#i like to think that they're plotting something morally questionable

[eff-plays]

Non-nasty version cuz I liked how they turned out <3

[writers-potion]

Writing Morally Gray Characters

Morally gray antagonists and heroes can bring up many interesting questions about your story's theme and plot. Yes, your hero does want to save the world, but resorts to cruel ways of bringing peace?

Being morally gray can also mean that the character is highly goal- oriented and values efficiency and success over anything.

Deceiving Appearances

As is true in real life, a person's intentions aren't always obvious. A character, their title, background or really just how they look might at first indicate they're the hero type but surprise - they're not.

By hiding ulterior motives behind more apparent ones, you can add depth to your morally gray characters. Appearances can be deceiving, and that makes for a juicy read.

Morally Gray vs. Villains

Morally gray characters and villains are not strictly one and the same. Yes, there is overlap-they can be villains-but the distinctions are there nonetheless.

I don't think having a dark past to provide motivations for morally gray characters is too effective. They do intend to harm others, and sometimes, that's just the way they are.

Recognition

Your morally gray character should recognize that their choices can cause harm, intentionally or otherwise.

Although he's willing to risk the chance in his pursuit of knowledge, he does actively recognize that his actions can result in negative consequences. He sometimes acknowledges this before he does something, and sometimes only in hindsight.

Remorse

They must understand and experience remorse. When the consequences of their actions wreck and story world and kills people around her, she would certainly have regrets and even struggle to undo what she did.

The point here is, she won't regret until she has already caused the wreckage.

Redemption

Finally, when even they feel things have gone too far, your morally gray character must seek redemption however that manifests itself in your story.

For all their logic and reasoning, they are not without feeling. They can grow to care for other characters and go out of their way to help them at times, even save their life.

If you like my blog, buy me a coffee☕ and find me on instagram! 📸

[jolalibrary]

4. green smoke

frankie morales x f!reader | chapter four of do me yourself

summary: a meet-cute in a hardware store? impossible, out of the question. except, that's exactly what happens. a need for screws leads you to a broad-shouldered, brown-eyed man who you're sure is about to change your day, never mind your life.

wordcount: 3.7k chapter warnings: [see masterlist for series warnings] meet cute, flirting. fluff. flirting in person and over IG. frankie calls you 'rainy' (paint related from chp.1) no other descriptions or name used, you wear a date outfit but not specified and the shoes have heels but not mentioned what kind. minor discussion of past canon events incl. drugs. no use of y/n. an: if this as a friends episode this would be called "the one where they talk"

prev chapter | frankie's ig

key: frankie is in bold, you are in italics

Friday soon arrives.

It comes hand-in-hand with a tumultuous storm, bringing with it ominous rumbles echoing through your house. The air feels charged with tension, wrung tight, all sense—as if it’s holding its breath while the world around seems to retreat into darkness. Even if the time on your laptop says 14:43.

Your gaze fixates on beads of rain running down the window, all racing one another—like you have been for several minutes. The steady patter provides a rhythmic backdrop to your solitude, interrupted only by the occasional sighs that escape your lips and the soft tapping of your pencil against the notebook—a feeble attempt at pretending you’re concentrating.

Pretend is the optimum word.

Merely putting on a show of focusing on the task at hand. In reality, your eyes keep flicking to your phone—the one lying silent on the counter, eagerly anticipating the next notification that’ll make it illuminate.

Your work, the one thankfully with a deadline of next week, continues to sit ignored—barely considered, never mind plotted. Because it isn’t what fills your mind.

It’s him.

Just thoughts of him—mind populated with vivid memories that refuse to fade, unable to stop lingering on the way his eyes crinkle when he smiles or his infectious laugh. The one which has dug itself a place into the walls of your home, lit it up.

Then, you think of his lips, the ones that are purposeful, all heavenly. The mere thought of them sends a shiver down your spine, a longing present, spreading—

Unloading a delivery and you’re falling on me.

It's difficult not to smile at his message.

Something he effortlessly elicits from you now. Has done so since the very beginning. A thing he continues to do so the more the two of you speak.

It's giddy, almost teenage-like, the way your heart scampers to catch itself as your fingers try to pretend they're not darting to reply.

Excuse me? Rain. Oh, that is such a dad joke. It was. I’m pretty proud of it. Bet it made you smile. I will not confirm or deny. So that means it did. Shut up.

Thumbs swirling over the screen, you roll your lips, toes twitching on the floor as you grin.

So, how big is the candle going to be in the middle of the table? Ummm, appropriately sized for a restaurant? Hmm, I have only gone on dates with inappropriately sized candles. Are you flirting with me when I’m at work? Are you saying that like you don’t flirt with me when I’m at work? In my defence, you choose your own hours. Do you mind me flirting with you? Not even a little bit. Good. Because guess what I’m wearing right now? Hopefully nothing. I’m wearing sweats and a baggy T-shirt. Still hot. Get back to work, Butterscotch.

You know it’s not long—a handful of hours until you’ll be across from him.

Likely with your smile hurting your cheeks, eyes unable to stand looking away from him for more than a few minutes. Unable to explain or rationalise how straightforward it is with him, how natural it feels to get swept up in all of this and find yourself wanting to be around him.

Something you try to put to the back of your mind, to not clock-watch, not count down. Doing well at it until you hear your phone buzz and see his name appear on your screen.

The laundry you're putting away ignored, the item dropped from your hand to the floor, before wiping your hands on your thighs, taking a measured breath, then lifting the phone to swipe it.

His voice fills your ear almost immediately. All hello and your name, a can you hear me? following.

And your heart skips a beat—missing a whole thud against your ribs as you stare at the outfit hanging on the closet door.

“I’m really sorry—“

And your heart falls. Descends gradually, like a feather freefalling. Doing so until it has nowhere else to go but sit in the hollow void. Disappointment beating, pulsating.

“—Harold… he had to leave early, his heart was playing up and he said he’d come back. But I can’t make him do that, wouldn’t be able to enjoy ourselves if he just—"

“—Frankie—“

“—And I’ve tried to move the reservation, rang the restaurant. But, they’re booked up and I really want to take you there—”

“—Frankie?”

You brush the fabric, the hanger holding on to the top of the door with sheer will as you do so between thumb and finger. Half-smiling—even still. Listening to the way he takes a breath, to the way he cares so much.

“It’s okay,” you interrupt, swallowing, shoving the dismay down. “I… promise.”

The voice you hear back is soft. So tinged with sadness, and regret, you half-want to call him Butterscotch just to make him laugh. “You sure?”

Biting the inside of your cheek, you reassure him, comfort him—voice steady as you do so, "We can reschedule. It's not a problem."

A moment of silence follows, with a sense of letdown settling in the air like fog. It sits there, resting, hanging. Because even if you know it’s just a minor adjustment, a twinge of disappointment still seeps in. Not so much a sharp pang, but a lingering weight that makes your shoulders sag, as though everything had deflated like a balloon slowly losing air.

“Baby… I’m really sorry.”

“It’s okay,” you assure him, a smile making its way onto your face despite the circumstances. "There's always next time."

“Not drove you away then?” he half-laughs, one you imagine is a little forced.

“Not even a little bit.”

Sighing, you swear you hear him smile with it. “I promise I’ll make it up to you.”

You grin, nothing but light and easy, “Just make sure next time you can show up, that’ll be a good start."

Frankie laughs, it flowing down your ear before it’s joined by a promise that he will and he can call you later, if you like? A thing which sounds like a good idea, even more so when it's followed by the fact he wishes he could stay—talk, but you know. Nodding to no one but yourself as you bid him goodbye, leaning against the wall—hanging up, full of bittersweet.

You let your head fall against it, rolling it there as your eyes flick back up at your clothes, lingering over it.

And an idea appears.

It grows—smothering over sadness before it blooms.

Then, you’re grinning. One almost as large as you do when he makes you giggle. Almost.

You’re thankful the sign still says open when you step out of your car—fingers tugging at fabric, ensuring it sits how it’s supposed to.

Even for a surprise, you wanted to look as picture-perfect as you should have been entering the restaurant. The paper bags catch your leg, noise crinkling against the air as you yank on the handle—entering, being washed in wood chippings, bleach and paint.

For a moment, one stuck between time and space, you look. Glance. Unsure where to find him, until your eyes land on him and find his head lifting at the sound of your entering.

Whatever Frankie had been in his hand dropped, all forgotten. His mouth parting at the sight of you. Taking you in. Sweeping brown, surprised eyes all over you as heat rises up your neck and brushes over your ears.

“I know I’m a little overdressed for buying a hammer, but…”

Mouth falling open, he looks torn between grinning and speaking. “What are you…”

Shrugging, watching his eyes roam up and down the outfit you’d chosen. The one that had been on the hanger for days—one you’d not thought could be replaced by anything else.

“Well,” you begin, smirking, “My date got caught up at work and I’d been really looking forward to seeing him.”

Frankie smiles, hand rubbing along his jaw as he stares.

“But then, someone told me there’s a secret restaurant here. One behind a metal door that says, Staff Only?”

Dropping his hand, and swiping his tongue across his lips—he slowly moves around the register. Coming to join you as you hold the bags up, the heels of your shoes clicking on the shop floor tiles as you meet him halfway.

“I also suspect that you might not have eaten, since you've been alone for most of the day.”

It’s at that moment his stomach roars. It grinds, what you assume is coffee, before groaning inside of him as he claps a hand on his apron.

“The only problem is,” you say, narrowing your eyes, scrunching your nose. “I… I didn’t know what you would like, so I might have bought a ridiculous amount of food.”

Taking a bag, his eyes widen when he opens it. “You’re staying, right? To help me?”

Reaching inside the bag he didn’t take, you pull out a single, battery-powered candle. “It’s a date.”

He gives you a wide smile, his eyes twinkling with happiness. "I just need to lock up," he says.

You watch with a flutter of excited nervousness as he moves around the store, flipping the sign on the door from 'Open' to 'Closed', and then securing the door. The lock clicks into place, echoing in the quiet store. He then proceeds to shut off the lights, plunging the store into a soft, inviting darkness lit only by the glow from the streetlights outside.

Turning back to you, he extends a hand.

"Shall we?" he asks, his voice filled with anticipation. You place your hand in his, feeling the warmth spreading through your fingers.

As you walk together towards the back of the store, a tinge of excitement flutters in the air. The 'Staff Only' sign looms above the door like a secret entrance to a place you shouldn't be, but with a gentle gesture, he ushers you inside.

You don't miss the way his fingers brush your lower back, the heat they ignite up your spine as his chest meets your back, face close to yours. Lingering, eyes sweeping over you.

"Lemme just..." he whispers, elongating it, before he bends to pull you a chair out—one with three wheels, no back—fingers sliding up to brush over your shoulders as you sit down.

“Careful.”

Swallowing, you suppress the effect he's having on you, forcing a smirk. “Oh, I’ll try, Morales. Don’t want you to have to fill out the accident book.”

“Harold would murder me.”

Snorting, you watch him join you—taking the candle from your hand, flicking it on and placing it directly in the middle before the two of you begin taking food out. He gazes at bundled packaged burgers, stealing a fry from the bag before it’s laid out over the desk.

“So, as it’s our third date.” His eyes flick to you, mid-bite of his food as you twirl a fry in your fingers. “I get to ask you challenging questions, right?”

“Fuck,” he says, under his breath. Grinning. “Alright, let me have it.”

Nudging him with the tip of your shoe he laughs. “Okay. You and Luca’s mom?”

“Ah.”

Grabbing a napkin, he wipes his mouth. “You don’t have to worry.”

“And as everyone in history knows, those words are how people stop worrying.”

Smirking, he turns on the wheely stool, facing you, knees abutting yours. “We haven’t been together since he was born—we… we weren’t even together by the time he reached six months. He… he doesn’t know any different. We have things we say, and truly, she’s a fantastic mom, we have a great co-parenting situation.”

“Okay.”

His fingers land on your knee, dancing over them, light and feathery as he sighs. Heavy. Weighted. It makes you swallow, makes you want to dig your fingers into your leg to stop yourself worrying, thinking—overdramatising whatever it is.

Scratching his head, he rolls his tongue from his cheek to the front of his teeth. “I wasn’t a good person then… a lot of shit had happened—I’d left the service, found myself… haunted, I guess? Me and her, we met, we… seemed good. She seemed good. And then, I…”

Your hand slides over his, one of your fries still in hand as you do. “You don’t have to tell me.”

“I want to.”

Nodding, he half smiles.

And then he does.

He tells you about his days in the army—and the sleepless nights when he was back home. The sense of loss he felt without it, the uniform that meant nothing when he joined a regular job. How flying helicopters for people with money who had no cares in the world began to make him hollow, carving a piece inside of him that didn’t fill with laughter at barbecues and trivia nights. He tells you how he’d rambled to someone about the lack of sleep, before he found a little white bag in his locker—an opportunity, a chance to not overthink.

That it had stayed there for days, almost a week until there had been news about someone he had once worked with.

Then he explained how it wasn’t a problem, but it also very much was. How he was lost, drowning—that people reached out, but the lights had been on, but no one was home. How it became a coping mechanism, a small dose to take the ache away—before he learnt he was going to be a dad. Her worries about him making her ignore the signs, much further on than they thought—and then, one month later, how he failed a drug test.

Trace amounts, barely anything, but still plenty.

His license, revoked—paused. His future dwindled, a baby due to arrive, one he’d heard the heartbeat off at the same time as he found himself at the threat of being alone. A second chance dangled, offered—do better, Frank. Don’t be selfish.

“—but, I didn’t change. Don’t change.”

Your heart falls, and descends.

Watching him shake his head, grabbing a handful of fries before stuffing them into his mouth as he chews, and you pick at one from your own box.

“Things were good—Luca, he had ten toes, ten fingers. He was great, happy. It made us being good seem real? But, it lingered, y’know? If work kept me later, there was this distrust, this question. And I couldn’t blame her, didn’t. Never would either. I broke that, I know I did. But…”

“It wasn’t healthy?”

Shrugging, he swallows, before nodding. “Then, I helped a friend, one from my squad. Had to… it was dangerous. I was gone longer than I said—and she worried, panicked. I knew before I left that when I got back I’d likely find my stuff packed—not that I blame her. I know we tried. But, I broke it. But now we’re better… better co-parents than partners, you know?”

Nodding, you chew, rolling the salt on your lips together. A beat passes, ice clanging in the drinks, cartons scratching against the table as the two of you eat.

“That was probably a lot.”

“It’s okay. Are you… are you good now?”

Nodding, he chews another fry. “Clean since Luca was born. Five years, fifty-seven days.”

“Well, I know this might be weird to say, but I’m proud of you.”

Smiling, he chews his cheek, meeting your eyes for the first time since he began sharing. “You’re a bit too good for me, you know that?”

Smirking, you steal one of his fries. “Oh, a hundred per cent. You might have a bunch of followers and good taste in paint colours, but did you know that I can sand down a dresser to the point a prominent Instagram DIYer has told me ‘I did a good job’.”

“Doesn’t sound that trustworthy. Bet he doesn’t know what you call wrenches.”

Pouting, you narrow your eyes as he laughs. “Thank you for telling me.”

Nodding, he rolls his lips. “I had to… ‘cause… are we enacting third date-talk honesty?”

“Of course.”

Half-smiling, he nudges himself closer on the stool. “I really like you.”

Biting the inside of your cheek, you look up at the ceiling, before grabbing his knees and wheeling yourself closer. “I quite like you too.”

Smile spreading, he places his hands on top of yours. “Yeah? Because I wouldn’t blame you for wanting to… run from all of that.”

Smirking, you try to move closer, even if the wheels of both stools try to prevent you. “Did you know, honesty is really, really hot?”

Brows raising, chin lifting, his lips slide further into his cheek. “I’m glad you came.”

“I’m glad too.”

Swallowing, his fingers slide in between yours, eyes flicking from one eye to the other. “I’ve been thinking.”

“Dangerous, that.”

“Well, I’ve seen your house now.”

Nodding, you smile. Feeling it, whatever he’s going to say, ask, think lingering in the silence. His grin widens, a spark igniting in his eyes that sends a rush of warmth through you.

“So, I think it only seems fair you see mine.”

Wiping your hands on your napkin, licking your lips as you cross a leg over the other. “Well, for fair sake I definitely should.”

“Do you want to… now?”

“Tonight?”

Nodding, that same flush of pink rises up his neck, up his jaw.

Smirking, you loosen your hand from his—resting your palm on his cheek, elbow on your knee. “I’d like that.”

The car ride to his should be tense, but it isn't.

Instead, it's filled with soft laughter, teasing comments and shared glances—your fingers twitching, wondering whether a hand on his knee is too soon. Even when everything else feels so normal, natural.

When he pulls up outside his place, anticipation fills the air—a rush of warmth flooding through you, making your fingers clamp together and stare out at the place as he says, this is it.

It’s nice, well-kept—charming, from what you can already tell. Eyes spot chalk drawings on the patio, lit up by the outside lights and a plastic red car close to where he's parked.

“Luca has some good parking,” you smile, pointing to it next to you both. “You learn from him, or?”

Smirking, he undoes his belt. “Maybe, I taught him how to park. I’m very good with heavy transportation.”

You don’t miss the way he emphasises the sentence. Your 'oh' is swallowed by the sound of him opening the door and telling you to wait.

Watching as he moves around the vehicle, his eyes holding yours. Earlier, you'd been thankful that the rain had taken a pause; now you wished it hadn't stopped its lashings that glued clothing to skin, thighs pressing together on the seat before the door beside you opens.

“What a gentleman.”

“Just wanted another chance to chance to check you out, really.”

Swatting him, he takes your hand, his laugh blending with yours as he leads you up to his front door.

If he feels nervous, he doesn’t show it. Finding his keys and slides one into the lock without missing. Opening the door without as much as an awkward shove of the door.

If anything, it’s effortless. It not even squeaking or catching as he pushes it open.

“It’s not a lot…” he begins.

But he couldn’t be more wrong.

It’s cosy and warm. Exuding an unmistakable homeliness that immediately comforts you. Dark woods, off-whites, and splashes of orange, caramel, and greens intertwine harmoniously, creating a space that feels both freshly decorated and deeply loved. A balance you assume exists because of him being the one to bring it all together, knowing from the videos you've seen how talented he is.

As you glance around, you begin to see the traces of the Frankie you’ve been getting to know. Photographs of him at the beach, with his son, with friends and more with Luca at varying ages.

Then, there are the plants. An assorted mix of them, some big that you remember from photos, some greener than others—some tall and in plants with animal faces like raccoons and beavers, others in decorative pots placed on shelves.

As you step in further, you spot furniture you recognise from videos—even noting the stacked pile of books from a photo he’d shared recently and a record player on a side table.

“C’mon, let me show you around.”

He leads you, hand in yours, showing you his well-equipped kitchen, and dining space. Occasionally, he points things out, like the markings on a wall he’s using to measure how tall Luca gets and the scuff marks from dragging the dining table in after varnishing it. Before finally, the two of you are outside the half-open door to his bedroom.

Frankie giving you a wink, bodies almost flush.

“That where the magic happens?”

“Not usually…”

"Maybe that's cause people haven't been saying the right magic words." Shrugging, you lick your lower lip, staring at the beading on the door. "I should tell you, I've heard I'm quite good at magic words..."

You let it linger, sit. Before you turn on your heel, fingers brushing over a table as you head back in the direction of his living room.

He follows, a step or two behind, letting you and your eyes capture all the personal touches before you feel fingers on your wrist, tugging you back, body flush to his.

Wrapping an arm around your waist, you find your throat dry—eyes flicking to his mouth.

“Go take a seat, I’ll bring us a drink.”

It’s soft, the nod you do as he slips his hand from your waist. You move, almost on auto-pilot, to sit down on his sofa, running your fingers over a cushion—one stitched with greens, golds and oranges.

When he reappears, you look up at him, noticing the hint of nerves in his gaze as you plaster on a reassuring smile as he places them down on the coffee table.

Slowly, you reach out, squeezing his hand, "Your home is lovely, Frankie."

He chuckles, a soft blush creeping up his cheeks as he joins sitting down. "Yeah?"

Nodding, you press your knee against his. “So.”

“So.”

With a smirk, you draw a measured breath. “I believe... I want to kiss you now.”

Swallowing, his gaze flickers to your lips, lingering, before snapping back up to your eyes. Warmth spreads over your cheeks, neck and ears. “I believe you should, Rainy.”

A response there, nestled between teeth and tongue, is muffled as his lips meet yours—for the first time in several days.

an: as a warning, the next chapter will include smut. if you wish to skip the smut, you can miss the chapter as there will be no other scenes. the following chapter will pick up the next morning.

NEXT CHAPTER ->

[wolfythewitch]

Hiui it is 8am and I'm on the zcholl bus and my broam has not shut up about them

There's a lot of discourse about the achilles portrayal in the song of achilles which I agree with for the most part because the sanitization I feel erases the suffering of women and slaves the period was built on by minimizing the raping and violent nature of war hero achilles that Homer wrote - - however, I don't think tsoa ought to be read as a stand alone; tsoa is entirely written from patroclus' pov and I think that idealisation of the man is brilliant because of how grossly codependent they were

I think I really liked one redditors take on it, being [in context of 'the silence of girls'; a breseis pov of the iliad, where in achilles participated in the culture which used her as a bed slave of war] The tsoa protector achilles which defended women who mattered to him and was endlessly devoted, and the achilles that was complacent in the ritualistic abuse of the women he enslaved by pillaging their homes are both coexisting, and possibly one and the same

I personally view the Greek cast as sort of vocaloids, they're tools by which we understand the culture of the ancients, the way we envision their interactions is just a means for our practicing the pragmatics of how we come to understand the period

Okay frankly I'm not the best person to discuss this because I've only read like half of tsoa, but there's two disagreements I have I guess, based on what I Have read

One, as much it's not meant to be a standalone or something like that (to me, it is meant to be a standalone), because of its popularity in contemporary media it is being taken as one, and many people will have Achilles and Patroclus' image forever frozen as tsoa' portrayal. God knows how many comments I've gotten on my videos treating tsoa as fact. I can't really blame the author for that, but it is what it is.

Two, the idealization of man through patroclus' eyes would hold more weight if himself was not changed for the narrative either. Patroclus was a soldier, he was a healer, and he also had his fair share of women (who he slept with). Both of them did. Violence was not shied from, and slave women were war prizes. There are these insidious little rewrites throughout the story to further the narrative of Achilles and Patroclus' only loving each other, and in turn erasing what they've done to the other women in the story. (Taking in slave women because they wanted to save them is. A choice.) Deidamia in the myths, they range from at best her and Achilles falling in love to the point of intimacy, and at worst Achilles raping her. In tsoa, Thetis forced Achilles to sleep with her. Deidamia also forced Patroclus to sleep with her. That flip in the narrative is kind of fucked up, seeing as how both in the myths and in tsoa Peleus raped Thetis.

Trying to make a statement that it is written through the idealized eyes of man, well it doesn't really work here. If anything, it feels more like an author writing with the intent of not having her MCs be morally reprehensible. So Patroclus cares when the plot demands it (saving briseis, outrage when she is taken away. Asking Achilles to save the other slave girls) and not when it doesn't affect him (talking about his mother nonchalantly, questioning why thetis hated Peleus when he also acknowledged how Peleus was involved in her rape).

[joanofexys]

I think what bugs me the most about what happened today other than the fact that I was the one getting vagued is the fact that the conversation got warped into one that is about morality and not simply theorizing on The Ravens and how The Nest works

my original post essentially said two things:

The Ravens are victims and to erase that because they don't fit the model of the perfect victim and some have even become abusers erases all nuance from that portion of Jean and Kevin's lives and the surrounding discussion

Cults are weird. I grew up in one. And it is very easy to manipulated by one and to feel trapped and to also be completely in the dark about what is happening in a cult even when you're in the heart of it

I did not say anyone had to forgive the Ravens (they're fictional characters. fake people. that wasn't even on my mind) or that any of them are by any means good people. i also didn't say that they were all oblivious or that there weren't some of them that were abusive. I also never made this a conversation about morality and whether or not the Ravens are good or bad people for staying in a cult.

For some reason that got warped into what we are currently discussing and involved some highly insensitive language surrounding cult victims including things being said like it's not crazy to expect people to walk away from things like scholarships, financial security, or career security if it means being complacent in abuse and that it's "just basic morals".

And I'm sorry for getting personal on this but as a cult survivor I think that's one of the most upsetting and insensitive things I have heard come from these conversations today.

It doesn't matter what x thing is whether it's money or food or housing or a career. In a cult they use whatever it is you need and make you dependent on them for it. Also with the Ravens in particular keep in mind it wasn't simply being complacent in abuse. They were being abused.

If you have been in a similar situation, if you are grappling with the guilt of leaving a cult or anything like a cult, know that you are not a moral failure for having stayed for as long as you did. You are not moral failure for staying for whatever reason you did. It is not just basic morals when it comes to living in a cult. Morality becomes warped and the concept of what is immoral and moral is something completely different and that is intentional.

It doesn't matter whether you think the Ravens were aware of Riko's abuse or not. Having differing opinions on that is completely okay. What you don't get to do is turn it into a conversation about morality where you then get to insult cult survivors like we're evil people for not walking away at the first red flag because we needed something. Because we were in survival mode and we weren't able to focus on other people.

We still don't have all the details on how the Ravens function or the type of abuse players even outside of the perfect court face other than it was extreme. It's fun to theorize. And it's okay if people disagree. But if you can't be mindful about where your opinion switches from theory to some huge declaration of moral high ground then you've lost the fucking plot.

I would love to talk more about the Ravens and my theories on them. I would love to talk more about how cults work and why I think it's possible they were completely unaware of Riko's abuse. There's a lot of nuance in those conversations and I would love to take the time to treat them with the care they deserve. I'm also still incredibly upset by a lot of the things said today and I can acknowledge that this is a topic that is very personal to me. So this is me opening up that can of worms (again) and I'm more than happy to have those conversations and answer questions but please be patient with me because if it isn't already obvious this is a topic that is incredibly sensitive to me

[yumeka-sxf]

Even though today's new chapter was pretty funny, it also reinforces how Damian's need to act indifferent and even hostile towards Anya stems from emotional baggage from his family - whether it's brainwashing, strict discipline, or something else, we see how he's so afraid to show even a minute trace of feelings towards a "commoner" that he has to go through hoops just to ensure no one else sees him give Anya a gift.

What could the Desmond family have instilled in him that gives him such aversion to anyone of a lower social standing? I hope we find out someday. But at the same time, this chapter also gave me the impression that Damian doesn't like having to put on this jerk act in front of everyone. He seemed annoyed and exhausted that he had to do all this just to repay a debt, a debt which no one was demanding of him. Despite all the insults he hurls, the kid has morals and dignity. So it's a shame he feels such a strong need to supress that (he and Twilight have a lot in common in that regard. Twilight is simply better at hiding his real feelings since he's an adult and has been doing it much longer).

However, Damian seems okay with showing only Anya his softer side (when no one else is looking of course). Probably because, unlike all the other Eden kids, she's not from a high-class family with whom the Desmonds have to put on airs with.

While I'm not nearly as into Damianya as Twiyor, I can appreciate them as a cute future couple when they're older, with the seeds of that future relationship slowly sprouting in the series (though nothing romantic now of course as they are only 1st graders). Endo brought back Damian's "shojo filter" in this chapter, which was at maximum strength! (Is Damian secretly a CLAMP fan? 😂)

It's only at the end of the chapter, when the debt is repaid and Damian can finally relax, that he's able to see Anya's natural cuteness, without the shojo filter (his expression here looks like one of Twilight's...they really do have a lot in common!)

What's also interesting is that, compared to some of their early confrontations, Anya never returned Damian's insults until recently, maybe around the end of the bus hijacking arc. In the beginning of the series, she seemed to not know how to act when faced with bullying and was just focused on getting Damian to be friends with her. Now she openly returns his jabs with her own.

This could be because she's confident that they're friends now, so she doesn't have to hold back and can match his insults without worry. Or maybe she's just learning how to better deal with hostility her own way? Or she's just copying his bad manners...hard to say 😅

I like how Endo brought back Damian's promise to repay Anya for the handkerchief incident. From what I've gathered reading the manga fanbook, he tries hard not to leave plot points unaddressed. Which brings me to another highlight of this chapter - mention of Melinda again!

I knew Endo wouldn't forget about her, but I've also been wondering when she would return as a prominent figure in the plot. This chapter raises the question of why she's so intent on Damian and Anya becoming friends...is it simply because Yor would like that, and she wants to be good friends with Yor? Or is there some ulterior motive behind the scenes?

Even though stories focused on the Eden kids aren't typically my favorites, I actually really enjoyed this chapter! It had the great SxF comedy I love of misunderstandings between the characters leading to hilarious moments - Emile and Ewen think Damian wants to duel Anya, Becky thinks Anya wants to spend alone time with him because she's in love, Damian just wants to give Anya the gift to clear his conscience, and Anya just wants to eat the cakes!

(I love how Endo made Anya's mouth slightly watering throughout the chapter whenever she's thinking of the cakes!)

It's hard to tell if this was just a stand-alone chapter or if it will lead to a continuation of the "plan C" thing brought up a while back. I hope it does if it means we get to learn more about Melinda and the Desmond family overall!

[schlong2]

latest fix rant time

none of my friends want to talk to me about monkey movies and then i remembered i have a whole blog dedicated to my latest fixations so. i've watched Kingdom of the Planet of the Apes two (TWICE ✌️) times in theaters. this was after watching the newer trilogy (Rise, Dawn & War) and the first 1968 original in prep.

things (SPOILERS!!!):

Kingdom's run time is 2 hours and 25 minutes. this is incredibly long for a movie. compared to 1968's 1 hour and 52 minutes, that's a half hour difference. Infinity War was 2 hours and 36 minutes for reference. that's a whole marvel cinematic convergence, but ape. the run time isn't exactly the issue i've seen talked about. it's the pacing. sitting twice through this movie was not a problem for me. i sat there engaged all the way through. on the second watch, i tried to be mindful of times in which it might have been dragging for the average person, and i like, literally couldn't find any. pretty much every scene had meaning and didn't drag imo. which is something these newer movies do extremely well. Kingdom is pretty equally split between verbal communication and sign language compared to the first three before it. the apes use both verbal and visual cues to talk. but because they don't talk every single time, it makes every moment that they do feel special. it reminds me of the Quiet Place concept, where most of the movie you only hear a human voice a few select times when it's safe to do so. Rise, Dawn, & War were kind of like this, as Caesar only really spoke when he was trying to make a point or communicating to humans, who are mostly speaking in those movies. he speaks more as he gets more fluent, and by War, he can speak very well. we see other apes like Koba, Maurice, Blue Eyes, and Bad Ape also speak English. these moments are rationed pretty well throughout Kingdom, making the dialog more select and meaningful. this makes every time these beasts talk feel like it means something and isn't just fluff to fill your ears. every other scene feels like it's building or showing a side of a character we hadn't seen before, and the scenes between those advance the plot or are like, really action-packed. i just don't see why some people say it has pacing problems. it's just long. i understand the average person's attention span is super short, but when you're sitting down to watch two and a half hours of movie, you gotta know there's gonna be downtime. moments where they're not fighting or advancing the plot. and i think that's GOOD man. but im also not one for action/adventures very much so maybe that's it? i think a lot of people maybe watch these apes for the violence and conflict rather than their introspection, genuinely thoughtful world building, and complex characters. and hey, that's completely fine to enjoy, but POTA is originally about morals and asking the audience questions and posing dilemmas to popular beliefs at the time. ok

Raka. he's great. Peter Macon has this butter smooth voice that's just perfect for the kind of character he plays. you can't help but like him. but he dies like 1/3 into the movie and is really only there to religion dump about Caesar (ape jesus) and then he's swept away. people are complaining that that's all he was really there for. to explain the real values of Caesar and provide a foil to Proximus. and i agree to some degree. i really hope he's not actually dead. his presence and death are felt throughout the movie, as both Mae and Noa (mostly Noa vocalizes it, Mae just silently shares in his loss and i think cries at one point?) seem to mourn him, saying shit like "if Raka were here..." and especially at the end when Noa gives the Caesar pendant to her. it's the shared memory of Raka and what he devoted his life to. but they never really like, actually linger on his death. there's a moment after he's swept away, and the shot stays on the rushing waters, Raka no longer visible and plays some sad tunes, but like. C'MON. he's not really dead. he isn't please tell me he isn't PLEASE

Noa isn't Caesar. i honestly do not get why you would want otherwise. of course, he isn't Caesar. we don't need another Caesar. he had a whole three movies to be the center of. i would be extremely disappointed if they just made a carbon copy of him or made Noa like a direct descendant of him or whatever. i hate that Chosen One bullshit. Caesar was just a guy that wanted peace for his people and that got him killed in the end. Noa is also a guy who wants peace for his clan. they're both leaders and have good hearts, but like. they're different characters. i LIKE that Noa has no relation to Caesar, i LIKE that he's his own character with his own ideals and purpose. Owen Teague does a wonderful job making the character his own. i mean Andy Serkis is Andy fucking Serkis. pretty big shoes to fill and i think Teague has the right foot size you know. i heard one guy say like "we've had our time to mourn Caesar" and yeah. we have. let's accept that and move on

WHERE MY APE DIVERSITY AT. we get a fuck ton of chimps, ONE orangutan, ONE gorilla, and ONE bonobo. what the hell. i mean. what is with the bonobo villian. Koba i fucks with because bonobos are some of the most playful, nonviolent apes out there. that humanity and its cruelty could twist a naturally peaceful creature into what Koba became.. i mean, that's great. but again with Proximus? maybe trying to evoke some of the same energy and nuance Koba had? ALSO. GORILLA PSA they are like so sweet. all that muscle is there to protect their families, and they're strictly vegetarians. i feel like Rise, Dawn, & War portrayed this better with most of the gorillas getting bodyguard jobs because of all their bulk. especially when Luca tucks that flower in Nova's ear. man. and Red going out like he did. gentle giants. in Kindgom we just have Sylva. gorilla henchman for Proximus. that's it. then we have Raka, the one orangutan character that i saw. wise and knowledgeable, guides and accompanies Noa and Mae then dies. at least we get one female chimp character that's more than just wife or mother. wikipedia lists Soona as Noa's love interest, which i can totally dig, like it's there. he takes her to the telescope at the end of Kingdom, which is more than what we saw romance-wise between Caesar and Cornelia. and the only other important chimp female is Dar, Noa's mom. in Rise, Dawn & War there was usually only one of each species of ape assigned a main role, but we saw much more diversity it felt like. maybe that's because there were smaller in numbers and have since spread out in the last 300 years? also like, bonobos are known for having female-female & male-male sex. dont know about the other apes. my friend mentioned that Raka said something about having a male companion and promptly searched reddit. all they had to say was: gaype?

the visuals. dear god the visuals. this movie is just visually stunning. absolutely breathtaking. they did a great job. i mean Rise, Dawn, & War are all triumphs of cgi and are excellent examples of the animation style done right. i did hear some guy say there is a loss of texture, as mostly everything in Kingdom is cgi, from the characters to the landscapes. but there's an explosion of texture in this film. there's one point where Noa is covered in the ash of his village and you can see it on his fur. there's quite a couple water scenes where the moisture clings to the apes' fur. It's all very impressive. great work

the references!! Rise especially has a ton of them (IT'S A MADHOUSE!!! & GET YOUR STINKIN PAWS OFF ME YOU DAMN DIRTY APE), and names like Nova and Cornelius, but Kingdom... i picked up on at least three main instances, but im sure there are more. there's the scene where the apes are rounding up the feral humans, and its very reminiscent of the scene from 1968 where they're doing the same thing for sport. there's the scene where Mae is running in the field, and she jumps on that log structure to get to Noa, which is nearly identical to a similar scene in 1968. the scene when Noa, Soona, and Anaya are exploring the human bunker and they come across an old classroom. one of them picks up a doll that says a distorted "Mama" which was huge in the original because that was evidence that once man did speak, why else would he make a doll that talked? superb call backs to the og. respect what was there before

SCHLONG THEORY

here me out guys. the starring ape-human relationship in Rise was between Caesar and Will. this type of love is called storge and describes the love a child has for a parent as well as the love a parent has for their child.

the starring ape-human relationship in Dawn was ultimately between Caesar and Malcolm. which i believe is truly philia towards the end, the love between friends and allies. just two dudes trying to keep peace in the world.

in War, i mean Caesar well and truly hates the Colonel. like more than he's hated any human in his life before. close to mania, obsession. anyways it's a study on this type of relationship between an ape and a human. true, all consuming hate.

SO in the newer movies we've explored familial love, platonic love, and hate, between an ape and a human.

in Kingdom the main ape-human relationship is between Noa and Mae. and their relationship is complex. not really that friendly and certainly not familial. no trust. some kind of begrudging respect maybe? i just think it would be neat if in further installments they explored a romantic love between a human and an ape. ok.

i KNOW Noa and Soona are probably going to get ape married and they're never going to touch on the subject but i just find it hard to believe that in the last 300 years or so that's NEVER been heard of. apes have the same level of intimacy between each other as humans do in this universe and can willingly consent. what are you so afraid of wes ball

after all, the whole franchise is about how apes, when given intelligence, compare to humans and begs the question: how different are we really?

is it possible for an ape and a human to fall in love?

[necrotic-nephilim]

for the ask game, an AU where (somehow…) jason and tim (begrudgingly) team up in the search for a hero/battle for the cowl era (either when jason says tim should work with him on the gang stuff or when batman jason asks tim to be his robin) :]

for the ask game!

god, Search For A Hero my beloved. for the Search For A Hero version of their team-up, I think I'd write it something like this

I think the biggest reason Tim says no when Jason asks him is Jason asks Tim too early in the arc. as the storyline develops, Tim gets more and more desperate to best Ulysses, which is what pushes him to make the mistake that gets Ulysses' siblings killed. he's in a tight spot and he misjudges the situation. (i think the guilt he carries from that moment is one of the biggest inciting incidents for becoming Red Robin) so, i'd introduce Jason to the plot just a little later. just as Tim is on the edge of desperation. Tim isn't entirely adverse to working with villains if he thinks he can stay on top of them. so instead of sending Jason to prison, i think if Jason came to Tim at the right time, Tim would begrudging accept Jason's help

part of Tim's plan would be leveraging Jason's power with the mafia/mob scene in Gotham. they'd agree that topping the gangs would just cause a power vacuum (i'm pretty sure that's actually addressed in SFAH but i could be misremembering) so it's more about a balancing act, which is where Jason thrives. Tim is right on the cusp of being willing to do more morally questionable things, so it'd be a fun internal war for him to second-guess himself at every turn.

there would be such a delightful lack of trust in their partnerships. TIm has *zero* reason to trust Jason, and while Jason likes Tim enough, i don't think he's naive enough to put any trust in Tim. so there'd be moments where they don't fill each other in on aspects of the plan. Jason kills people behind Tim's back, Tim keys in his cop friend behind Jason's back. it builds the tension between them with a lot of hot arguments that get more and more charged.

the jealousy. there would just have to be a scene where Jason gets wildly jealous over Ulysses' complex over Tim. Ulysses tries so hard to pit himself as like, Tim's biggest adversary, his opposite. and Jason would *despise* that. sure, Jason is working with Tim, but part of the fun is that they're still enemies as they do it. i think it'd be sort of fun to have the moment where Ulysses blows Tim up be something Jason witnesses and he raises unholy hell about. because if anyone is going to kill Tim Drake, it's going to be him. and that angry possessiveness is what makes the romantic/sexual tension something neither of them can ignore anymore.

Tim deciding to put on the Red Robin suit to fight Ulysses would be where Jason just. goes full tilt possessive "he's mine i marked him that's my suit. see. mine. i said so." and Tim would push back but. what ground does he have to stand on bc he could've picked any suit with any cowl to protect his head after the blast, but he did choose Jason's. it was his own open invitation to Jason in a way. and well. they fuck nasty about it. and then Damian becomes Robin, so why not Tim keep the suit and just maybe, keep Jason in his back pocket.

and!! for the Battle for the Cowl version. man on one hand i love "Tim accepts Jason's offer to be his Robin" fics but i feel they lack a bite to them, so this is personally how i would try to pull it off, while being relatively in character.

so the biggest thing for me is, TIm agrees to be Jason's Robin not because he trusts or likes Jason, but for the same reasons he became Robin in the first place: to keep Batman stable. being Jason's Robin isn't about wanting to work with Jason, it would be Tim knowing there's no world Jason is ever going to stop and seeing Jason slowly tip over the edge of madness and well. if Tim was self-sacrificial enough to do it for Bruce and attempt to do it for Jean-Paul, he can do it for Jason.

him agreeing would i think startle Jason. like, Jason's offer was never particularly serious because he's at the point he knows Tim wants nothing to do with him. so when Tim says yes it sort of. snaps Jason out of the rage BftC puts him in. he's so startled but enticed by the thought, he willingly agrees to stipulations Tim sets, like no murder. like even if just to see where this goes, Jason jumps on the chance.

i'd really want to keep Dick and Damian as Batman and Robin, and the weird divide that would exist with Dick/Damian and Jason/Tim both running around as Batman/Robin and how off kilter that puts Gotham. like Gotham is so baffled by it, it actually makes criminals easier to handle. because they have no clue if they're getting the Batman who needs Robin to keep him in line, or the Robin who needs Batman to keep him in line. people know there's two Batmans, two Robins and no one knows quite what to do with that information. who's the "real" Batman? who's the "real" Robin? and on the personal level, the divide between Dick and Tim would be unmistakable. Dick would know what Tim's doing and try to convince him Jason is a lost cause bc well, Dick at this point *really* believes Jason is a lost fucking cause. So Dick's genuine care and concern for Tim just drives a further wedge between them.

i think there'd need to be a scene where Tim flat out asks if Jason even *wants* to be Batman. in a sort of attempt to slowly ween Jason off of being Batman, but also because i don't think Jason ever really wants to be Batman, he just wants Batman to be what his vision of justice is. and it'd be the first real heart to heart they have, discussing the legacy of the Robin and Batman mantles and how it's affected them. it'd be heated, but it'd be their first real conversation as just. Jason and Tim.

to me, i think the end goal of this AU would be Tim successfully "taming" Jason, and not in like a soft way, but in like a manipulative way, where even Jason knows that's what Tim is doing, but he just goes along with it because it's the first real human connection he's had in a while. also, i would work in Scarlet, Jason's sidekick in Batman & Robin (2009) as like. a pseudo daughter figure for them to help Jason find his humanity a bit. so it's not just Tim as Jason's rock, but also this misguided girl they'd both try to help. and well, then they ride into the sunset and all that, but still have a complicated, toxic dynamic they're both aware is unhealthy, but as balanced as it can be.

[thr0wnawayy]

Dissecting the Jaku General Hospital Disaster and MHA's failures with complexity

Ahhh, The Jaku Hospital Raid. The point where MHA's story went from it's ever increasing decline to throwing itself right off a cliff.

(boooring)

I think most can agree this event was a travesty writing/plot wise, but how about all of those in regards to MHA's setting. Well that's what I'd like to discuss.

Point 1: A Goal Without a Plan is a Dream

The plan summed up is "fuck around and find out".

The heroes came in to uncharted enemy territory relying soley on brute force, broke a bunch of equipment that did God knows what (for all they knew, it could have been lethal*).

Then they proceed to shoot themselves in the foot by getting too cocky, despite knowing that Shigaraki was undergoing some sort of procedure. X-less shoots a machine that for all he knew could have been a bomb or generator. Why?, because he had a "bad feeling".

* I'm talking potential toxic fumes, gas leaks, accidental combustion, etc

Now let's focus on the evacuation effort...

Oh.

Oh FUCK!

That's it!?. A couple hundred dozen heroes and a select handful of first and third year's.

One of whom, mind you, is strictly combat oriented by the (extremely niche) capabilities of his quirk. What can Bakugo actually do here?, in the worst case scenario (being Shigaraki's awakening) he's limited to one arm and two legs (maybe his mouth?). That will further drag him down due to his quirk relying on both hands to be viable.

And we see this!

Moving along.

Another thing they didn't count on was outside help. The moment Gigantomechia arrives, it throws another curve ball. With the only reason for their survival being Dues-Ex-Machina Best "Dirty laundry" Jeanist.

They failed in the end anyways because a large portion of the LOV+ the MLA escaped.

Point 2: Organisms Used for Nefarious Means

I will keep this section brief

Nomu are in my opinion one of the biggest wastes of potential MHA produced. Going from being unnatural goliaths capable of striking dread into the hearts of even the long standing No1 Hero, to being undead cannonfodder that heroes can beat up so the audience doesn't question their ethics or (lack of) morality.

It is a sheer miracle that the Nomu didn't leave the heroes worse for wear. This is again more due to Hori relying too heavily on "convince" and not enough on in-world solutions, but I digress.

The Nomu should have been the biggest threat and again, the heroes failed to account for this. They had no way of knowing, sure.

But they should have accounted this early on. What about the civilians, evacuating them isn't enough as seen in Hosu. I mean they were walking into a lab and they had dealt with Nomu facilties before (Kamino)

Were there inpatients during the raid? and if so were they evacuated or did the Heroes say "fuck it." Given what eas allowed at Central Hospital I wouldn't put it past them.

Point 3: A civilians point of view.

I want you to imagine for a moment: You're a civilian and your whole life, you've been told how wonderful heroes are and how they'll always be there, after all they're heroes.

Sure, they may dictate what quirks are "in" and maaaybe they have a tad to much influence over your average person but they're licensed and your not.

Why question it?

Then one day everyone and everything you've known is just blown away. Heroes barge into your house and begin scrambling to get you and your family out of your house before something happens, they dont tell you what.

It is a sloppy and hurried effort, your life's belongings tucked into a small carryon if you're lucky and some plastic bags if you're not. They tell you it's probably only temporary and you'll be back to normal shortly.

Then the nearby Hospital blows up. You and your family can only watch as heroes flee from the scene, some rising into the sky, others sprinting like hell. You barely make it out alive yourselves.

Within minutes everything is gone and it's not until the fightings iver that you hear it. You hear people (you think it's your neighbors) pleading in pain underneath the rubble, a little girl can be heard sobbing somewhere in the torn landscape.

Everything's been torn upside down.

And the heroes, the poeple you've depended on your whole life...

They quit. They say they need to find another line of work.

Is that what you are to them!?. Just another line of work, a number on a tally!?.

Worse still. The NUMBER ONE HERO has just been exposed by his presumed to be dead son for being a child beating, wife trafficking, eugenist with an implication that some, if not all of his children were made against the mother's will.

The current Number 2 murdered a man for the "greater good" (what even is "good" anymore).

The people who were supposed to protect you are quitting in droves, leaving vast portions of city to fall to villains and are refusing to take any responsibility for their negligence and poor planning that made an already bad situation worse.

Oh, also the single most dangerous villain in history has broken out of Tartarus and multiple prisons have been destroyed leading to further destruction.

This is then followed by a "blackout" period. Heroes give zero insight into what they're doing or what their plan is. Mutant discrimination is running wild, support gear is flooding the streets and any protests are being silenced.

So I'll ask you again, how do you react?.

Point 4: Hubris

Over all the entire operation was a complete and utter failure. I see alot of people giving the civilians flack for their strong reactions, but honestly I can't blame 'em.

The issue is Hori paints the narrative to minimize the damage towards the heroes. (For example he characterizes one of Enji's critics as a snobby shut-in surrounded by trash bags). We only ever see the worst aspects of the civilians because Hori has consistently failed to delve into anything beyond surface level emotion/themes.

Eri is a good example, she should be a very different character. She should be allowed to show her trauma and all the "ugly" emotions and baggage that come with that, we as the audience should see the lasting impact being killed repeatedly has had on her.

For example, Eri should be very adverse to touch. A problem that started with her father and was worsened by Kai.

She should be expressing her trauma through play (think reenacting her "surgeries" on dolls)

She should be distrustful and even cold (especially after Mirio abadoned her).

Her inability to smile might stem from a lack of viewing her self as equal to others, viewing herself as more of an object than human being.

But do we ever see this. No.

Because Hori doesn't let us. He simply as a writer, cannot appropriately handle or even seem to grasp complexity and every part of the story suffers because of it.

With the civilians it's no different and as a result Hori whether intentionally or not, twists the narrative to make them seem unreasonable.

This doesn't help when from what we've seen a shocking amount of MHA's main cast are drenched in hypocrisy. The only experiences we've had with the civilian population is through Shigaraki's backstory (bad) Toga's parents (very bad).

It's just not a good look.

Conclusion:

Over-all, the Raid and by extention the war was a mess in every aspect and I personally think the story would have been better off doing something else.

The time wasted here could have gone to any number of things (how about fleshing out the non existant world building) but I honestly believe that it would have been subpar regardless, it's all to apparent Hori had no idea where he wanted the story to go. That can be seen as far back as everything post MVA.

Just, what a mess.

[mkpersephone]

I saw this on Qura about Professor X's character assassination in modern days comics and it fits perfectly:

it's pure character assassination. They've played with this idea before where Xavier's suppressed desires run amok for a while making him evil, or like Onslaught, the writers use the first excuse to make him an outright villain and plot device for "Heroes Reborn". Even Wolverine renaming the school the "Jean Grey School for Higher Learning" is one of the methods of trying to replace Xavier or rewrite his place in the hierarchy or question who is more 'saintly'. But when push came to shove the wheel would turn back because what actually sells (and is popular) is the classic, wheelchair-bound, parental, wise, and caring Professor Charles Xavier. I think they do this in these comics now because comics are dying, and the current writer wants these classic characters parroting their own thoughts and beliefs... even if it becomes the character's epitaph.

Honestly, modern writers DO NOT know how to try to build up a character or idea without tearing something down. And Xavier is always an awesome target because the ideal he stood for when originally created, (just like you pointed out in your answer) is one that ideologically is being opposed by today's progressives. There is no fight for equality, there is only ever varying levels of power and the struggle to have more. Having a straight white male who is a benevolent father figure to the wayward lost souls and moral center to an adoptive family unit is out of the question for modern writers. If you want to destabilize and re-write something in your own image, you attack the root, and Professor Charles Xavier is the root of the X-Men.

This whole story is WAY out of character for Xavier, but in their defense, I would say ever since Krakoa, each writer writes the characters as how they want to interpret the character. And this isn't the first character they've assassinated, including Moira McTaggert. Today, there is no Jim Shooter anymore trying to wrangle the whole bullpen and fighting the writers on bad ideas. (And to be fair, not all of his ideas were good and the writers fought him plenty, but the writers at the time were outstanding pros with long track records of great stories, not twitter account holders on their first comic who were given a job based on their race or sexuality).

When you stop knowing how to make great new characters, (heroes and villains alike), then you're stuck trying to reinvent the characters you have. That's been X-Men's problem for almost the last 20 years; when they make new characters, they're not really good and no one really cares. That leaves using the current stable... over and over and over again.

[myfandomrealitea]

I really wanted to ask you about this:

Do you have any advice of how to develop critical thinking and media literacy?

There are many, many ways you can practice critical thinking, evaluation and media literacy. At its most basic, you can access student resources for lower levels of education like earlier high school years and look at the examples and guidance given there. Rehashing this will often give you a good foundation to build off of and apply.

One of the main aspects of critical thinking involves discerning what is fact and what is opinion. A good portion of media analytics is opinion. What is 'bad' by one person's standards is 'sub-par' or even 'great' by another's. Similarly, the majority of fandom space is opinion-based. The main pitfall of fandom spaces is that everyone wants their opinion to be taken as fact, which is where critical thinking and even basic communication begin to fall away.

"I'm right and you're wrong" and "this is the way it should be, if you do it or think differently, you're wrong" are common roadblocks people run into when engaging with things like media analysis and even basic fandom activities like fanfiction.

'Mischaracterisation' is fanfiction is one popular topic, especially here on Tumblr. What people often fail to recognize is the true creative depth of fanfiction and using someone else's pre-existing characters. Characters as they are in the source material may not make the choices or behave in the ways necessary to activate or validate certain plot material or author intentions in fanfiction. Which is, inherently, one of the main points of fanfiction. Exploring the alternate.

While you might immediately recoil and say "he'd never do that!" you then have to sit back and recognise that that's exactly the point. That this iteration of that character is not meant to directly reflect the source material. Its a re-imagining, a re-interpretation. That doesn't mean its bad. Its simply different.

'Mischaracterisation' is only actually applicable in fandom spaces when someone is trying to insist as a blanket fact that a character would do something or behave in a way that blatantly contradicts their canon behavior, opinions, morals and perspective or deliberately interpreting an action in biased bad faith. It is not actually applicable to fanfiction where creative liberty dictates you can do whatever the fuck you want with a character because you're not trying to claim it as part of the source content.

Questions To Ask Yourself

Am I reacting to [media] emotionally instead of rationally? Is my emotional response to [media] blinding me to the rational or critical approach(es)?

Am I allowing my expectations to get in the way of me understanding [media] fully? Am I forming a biased negative opinion of [media] because it isn't meeting my expectations?

Even if I disagree with [media], do I actually understand it? Can I recognise the reasoning behind choices made or actions even if I don't agree with them?

Am I searching too hard to hidden meaning or purpose in absolutely everything? Can I recognise what is simply passive information/detail and what is active information/detail? (E.g; English tutors saying a character's curtains are blue because they're depressed when throughout the literature its passively reinforced that blue is the character's favorite color.)

Even though I disagree with the statement or opinion shown, is it necessary to argue against it? Is there any benefit to making my counter-opinion known or is it simply a no-end argument? Am I just using arguing as a means of release/fulfilment? Am I treating this person poorly because of their opinion/statement?

Resources

Critical Thinking Exercises & Explanations #1 The Critical Thinking Activity Workbook Early Stage Critical Thinking Games Five Media Literacy Activities Six Media Literacy Ideas

[yuri-is-online]

oof that's a really good morally grey pwp idea... if darkwick tells mc her curse cannot be lifted but can be passed on to a child -> the new cure is for her to be impregnated by a ghoul (better chance of whatever makes them ghouls overpowering whatever makes mc cursed), give birth to that child and for darkwick to kill the newborn immediately... but to prevent any of the ghouls from forming a real attachment to the fetus and somehow busting into the delivery room to save it, they can't know who the father is -> cue a multichapter pwp fic (with the exception of rui)...

(sorry if this makes you uncomfortable, please delete if so!!)

( • ̀ω•́ )✧ fufuufufufu no I don't mind this, I lack the technical skills to write it but yes that's a really good pwp idea. Poor Rui this might be enough to make him actually lose it, can you imagine being someone whose main character trait is being a whore, but being denied your godgiven right join the school sanctioned gangbang? They're even encouraging you to hit it raw fuck this stupid baka life he's done. I also like how you excluded Rui but not Zenji because that would make it even worse... the ghost gets to hit it but he doesn't? ED GETS TO HIT IT BUT NOT HIM?!?!?!!!!

I was thinking about smut when I typed that of course but I didn't really spend a lot of time thinking about the plot because I was too busy inventing new ethical questions. Would Taiga want to eat the baby? It is technically part anomaly... he doesn't want to eat Ed or Lyca so I would guess not but still. What about guys like Romeo, Ritsu, or Jin? Would they even agree to participate in something like this given how important children are to rich fussy families would they see making one like this extra wrong? Or would the horny kick in and they not want to allow the chance for MC's baby to be anyone other than theirs? Oh and on Ritsu, I feel like he'd be making a bunch of weird legal arguments trying to justify wanting to get the mc pregnant. He's just repressed, the arguments don't matter, but would he then try to make a bunch of arguments to keep the baby alive? Is there a legal standard of personhood in Japan and do I even want to research that-

Speaking of personhood, Lyca, Ed, and Zenji. I feel like Lyca wouldn't be able to let go of the idea of MC as his mate and that child as his baby. He wants to live with humans and be human, part of that seems to be him wanting a real family so if he was the baby daddy this would just be extra cruel. His instinct and desire is to love and protect, and even if he didn't have that he knows what Darkwick is like. Danger or not he doesn't want them killing you or the baby. Ed probably just wouldn't see what the problem is. Yes, his baby is an abomination from hell part vampire part Kyklos (so little human he doesn't need to mention that). No, he will not be letting Darkwick kill them and yes he will know if the baby is his, he has a sixth sense for these sorts of things. Now now don't cry, he might be an old man but he's not above taking responsibility, Japan was getting boring anyway. He can drop you off in whatever hole he crawled out of to can rest and recover while he watches the baby and shows them man made horrors beyond their comprehension (conspiracy youtube videos). I brought up Zenji just because the image of MC wanting to get dicked down by a ghost and conducting a dark ritual to let him do it. Also idk Zenji feels like another extra tragic because he also is someone who values family so I don't think he would want to see his child die, but also if it could save MC he'd really want to try and help.

Yuri would be very smug about this being a solution, volunteer to help, realize that everyone thinks he wants to fuck the MC, and then pass out from screaming denial and the mental image of her bare neck. I feel like he'd be one of the "worse" choices in Darkwick's mind because he would probably want to keep the baby to experiment on, but be completely unable to see them as anything other than his child and devolve into the same desperate search to cure them as he was on with MC. And he expects child support! He will not be a single father, MC get back here and take some responsibility for your actions!!! Jiro also feels like someone who would volunteer not realizing the method he was volunteering for but unlike Yuri he just rolls with it. He's so unashamed of nudity, yours or his, and what is sex if not nudity with some extra steps-

(My mind more went towards artificial insemination, so Rui wouldn't be excluded from the pool and there was no chance for the ghouls to form an emotional connection to either the MC or their potential baby. Oh I also don't think Darkwick would tell MC or the dad that the kid is going to be killed. They would probably lie about it and act like the child would be fine, just maybe an anomaly they would need to keep an eye on. And then they lie to MC and say the baby was still born but they just keep them in a little padded room and experiment on them their whole life, which just starts the Kyklos cycle anew except this time the monster is sentient and out for blood with intent.)

[maeve-is-annoying-about-books]

I didn't really wanna talk ahead of the Dungeon Meshi anime but I had this thought bugging me as I was skimming the manga. So, spoilers for what's to come.

I don't think it's any coincidence that Laios' party, out of a cast of infinitely more capable people, makes it to the final floor of the Dungeon. Why? Cause they aren't heroes.

Look at Kabru, he's the poster boy for anime protagonists. He has a tragic backstory, a personal beef with the dungeon, skills trained by a master of the crafts, and a large party who seems genuinely friendly together. He has everything going for him to one day dive to the bottom and gain closure for his story but he just can't. He never will, because the dungeon does not work on his logic. It turns out that there is no plot armor against hearing a siren sing for the first time.

What about Mithrun then? Personally wronged by the Demon, he's the paradigm of vengeance. A tragic hero who will do anything it takes to get to his goal and probably die achieving it. He has a party full of dark history and interesting dynamics, really laden with moral greyness. Not Berserk but a step closer to it than Kabru's story. But he is, unfortunately, also a classic hero archetype, and although his skills are impressive they aren't fit for the ecosystem around him, singleminded vengeance will see you killed by changelings, the cold, or starvation.

Shuro, it's gotta be Shuro right? A man from a distant land but a familiar one to the primary readerbase. He goes back to train, hone his mind, collect a party, and save the love interest from a cruel fate. Perhaps he will learn there is no saving her, and tragically be forced to slay the monster she's become. His journey ends the second Faligon dies, so he has no chance, ever, of becoming the Dungeon Lord. There doesn't need to be any extra traps to deter him, he'll get what he wants at the fourth level and be gone, his desire simply isn't pointed that way.

Laios, on the other hand. None of his party are heroes, they're all here for selfish reasons and have absolutely zero illusions about heroics and greater goods. Laios is here to save Falin, he only wants his sister to be safe. And to eat and document monsters. Marcille is here for forbidden magic and Falin, and her two desires coincide with her resurrection. Chilchuck is here because he got paid up front and can't leave without rumors spreading. Senshi was always here and he just wants to live in peace with nature. None of them have heroic intent, broadly. But it also means they don't have heroic conceit either.

Laios' party will eat anything. They'll run from battle, take shortcuts. They treat monsters not as grand challenges to overcome but something to fight for their lives with. With their teeth if need be. There is no honor here there is only living. Honor gets you strangled by treasure bugs. Revenge will see you abandon your party to giant spiders for the mere shot at your target. Duty sees you skipping meals because your goal is so important. It is striking how different the dungeon is between Laios and the others. They all treat the dungeon as their personal hell to be striven against and conquered, only Laios sees it as an extension of the living world and understands his place in it. And I think that is so fucking cool, it's so multifaceted. Like, their exact skill set is perfect for getting through the dungeon because of how they all treat it. But also because the dungeon wants them there, because they have very personal, strong desires. Desires that shape their skills, and desires shaped by their skills in a kind of Ouroboros.

And it's an interesting question of how much of both factors into their progress in the story.

[paragonrobits]

There’s a phrase I like to use when people question why, in fantasy series, people don’t just take the most efficient and ruthless option. I say, “This isn’t Game of Thrones.” Bluntly put, apart from having a very unsatisfying ending to its character arcs due to a realistic but very abrupt swing from the character arcs it had been building up (and in one notable case, a character arc that WAS built up the whole time, but not in a way people anticipated), Game of Thrones is most notorious for a very realpolitick approach to how the characters make their decisions.

Efficiency, immediate needs and ruthlessness regardless of personal qualms comes up a lot in what people seem to have taken from that show’s success, and you see a LOT of people thinking that pragmatic ruthlessness is the most basic and standard solution to any story’s problems, regardless of whether or not its consistent with a story’s given themes and morals.

The Avatar setting is NOT one of those. In this setting, spirituality is vitally important; the reason WHY things are done, as well as HOW they done, are just as important as the actual end result, if not more.

So, one thing I see a LOT in fandom circles (usually in bad takes floating around and being mocked by the circles I am adjacent to, or ideas popular among Big Name Fans who are kind of sheltered from the actual themes of the show itself and have distanced themselves from what the show is actually like in favor of what is functionally a completely original series that appeals to their own preferences) comes down to discussions arguing that AtLA would be better if Aang just took down every one he fought and killed them all without hesitation; there is a popular implication among these ideas that Aang is considered weak to them BECAUSE he doesn't want to kill. Because killing is anathema to his people, because the deliberate taking of life is a HUGE deal to both the Air Nomads and the real life religions that they are based on.

These takes conclude that none of that matters; that his morals and compunctions should just be immediately tossed aside in order to achieve his goals. There's usually something like 'who cares about spirituality when the world is so bad' or the ends justifying the means. And the thing is that we DO see characters in AtLA saying that, quite often. Characters who don't care about the spiritual consequences of their actions, who do whatever it takes to accomplish their goals.

They're the villains.

In AtLA, ruthlessness, pragmatism and 'whatever it takes to get what I want' is SPECIFICALLY and EXCLUSIVELY associated with the antagonists. General Fong; Azula, Ozai, the entirety of the Fire Nation... one thing they all have in common, besides opposing Aang, is that they're not just willing to be ruthless, they have no interest in achieving their goals or really doing anything at all without being ruthless and amoral about it. There's a common point in the narrative here, and I think the episode the Avatar State neatly sums it up through its story, as we are presented with Fong, who is seemingly an ally, demanding that they ignore the spiritual demands in favor of just weaponizing a force of nature no one involved really understands.

His emphasis on the people dying in the meantime does make for a potent image, but he is ultimately and frequently established as a ruthless jackass who cares more about trying to weaponize the Avatar State (and mere mortals do not get to have a say in its decisions or what the World Spirit, in its fullest power, wants to do). Apart from this indicating a more or less full departure from a strict moral binary within the series, there's also an emphasis on Katara growing increasingly uncomfortable with the non-spiritual plan they're taking, to the point that she won't have anything to do with it, and she is very much the show's heart. If she disapproves of something with plot relevance, its usually a bad sign.

So this whole THING you have with people going 'everything would be better if Aang killed everyone immediately except for the secret Good Guys even though he has absolutely no way of knowing them out of context'... its genuinely really bewildering and I think its kind of proof of people not engaging with the show's themes or ethics, but assuming that ruthlessness and efficiency are the default way of handling everything. AtLA is not subtle about this and if you think that the show at any point suggests that this is a likely outcome, I don't think you're really engaging with it, or you're misunderstanding the context (such as the Ocean Spirit rampaging being framed as a last second moment of hope; I think people conflate its destruction as generally a Cool Thing, rather than the world itself protecting a dying culture from near certain destruction as the moon itself is... well, dead.)

(There's also a protagonist-centered morality in that they seem to want their characters to BE rather amoral, being all about love and acceptance and tolerance but also brutally and remorselessly kill everyone in their way without hesitation, and the people making these statements don't see any kind of logical flaw. I dunno but that's WEIRD to me.)

[herefortheships]

Just a little stepdad!Betelgeuse and stepdaughter!Astrid idea/headcanon for you tonight:

Imagine Astrid came back with ghostly powers from the Netherworld after BJBJ, like we've been speculating here recently, and, with Lydia unable (or unwilling??) to help her navigate this one power in particular, she resorts to calling Betelgeuse for help. That power: remote possession of the living, just like the Maitlands did, and just like Betelgeuse did in BJBJ.

I can understand why Lydia would want Astrid to push this one down. One thing's a ghost taking over another person, but a living person making other living people move to her will? Kinda scary! It could go wrong in so many ways! Lydia would probably struggle to come to terms with it, at least for a while. And that's why this idea is so interesting to me, tbh! There's a lot there to explore: questions of morality, "just because you can do something, doesn't mean you should", etc.

Astrid takes no shit from no one, but she does have some students "bullying" her at school that get on her nerves. What other perfect targets to practice her new powers on? 😂 Imagine the chaotic duo of Betelgeuse and Astrid controlling the people who bully Astrid at school with their ghosty powers, both of them hiding in the bushes dressed in camo outfits, staring with binoculars from afar while their targets make complete fools out of themselves. Betelgeuse doesn't exactly have a moral compass to think "these are just kids, shouldn't mess with them like this", and that's exactly why Astrid thinks "yep, he's the only one who can really help me learn to use this power". Anyway, that'd be totally hilarious. Wait until Lydia finds out what they're up to. lol

No, but, hear me out, what if Astrid goes dark side with these new powers and THEN Lydia and Beej have to work together to get her back? And Beej almost sacrifices himself (or sacrifices something important to him... gonna have to think that one over, but hear me out), he has to sacrifice something and do everything he can to right this wrong. He did help Astrid out, and things went horribly wrong and it's mostly his fault. He goes above and beyond to save her and it finally shows without any doubt that his actions are not selfish; that he really does love Lydia and her family.

Anyway, going way too cartoon plot with this last part, maybe, but I love this idea. 😂

[agronzky]

⠀⠀⠀𝐇𝐎𝐖 𝐓𝐎 𝐂𝐑𝐄𝐀𝐓𝐄 𝐀 𝐆𝐎𝐎𝐃 𝐕𝐈𝐋𝐋𝐀𝐈𝐍 𝐈𝐍 𝐑𝐏.

⠀⠀⠀Anyone who knows me or has rp with me knows how much I love building ambiguous — or grey, if you prefer — characters or villains. The drama, the chaos, the complex plot… It all makes everything more interesting, especially once you get bored of characters who are exclusively nice, naive and suchlike. Even so, it's a construction that needs to take several factors into account and be very delicately written so it doesn't become a trigger rather than a character.

⠀⠀⠀For this reason, below I've provided some tips on how to create villainous characters for rp, taking into account various traits, setting and also demystifying the fact that not every villain is a soulless monster. Anyway, on to the guide.

Deep and personal motivations.

⠀⠀⠀Convincing villains usually have compelling and understandable motivations, even if their actions are highly questionable. It's the premise of them being right in their quest, but using the wrong means to achieve it and ultimately losing their reason. This brings a sense of humanity and it's even possible to feel connected to what led this person to become a villain. You can truly see how they lost the way.

⠀⠀⠀Another point is the fact that not everyone wants to conquer the world, nor do they have the ambition to have a lot of money or power. Think of plots about revenge, twisted love, the quest for justice or fear. Generally, a character's deepest motivations give them more determination to fulfill their goals because it comes from something much more internal and traumatic. Give them a proper reason and make them lose the way, this is gonna make everything feel real, convincing and interesting to developed.

Moral complexity.

⠀⠀⠀The simple truth is the days of people liking completely cartoonish characters are long gone, and nowadays many people don't like those who are evil simply for the sake of being evil. This is because it's too out of touch with reality. Obviously there are people who are like that in real life, but the vast majority is more complex than this. Humans, in the end, are very complicated and, probably, will never truly understand why we are the way we are.

⠀⠀⠀To get away of this cliché and cartoonish form when creating your character, try to develop moral nuances and internal dilemmas which can explain their actions. Put a small fragment of morality in the character, make them question themselves a few times as to whether they're on the right path… Remember yin yang: there's a little tiny good inside the evil. This tip can be used for any character, when you think about it, but it's very important for those who want to create villains.

Human traits, personality and vulnerabilities.

⠀⠀⠀Like any human being, provide your character with traits unmistakably human, such as fears, insecurities or personal relationships that will impact them, to make them more realistic. Just because someone is doing something morally wrong doesn't mean they've lost all touch with their humanity, especially since not every villain is a psychopath who has no empathy for anyone. It's always very interesting when a character believes they're doing what's right or good for someone else, and this is their motivation. 

⠀⠀⠀Also bring some weaknesses to the character, whether physical, emotional or psychological. This provides room for development and also ways for other characters to access them in a more specific way, either to get to know them better or to retaliate against them at some point.

⠀⠀⠀You know that line "Do you like my personality? I created it especially for you!"? Well, consider how the character behaves and bring in more layers when making the personality. Take into account how they behave in different situations and with different people.

Charisma and a magnetic nature.

⠀⠀⠀The fact is that bad guys aren't unbearable one hundred per cent of the time, they need to know how to live in society and captivate people. So define unique and appealing traits for the character, whether they're genuine or merely a façade. It's always interesting when, within the plot, most people don't know about the evil or wrong side of a character because it gives them more room for development. Maybe make them ashamed of what they're doing and try to hide it as best they can. And just think about real life: do we truly know the people around us?

Connection with other characters.

⠀⠀⠀Nobody lives completely alone since we're in a society and this makes us having connections, for more simple they can be. Thinking about that, create connections with other characters to bring more motivation and drama to your muse, such as an old rivalry, a complicated personal relationship or a surprising connection which generates tension. You can also create connections that actually bring their good side to light, you know? It's also always good to add a certain complexity, to have troubled moments, wounds that haven't healed fully, secrets being revelead, etc.

Questions for creating villains.

What are the character's main motivations?

What is the character's origin story? What led them to become what they are today?

What are the past traumas or events that have shaped their worldview?

How does the character justify their actions morally? Does they believe they are doing the right thing?

What are their weaknesses and vulnerabilities?

How does the character present themselves to the world? Are they masked, manipulative or showy?

What do they want to achieve through their actions?

What are their emotional reactions to obstacles and challenges?

How do they justify their actions to themselves? Is there any sense of internal validation?

How do they relate to the authorities or the law?

How do they see themselves? Do they see themselves as the hero of their own story?

How do they react when their plans fail?

What do they feel when faced with the possibility of redemption or change?

Other small (and important) advice!

Corruption arcs are also super interesting, leading a good character to become bad over time and through traumatic situations. Redemption arcs are also sensational. The point is: nobody was born a villain and nobody has to die a villain.

Leave clues indicating your character before fully revealing your motivations. Also try to leave some motivations completely secret, using them when the plot calls for a surprise. In the best "surprise, bitch!" style.

Think about how environment and culture can influence beliefs and actions.

A villain doesn't have to be a psychopath or murderer. There are arcs of revenge and corruption which can be created without going to such extremes.

It's obvious, but always respect other players and the limits they impose. As I said, a villain isn't always doing evil and being a complete asshole, so make sure you know what kind of approach the other person will prefer.

Always be careful when approaching topics which are triggers and avoid them as much as possible. As I said, it's not necessary to go down this route, but if you do, always keep a firm grounding when writing, because triggers are complex real-life situations that always need to be handled delicately.

The end, for now.

( Be with Morgana, my good girl gone bad ♡ )