also ties into the hollowness of the motives PB tried to belatedly cook up for TRR2 Madeleine's bullying - no matter what canon says to whitewash her actions, her attempts achieved nothing, did no good for Cordonia, and would likely have led to a very fractured court if the Unity Tour was held while she was queen.

Ultimately, the possibility of this pairing becoming canon was laid to rest in the final chapter. One could interpret Madeleine's promise of a starting gesture ("know that if anyone at court gives you trouble, I can make them regret it") as a possible opening to something more, but considering the earlier backlash, that was unlikely.

TRH - Madeleine Gets The Penelope Treatment, Hana Gets Her Entire Childhood History Retconned.

An interesting development that came up when TRH dropped was the departure of Jeffrey Herdman from the team, most likely because he was heavily involved in the writing of its Renaissance-era spin-off The Royal Masquerade. He would return, by TRF (he is part of their finale livestream), but by then his pet favourite character was likely gone.

TRH has a different set of circumstances, and different power dynamics. The MC is settled into marriage and trying for a child, the LIs are working in the council, Olivia is upgraded to cosplaying spymaster and the side characters go on with their lives. The first book of TRH seemed to do a surface-level recognition of some of the complaints certain readers had in previous books, but their favourites and the people who wouldn't get much attention or appreciation, remained the same.

TRH1 was a time when the writers praised Hana and claimed in a livestream that she was the kind of LI they would love to marry, but also where they gave her a condition that (inaccurately) made her unable to safely carry children (just for the MC to be the mother of the heir) and forced her to be immediately okay with that fate. As the sequel series progressed over the course of 4 books, the erasure of all that Hana was in the past was subtle and insidious - the narrative often compared her to Olivia and found her lesser, she was never allowed to even mention her home place China and worst of all - the writing completely retconned the emotional abuse she suffered at home by claiming it emerged from loving protection, from wanting to keep their daughter away from a cult. And even though Hana's discovery of her sexuality was described by Kara as a "journey that she's still on", no attempts were ever made to show her exploring what she likes romantically, or to show her dating. We don't know if she's involved with anyone, we don't know where she lives, we learn very little of her interests beyond what benefits the MC at any given moment, and the narrative never fails to remind us that they like Olivia more than they like her. Hell, they still encourage Olivia to keep insulting and degrading Hana! Hardly the behaviour of writers who love a character so much they would marry them irl, honestly.

On the other hand, Madeleine wasn't very prominent in TRH1, but gained notoriety in the next two books. The first book has her occasionally engage in inappropriate, invasive badgering of the MC to get pregnant quickly, and she continues to pretend that her doing whatever she likes without ever consulting the person in charge is professional behaviour (eg. Setting up the presscon about the MC's pregnancy announcement. She never even considers whether the MC would be comfortable announcing this pregnancy or not at this time). She gets to deliver a small bit of foreshadowing in the second half of the book (an early hint about Queen Eleanor's pregnancy, though Madeleine's awareness of it hardly makes sense when you look at the entire TRH series, and it never comes up as a point again). Her father being exposed as the traitor who poisoned the former queen builds up to a storyline that benefits her the most in the long run.

Hana is given one chapter where she can call Madeleine out on her entitlement (Savannah's bachelorette). She doesn't insult or berate Madeleine in TRH1 Ch 7, but is refreshingly no-nonsense and will not put up with Madeleine's constant whining about an event she had invited herself to. It's a small, cold comfort, since Hana's actions here are tied to making Savannah's bachelorette a success rather than for herself - but it's still gratifying to see Hana in a position where she can call people out without having to worry about the repercussions. Especially when the narrative disrespects Hana in so, so many other ways for the rest of the series.

In the same chapter, the ladies of the court are given an opportunity to talk about their love lives. Of the four, two women can speak about the people they like (Penelope about Ezekiel by default, and Olivia about Liam if you choose), and one only mentions him by name if the MC is married to someone else (Kiara, about Drake, if you choose to ask her over Madeleine). Madeleine doesn't mention anyone at all, insisting that marriage is something she will only consider for the benefit of her country or estate. This was a relief to players who feared that PB might attempt to push the possibility of romance between Madeleine and Hana again.

Though Madeleine doesn't get the romance that PB so desperately wanted to gift her in the last series, and she isn't given any further romances...the narrative clearly wasn't done pandering to her, even though Jeffrey was not officially a part of the team.

Remember how in the previous essay, we explored the levels to which PB encouraged players to coddle Penelope? Entire chapters would be spent just making her feel comfortable and safe, in encouraging her to help us. No actual initiative or enthusiasm from her end, even if her actions caused the problem or there were lives and reputations at stake. No, Penelope's comfort and happiness should be front and center.

Now think of that treatment, but on steroids and lasting for two whole books. That's what Madeleine's story - starting from TRH2 - looks like.

TRH1 ends with the reveal that Madeleine's father, Godfrey, was involved in the assassination of Liam's mother Eleanor. So a certain amount of narrative focus on Madeleine was expected, perhaps. But the second book doesn't stop at just that.

We are not merely asked to be kind to Madeleine. No, kindness towards Madeleine is expected of us. The warning issued in TRH2 Ch 4 promises "consequences", which means we know straight off the bat that we will be punished if we're not nice enough. It insists we take note of her "fragile state", and give her the mercy and compassion she had never given to anyone in her court.

To give Madeleine the smallest of credits, she acknowledges this just two chapters prior to the oath ("in the past, our positions were once reversed and I was...unkind to you. I had no reason to expect any kindness from you..."). However, this admission does sound disingenuous in the face of the narrative's implicit demand that we treat her nicely. Because if she did recognise her own past behaviour in TRR2 esp as hurtful, and herself as not exactly deserving of kindness, then it makes no sense for her to judge people for behaving exactly as she expected. A genuine redemption arc would have been one where she understood no one owed her kindness after what she'd done, and still determinedly forged ahead to do good for her country. After all, the narrative wanted us so badly to believe this woman was patriotic, right? If her "patriotic spirit" was so tied to her ego that you needed to pamper and praise her every five minutes, just for her to not support such an obviously-foolish tyrant as Bartie Sr, then it can't have been as strong as canon so vehemently claimed.

TRH tracks our "treatment" of Madeleine over 2 books and 10 distinct scenes. Of these, 6 scenes allow us to choose between kind responses and unkind ones, 2 others require the player to choose one among multiple options of people, and 2 scenes are check-in dialogues rather than actual choices (which means that the player doesn't choose an option, they just find out through such scenes whether they are winning Madeleine's favour or not). I imagine that the first category is the most important, with the second being options that you don't necessarily need to choose Madeleine for if you want to go for one of the others, as long as you pressed enough "kind" options.

To elaborate, here's the breakdown:

Kind/Unkind Responses

- House Amaranth's pledge (TRH2 Ch 4). Notably, the "most hurtful" one doesn't even accuse her of anything - it just tells her that the family needs to earn back the Crown's trust. Compare that to Madeleine's accusations to Hana that she was trying to kill her and deserved to lose her position in court. You know, the cruel treatment that some Madeleine stans claimed "wasn't that bad".

- Carrying the Heir's train at Anointing Ball or not (Ch 5)

- Deciphering Madeleine's conversation with Godfrey on his boat (ie whether she is betraying or helping the MC) (Ch 6)

- Acknowledging Madeleine's help in capturing Godfrey, at the Gratitude Ball (Ch 7)

- Gently encouraging Madeleine into being Penelope's bridal attendant, rather than mocking her (TRH3 Ch 2). There is no longer any need to acknowledge Penelope's earlier fear of Madeleine - we are expected to forget entirely that she was the main reason why Penelope didn't want to return to court in TRR3.

- Trusting Madeleine to help with investigations at Fydelia (Ch 6)

Choosing Among Multiple People:

- Speaking about loyalty before making a pledge to the Heir. Other ladies of the house are also presented as choices (TRH 2 Ch 14)

- Babysitting the Heir during Fox Hunt. Other choices are Regina and Savannah (TRH3 Ch 10)

Relationship Check-in:

- The way Madeleine greets you at Fydelia (Warm Welcome/Cold Front) (TRH3 Ch 6)

- Whether Madeleine helps you escape with the Heir in Ch 13, or allows the child to get kidnapped by Godfrey in Ch 15 (Desparate Times/What Goes Around)

The ending of TRH3 has Madeleine either thriving and inheriting her mother's estate, or being merely fired from her job in Royal Communications (a better punishment would have been to strip the entire Amaranth family of their lands, but I digress). She is notably absent in TRF, possibly because she wasn't entirely very popular to start with and two whole books of coddling her didn't exactly help matters either. As one of the junior writers in the TRF team said, "some people exiled her so..."

The first few opportunities to win her over, notably emerge from attempts Madeleine makes to assure the Crown/MC of House Amaranth's loyalty, and you will find that even at an early stage she expects to be included in sensitive discussions that call for discretion, and to be constantly praised for her efforts. Let me give a reminder, again, that she hardly ever gave any praise to the women working for her, and in fact punished them just to keep them constantly in fear of her.

I know it sounds like I'm labouring too much on this point, but it's important to understand just how much effort the narrative had put into coddling this one woman. Chapters and chapters of branch coding, writing two routes, title cards, dialogues, rewards and consequences.

This is similar to the way the narrative encouraged kindness and sympathy towards Penelope, but it's now over a lengthier period of time and with more drastic consequences. We were required to coddle Penelope over a chapter each in three specific books, or be deprived of her support/help. We are required to constantly shower Madeleine with praise and sweet words over the course of 31 chapters, or she will help an unscrupulous Regent-Elect kidnap our child. She will even openly accept that the only reason she put a mere child through that, was because we weren't nice to her ("Wouldn't you have done the same to me? You've made it abundantly clear you see me as the enemy").

But if the MC deserved a punishment this cruel for just mocking Madeleine at every turn, then what punishments should Madeleine get for what she put her own ladies-in-waiting through? What should she get for planning to "break" one of her courtiers? A second broken engagement doesn't seem entirely enough by such parameters.

Then again - as I said before, the narrative deliberately shifted the goal posts for what a potential royal could and couldn't get away with, in the time between Madeleine's engagement tour and the MC's marriage, for this very reason. So that Madeleine would never have to face the kind of constant censure the MC and Liam would face regularly. Among characters in canon, or among largely biased stans in the fandom. Speaking of which...

Fandom

Madeleine's popularity has always been a mixed bag, ever since TRR2. By TRR2, there were people who loved her for what they thought were her craftiness and wiles, some who suspected her to be involved in the plot against the MC, and a number of Liam stans had reactions that ranged from stanning, to indifferent (after all, both Liam and Madeleine showed a mutual disinterest towards each other), to slightly jealous (after all, she was still his fiancée).

But it was Madeleine's treatment of Hana in Ch 7 that definitely crossed a line for quite a few. It was so unwarranted, and her justification for this act so inarguably cruel, that it turned several people off her immediately. The way canon dealt with this was to make her feature less in the story until the memory of the "chocolate incident" was faded and almost forgotten, and then encourage fans to sympathize with her.

The gamble definitely worked, with plenty of help from hardcore Madeleine stans who often downplayed what happened to Hana ("a prank", "making Hana cry just once" were some of the terms used to describe it). By TRR3, I recall having to remind some of my mutuals what actually happened in this scene - their own recollections of it were that vague. The Hana and Madeleine ship would have died a far quicker death if more people remembered this incident as it was shown, and not as narrative wanted us to remember it (and also, if more people cared that it was Hana being hurt, rather than their fave white girl/boy).

Madeleine gained some popularity among the wlw crowd - a couple of them did have a soft spot for stoic, aggressive or women often labelled as "bitchy" (I know a few who also showed a similar amount of love for ACOR's Xanthe or BB's Priya, to be fair...but the adulation for the white female antagonists was a lot more), and Madeleine clearly fit that bill.

A point that often came up from Madeleine stans who were wlw (and reiterated with other mean-girl characters) was that grey-shaded and villanous male characters weren't subject to as much censure as their favourites were. While there is truth to such an argument, it fails to take into account the role race often plays in the way some "mean" women are loved and certain others are scorned. Madeleine clearly did not have the scale of hate that a Xanthe or even a Kiara (who isn't even on the same level) got. In fact when it suited them, many in the fandom were more than ready to view Madeleine as a victim when Liam broke his engagement with her.

Madeleine's "patriotism" - as I've now clearly established - was a retcon made to erase the worst aspects of her characterization. Sometimes it was used to make people feel sorry for her losses, other times it was made to cover up her actual behaviour in TRR2. But there were very few readers who didn't consider it an undeniable fact. Even among those who were indifferent towards her. For instance, in an anon ask that compared Madeleine and QB's Poppy, a poster responded that "the difference between the two was that Madeleine had a sense of duty, and Poppy was just petty". In TRH3, players who claimed that "we can all agree Madeleine is fully redeemed" when she worked with the MC to protect the child from Bartie Sr, stayed mysteriously silent when the other consequence (her helping in the child's kidnapping because she didn't like the MC's pettiness) showed up.

And while these responses could be attributed to the way canon gassed Madeleine up in TRR2 and 3, some of these players had no problem nitpicking the political savvy or work of certain other (CoC) characters, esp Liam (often bashing them for "throwing parties every day", even though the general populace was depicted as being happy with their rule and influence. Mind you, no prompting from PB was necessary to bash these characters). So why were these parameters never applied to Madeleine? Why was practically no one asking what the political relevance of her bullying (as future Queen) was, or why we were expected to sing her praises for poor time management or terrible work ethics towards her boss, or ask what work she actually did in canon as Royal Comms Director? (There is a reference or two to the position, but you aren't shown that many instances of her doing much work). For quite a few, the fact that she walked around with a job title in TRH was more than enough (somehow Kiara never got this kind of fandom treatment despite being part of the Diplomatic Liaisons department).

How does this adulation for such a heavily retconned character, affect the way the Hana and Madeleine ship was viewed? For one, it meant that readers bought into the retcons easily enough that Hana's pairing with her was seen as an extension of her "redemption arc" by some.

Take the example of the various posts that argue in favour of this pairing, or fic that features them as a couple - a lot of them center Madeleine: her pain, her history, her reasons, the correctness of giving her a reward. Hana is barely mentioned or given much attention in these arguments - and often when she has any sort of voice, it is only there to humanize Madeleine. Supporters of this pair often took stances that were either ready to throw Hana under the bus, act like she hardly mattered, or treat her like some sort of blank slate to scribble their adulation for Madeleine over.

Hana is often viewed as less worthy of a focus - she is often the benevolent saint who forgives Madeleine because she "worked so hard to be better". Often it never matters to get into detail why Hana thought Madeleine earned her forgiveness, what Hana's perspective was, what journey she went through to get such a point. Because if Hana's journey really mattered in such a ship, the most pressing questions would revolve around why Hana should ever trust a person who wanted to break her in the first place. Why she should feel safe around such a person. Why her own friend group wouldn't want to protect her from such a person.

Some readers would bring up their parallels as daughters brought up in families that didn't value them, but neglect to take into account the nuances of those dynamics (Madeleine's mother at least wanted to be supportive, and no matter how bad things got, Madeleine was never in danger of being disowned. Hana was, repeatedly). Nor is it fully honest about how Madeleine was comfortable being a perpetrator of abuse, in contrast to Hana's own deep discomfort with the idea of controlling her partner.

In certain cases, I can maybe see this attitude in fandom emerging from an acceptance of the narrative's retcons as truth. But I also think there were as many readers who were just inclined to liking the mean white girl, and finding justifications and excuses for her behaviour.

Fandom's attitudes towards Hana herself often played a small role in how Hana's end of this story was ignored too. When TRR3 fucked up her arc phenomenally (by rushing her parents' turnaround from disowning her to supporting her in Ch 15), it became popular to view Hana as a lesser character, and the "meaner" white women as better. People who wanted other options for female LI often took their frustrations out on her, calling her "weak", servile and submissive, dismissing her honest accounts of the treatment she faced even from her own parents as "whining". If that was the way people preferred to view her emotionally abusive childhood...then what can one expect from such a fandom when she was being outright bullied?

Fandom was already comfortable with the idea of erasing Hana in their content, or replacing her with either their fave white girl (or an equally white OC esp in their fanfic - but more on that in a future Hana essay). So neglecting to center her in what would have been her only canonical alternative romance wouldn't be too difficult for some people.

Which merits the question...is there a way to write about (or write fic for) such a pairing, in a way that centers Hana, respects her story, makes it clear that she has the right to never forgive Madeleine no matter what she does to "earn" it - if that was what she wanted? I highly doubt it. You'd have to completely change Madeleine for that to happen, and that would more likely result in a situation where you were too busy working on her as a character, to give Hana the attention and focus she deserved.

And that's a real pity, because there's plenty to explore about Hana if you actually take the effort to look.

Conclusion

In a lot of ways, once the team had decided upon making Madeleine into a more positive character, they tried to draw a little from Olivia's arc to replicate its success. You can see some of these parallels in the way TRR2 structured the bachelorette as a semi-callback to the childhood- reveal-mocking-Savannah sequences in TRR1 Ch 7. Both chapters gave you reasons to start seeing these women in a different light, while still feeling free to dislike them. In both chapters they also targeted LIs - the only difference was that Drake's diamond scene post that confrontation centered him, and Hana's parallel diamond scene a book later...centered everyone else.

That attempt in TRR2 didn't work for several reasons - the timing wasn't right, Madeleine's cruelty had gone too far for some, the retconning hoodwinked quite a few people but not enough.

So when they tried to pair her up with the victim of her bullying, and twisted canon to make it happen - enough readers emerged to call it out, enough people pushed back by Ch 16, and the possibility of this alternative pairing garnered enough dislike that not only did the writers have to backtrack, but they also had to wipe away their past retcons and write in a scene where Madeleine gave Hana the full, unvarnished truth about the "chocolate incident". Hana was, thankfully, given a chance to give Madeleine her most polite "no".

And although that ship would never be brought up again, the team (even without Madeleine's top writer Jeffrey) still attempted to make pampering and uncritically praising her a narrative priority. She gained a bit more popularity during this time period - quite a few were inclined to feel sorry for her (especially considering the way her father's crimes affected her social standing) and saw only what happened if you were consistently nice to her.

But there was also a significant section of people who were tired of the constant coddling, and who didn't like that it was demanded of the player (when there were far more deserving WOC in the same book, who didn't get this level of kindness). It was significant enough that Madeleine wasn't given any scenes in the final book, and the writers cited her lack of popularity as a reason why.

As a Hana fan myself, it was a relief to see Hana not be paired up with her bully. But it was also immensely disheartening for me to see that "ship" get as far as it did, and to see the narrative do so much more work for Madeleine, than they did for Hana even in the follow up series. It was even more disheartening to see so many in fandom follow suit.

--

By now, we have explored 3 out of the 4 alternative pairings that TRR put forward for the LIs. They all vary in terms of buildup, attention, and payoff. But there are several things that are common about them. They all have either significant histories with the LI, or the narrative thinks they share something in common. The moment an "alternative" option ends up harming the MC, they are no longer suitable as an option because of the LI's loyalty towards her.

But perhaps the most common factor among the three women we have explored so far is how the LI is expected to treat the alternate, no matter how jealous the MC is allowed to get, no matter what the alternate themselves may have done in the past. The alternate is supposed to be treated well. With respect, with kindness, with compassion.

Betrayal doesn't allow an LI to treat their alternate badly. Bad behaviour doesn't allow an LI to treat their alternate badly. Disregarding consent doesn't allow an LI to treat their alternate badly. Classism doesn't allow an LI to treat their alternate badly. Not loving them back doesn't allow it either. Not even extreme levels of bullying...allows an LI to disrespect them.

In the next essay, we will see if any of these rules apply to our last alternative LI - Kiara.

Next: Drake and Kiara.

[fermithesilly]

UNRELEASED/SCRAPPED CHARACTER

if you’d like to know more about Connie click this!

“WELCOME, WELCOME NEWCOMERS~! All I wish for are the most FRIGHTENED faces as you explore my mansion of freaks and flesh! TRY NOT TO TRIP..! Every mistake has consequences.”

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PLEASE READ THIS

Yeah I made an AU about a character that’s not even confirmed to be going in game. You can’t stop me. BUT I will say that since we barely know anything about Connie, how I portray her in this AU isn’t reflective of what she’d act like in canon. I’m just obsessed with her, and then got this AU idea. How she is in this AU might be similar, or completely wrong with how she’d be in canon. I might change some things about this AU if she actually gets added to the game, but for now pleaseee don’t think of anything from this AU as close to canon. Also this is my first time making an AU, I might be a bit slow on stuff

In this AU Dandy’s world is instead of the wholesome colorful kids show about learning lessons, it’s a Scooby Doo esk lighthearted horror show centering around the main cast solving spooky mysteries. Connie was one of the main antagonists of the show, usually being the cause of whatever frightening case the group had to investigate. She’d set traps, send monsters after them, and even attempt to possess them every once in a while! She’d try anything to get her way. But at the end of every episode, Connie was inevitably defeated; wether by giant vacuums or just throwing salt at her, the foul ghost always had her evil plans ceased. Though a bit annoyed at this writing choice, Connie had to play her character wether she liked it or not. Once the show eventually ended however, Connie wasn’t satisfied with how her character ended. And so in a fit of rage, she dissociated from her fellow Toons, disappearing from the world to make her own Spookshow. With the Gardenview (I might change the name later) building now abandoned, Connie took it over as her own, turning it into a twisted haunted house. As the years went by, the Toons would forget about Connie, hoping that perhaps she had moved on and is living a better life now. Though that’d be further from the truth, as one faithful day Dandy would go missing. The Toons were distraught, only being left with an eerie note from Connie at their doors, telling them to go back to Gardenview if they want to see Dandy again. After all these years, the Toons were returning back to their roots. A classic missing person mystery, except only this time, it was real.

Scrapped Connie design

I have many ideas for this AU, if you have any questions feel free to ask. @piquuroblox also hiii :3

[physalian]

10 Character Dynamics the World Needs More of

Me handing out character dynamics like free samples at the Mall Food Court: “Take one! Or two! You’ll love it!”

I don’t care how many times these tropes have been done – write more of them. Write all of them. Fill out your author bingo card one by one.

1. “No one gets to kill you but me, Old Friend”

This. Right here. Primo rival content that I *live* for. All the juicy history between two old frenemies, the character drama, the backstory, the titillating unknown of what drove these two to rival status, bitter enemies that respect the heck out of each other, to the point that hell hath no fury should one get knocked down without the other’s consent.

And, of course, the moment where it seems all bets are off, when the rival comes to save their ass only to hand it back to them at a later date. The angst! The shipping fodder! Need I say more?

2. A bigger, badder villain, and their minion

You, reader, spend countless hours hating the guts of the big bad villain. They’re evil, they’re vile, they’re sadistic, heartless, irredeemable bastards. They killed your favorite character for shock value. The big bad moustache-twirling antagonist… is actually not the biggest fish in the story.

Either they’re coerced into doing evil as a puppet of the Bigger Bad, a tragic villain in their own right, or they have some reservation, some line even they won’t cross, someone else’s boots they have to kiss, someone who features in their nightmares, as they feature in the heroes. They end their stories dispatched without a thought by the Bigger Bad, or redeem themselves in death by taking out their masters. It never gets old.

3. A leader and their lancer: besties

You know what’s better than leaders and lancers who have zero faith in each other and are constantly bickering about who should be in charge? Leaders and their right-hands who adore each other (platonically). They have each other’s backs, they know each other’s greatest strengths and weaknesses and are each other’s perfect covers.

They can communicate with looks and vague gestures alone, they compliment each other’s flaws and misgivings, build up the rest of the team when they’re down on their luck, and should misfortune strike either, they pull out all the stops and show off exactly why they’re not to be trifled with, so that even the villain is afraid.

4. “I don’t even know who you are”

Oh, but you will. This one twists the knife, robbing the avenging hero of the importance in this world they’re desperate to maintain. They are their own hero, the sun revolves around them… but not to this one asshat that ruined their life and doesn’t even remember doing it.

An entire identity built upon the finding, fighting, and overcoming of this wrongdoer, every other goal in life cast aside for this one impossibility. Either the villain toys with the hero to make them irate, or gets suckerpunched by some pissant fueled by vengeance and spite and divine purpose to dole justice where justice is due.

6. The jaded badass and their naive ward

If the last 8 years of media is anything to go by, we still love this trope, whether it’s in a galaxy far, far away or a fungi-zombie post-apocalypse, or in the twilight hours of an era of legendary mutants. The best part of this trope? You get two often contradictory character types in one body. The pessimist, PTSD-ridden master of old with no living friends left and at least one dead love interest *and* beneath all that, still lies an atrophied heart of gold just waiting to be nurtured and revived.

The naive ward gets a hard lesson in how crappy the world can be, but also in how there’s still some goodness left, if their guardian cares about them. The jaded badass in turn, learns how good the world can be, that there’s something still worth fighting for beyond the next bottom of a bottle.

6. The enemy of my enemy (is my friend)

Similar to the “old friends”, this trope is often a result of the minioned Big Bad realizing they don’t want to be evil anymore. Or, bitter old rivals, sides of a war that have been fighting for generations, ideological polar opposites, fundamental polar opposites all come together when: Some evil schmuck managed to scare them both.

Doesn’t matter on what shaky ground this temporary alliance is built, or how long it lasts, equally-competent badasses on both sides finally work together and compliment each other’s strengths, and compensate for their weaknesses, in a way their teammates never could.

7. The irredeemable villain’s only wholesome connection

Not so irredeemable anymore, now are they? This trope messes with your head, taking a character you know has done heinous acts of terror, but who cares unflinchingly, unabashedly, about one thing – either their lover, their pet, their relative, or their kid.

This exists independently of the heroes and is not the same as an “oops I guess I’m your father” reveal. I’m talking this character who everyone is convinced cares about nothing and no one but themselves and their ambition still has a place in their soul for something they want to protect, they want to be loved by, or that they must spare from their atrocities.

8. Platonic Heterosexual Friendships

These two have seen each other at their most vulnerable. They’ve shared fears, dreams, desires, know each other’s deepest, darkest secrets. They’ve seen each other exhausted, frazzled, dressed up, dressed down, bloodied and broken and like a raw, open nerve. These two would die for each other, they would live for each other, and yet.

They’re not in love with each other. They’re wholly comfortable in each other’s spaces without lust and desire mucking up the atmosphere. Neither is the one, neither wants to be the one. They remain together not for the bonds of romance, but for the bonds of friendship, and nothing could be stronger.

10. The Ace and their best friend, the Self-Proclaimed Slut

These two respect the f*ck out of each other. One never mocks the other for lacking desire and in return, they’re never mocked for their promiscuity. They’ll never walk in each other’s shoes, but they don’t need to, to understand that’s just how some people are. They’re each other’s safest spaces when the world doesn’t take either of them seriously.

They’re each other’s biggest defenders against the bullies, presumers, the holier-than-thous who think they have it all figured out. They’re the perfect compliment to give advice on everything from relationships to the best outfits for an outing because there’s *zero sexual tension* between them. Or, maybe, if the stars align, they’re something more.

10. The redeeming villain, and their staunchest skeptic

This villain has lost everything – their home, the respect of their people, their worth, their evil ambition, their identity, and has begun working their way up from rock bottom doing everything in their power to show the heroes that they’re serious. They make amends, they break their bones proving themselves, they’ve swayed everyone they’ve wronged in the hero camp.

Except one. The one character that was probably their first defender, and got burned for it. The character that was naive enough to think this villain could be saved, and was wrong. The character that won’t be duped again without some serious drama and soul-bearing between them.

Now tell me which ones I missed!

[thorough-witness-enjoyer]

(Small, frivolous rant incoming, apologies)

One thing I wish the Destiny fandom did more of was dabble in the utter horror this universe holds, especially when it comes to portraying the vile atrocities committed by many of the cosmic level characters.

Destiny‘s T rating holds it back so much in my opinion (but it still manages to lay down excellent foundations for horror and more mature themes!!) and I really wish there was more fan works that explored the unimaginable tragedies that occur in lore!!

When you really dwell on the scale of many of the disasters that happen in lore, it really dawns on you just how sinister and monstrous many of the larger villains are. Antagonists like Eramis are much more grounded, certainly not saints though, but some of the antagonists we have encounter are truly odious in their behaviors, even if they are deluded into thinking what they are doing is correct (like the Osmium siblings ravaging whole star systems in pursuit of the sword).

For example, it’s no secret that I LOATHE the Witness like no other. This wicked entity has me fighting bile at the mere thought of it and I truly think the way it delivers cruelty with such a sense of compassion and righteousness to be the most stomach wrenching form of being baneful. I could not think of an entitlement more deplorable than the Witness‘ and it’s existence is a travesty that has caused irreparable harm that spans EONS.

Yet, in my experience, I never see much content that taps into the horrors experienced by those touched by the Witness and its pawns, such as the Noesis and humanity during the collapse. There are INCREDIBLE artistic and written works that tap into the psychological horrors of exos and the unethical hell Clovis was putting people through, but not as many on the more cosmic horrors from what I have seen!!

This may just be a me thing and the personal reasons why I want the Witness put under a hydraulic press speaking, but I often see plenty of depictions of the Witness being uncharacteristically soft and having deeper feelings towards its disciples, but works about its vengeful rage, simple mindedness, violation of the autonomy of others, and predatory grooming are quite barren.

I wish to see just how HEINOUS it is displayed in all its turpitude and how it leaves a festering rot on everything and everyone it touches. I love the Witness because it is so evil in it‘s actions and my heart SINGS any time I see people tap into the trauma it causes, especially for characters like Rhulk or Savathûn!!

There is so much room for exploring just how vast the Destiny universe is when you decenter perpetrators in stories and focus on the incomprehensible number of victims.

Destiny genuinely has a character running around with the title „The Final God of Pain“ haunting people and refusing to permanently die, but there is only so much a T rated game can do and I feel like Destiny enjoyers can go beyond what’s in game in such creative ways!! Just thinking of the fall of Torobatl has me going „Wow, I’m actually so sick to my stomach, I need to honor Caiatl and really capture the pain of such an event!“

The latest lore on the Qugu? My chest HURTS.

Some of the hive experimentations? The hive in general? Hell is not hot enough for what the Witness lead them into.

But you know what they say, be the change you want to see in the world! Create the content you want to enjoy and promote the content you do enjoy!! I wish to dabble into the darker areas of lore, and of course, promote Witness hatred any chance I get!! Hopefully I get more time to write about these things and really value the work the Destiny writers have put into portraying such strong feelings of loss time and time again!!

And also!! PLEASE PLEASE PLEASE read The Garden‘s Witness by Titanmaster_117 !!! ESPECIALLY THE FIRST CHAPTER, I COULD RANT ABOUT THIS BEAUTIFUL PIECE OF PROSE ALL DAY, IT GENUINELY MADE ME CRY!! PROMOTE THE CONTENT YOU ENJOY ALL DAY, EVERYDAY!!

But this is just something I’ve been thinking for some time now. This isn’t condemning anyone in the fandom or saying there is an issue, just a desire I would love to see (and hopefully fulfill if I ever get back into writing for Destiny!) If you guys have any recommendations for Destiny works that are horrific, focus on themes of loss and devastation, or hate on the Witness, feel free to mention them so other people can find them!!

Not enough Witness hate going around for my liking… this looks like a job for me.

[acevid]

DRDT X DESPAIR DISEASE

what if the danganronpa despair time cast had the motive of despair disease? well, i’ve made diseases for everyone! (i may write a oneshot for this but to be determined..)

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Teruko Tawaki - Childish Disease. Since her childhood is..probably not the best, considering what information we have about her thus far—it causes her to act childishly and to make up for what had once lost! (And makes her an easier target.)

Xander Matthews - Lazy Disease. This disease is exactly how it sounds. This makes it so that Xander is no longer the energetic and determined person that he is, but rather someone who doesn’t put much effort into things, or sees the reason to care about others too much.

Min Jeung - Confidence Disease. This disease makes it so that Min is completely confident in her abilities and whatever she does. This makes it so that she is much less anti-social towards others, and not afraid to prove anyone wrong.

Arei Nageishi - Cowardice Disease. Because Arei has this disease, she will act meekly due to pretty much everything. Often times another student will see her shaking or on the verge of tears. She can be comforted, but many things can set her off again.

Ace Markey - Truth Disease. This strain of disease makes it so that Ace can only say the truth. While, yes, he can simply change the subject by saying random but true stuff like “It’s cold right now”, but it’s harder to fight the more he does it—and it’s especially hard whenever somebody directs a question towards him.

Levi Fontana - Empathetic Disease. This gives Levi what he’s always been lacking—empathy! And not just any old empathy. His empathy is seriously high, like off the charts. 

J Rosales - Villain Disease. While, yes, making it so that J had some ‘murder’ disease would’ve been funny, considering how she hates murder—that would’ve been too easy. And so, we’ve resorted to making her act like a really bad cartoon villain. Why? Comedy. Makes the show go up in ratings.

Rose Lacroix - Forgetfulness Disease. Pretty self explanatory, Rose simply is unable to keep long-term memories. (..Actually, change that to memories in general, as she seems to forget a lot that happened in a short time-span as well. Such as—half an hour.)

Arturo Giles - Kindness Disease. This disease makes it so that Arturo doesn’t see the ugliness in people, but rather the good qualities about them. He’s rather vocal about this too.

Hu Jing - Antagonist Disease. This causes her to act rudely to everyone, as if she is above them, and cause troubles just so that her classmates struggle. She doesn’t seem to have any want to cooperate with everyone like this.

Nico Hakobyan - Aggressive Disease. This makes it so that Nico is more easily aggravated, and will lash out more. He’s becoming Ace-core

Whit Young - Stoic Disease. This disease makes it so that Whit can no longer use the humor and carelessness that he so desperately loves. In fact, he acts the opposite of how he typically does.

Eden Tobisa - Jester Disease. This is different to Charles’ disease. While he makes jokes and acts somewhat childishly, Eden does so somewhat maliciously. Her jokes always seem to hit hard in someone’s core (and definitely not in a pleasant way). Her way of making others laugh seems to be by putting others down. On the outside, she may look the same—but there is a certain evil aura around her.

Charles Cuevas - Jokester Disease. This disease makes it so that Charles can easily find humour in situations. (He uses so many puns it is ridiculous.) It’s almost as if Whit and Charles switched personalities.

Veronika Grebenschikova - Considerate Disease. Veronika will act respectful towards others, always trying to help and never breaking any boundaries. (Think Ibuki’s disease except she actually has a personality.)

David Chiem - Naivety Disease. This disease makes it so that David believes everything that others are saying—or at least makes it easier to. Because of this trust that he’s putting into others, it’s also much easier to get the truth out of him about matters important and unimportant.

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[sorcerersandskillusers]

Fyodor and the Devil: Analysis of Fyodor's motives and role in the narrative

Asagiri has stated that he based Fyodor not on Dostoyevsky the author but on a specific scene from one of his books The Brothers Karamazov where Ivan Karamazov confronts “the devil” in his room.

(It's a really good book, you should read it if you have time. Also. fun fact, Fyodor and the devil wear the same hat, “His soft fluffy white hat was out of keeping with the season.”)

Having read the book and gone over this scene, I realized that this could be used to find out a lot more about Fyodor as a character than we see in the story, including a potential glimpse at his real motivations.

A bit of context for the scene. Ivan Kramazov is a clever but deeply trouble man who has struggling with the concept of God and rationalising him with the cruelty of humanity, at one point while very sick, Ivan starts seeing a man in his room who claims to be “the devil”. Their conversation is a fascinating look at morality and why evil exists in the world, and if you look at it closely it reveals a lot about the role of a “villain” in a story.

This line from “the devil” is really interesting to me, and seems to explain a lot about Fyodor’s character, as well as align perfectly with how Asagiri has described Fyodor in interviews:

Before time was, by some decree which I could never make out, I

was predestined 'to deny' and yet I am genuinely good-hearted and not at all inclined to negation.

'No, you must go and deny, without denial there's no criticism and what would a journal be without a column of criticism?' 

Without criticism it would be nothing but one 'hosannah.' But nothing but hosannah is not enough for life, the hosannah must be tried in the crucible of doubt and so on, in the same style. But I don't meddle in that, I didn't  create it, I am not answerable for it. Well, they've chosen their scapegoat, they've made me write the column of criticism and so life was made possible.

Basically the devil is saying that he was created because without evil then good means nothing, if everything was perfect then nothing would happen or change, life couldn’t exist, so he was forced to be that evil even though he never wanted to be.

This is so similar to how Fyodor is described in the BSD exposition 2020:

Fyodor is the antagonist, he is the villain of the story, that is the role he plays. This explains why he chooses to commit so many atrocities in the name of  “following God's plan”. It even connects to his line in The Dead Apple, and his ability name. He is both crime and punishment, as “crime” or sin originates with the devil, but it's also the devil who punishes sinners.

(I mean the title of the episode he is introduced in is literally “My Ill Deeds Are the Work of God” by committing evil acts he is fulfilling God's purpose for him.)

And if Fyodor is really based on “the devil” it's very likely he also either does or used to wish for release from this role that was assigned to him, but he knows that he cannot stray from his path or the story will cease to exist. My evidence for Fyodor wanting to be free of his mission is just one interaction, when he kills Karma.

Look at Fyodor's expression here, this is the only time in the entire series where we see him look truly sad. This isn't an act, there is no one there for him to trick, he simply says a quiet prayer for the life of a boy who's only purpose was to suffer and die.

This next part of “the devils” speech actually seems to fit very well for Dazai, it's interesting since he is the narrative foil to Fyodor and clearly is a very similar character.

We understand that comedy; I, for instance, simply ask for annihilation. No, live, I am told, for there'd be nothing without you.

If everything in the universe were sensible, nothing would happen. There would be no events without you, and there must be events. So against the grain I serve to produce events and do what's irrational because I am commanded to.

For all their indisputable intelligence,men take this farce as something serious, and that is their tragedy. They suffer, of course... but then they live, they live a real life, not a fantastic one, for suffering is life. Without suffering what would be the pleasure of it? It would be transformed into an endless church service; it would be holy, but tedious. But what about me? I suffer, but still, I don't live. I am x in an indeterminate equation. I am a sort of phantom in life who has lost all beginning and end, and who has even forgotten his own name. 

This ties perfectly into Dazai and Fyodor’s debate on the nature of God in the sky casino arc.

Dazai here points out that it's not perfection and harmony that make the world move, it's the irrational, it's the foolishness and stupidity of humans who charges into life making a million mistakes but always finding ways to fight on through it. Here Dazai and Fyodor represent the conflicting sides of “the devil” with Fyodor embodying his mission to drive the world and Dazai embodying his secret love for, and wish to join, humanity.

“I love men genuinely, I've been greatly calumniated! Here when I stay withyou from time to time, my life gains a kind of reality and that's what I like most of all. Yousee, like you, I suffer from the fantastic and so I love the realism of earth. Here, with you, everything is circumscribed, here all is formulated and geometrical, while we have nothing but indeterminate equations! I wander about here dreaming. I like dreaming. Besides, on earth I become superstitious. Please don't laugh, that's just what I like, to become superstitious. I adopt all your habits here: I've grown fond of going to the public baths, would you believe it?

And I go and steam myself with merchants and priests. What I dream of is becoming incarnate once for all and irrevocably in the form of some merchant's wife weighing eighteen stone, and of believing all she believes. My ideal is to go to church and offer a candle in simple-hearted faith, upon my word it is. Then there would be an end to my sufferings.”

“"Why not, if I sometimes put on fleshly form? I put on fleshly form and I take the consequences. Satan sum et nihil humanum a me alienum puto."*

* I am Satan, and deem nothing human alien to me.”

This piece from the devil feels like it could be a description of Dazai’s character, his wish above all else to find happiness and love as a human despite believing he is a demon. Both Dazai and Fyodor have strong ties to the Devil, both of them are often described as demonic or inhuman, with emphasis placed on the darkness of their souls and the isolation they feel due to their minds.

But the difference between them is how they dealt with it, Fyodor chose to embrace it and fully commit to his role in the story as the ultimate evil for the greater good, but Dazai has always shown a fasciation with humans and has spent his life trying to connect to them and find meaning in his existence.

Finally, let's look at what we can learn about Fyodor’s motivation. Fyodor is the villain, he is the final obstacle the protagonist has to overcome, he is the driving force behind so much of Atsushi’s life and the reason so much of the series has played out at all. He sent Shibusawa to torture Atsushi as a child, he was an informant to the guild who put the bounty on Atsushi making the mafia turn on him, he was involved in the guild invasion, and obviously he was the master mind behind cannibalism and Decay of Angles.

If he is aware of his position as the antagonist, then he also is probably aware Atsushi is the protagonist, he knew he was the “envy of all ability users” after all, so he knows Atsushi has some significance to the world as a whole.

Atsushi is also the “guide to the book” which is seemingly Fyodor’s end goal, so even though Fyodor doesn’t seem to be focused on Atsushi, he has been indirectly influencing his whole journey up to this point. This also explains why Fyodor is only moving actively now, because the protagonist has appeared and his role as the villain can finally be fulfilled and he, like “the devil” can finally get the “annihilation” he asked for. Hence, Fyodor’s true goal is to erase himself from the narrative.

There is actually quite a lot of evidence for this. The obvious part is that Fyodor wants to rid the world of ability users while he himself is an ability user, he cannot exist in his perfect world. 

Then there’s the fact that in the Dead Apple, Fyodor calls himself “crime” if Fyodor is “crime” or “sin” then a world free of sin would not contain him at all

Even when Fyodor talks about sin, he says how humans are easily manipulated into killing each other, while he constantly manipulates characters into killing each other, he is the cause of the sin he fights.

A really strong bit of evidence is this interview with Asagiri and Harukawa

Not only does Asagiri reiterate Fyodors role as the person who moves the story, Harukawa specifically mentions that Fyodor might be trying to create a world without ability users because he thought it was a “bad thing to do” aka the action a villain would take that would lead to a hero stopping them.

“Dos-san is the biggest villain in the story so far, but I have continued to draw him with spaced out eyes that are neither righteous nor evil for a long time. The only time I drew his eyes completely white was when he said he would create a world without skill users. It was because, in reality, we would decide what is evil or not by our own scales, but I wasn't sure if he himself was doing it because he thought that was a bad thing to do.”

This also connects to how Fyodor was able to understand Gogol when no one else could, Gogol is chooses to fight against the way the world is to prove to himself that he truly is free. Fyodor, who is bound to play a part in a narrative, would understand that feeling and that longing to be truly free.

To be clear, I don’t think that Fyodor is really a good person whose just been trapped in an awful position against his will, we see many times that Fyodor revels in his cruelty and enjoys killing and torturing others. Its the same with “the devil” in the book, although he hates the job he was given, he tells Ivan stories of the people he’s corrupted and seems very proud of himself for it.

My personal interpretation is that the sadistic zelot personality Fyodor displays is a mixture of a mask and a coping mechanism, kind of similar to Yosano developing a sadistic side to help her deal with the guilt of half killing people in order to heal them. I think it makes sense that after centuries of cruelty and manipulation a person would become detached and stop really caring about the lives he destroys.

This analysis is partially unfinshed but I wanted to post it now and see what other people think of it.

[shera-dnd]

I have decided against my better judgement to be weird about the Dawntrail MSQ

and we can't talk about an expansion set in the fantasy americas without talking about

COLONIALISM

oh yeah, we're going there baby

So disclaimer that I may be brazilian, but my ass is white as hell, so take everything I say with a grain of salt. Also if any native americans have made posts on this please let me know so I can boost their analysis as well

Also also I'm more than happy to delete this post if I mess up. I'm genuinely trying to make a thoughtful analysis, so if I fuck up just say the word and this thing is gone from this website

Oh also also also, Dawntrail MSQ spoilers ahead!

So FFXIV has had a... messy relationship with colonialism over the years

The fact that the major antagonists for the first half of A Realm Reborn a literally called "beast man tribes" is absolutely not a good start to this story

Add to that the fact that The Twelve (Eorzea's gods) are shown to be kind all powerful deities, while the Primals (the tribal gods) are evil spirits summoned to bring destruction to the world

and yeah no ARR is not good with that shit. It's EXTREMELY not good. If I hadn't been told it got better later on I would have dropped this shit before I got to Titan

But they have been taking steps to unfuck things. First we're shown that even the "civilized societies" (in this case the catholic elves) can summon Primals, then that Primal summoning isn't an actual native custom but was introduced by foreigners with malicious intent, and that not all "beast man" practice that

Then they changed the names of the "Beast Man Tribe Quests" to "Tribal Quests" and then finally to "Allied Society Quest"

Which would have been an empty gesture had like half of the post-Shadowbringer patches, as well a lot of Endwalker, not been about forming alliances with those people and working together with them, recognizing that they have as much right to the land and to life as any Eorzean, this all culminating on the Primals being summoned with the express purpose of helping you protect the world you all share

I guess they realized that they couldn't have their big bad for most of the game be the evil expansionist empire, if they didn't like actually reflect in their own imperialist fantasies they were propagating

Then the teaser trailer for Dawntrail drops and everyone in the fandom is like "wait... are we gonna do a colonialism?"

And memes were abound of how all those lessons from before don't apply to the "New World" of Tural

THANKFULLY the actual questline leading to Dawntrail helped to settle some of those worries

We're not going to Tural to explore a new uncharted land, but are actually being invited over by the local royalty in order to aid them with their right of succession. We get introduced to the nation of Tuliyollal and how it's a thriving land with its own culture and not just a "terra nil" waiting to be colonized

Still there are some worries that this is gonna turn out poorly and that we're just gonna end up being white saviors

But I think they managed to avoid that pretty well

For starters neither the Scions nor the Warrior of Light are the protagonists of this story. You're all simply supporting character's in Wuk Lamat's story

A story that centers her people, her culture, and her family

And it's not even one culture. They don't portray Tuliyollal as this monolithic mish mash of every single native american culture

No, the lands of Tural are in fact comprised of multiple different people's and nations, each of them with their own customs and traditions which are informed by their history and the lands they live in

In fact learning about their cultures and partaking in their customs is the whole point of the Rite of Succession. It's all set up so that the next Dawnservant would be someone who understands and respects each of the peoples that comprise Tural

(I could, and probably will, write about what Dawntrail has to say about what makes a good ruler)

And our girl, Wuk Lamat, is shown to be the rightful heir because she really goes out of her way to understand each of the nations and show her appreciation for their customs

Putting her well above her Sharlyaboo brother Koana, The King of Unresolved Daddy Issues Zoral Ja, and whatever the fuck is going on with Bakool Ja Ja

(I joke, I love my two headed traumatized dumbass)

Tho I will admit that this does end up giving the tribes a somewhat "planet of the hats" vibe. Like their named NPCs are diverse and interesting, but you can just assume that most random NPCs of any given people are gonna act according to the stereotype

Which is unfortunate, but I have hopes that with the next few patches and the addition of Dawntrail's own Allied Society Quests, we'll get to see more to them

But that... is only up to lvl95 and the end of the Yok'Tural (southern Tural) segment

because then we get to Xak'Tural (northern Tural) and holy shit does it feel like they drop the ball there

Like they really COULDN'T keep themselves from making Shaaloani a fucking Wild West map

Instead of doing anything with the actual cultures and histories of Native North American people, they just do wild fucking west

Because there's ceruleum in them thar hills! And apparently Koana turned most of the region into Sharlyaboos too

So we get a bunch of Wild West frontier towns mixed with native american tribes and mud brick cities. We have trains and guns and a sheriff and a duel at high noon, but now everyone got native american names

At least there's one group off to the northern side of the map who seems to stick to tradition and live in harmony with nature, and that group is shown respect by the other people of the region

so we at the very least avoid the "cowboys vs indians" crap, but my god does that region just feel bad compared to everything else they had done so far

Then we get to the big twist: THE CYBERPUNK PORTION OF THE GAME

because yes, we go full fucking cyberpunk

so turns out that a whole segment of Xak'Tural got colonized by the kingdom of Alexandria, including the lands of the Shetona (Erenville's people)

And I feel like this is the most poignant section of the MSQ when it comes to colonialism

Because here we have Alexandria, an empire that has reached the limit of what it can do sustain itself on its own world, and so has decided to spread out and colonize others in order to gain resources

We see the Shetona and other natives of the region being separated from their families and kept in isolation from the rest of their people

And tho Queen Sphene is shown to be a kind and caring ruler who gives people a choice when it comes to joining the empire, WELL SHE'S STILL THE QUEEN OF A FUCKING EMPIRE

Like her form of kindness and just stagnant peace is put in stark contrast with Wuk Lamat's own love for her people and more proactive pursuit of happiness and harmony

(again with the "what makes a ruler theme")

Also the people that choose to be assimilated into the Alexandrian Empire? Yeah, they're doing so because Alexandria has advanced medical technology and you can only receive their aid if you're a citizen

Not only that, but you have to be a working citizen. We see later on a character being denied medical aid, because he lost his job, thanks to the King's decision and at no fault of his own

yeah this is cyberpunk, not just sci-fi

ALSO can we talk about how the technology used for that medical aid and the little gizmo they give you to signify you're now a citizen, will literally erase the memory of the people you lost

So the Turali who are assimilated into Alexandrian culture not only lose ties to their culture and their loved ones, but are not allowed to grieve their loss, because what they once had is slowly being erased

How their choices add up to survive on their own OR be assimilated

How this all takes place IN NORTH FUCKING AMERICA!

THE CYBERPUNK CITY IS LITERALLY SET IN THIS WORLD'S EQUIVALENT TO THE UNITED STATES

So yeah, I don't think is is accidental. I genuinely thing that they're making a point about the realities of imperialism and colonialism, as well as taking some shots at the US while they're at it

Of course this part is still centered around Wuk Lamat, and instead of having a moment of "the only ones who can stop the evil white europeans are the GOOD white europeans", we have Wuk Lamat be the one to save the day, defeat Sphene, and save her people from the colonizing empire

So I would like to argue that everything that happens from lvl97 onwards is them picking up the ball again and making a real point

buuuut that comes at the cost of us being unable to engage with the native peoples of Xak'Tural outside of the context of colonialism

Which genuinely fucking sucks, and I hope it will be remedied with the post-Dawntrail patches

As well as handling the whole shared land situation they ended up with and how this might end up in a Land Back sort of movement, and oh boy can they mess shit up royally there

So in conclusion FFXIV has had a messy relationship with colonialism and imperialist fantasies and tropes, but the devs seem to be making a concerted effort to undo their mistakes and show respect in their depictions of american natives

They still fuck up

boy do they

but they're at least trying, and I'd say Dawntrail so far has been quite well executed

so yeah, look forward to more insane rambles like this one I guess