#i love character analysis :3

[anam-mana]

Fucking FASCINATED by Astarion’s Test of Love with the nymph at the circus.

When she asks

1. When he’s happiest

2. What he wants most

3. What his biggest fear is

You gain approval for responding with the very surface level things that are a little true but not really the real answer.

1. Elbow deep in gore

2. Revenge

3. Breaking a nail

But getting the answers right and truly passing the test means gaining disapproval, because he is both upset that you are saying the quiet parts about himself out loud, and that you are revealing the deepest truest parts of himself to a stranger (the nymph testing you.)

1. Astarion has never been truly happy

2. Freedom

3. Being enslaved

There are so many ways to interpret this, so many ways to play the test out based on your character and your relationship dynamic, and it’s brilliant writing on Larian’s part in that way.

Personally, the way I interpret it is as a parlell to the mirror scene in Act 1.

Astarion is thrilled at what he admits is “shallow praise” because the shallowest parts of his appearance make him feel beautiful.

But, if, when “being reflected through someone else’s eyes” he is instead met with objectively true and more unique qualities of his, like laugh lines and the way his hair curls around his ears, he becomes distressed and begs to just be told he’s beautiful.

Astarion puts a LOT of work into performing his outer persona just as he wants it, he puts a lot of work into controlling how he is perceived.

When in the mirror scene and the Test of Love someone sees past that immediately, seemingly with little effort, he doesn’t know how to handle it.

[huginsmemory]

Ideology of Exceptionalism and Gravity Falls; meta and character analysis

I had a whole ago read a post by @icanlife that had a quote by Alex Hirsch on Ford's greatest flaw, and wanted to explore what the flaw is, which is the ideology of exceptionalism; in the exploration, I’ll touch on what it is and how it is used in abusive relationships and cults, as well as how it drives multiple Gravity Falls characters and consequently how it impacts relationships between these characters, and how the show ultimately refutes exceptionalism.

Quick note here; I am not in any way, shape or form a psychologist nor have any formal training in psychology; this is written from my own experiences with this ideology and my own forays into psychology and trauma-informed learning. It is also written with a loose understanding that is likely not broad enough to cover all references to cults, extremist groups and abusive relationships. 

The Ideology of Exceptionalism 

First of all, we have to get through a drier bit, which is… what is the ideology of exceptionalism and how does it arise? Might be fairly obvious, but it is the belief that you are, or belong to, a group of exceptional people, thus more important and worth more than anyone else; ie, those who don't qualify as 'exceptional'. It is often a subconsciously learned ideology. Now, what qualifies one as exceptional can be extremely varied; generally it revolves around something that provides some form of privilege. Thus, it might be, as the main exceptionalist idea in Gravity Falls, 'intelligence', or power, or it can be such things as attractiveness, quantity of money one has, species, nationality, or skin colour and ancestral heritage. The ideology of exceptionalism, being by nature hierarchical, devalues, and at its worst, openly and violently dehumanizes those who do not qualify as exceptional. 

For why exceptionalism occurs is an extremely broad topic, but I've personally found that, for exceptionalism revolving around intelligence, it's a result of a poor sense of self-worth, and having one's self-worth tied to what makes one exceptional. Poor self-worth itself (again, broadly) is a result of childhood trauma from a lack of positive affirmation and unfulfillment of the emotional needs of the child. Meanwhile, self-worth becoming tied to the quality of exceptionalism generally is a result of when positive affirmation was pretty much solely provided around their 'exceptionalism', especially when provided derogatory commentary, or a blatant example of how they would be treated if they aren't 'exceptional'. As a result of the general lack of affirmation, self-worth then becomes often solely reliant on the qualities of exceptionalism, as that is the only way for the child (and later, adult) to get affirmation of their worth, as well as out of fear of being ‘not worth anything’ like the examples of ‘non-exceptional’ people they have been given. 

This is especially likely to occur when the child is a social outcast; the adoption of the hierarchical ideology of exceptionalism, and the devaluation/dehumanization of others often occurs subconsciously as an avoidance/minimization tactic from pain. This is to say, the child, and later the adult (if healthy self-worth is not established) goes 'it doesn't matter what the non-exceptional people say or if they accept me since I matter more than them because of my exceptionality'. It can even be taken further, that being shunned is part of one's exceptionalism, and becomes part of the qualifier of being exceptional. For instance, 'they just can't understand because they aren't exceptional and that's just a part of being exceptional'. This idea also neatly tailors into the part of the concept of being better then others means you are separate from others; this can be taken that someone who is special, needs to be alone to be truly special.

Obviously, exceptionalism is not a healthy coping mechanism for poor self-worth, as often such people constantly feel the need to prove and show off their exceptionalism to gain that affirmation and avoid rejection, which is stressful. As well, it often negatively impacts their relationships with other people as a result of the arrogance of believing that they are better than most others, or even deliberate sabotage due to their arrogance. This occurs as they flatten the complexity of human experience to black-and-white hierarchical categories of exceptional/not-exceptional through constant judgement of those they meet, and often refuse to engage with people who don't belong to their 'exceptionality', or even people they simply don't like, even if they technically qualify. Generally, those that they do like or have close relationships with, often due to being similar, are automatically labelled as 'exceptional'. Those judged as ‘exceptional’ also become privy to the open judgements of ‘non-exceptional’ others, out of a subconscious belief by the exceptionalist that the other believes similarly; something that may strain their relationship if the other doesn’t ascribe to exceptionalism. This all culminates in the exceptionalist being blind or even adverse to the diversity of experiences, which makes it difficult to create relationships and community outside of echo chambers of their own beliefs (if they can even find this), and subsequently, these people are often isolated and have very few to no close relationships with people. 

However, all humans require connections with other people, relationships where one can rely on others emotionally and physically if needed and feel accepted; they also require to feel like they are worth something, that their life has meaning. Lacking meaningful connections and having a crippled sense of self-worth, a deep yearning hole is left in these people. Exceptionalism, especially as it is a narrative constantly pushed by Western society as it validates hierarchies, is then employed as a (often subconscious) trauma response to assuage this yearning hole, with arrogance and denial. And depending on the circumstances, it can be a very strong and definitive trauma response for people.

This isolation and lack of self-worth is catnip to abusive relationships, including cults and extremist groups. These types of relationships often heavily rely on isolating their victims or pulling them into echo chambers of solely the abuser’s rhetoric, to redefine what is healthy through gaslighting; as the exceptionalists are already isolated, this makes them extremely susceptible. They also often provide these people affirmation, and in these cases especially about their exceptionalism, thus confirming their self-worth, their 'specialness', while also providing them the connection they have been lacking, either through the cult community or through the abuser’s own presence. These emotional needs, which haven’t been met in a long time, if ever, begin to be fulfilled; something that abusive relationships and cults hinge on, rather than any form of logic.

Ideology of Exceptionalism and Gravity Falls

The main characters within Gravity Falls which are heavily ascribed to exceptionalism would be both Ford and Bill; this characterization deeply impacts the story and their relationships with others (technically the Northwest are another case regarding wealth, but less directly impact the storyline and thus tangential; Gideon also is an example, but as a mirror of Bill). With each of these characters I’ll go into detail within their sections on the way they began to ascribe to exceptionalism, and how it plays out later in their relationships; I will first begin with Ford, then move to Bill. Then, to cap it off, I’ll go into the characterization of Stan and the way Gravity Falls refutes exceptionalism. 

Ford and Exceptionalism

Firstly, the quote from Alex Hirsch that kicked this whole baby off, as mentioned previously; 

“Ford sees Dipper as someone who’s special like himself. That’s Ford’s great flaw, his arrogance is he believes that there’s special people, and everyone else. That human attachments are actually weaknesses. And the song and dance that he’s giving Dipper right now, is the song and dance that he gave McGucket, back when they were younger… ‘You and me are different, we’re better than everyone else. We have a path that no one else can understand, and only us can do this.’ It’s a very seductive idea for Dipper… Dipper is a smart kid, but Ford’s projecting. Ford loves Dipper because he sees someone who’ll tell him ‘yes’ to everything. Who’ll never challenge him, who’ll do a really insane dangerous mission.”

Very blatantly Alex Hirsch calls Ford out on his arrogance in the belief that he is special, in his belief in the 'lone hero' complex, in his belief in exceptionalism. And really, it should be no surprise that Ford does so, considering the way he's depicted as a social outcast as a child (other than Stan), and the way his parents have been clearly shown to be not particularly emotionally supportive (“I’m not impressed”); they don't provide positive affirmation except for his intelligence (mostly due to the possibility of money making through it…), while also actively comparing him to Stan who is derogatorily ‘not-exceptional’, and ‘worth less’. This all sets Ford’s self-worth up to be fragile, and other than Stan who wholeheartedly accepts him, he is isolated and invalidated; plus, the only other validation he receives is around his intelligence. All very classically fitting the profile for exceptionalism.

Image id: Stand and Ford when they were children, both clearly enjoying each other's company.

Ford’s belief in his exceptionalism catalyzes after the shattering of his and Stan’s relationship. Previously the twins are shown to do everything together, having a very close caring relationship; something unlikely if Ford thought he was better than Stan. Also, when Ford is talked to about his opportunities, Ford looks uncomfortable at the way they talk about Stan as inferior, compared to how he himself is being praised; but in the offer he’s simultaneously finally being validated, he’s being told he’s someone worth something, and he’s going to be someone worth something after this. And then the science fair incident occurs, and Ford loses that validation from his parents, from the judges and a future of more validation; after being promised validation and acceptance, it slips through his fingers. And in his anger of being denied that, it becomes easy to begin to slip subconsciously into the rhetoric the others have been feeding him; that he’s exceptional, that Stan isn’t, and he deserved to be recognized for his worth. So he breaks the relationship with the only person who accepted and validated him for who he is. With that loss of previous support, Ford becomes then deeply obsessed with proving his exceptionalism to the world to assuage that fragile self-worth, to become accepted, or even better, revered, confirming that he is someone of worth, someone special, like he was promised. 

Ford’s obsession also doubly functions as a way to alleviate his guilt over shattering their relationship; if he’s exceptional as he believes, then he’s within the right to respond the way he did, as he’s worth more than Stan, he's better off alone, and he has a right to be angry over being denied that validation. As well, in much the same way as it is used as a way to alleviate his guilt over the end of their relationship, it is also likely used in a way to minimize the pain of being ostracized (although not directly depicted); afterall, Ford’s keenly aware and insecure about his social ineptitude and his six fingers as things that make him different from other people, case in point with his experience visiting Lazy Susans Diner. Thus it wouldn’t be unsurprising if he uses the idea of being worth more than those who ostracize him to imply it ‘doesn’t matter’ what they think. His ostracization by nature keeps him from generally forming close relationships, with the exception of Fiddleford (who much like him, is socially outcast, and intelligent) during his university days. As a result, he's isolated and acutely lonely, having lost Stan.

Image id: One of the missing Journal 3 pages in TBOB, detailing Ford's botched social interaction in Lazy Susans Diner. In the background is the print of his six-fingered hand.

In his obsession over being acknowledged, Ford, like many others who believe in exceptionalism, identifies strongly with the causes of his ostracization (his intelligence, his six-fingeredness) as part of, or wholly, makes him exceptional. It is obvious through his choice of study; with the grant he has been gifted, he chooses to revolve his work around the weird, the outcast, something that you see Ford gravitate towards being an outcast and deemed 'weird' himself (which in Journal 3 he openly talks about). Something that can be, much like him, framed as 'exceptional'. His work is even recorded in a journal that Ford deliberately chooses to put his six-fingered hand on the cover of. Intertwined with the way it becomes adopted into the idea of exceptionalism, is the keen loneliness from his ostracization and a deep desire to be accepted and a wish to find a community of other weird people.

Image id: Two pages from journal 3, labelled 'Myself', in which Ford is open about being weird, and a social outcast, while also noting his ambitions and that 'Gravity Falls, [is] the place that I fit in.'

Ford and Bill

All of this culminates in Ford becoming an incredibly easy target to manipulate by Bill. He’s desperate to be acknowledged (and thus accepted) by an authority figure so that his belief in exceptionalism is justified and his self-worth confirmed. And he knows he’s intelligent, that he's exceptional because people have told him so, but he just needs to prove it with something that shakes the world. And the grant is finally his second chance after the fair, but he's stuck, and the research is going nowhere, and he's in a town where he doesn't really know anyone and he’s so terribly lonely. And sure, he clings to his exceptionalism but if he can't even prove it then is he really exceptional? Is he even worth anything like he thought he was? And what about what he's left behind, rejected, because of his exceptionalism?

And THEN he finds an incantation and he ignores the warnings because maybe, just maybe, this will be his break to get that acceptance/validation he has been chasing his whole life? 

And then it's better than that. 

A god, essentially, shows himself to him, an ultimate figure of authority. And he tells him that yes, he is special, he’s worth more than other people, and Bill’s only showing himself to Ford because he is so much more intelligent than anyone else. Ford is suddenly getting his exceptionalism confirmed by a god of ancient knowledge, an immensely intelligent interdimensional being, and he’s also showering him with affirmations, specifically affirmations around what Ford's fragile self-worth is based on. And even better, he's delighted by Ford's six-fingeredness; he's not put off at all, it even becomes his main nickname for Ford, just like it used to be for Stan all those years ago. On top of it all, Ford's own social ineptitude doesn't phase Bill, another thing Ford is self-conscious about; Bill's own social ineptitude as he's not human probably makes Ford feel comfortable, knowing that's not expected from him.

Through Bill, not only does Ford find someone who validates his self-worth through intelligence and even confirms to him that his weirdness is part and parcel of making him special, he also finds someone who he regularly (generally) is in contact with, who enjoys talking to him and even banters with him familiarly. Hell, Bill even deliberately goes out of his way (literally possessing a whole wack ton of rats, then dream karaoke) to celebrate his birthday with him; how long do you think Ford has simply skipped his birthday since he had no one to really celebrate it with? The loneliness, beneath his arrogance and belief in exceptionalism, is being fulfilled; for the first time since Ford was a teenager, he's fully accepted by someone, social awkwardness, six fingers, exceptionalism and all. 

Image id: One of the lost pages from Journal 3 in TBOB, the 'one thing led to another' page, with Bill and Ford singing karaoke and drinking together, both clearly enjoying themselves; Bill has an arm slung around Ford's shoulders.

So it's really no surprise at all that Ford fell for this, hook line and sinker. Hell, if I was in Ford's shoes I would fall for it just as hard. And I've seen a few posts floating around talking about how Bill is bad at manipulating, and no, he's not. He was able to pinpoint exactly what Ford wanted and needed, and provided that, was charismatic enough to provide that. Again, manipulation isn't about logic. It really isn't; it's about the emotional core in people, what people lack and what you can give them to slowly reel them in to sing your dance and song. And people will ignore vast swaths of red flags when you're finally being accepted, when you're finally getting your emotional needs met at least in some way or form. It's better than not having them met at all, such as previously. So Ford worshipping Bill is really not a surprise, especially as Bill deliberately stoked it.

All of this is part of why you see Alex Hirsch call Ford's belief in his exceptionalism his greatest flaw; because it allowed him to be very easily manipulated by Bill, and by its nature kept Ford isolated from others, evident by his arrogance in assuming he knows best and refusing to see other people who aren't as 'intelligent/weird' as him as worth getting to know, listen too and even reach out to ask help from, it's him believing he has to be the lone hero as someone whose 'special'. It's something that blinds him to the danger of his work around the weirdness of gravity falls because he’s desperate to seek a place where he and his weirdness belong, and it's something that plays out in each and every relationship he has because it's something he clings to so deeply. It's what cost him his relationship with Stan, who previously accepted him completely, and, as he's disinclined to form new relationships and as Bill actively strokes his paranoia (Trust No One…), ultimately further increases the hold Bill has over him. It's only Fiddleford’s presence as he works with Ford that allows him some form of outside reference and reprieve from solely Bill’s influence, something that Bill resents deeply and is clearly jealous and angry about, even if Fiddleford is helping create the portal. And it's ultimately Fiddleford, once he was aware enough of what was happening, calls Ford out on it, seriously jeopardizing Bill's influence over Ford; but Ford is too invested in the portal, in chasing his own ambition and caught up in Bill’s manipulation to take him seriously, until the incident with the trial, and Ford beginning to hear other voices then Bill.

Ford’s Exceptionalism and Wider Relationships

Now back to how it plays out in all Ford's relationships; we've already gone over it with Bill's influence, because it made him extremely easy to manipulate, and with his disregard of Stan in favor of validation of his exceptionalism. But Ford, as pointed out by Alex Hirsch, also exerts the ideology's seductive rhetoric to both Fiddleford and Dipper (who look up to Ford) in a similar way that Bill does with him (although there is a difference of it being used intentionally and maliciously, compared to subconsciously and earnestly, even if it is problematic). Ford, with his black-and-white view of exceptionalism, sees both Fiddleford and Dipper as people who are like him; 'exceptional', and so he treats them as such, and uses this rhetoric to coerce them into helping him.

For Fiddleford, the lure is how he can change the world, how he can be finally acknowledged if he helps Ford with the portal. And it works well; he willingly chooses to leave his own work and his wife and young son, to work with Ford. Much like Ford, Fiddleford himself is also a social outcast and regularly presumed less smart than he is, and he’s got a chip on his shoulder to prove himself, to gain acknowledgement and recognition from the world at large. Although Fiddleford has a family which presumes he’s not entirely lonely like Ford is, he also clearly has deep feelings for Ford, some which are hinted to be more than just ‘friendly’ feelings; it is likely the combination of the lure of validation and spending time with Ford, a kindred spirit that accepts him and an old friend/crush, that causes him to agree (afterall, it was Ford who made Fiddleford feel accepted and choose to stay at Backupsmore). And Fiddleford’s not even considered a partner, but rather an assistant to Ford due to Ford's arrogance, and he still drops everything to go! It’s more about their relationship and connection rather than validation, but that doesn’t stop Ford from espousing exceptionalism. And this is a distinguishing difference, because although Fiddleford would like recognition, he’s not there solely because of it; he’s not a believer in exceptionalism nor arrogant about his skills, and so, unlike Ford who is blinded by his obsession, he’s much more aware of the dangers of the weirdness of Gravity Falls. Thus, he's actively calculating the risks involved, and when he realizes there could be potentially devastating consequences of the portal, he attempts to talk Ford out of it; this fails due to Ford’s own denial and obsession over the portal. In the end, it all goes terribly sideways, and Fiddleford ends up losing everything he had; his wife, his son, his friend, his memories and himself to the trauma he had experienced at the invitation of his friend with the lure of validation and company, due to the memory gun he had created himself. 

As for Dipper, much like Ford, he also has issues with self-worth (many of the episodes deal with Dipper finding self-worth; ie, the manotaur episode), has a physical oddity (his birthmark) and by far the trait he relies on most for worth is his intelligence (for example, in one episode he rubs it into Mabel's face over and over again in beating her in games). He's also extremely desperate to be recognized by authority figures as someone intelligent, case in point when he summons the dead after being made fun of by the government agents to try and show them that the information he's gathered is important after Stan dismisses his knowledge. This desperation to be seen as someone of worth from Dipper, much like Ford, extends to the need to be a hero, something he even says at the end of the zombie episode; yet, due to Mabel, unlike Ford he's not a lone hero, and Mabel also half the time acts as the hero.

Image id: Zombies crawling out of a crack after Dipper summons them; Dipper and the two agents look on in horror.

It all culminates in Dipper hero-worshipping Ford when he returns; really, no different than Ford worshipping Bill. And Ford clearly finds it extremely flattering; Dipper's attention and amazement of him feeds his exceptionalism. Exactly how Ford responded to Bill, Dipper is willing to do anything for Ford, excited too, in an attempt to impress Ford and be validated and accepted. And for Ford, that's an extremely heady feeling, especially as someone who has been constantly alone the last 30 years, especially when he had one previously confirm his exceptionalism all those years ago and stopped, and now someone is once again affirming that idea. And Ford doesn't have to be alone again, because he's found a kindred spirit in Dipper as his assistant, someone ‘just’ like him, someone who is exceptional. Because he sees himself in Dipper, he begins to espouse exceptionalism unconsciously, by praising Dipper's own intellect and adventurous spirit, assuaging his feeling of self-worth, while also telling him he's more important or better than others because of it. 

And it's seductive to Dipper, because he wants to hear those affirmations of his self-worth, especially as he hero-worships him, but Dipper isn't sold on it, because it means leaving Mabel behind, it means believing that he's worth more than Mabel (and also, Stan, and all his friends he’s made in Gravity Falls). It's ultimately because of his relationship with Mabel that he rejects the ideology; he's not isolated the way Ford was with Bill, and he's not willing to break that relationship for that acknowledgement, because his relationships matter more to him.

Bill and Exceptionalism

Now of course, that's only on the Pines; what about Bill? 

While it's obvious that Bill uses exceptionalism as a main manipulative tactic, it's not just an ideology he sprouts emptily; it's also an ideology he believes in, just like Ford, although it's less based on intellectual exceptionalism, and more on power and 'weirdness'. 

This most distinctly can be seen in Bill's denial about what happened to his home dimension; Bill's belief in his exceptionalism occurs as a pain avoidance tactic from killing his whole dimension. Bill was clearly a social outcast within his dimension due to being able to see 3d; he's not accepted, and not trusted, to the point that there is medical intervention to make him blind. That's a deeply traumatic experience that completely erases one sense of self-worth, where one’s sanity is called into question by your parents on something that is not harmful, that's beautiful and you just want to share with them. It's a deep and clear rejection of who Bill is, and his ability. As a result, out of a desperate bid to be understood and accepted, he ends up trying to show them the stars. And it ends up killing everyone. 

Image id: Page of TBOB, on 'The Early Years' which notes that Bill was an oddity for seeing 3d, something that was illegal to speak about. Bill frames it as something that made him 'special' and better than all the others.

Traumatized, and originally rejected by the dimension, he instead weaves an excuse of exceptionalism; that it doesn't matter what he did to them because he's exceptional and he's worth more than all of them because he can see 3d, because he's powerful, so he shouldn't/'doesn't' feel any remorse about it. With such a traumatic result of trying to be accepted by people, he rejects the idea of trying to be accepted for who he really is; instead adopting a facade of a monster that he believes he is (and eventually, becomes).

Even if he clings to the delusion of exceptionalism, and shuns attempts to find true acceptance, he still wants it; and that's where his henchmaniacs fit in, as they're all, as Bill's noted when trying desperately to get Ford to join him, weird; each has something 'wrong' with them, which is why Bill accepted them as his lackeys (although it's not like we know the context around these). It's a surface-level acceptance however, one more predicated on fear than emotional acceptance. He's taken his 'weirdness', much like many do who believe in exceptionalism,as ‘part of what makes him exceptional'.

In the same way that Ford wants to show the world that he's smart and intelligent by building the portal, Bill does so by wreaking havoc and taking over existences as a way to show the world that he's powerful, that he's someone to be reckoned with, that he's not someone to be ignored because he's someone who's worth more than others. If you can't be loved and accepted, then being hated and feared is better than being ignored; acknowledgement at least approaches acceptance, it's validation of some sort of worth. It also functions as deliberate self-sabotage of his morals, by proving that he is the monster that killed his entire dimension; if that's what he is, then that's who he's going to be, because if he wasn’t, then he has to come face to face with his remorse over what he did to his dimension and his whole house of cards around his exceptionalism and not caring collapses. So instead he keeps feeding the delusions the denial, and lies and lies and lies and keeps lying to ignore all of it, to wrap himself in this shroud of exceptionalism and brutality as a way to function. And it somewhat works, because he's mostly deluded himself about it all, even if subconsciously he knows. 

And of course, this display of Bill's exceptionalism is what brings Bill to earth, to Gravity Falls, and to manipulating humans. In meddling with earth and humanity, beyond Bill's goal of taking over earth and fleeing his own unravelling dimension, he also enjoys reaping the benefits of being worshiped by humans, who find him awe-inspiring. Their amazement of who he is, and Bill's own posturing and manipulation of people leads to Bill literally forming cults (ie ciphertology) or having apprentices that worship/find him (to varying degree) inspiring; all reinforcing his feelings of exceptionalism. 

Of course, Ford numbers among these people; he praises Bill and worships him, as he's played like a fiddle by Bill, because his self-worth and belief in exceptionalism is fucked up in a way that perfectly resonates with Bill’s. Because it's the exact same types of issues around self-worth, around being an outcast, being weird and wrong physically, and yet at the same time gifted. And Ford clearly is incredibly lonely and yearning for acceptance, but so is Bill; since the beginning he's been trying to find someone who would accept him, even if he's given up on it. And for his song and dance to entice Ford in, he pretends he's not crushed dimensions for fun, that he's not a 'monster'; a version of him he buried after he had tried to show his parents the stars, one that he occasionally resurrects and puppets around for manipulation (all lies are better when they have a grain of truth). And this version of him is worshipped, but above all is accepted, is loved by Ford. The softer parts of Bill, even if they are still weird as fuck, the parts that were never far beneath the surface for all his deluding, become loved by Ford. Much as Ford becomes hooked on Bill’s praise, Bill also becomes hooked on Ford's genuine love and care. It becomes personal, unlike any previous ‘inspirations’ and Bill over time gets to the point that he feels accepted, safe enough with Ford to share about his dimension much more close to the truth then he did with any of his henchmaniacs. He becomes vulnerable with Ford, in response to Ford’s own vulnerability with him. He’s finding acceptance for the first time in his life around the softer parts of himself, not just the feared acknowledgement that comes from his dimensions conquering; much like Ford is finally finding companionship and acceptance with Bill, not just only intellectual validation. Bill's also for once, not just self-serving; he cares, and goes out of his way to take time with Ford, even celebrating Ford's birthday (in the unique way he does things), both with the rats and the karaoke.

Image id: One of the lost Journal 3 pages in TBOB. Ford recounts Bill talking about the destruction of his dimension, and calls himself by implication a monster.

They're both fulfilling each other's emotional needs, needs which both of them have struggled with most, if not all of their lives (although their relationship is certainly not healthy, considering it's codependent as fuck, riddled with exceptionalism and oodles of power imbalance issues). And suddenly, against Bill's plans, Ford's no longer just a disposable pawn, but someone Bill wants as part of his team, someone by his side, closer than his henchmaniacs are. He's unwittingly fallen for Ford, and so when everything goes sideways in his plan, and Ford swears it off, suddenly cutting off their relationship and that acceptance Bill had finally felt, he spirals into grief and anger from the rejection. As a result, he becomes extremely abusive to Ford in desperate attempts to continue their relationship, and ultimately he becomes obsessive over Ford joining him again as Ford continues to refuse, as evidenced by both Weirdmageddon and the Book of Bill.

Stanley Pines, and the Refuting of Exceptionalism 

Exceptionalism, being a negative driving factor behind many core character dynamics, is ultimately refuted by the show. This occurs multiple times over the show, such as with Mabel in the Pioneer Day episode, especially compared to Pacifica, but mostly through Stan's characterization. Stan is someone who has been since the beginning characterized (if lovingly so) as someone who is a failure by societal standards; he’s an older man running a run-down tacky tourist shop to swindle gullible tourists out of their money, has multiple divorces, has an ongoing feud with a literal 12 year old, clearly has had multiple mishaps with the law (some ongoing), is generally pretty self-serving and is extremely lonely and really had no close relationships until Mabel and Dipper showed up. He's not exceptional; he's not even what we would consider 'decent' enough to have a 'typical, hard working job’. In short, he’s a failure, a stark difference to the idea of 'exceptionalism' that characterizes Ford. If he's gifted in any area, it would be charisma (debatedly), not anything else.

But it's still Stan who rebuilds the portal from literally only one journal (not all three!) and gets it to work. It even seems like he only needs some codes from the other two journals when he does get them, suggesting that he was able to extrapolate from what was left and the first journal’s blueprints to fix it entirely, something that is extremely difficult and technically complicated (Ford, Bill and Fiddleford all worked on it together!). Stan's able to do it, even if it's been shown he's not 'naturally' gifted in that area. And it's something he does as a result of his deep care for Ford; because even after their fights, he cares about Ford and wants to right his wrongs, believes he should, because of his whole life of being defined as a failure and even worse than that, screwing up his ‘exceptional’ brother’s life. And he’ll do it even if that means learning how to build an interdimensional portal, even if it takes up thirty years of his life doing so, and he doesn't waver. Much of this is connected to his own complexes around being deemed a failure compared to Ford, having failed to succeed in his life, and how he feels that he needs to atone for screwing up Ford’s life, now for the second time; but beneath it all, he also cares. Much like Ford, he's extremely lonely, but he's not blinded by Ford's arrogance, and as a result he wants to make sure Ford's safe, because that's what he used to do, they’re twins, they grew up together, they once they had fully accepted and cared for each other, and dammit that still means something, and Stan hasn't found that depth of emotional connection since. So if possible, he wants to rekindle that closeness they had, but first, he needs to bring Ford back. 

And in the end, it's not Ford's own special gun he built using his intelligence that 'kills' Bill. It's Stan, someone who Ford had long ago broke it off with in search of validation of his exceptionalism, someone who both Ford and Bill labelled as 'not-exceptional', who defeats Bill. It's exceptionalism's devaluation of people who are 'not-exceptional' that causes Bill to underestimate the Pines beyond Ford, and it's only when Ford put aside his exceptionalism and his refusal to accept and trust 'non-exceptional' people, that is, trust Stan once more, that causes Bill to end up defeated by Stan.

In the end, it's not about who's 'smarter'; it's a reminder that everyone has different skills and are better at different things, but that doesn't diminish one's worth or value, and that just because someone isn't naturally 'gifted' in an area doesn't mean they can't learn or use different ways to get around obstacles. Ultimately, it comes down to that no one is worth more or less than other people; exceptionalism is a lie. It’s a lie and an excuse, and it's certainly not a healthy way to assuage one's poor self-worth. What does matter is creating positive healthy connections with other people, and caring about them. This creates a community where you can be yourself and be emotionally fulfilled through these connections; and when opposition does arise, you become able to fight it together, and fight so much stronger than if you are alone.

And by the end of the show, you see that. Ford begins to let go of the ideal of exceptionalism and its black-and-white categorization; finally recognizes his own faults around prioritizing validation of his intelligence and exceptionalism over his relationships, and finally, after all the years, chooses to create and rekindle positive relationships with people, trust people, and make amends. And in the end, he goes sailing with Stan, prioritizing their relationship, finally fulfilling their childhood promise.

Image id: One of the pages written by Ford into TBOB. Ford refutes Bill's idea of happiness, and says he has finally found his own happiness, and it looks like the photo taped in, of Stan, Ford, Dipper, Mabel, Soos and Wendy, all smiling together.

TLDR: Exceptionalism, an ideology of categorizing people into being special and worth more vs plebian and worth less, is a trauma response and subconscious ideology that characterizes Ford and Bill’s lives, deeply impacting all their relationships as it is used to coerce people into doing what they want, makes Ford easily manipulated, and breaks relationships through their arrogance. It is ultimately denounced through the way Dipper chooses to reject Ford’s offer and his rhetoric of being exceptional, and through the way it's not Ford’s intelligence, but rather Stan, who has been labeled as 'not-exceptional' and a failure at life, that defeats Bill through trickery. It's a reminder that everyone has worth, and no one is worth more than other people, even if one may be gifted in certain areas; the ideology of exceptionalism is fragile and a lie. In the end, creating a caring, loving community around oneself is where strength truly lies, as is seen with the deep care and love the characters have for each other, and the repairing of Ford and Stans relationship.

Thanks to the lovely @eshtaresht who deigned to beta read this monster of a post for me

If you enjoyed this meta, (first of all if you read all this you're a champ!) I've also done another gf meta post! (It's shorter I swear)

[twilightkitkat]

Almost everyone agrees that both sides of Poolverine have unhealthy attachment styles. A lot of people portray this as Logan having an avoidant attachment style and Wade having an anxious attachment style. But in reality, I think it'd be swapped.

Logan has all of the surface-level factors that make him easy to write off as avoidant: he's gruff, masculine, and has a habit of leaving without much forewarning. I feel like the largest factor that contributes to this portrayal of him is how he's closed-off and wary of people, and how despite getting closer to the X-men he still leaves the second he has a reason to. (And oftentimes, that reason is exploring his past or just needing to get away.)

But the reason he's leaving isn't because he wants to. It's because he feels like has to.

Logan acts like he doesn't care, but he does. And it's so painfully obvious. The second anyone he cares about is in danger, he rushes off to save them even if it goes against orders. His "leaving" isn't him running away from the people he cares about, but running toward them. And the other times, he's trying to uncover his past. Not because he wants to distance himself from the people he loves, but because he needs to know that he doesn't endanger them or put them at risk. So that he can be better for them.

He feels like the only way to keep the people he loves close is to not put everything out in the open. While he comes off as cocky and guarded and gruff, in reality, he's insecure and paranoid that people will leave him. He's terrified of loss, so he tries to prevent it by only showing people the parts of his personality that are "acceptable." The Wolverine can be animalistic and rough, but if he's soft and clingy then people will push him away.

The second he gets a crumb of affection, he clings to it desperately. He sees Jean's attraction to him and relentlessly flirts with her and tries to show off. If she told him no or turned him down point-blank, he would stop. But she only gives weak resistance (the type you give "for show") and so he keeps pushing. He puts himself in harm's way for her and protects her and supports her because he loves her, even if she only gives him a little back.

A scene where this is incredibly obvious is when Jean tells him that girls only flirt with the bad boy, they don't take him home. They marry the good guy. His response? He told her that he could be the good guy. That if she just gave him the chance, he'd change himself for her just to hold her close. He's desperate for her to finally see him and tries to plead his case.

If he were avoidant, he wouldn't lean in so hard to anyone who gives him any semblance of care or affection. Instead, as soon as someone is kind to him, he devotes himself to them. Gives away as much of himself as he can for their sake. He tries to be as close to them as he physically can, but it's hard. It's hard when nobody reciprocates. When he's met with awkwardness and discomfort the second he asks for more.

(He just wanted someone to belong to. A steady home. The second someone opens their door for him, he belongs to them. Until they get tired and kick him back out again. Until they just leave food scraps by the door and expect it to be enough.)

His natural instinct is to cling to someone as hard as he can. To stay on the lifeboat even as it sinks, even as his head is submerged underwater, until he physically can't anymore. But after so many times of trying to stay afloat on debris, he's reluctant to get into the water again.

And yet, the second Wade calls out to him and asks him to stay, he does. There's no room for hesitation. Not when someone finally wanted him.

Whenever Logan was offered a home, he always stayed as long as he could. And he learned that people normally took this as him overstaying his welcome. So he leaves not because he wants to, but for their sake. To not be a burden. Because that's what's expected.

But as soon as someone gives an indication otherwise, genuinely wants him, he holds them so closely he can hear their heartbeat. He's anxious that they'll leave him, so desperately tries to show that he's worth keeping. He'll do anything they ask. He'll push as far as they'll let him, curl up as close to them as they allow, and stay there.

Wade, on the other hand, is more avoidant. It's easy to write him off as anxious and affectionate: he's cheerful, flirty, and wears his surface-level emotions proudly. He isn't afraid to claim that he has a family, and one of his main motivations is his long-term relationship with Vanessa. He's been explicitly shown to be scared to lose the people he loves, and he coped horribly with the loss of his girlfriend.

However, attachment styles aren't about what you feel. They're about how you react to it.

Wade does care, because of course he does. He cares so much that it's painful. But how does he act on the love he feels? By distancing himself from others.

Wade is good at flirting. He's good at joking and being there when times are easy. But he's always had a habit of hiding his deeper emotions, even from the people closest to him. He doesn't let them know about his problems until it's too late. He intentionally hides from them and doesn't let them get involved in his life because he fears hurting them. It's a compulsion to keep them safe and happy and to protect himself and his own feelings.

After breaking free from Francis after unlocking his mutation, what does he do? He avoids Vanessa for years, terrified of how she'll react to this new version of him now that he looks disfigured. He never lets anyone too close to his true feelings, hiding behind his suit and mask. His first reaction when there's conflict that could result in issues isn't to stay and try to work through it, but to leave. Before they can get hurt. (Before they can hurt him.)

This is also shown at the start of the Deadpool & Wolverine movie. The overarching issue in Wade's life is that he feels empty and like he has no real purpose. Like he doesn't matter. Instead of using his relationships as support and sticking with them, he pulls back. He doesn't open up to Vanessa which results in their eventual break-up. He acts like he's perfectly content with his life to Peter and Al even though that's clearly not the case.

His first instinct was to run away. From his feelings, from difficult talks, from the people he loved. He tried to suppress his emotions and avoid intimate or serious conversations. He feels uncomfortable with the idea of being vulnerable with someone. He knows how to be alone. It's easy. Familiar. It's what he returns to the second he feels threatened.

However, as a pair, Wade and Logan balance each other out. Wade can finally feel comfortable being more open because Logan understands the pain of loss and suffering and immortality. Logan finally has someone who doesn't judge him for what he's done and who lets him be himself and still wants him.

When Logan initially was more closed-off, Wade felt comfortable pushing. When Wade tried to pull away because of his guilt, Logan yanked him back. When Logan was about to walk away, Wade called after him. Offered him a home. Logan answered.

Logan would latch onto Wade like a cat with separation anxiety. He'd give all he has to Wade in return for finally being treated like a person. And this would make Wade realize that he doesn't have to run away. He doesn't have to pull back when Logan can protect himself and wants to stay with him. Despite his mangled appearance and crude personality and shitty morality.

Wade gets used to Logan's presence. To finally having someone who's an equal. (Who won't hurt him. Who can't die. Who won't become overwhelmed because he knows what it's like. It's like he can finally breathe knowing that there's someone who's going to be there no matter what.)

Logan feels less anxious when Wade only acts this close to him, when he reassures him that in a multiverse of Wolverines, he's the one Wade would choose. Again and again. He finally feels like he's the exception in a good way. Like he's someone's first choice.

So Logan lets himself relax, and Wade lets himself finally get close to someone. They both let themselves stay and mean it.

[starry-bi-sky]

jason and danny childhood friends au memes (mild spoilers)

[poorly-drawn-mdzs]

Gaslighter? I hardly know her!

[First] Prev <–-> Next

[fallen-goldfishcracker]

Part of the reason I find Wyll to be such a compelling character is that he is such a good person, but in what I think is a kinda unique way. 

I've seen a few criticisms of how quickly Wyll seems to switch sides in his initial confrontation with Karlach; how fast he goes from convinced he must kill her to letting her live. For me though, this makes perfect sense. 

The decision Wyll makes in that confrontation not actually whether or not to kill her; he has to decide whether or not Karlach is innocent, but once he's confirmed that, it's not a question.

He commits so quickly to Karlach because he doesn't have to choose whether or not to kill her in that moment; he already decided seven years ago. 

Because at seventeen years old, he decided he would sacrifice anything for the safety of others. 

At seventeen years old he decided that his own life, comfort and happiness was never worth the cost of someone else's. 

And so at twenty-four, he learns the devil he's been chasing is a person, and a victim, and an innocent, and the decision is already made up. 

Because Wyll Ravenguard at twenty-four is who he was at seventeen, and twenty, and ten. 

And to me that's one of the coolest things about him.

There's a separate post I'd like to make about how Wyll never loses his childhood wonder of the world- and I think there's a very similar principle here. Wyll grew up hearing stories of knights who slay monsters and heros in shining armor, and he took those stories and loved them and held them close to his chest. 

And then he's seventeen and a devil asked him if he wants to be a hero, and he's not an idiot; he understands the price of saviourhood so he says yes. 

And so when he meets Karlach, it's never really a question of if he'll kill her. It's just a matter of him finding the courage. 

Because he says "you don't know what you're asking of me" and he's absolutely right, we don't. But Wyll understands the cost; he's understood it for seven years. I'll bet anything that when Wyll Ravenguard made his pact with a devil to save tens of thousands of souls, he promised himself and his city and his father who wouldn't listen that he'd only ever use his pact to help and be good, and when it comes down to it, he sticks to his word. 

Because above all, Wyll Ravenguard is a man who knows who his is and what he beliefs, and who sticks to his principles no matter what, and for me that's incredibly compelling.

[hadesknockedupintheunderworld]

Okay now that I've reblogged that one post...

Holy shit

Like, please understand me. This is how I already interpreted these relationships after reading Journal 3 but like

Wow Ford really was in a weird kinda complicated gay situationship with Bill and Fiddleford, huh? When he's all alone on Christmas in tbob he's all like "Oh yeah haha of course...of course. You have. Yeah. You have a wife, F. How could I expect you not to leave. I am totally not secretly hoping you'll turn around and come back to me, or that you'll even bring your family back here if you have to so I can see you. I'd retreat to my dreams but I haven't seen my muse in weeks and I miss him so badly. I'm so alone"

He and Fiddleford aren't even dating but it's hard not to get the light impression that this situationship is such that Ford kinda treats Bill like his comfort triangle from his head and dreams and Fiddleford like his comfort best friend in his lab. Like he's sad on Christmas that his boyfriends left him alone, you know? Of course it's definitely more complicated than just that, but they are dear companions to him

Or when Bill finally comes back and Ford is pissed

"You return now? After all of that, after me missing you so badly, almost dying, wondering if I'd dreamed it all up. You return now like it was no biggie? Did you ever mean the things you said? Did you not find some other scientist or some other big brain to talk up? Have you found someone else? Another partner?"

And then Bill, dodging the question was like "Funny you think I'm cheating on you as if you haven't been spending all that time with F. The side bitch. The third wheel. You've even considered telling him everything, even though you know he has second thoughts. Heh. A little birdie told me he dreams of shutting down the project even."

Leading Ford to be like "Aw hell how could I accuse my muse of such a terrible thing when I haven't been a saint. He's right! F has been much less motivated lately and I've just gotten so paranoid from the isolation. I'm so sorry for my baseless accusations."

I don't even have a lot to say I just love these three. Fiddleford put up with a lot of shit from Ford while also dealing with his own problems and trying to help him regardless, while Stanford saw him as a comfort and a good friend but ultimately someone who was of lesser mind than he and couldn't see things through his eyes, while Bill was in Stanford's corner actively making him worse and contributing to his isolation (trying to get him to drop Fiddleford and actively feeding his paranoia), while Stanford was seeing both relationships of his with stars in his eyes and rose tinted glasses because he refused to do some introspection

There's so much stuff that journal 3 and tbob added to the equation that's just bad/shitty all around. Can't believe Ford went through a double divorce/breakup despite not having ever been married (or, at least, despite not even officially dating them sorta)

The entire situation in the past is just tragic and hilarious and concerning all at once and that's what I like the portal trio for tbh

[lilacthebooklover]

what i really like about max's character in npmd is that he fully recognises that he's in his prime at high school ("don't need no one to tell me/ high school will be my peak"), and he's more than willing to "take advantage" of that. he understands that this is as good as it's going to get for him, and that's why he's so reluctant to let go of it. he lets his god complex fester because he has so much power at hatchetfield high, and when he dies, he's able to enforce that even further. he doesn't care that the group "buried and left [him]/ defiled [his] body". like this, he's in his prime forever. he's just angry that his system has been destroyed, that he's clearly lost his power in his death. so he kills richie and ruth to restore that, intimidating them into acting just as they did before his death, even after richie makes new friends and ruth begins to embrace a role as a performer. they've just started to grow further as people and characters, and max puts a stop to it as soon as he can. he goes after pete and steph not beause they killed him, but because they're dating- exactly what he forbid just before his death; by defying him, they take away his power. his goal, as stated, isn't revenge. max views himself as a god, and refuses to let anyone take the little world he's created away from him.

[tare-anime]

Back then during chapter 3, Yor already know that Loid can be overly anxious...

And she has given him the solution

Now, 100 chapter later....

She still noticed when her husband anxiety peaked up

And still offers the same solution

But now she add a hint of teasing....

[lesbianwyllravengard]

i still have yet to play bg3 so i still dont go here yet but Wyll seems literally like one of the most compelling characters of all time and im not even joking. I havent even played the GAME but his character arc haunts me /pos. people are literally just racist to say that he isn't compelling

LITERALLY. He's utterly fascinating. He is a folk hero, a legend, the fantasy equivalent of superman. He's a warlock who is secretly pacted to a devil. He hates devils. He's an incredible liar. He's incredibly sincere. He's silly. He unironically enjoys puns and clowns. He over-exaggerates his Blade personality because it amuses him. He sometimes doesn't know where The Blade ends and Wyll begins. His hero-ness is a performance; not to hide ill intent, but to hide a broken man, to hide weaknesses and fears. It's who he is. It's always been a distant thing, a mask. It's who he thinks he must be. He loves freely and openly and will let anyone know it. He's only ever wanted to know he's loved. He still thinks his father's inability to trust or believe in him was all his fault. He still thinks that every bit of suffering he's ever experienced was all his fault. He thinks admitting to suffering would be disrespectful to the lives he's saved. He thinks he has to suffer or else his sacrifices were worthless. He thinks it couldn't be a sacrifice if he didn't suffer for it. He would take any suffering if it meant lessening someone else's. He is the first person to stand up for someone's life and safety, the first person to defend someone's worth and autonomy. He is the last person to do so for himself. He is of the least importance to himself.

He needs to be needed, because if he's not needed then what good is his power and the soul he sacrificed for the pact to get it? And if he can't be needed then he throws himself into the fray without hesitation because his purpose has always been to sacrifice himself so others may live. His life has always been one of sacrifice. His life has been recompense since the second he was born and his mother passed as a result. He saves lives to make up for it. It will never be enough to him. It will always be everything to those he saves. He just wants to be seen for who he truly is. He thinks if no one can see him for who he is then maybe it isn't who he is, and maybe he's fooled them all, fooled himself into thinking he can be a better person, be the hero they need. He wants to be known by someone. He's terrified of someone looking deeper. He sees others for who they are. He's a monster hunter who does not hunt the typical definition of "monster", who knows that monsters are not the ones with fangs and horns in his group of friends but the men who look harmless yet cause endless death and suffering to others. Not even the threat of his life was enough to get him to harm an innocent.

He wants to be chosen. He cannot fathom that someone would choose him. He chooses others over himself every time. He has so much love for others. He thinks he must constantly earn love. He is shocked when someone simply loves him. He thinks he cannot love and lead at the same time. His only role model was a father who could never put his son before his city. He is capable of immense anger. He is capable of immense kindness. He purposefully chooses the latter; he works hard to not let his anger consume him. He's still angry over things that happened a near decade ago. He thinks feeling hurt is the same as being angry and so he can't be hurt. He's always hurting. He takes pride in his achievements and he does not underestimate himself. He's not religious. He devotes himself to his cause with the dedication of the most pious believer. He stands by his friends in any battle, against any struggle. He stands against them if they choose to threaten lives. He holds on to those he cares about with bloody knuckles and teeth bared because loss has always been the hardest pain for him to bear. He has lost everything. He gives every part of himself to others. He cannot lose anyone else. He thinks he can do anything because he refuses to believe any alternative. Because he could not survive any alternative. He thinks his intent is as important as his actions, and so he must always intend to do the right thing.

He does not tolerate his boundaries being pushed or his father being disrespected. He tolerates any judgment because he thinks he deserves it. He defends his status as the Blade of Frontiers. He thinks the fear caused by his devil form is a fault of his own that he must work to fix. He hates the patriars and their farce diplomacy, their lethal hypocrisy. He thinks his father is infallible. He does not hold himself to the same regard as he holds everyone else. He thinks its okay if it only hurts him. Anything is okay as long as it only hurts him. He has to keep fighting to prove he can be a hero. He is so, so tired. He cannot for one second admit to wanting for anything, because once he starts he might not be able to stop wanting. He cannot accept that he deserves to not suffer, too, because if he does he might not be strong enough to continue suffering so others might suffer less. He might not want to suffer. He thinks he cannot regret any decision he's made, he cannot regret his pact, because it would be a dishonour to the good he's done with it. He thinks that saying he regrets his pact would be saying he regrets every life he's saved with it and he would never regret saving lives so he cannot regret his pact. He's accepted that his freedom will always be the cost of saving lives. He desperately wants to be free. His life has never been his own, to him. He thinks every choice he's ever made was his own, alone.

He is very complex. He simplifies himself to be easily accepted by others. People fall for it easily. He just needs one person to look closer. He's afraid of what they'll find if they do. He doesn't keep his cards close to his chest, he meticulously chooses which cards to hold at all. Which parts of himself are worth losing if need be. How much of himself he has to keep close in order to keep being himself. He has seen the worst that the world has to offer. He chooses every day to be kind, to see the best in things, in others. He chooses to care. He holds onto his pain because it's proof that he cares. There are several pathways that don't connect quite right in his brain which you'll notice after a few conversations with him. He is wise beyond his years. He is my favourite guy ever

[midnightkolrath]

One thing I like about DMC is the parallels they sneak in where at first you may not think it is...but the more you think about it...

Like the scene in 3 with Arkham is essentially Vergil's first big footsteps into hunting for his father's power years later after the tragedy he endured. He's looking for a way to grab that power, and here comes Arkham to begin to properly set him on the path that builds up the domino effect that THEN sets up the rest of the suffering he has to endure. From his clash with his twin, to his defeat, then his attempted clash with Mundus that leads into his enslavement and weakening that sets the stage for DMC5 with the birth of V and Urizen.

Then, in Visions of V, the climax has it where V embraces Urizen and encounters essentially the form of his fears and weakness as his younger self. Of course, V is met with immediate act of aggression through instinct of self defense by his younger manifestation but he still is prompted to not show his special book to return to him, but also remind him that 'Power alone is not enough'.

That line alone has me thinking like....wow. A complete opposite to the context of the moment with Arkham, where there's the talk about power and the desire for it. The fact that its basically himself on the other side of his own sword in VoV telling him that is, to me, such an interesting display of character growth. I don't know if that moment in VoV was meant to reference the Arkham convo in 3, but I like to believe it was. Its so alike, that it'd be weird if it wasn't to me.

Here's another cheeky one I like too, by the way.

The very night that Vergil reclaims Yamato and heads home to split himself into V and Urizen has a full moon. JUST like the very night when Vergil first defeated Dante that would eventually lead into the escalation of 3's plot and even having an ironic callback in 5 that would lead into Dante unlocking his Sin Devil Trigger.

One's a moment of victory over his twin brother, asserting his power. The other? A moment of reflection of losses that haunt him to this day, reminding him of the weakness he's desperately trying to chase away. The said desperation that peaks his desire for power and pushes him to believe abandoning his humanity is a benefit.

Of course, these thoughts still haunts him even as V (and especially Urizen, but I've mentioned that before) to the point where he reflects over it a few times. I often talk about these moment in VoV, but its just...man. One of the best things we got for DMC. A good addition for Vergil's character and essentially the icing ontop of the cake for 5 alongside the Before the Nightmare novel. There's several things it calls back to for Vergil's journey subtle or not. I hope we get more content like it in the future (maybe even have VoV localized officially), alongside games of course.

[tangents-within-tangents]

Thoughts on Echo as amputee/disability representation

First and foremost, I am not disabled or an amputee and I don’t claim to speak for those communities (and if I was I couldn't speak for everyone). What little I do know mostly comes from this youtube channel (@oakwyrm), this post, and other research I’ve done for my writing (and like one amputee I kinda knew in passing). By all means correct me and add to the conversation, I just have some thoughts I want to share because I haven’t really seen this discussed anywhere

Overview

So Echo is interesting. He is a triple amputee which is pretty rare in media. His disabilities come from extremely traumatic circumstances: injured in a near-death experience, imprisoned and dehumanized as an experiment with no autonomy over what happened to his body.

There are a few moments in the shows where Echo is treated… questionably. Like this bit where Rex uses him as an example of the Separatists' evils to convince the locals to fight back:

To be fair, yeah Echo’s treatment does prove that the Techno Union is not neutral like they claim. The modifications that everyone is gasping in horror at here obviously weren’t made with comfort and accessibility in mind, nor with Echo’s consent. But you still just want to be sure that “They took away his freedom, his humanity, they tried to turn him into a machine” is about using him as a living computer, not the fact that he is missing limbs. 

The Batch is also pretty insensitive toward him and his trauma imo, which is weird considering they've supposedly also faced discrimination for their mutations

Disabled people do have to deal with stuff like this in this day and age so I guess it can speak to those experiences. I think especially him being mistaken as a droid (and Hunter going along with it (bruh)) might resonate with some people. 

Aside from that stuff, Echo isn't really treated any differently as a character/person which is really good (as low of a bar as that is).

We get this moment in CW where Echo contemplates that yeah things are gonna be different now

While also (imo at least) showing that he is still the same person regardless, evidenced by the fact that he just echoed Rex :,) I also think it's significant that he joins the Bad Batch on his own terms and we're given a really emotional scene to specifically show that he's not just like 'lumped in with the other misfits' but that it is his choice to go where he feels his place is.

A lot of people, myself included, are disappointed that TBB didn't have more time to explore Echo's PTSD, but I think the one panic attack scene we did get is really good. Even thought it's minor it at least is an appropriate reaction from a guy who was medically tortured (which is more than I've come to expect from Star Wars shows lol)

And it's really sweet to see Omega showing Echo some empathy and consideration.

It would have been nice to see more of his adjustment period, and other side effects like chronic pain and maintenance, but there’s a lot of daily life stuff the show never had time for (i.e. we don’t know if he removed his prosthetics to sleep, but we also never saw him sleep anyway). His disabilities might take on a background role (much like the character himself sadly) but for the most part they aren’t invisible or erased, nor do they define his character and arc.

Physical Appearance

Okay this one is bit dicey, bc on the one hand, yes complaints that Echo’s paleness (most likely caused by burns from the explosion or chemical burns from the cryo-chamber) is whitewashing are totally valid. But I also think you can draw comparisons to real life conditions that affect pigmentation/complexion (like you know burns). So while I understand why a lot of fanart will depict him with his original skin tone and with hair, consider that there are real people who have to live with temporary or permanent changes to their appearance, and the idea of “fixing" him by making him look more like his old self can be problematic.

It's also interesting to note that Echo could act as a reversal of the 'disabled/disfigured = evil' trope. He's pale and bald and wears black and red, which is so often visually associated with villains, but we all know Echo is the bestest boy™

The Headpiece

Echo’s headpiece is interesting because within the show we don’t actually ever learn much about it (idk if there is more info in books or whatever bc i don’t have them so?). He didn’t have it in CW so we know it didn’t come from the Techno Union and therefore Echo probably had more choice with it. We don’t know its exact purpose but it’s most likely related to his scomping abilities. When he is hacking with his scomp in CW, before he has his headpiece, it’s clearly very mentally straining:

We don’t see him struggling like this in TBB once he does have it (though that could be bc he got more used to it over time). There doesn't seem to be much of an impact when he removes his headpiece in s3 ep14-15, except that he gets stuck in the ports every time he uses his scomp which is not something we’ve seen before: 

There might not be an exact real-world equivalent, but the headpiece is some kind of accessibility aid. It means that someone specifically designed a device to help him adapt to the changes the Techno Union made, as well as a helmet that integrates it. It’s removable and visually very present, much like a cochlear implant would be. (A lot of people actually headcanon it to act partially as a hearing aid, since it makes sense that Echo’s hearing would have been damaged in the explosion, but there isn't really any indication of this in canon.) The headpiece is never really acknowledged in the show, but I think that's a good thing. It's something he needs/wants and it just exists, completely normalized, and that's pretty cool 👍

Legs

Sigh... So from the very first episode of TBB I was really disappointed that the animation team or whoever completely visually erased Echo’s prosthetic legs (I think we all were, honestly, if fanart is anything to go by). It’s one thing when he’s in armor because he would probably want to protect his prosthetics, but we literally see him in his blacks and there is no indication whatsoever that he lost his legs even though it was not left up for debate at all in CW:

Like ??????!?

This is just really strange to me! Idk what went on behind the scenes with this decision but I don’t really see why it would be that much harder to animate or anything since it’s 3D and they've done it before. We do see some pretty sophisticated cybernetic technology in Star Wars canon that mimics real limbs:

But Luke’s fancy hand is technically 20ish years from now, so Anakin and Maul are more of a representation of what level we could expect here

So yeah, for no apparent reason, his leg amputation is effectively, visually and narratively nonexistent. Which is not great 👎

Arm!

The scomp on the other hand (uh lol!) is the complete opposite and I kinda love it!

At first I, like many others, thought it was a bit odd that they didn’t give Echo a prosthetic arm. Losing hands is basically a Star Wars tradition at this point, so robotic arms/hands are well established within the worldbuilding: 

We aren’t necessarily given a canon reason for why Echo doesn't get a cybernetic arm (again unless it's in some lore book I haven’t read, sorry). General fanon explanations I’ve seen are that he either couldn’t because the Techno Union wired the scomp too far into his nervous system, and/or the resources to give him one were deemed too expensive for a clone (what about his legs tho?), or that he chose not to, usually because he thought the scomping was useful. 

Regardless, I actually really love this choice (and it's the whole reason I made this post), because here's the thing: There’s a lot of problematic tropes out there that either erase/cure disabilities or compensate them with perks (like how pretty much any blind character is actually not blind by some sort of magic power). With amputees that is done with robotic arms. The character is still an amputee or course, and there is still value in that representation, if this story from Mark Hamill that makes me tear up is anything to go by:

but for the most part these characters function like anyone else, just with a limb that looks a little different. It’s no more than a video game skin, an able-bodied actor with a green screen glove. It “cures” the disability, or it actually makes the character even stronger than usual: 

It usually makes sense within the world of the story, but the reason it’s not so great in my opinion is that in the real world we just do not have technology anywhere close to that yet. Prosthetics can more or less replace any mobility from lost legs, but not for all the complexities of a hand (and even if they could the average person wouldn’t be able to afford it).

So

I think it's actually really super cool that Echo’s scomp bypasses the canonically-established amputee erasure and functions much like a stump would irl. He integrates it into his movements and everyday life and it’s (as far as I know) a lot closer to an everyday amputee’s experience. 

It doesn’t define his character, it doesn’t hold him back, he lives a full life, the other’s don’t treat him any differently, and he’s still a total karking badass 

The only additional thing is that he sometimes uses it as a weapon (which given his story, I think it’s cool to see him taking back autonomy in a way, and we only see that like twice)

And also the scomping, which could be seen as the 'added/compensating superpower' trope. But narratively it's no different than if he was plugging in with a hacking gadget of some kind (he didn't necessarily "need" to lose his arm for it) and it’s not like Echo is completely defined by this skill. Personally, I think it's well worth the positives of him actually having a visible and realistically impactful amputation. 

I see a lot of posts or comments out there that say stuff like “how come Echo doesn’t get a hand?” or fanworks that do give him one and I just think it’s a bit of a shame. If he did get a robotic hand, it just would have disappeared the same way his legs and Anakin’s arm did (aside from that one time he got yoinked by a magnet). When Echo did “get a hand” in the last two episodes there were comments like “yay he finally got a hand! but it doesn’t even work” but I was actually so relieved that it didn’t! Bc for one thing that wouldn’t make any sense, he grabbed it off a droid, it wasn’t designed to implement with his scomp, that would be really complicated. But more importantly because it again refused to erase/cure his disability! It functioned like a real-world cosmetic prosthetic (useless beyond appearance) which is exactly what he needed it for, so that he could blend in better with his disguise.

And he continually took it off throughout the episode and ditched it at the end. He only used it for the necessity of a stealth mission, he doesn’t feel the need to visually “fit in” in his daily life. 

And, last but very much not least, he made a dad joke and from my intel that is very accurate representation!

TLDR: Echo’s scomp is actually really cool from an amputee representation perspective, especially within Star Wars, and I think that deserves some appreciation 

[twilightkitkat]

OK QUESTION with the one series with the different universe we see how you think the X-Men would react to a similar Logan being so close with Deadpool.

BUT

How do you think our main universe reacts to the relationship especially when they compare this new Logan to the fallen hero?

This is such an interesting question that I thought about it for a while before answering because I wanted to do it justice. Firstly, I want to clarify that my answer takes place in a world where all the X-men are miraculously alive somehow except for Logan (maybe by some time shenanigans or just twisting the plot).

---

The world at large would be shocked to see The Wolverine again, especially after he was confirmed dead and his bones were buried. The TVA wouldn't want the entire world to know about them, and Logan and Wade would probably be the type to never really formally address his existence (since they aren't actually official heroes or a government body).

His resurrection would likely spark a lot of conspiracy theories and people wondering if he had a secret mission where he pretended to die or if he had a reason to stage his death. It's almost like the urban legend of Bigfoot with how rarely he shows up (somehow always next to the same red vigilante).

Aside from the initial shock, the public reception would be very positive. Who wouldn't want to see your childhood superhero back in action again? People would be excited to see him rejoin the X-men only to be extremely confused when he showed no interest in returning to his superhero work (especially when they assumed he either died and came back or was on a mission and so would naturally want back his spot).

As a matter of fact, after initial sightings of him in his suit, he just sort of... fades away. He never really makes public appearances or is involved in much of anything. He looks different than he did before and he always dresses casually. This combined with the lack of media about him after the initial outrage means that he only occasionally gets recognized in public.

(Something he's secretly very grateful for. He disliked being reminded of his past, of a world where he wasn't a failure. Of the version of him that was revered instead of feared and hated. He has to stop himself from flinching sometimes when people loudly yell out, "It's The Wolverine!" He lays low for a while in Wade's apartment, only accompanying him sometimes on covert missions until people mostly stop caring about his existence.)

But more than public confusion is the confusion of the X-men. They heard the truth through Colossus that this Wolverine was from another universe than their own and that he'd helped save their timeline.

(And most of the X-men were very confused because... why does Colossus know this of all people? Why didn't Logan just come to tell them himself? They knew Colossus was in cahoots with this vigilante vaguely from the time he visited the mansion, but they didn't know he was actually close to him. And why did being Deadpool's friend give him exclusive access to The Wolverine and his situation?)

They expected Logan to show up at their doorstep, one day. He apparently had the X-men in his own world, and while Colossus never really elaborated further (despite their prodding) they could surmise something happened to them if Logan was staying here. It's a perfect fit: the X-men who lost their Wolverine and the Wolverine who lost his X-men.

But he never does. At first, they chalk it up to him going on one of his solo trips. He liked to do that—to go out into the wilderness or disappear on some unspecified mission. He never really stayed in one place too long. (It was his personality, wasn't it? He got antsy being tied down to commitment and wanted to be free from everyone. It was fine even if it was inconvenient, it was just how he was.)

But then he never makes an effort to get involved. To reach out to them. He doesn't show any interest at all in returning to his old life or taking up the helm of an X-man again.

This Logan couldn't be all that different from theirs, right? Even if he was a lone wolf type who kept up his guard and acted gruffly, he only really had them. They took him in and fed him and clothed him and he showed up when shit went sideways in return. A perfect, neat, package with a bow on top.

But then a month passes. Then two. And even if he was the type to do his own thing, this was a little ridiculous. He'd just come back to life and didn't even bother showing up?

They all cornered Colossus, one day. Asked him about his well-being and what he was doing. Why he wasn't reaching out and when they should expect him to come back.

His answer shocked them. Apparently, Logan wasn't out on a mission at all. Instead, he was staying with Deadpool at his apartment and just... living there. Existing. He wasn't even particularly busy, he just hadn't visited. When they inquired further, Colossus smiled slightly and said that he seemed happy there. Content. That Wade was good for Logan and Logan was good for him, too.

It was... hard to wrap their heads around. Logan—fierce, closed-off, restless—just staying in one place? Content to just live with someone and accompany them on mercenary jobs.

Since when did Logan prefer teamwork? He always tried to turn joint missions into solo ones, and went out of his way to brush people off.. More than that—Logan, a mercenary? He'd rather pick up illegal work for some extra cash than return to being a hero? To being with them? Why did he decide to stay in a shitty apartment taking shady jobs for rent instead of just staying for free at their mansion? It made no sense.

It all came to a head when Laura (who'd been staying with them but largely kept to herself around the X-men) had her birthday party. They had parties often for the children in the mansion, that wasn't anything new. Except for the fact that the Wolverine was coming. She'd been excited when she mentioned that both Logan and Wade were going to show up (they didn't even know she'd stayed in touch with them).

(Why was the first time they saw Logan at a birthday party for someone else? Were they not enough? They'd taken him in despite his... difficult personality. What more did he want?)

And Logan comes. But he's entirely different than their Logan, the one they remember.

He's more... relaxed, somehow. He looks less hostile and cagey, letting his muscles relax and his head lean back. He looks like a man content with life instead of the guy who ran away the first chance he got, who always had an itch under his skin to move and never stayed too long.

He sticks to Wade like glue. They're always touching, somehow. An arm around the shoulders, a hand placed firmly on Wade's waist, fingers intertwined, legs pressed together. Logan is touchy in a way he never was with them.

And the way he looks at Wade—like he hung the stars and the moon and the sky itself. Even when they try to catch his eye from across the room, to get him to come over, he doesn't pay attention. His eyes are firmly locked on Wade's face, a warmth there (a softness) that they'd never seen before.

Wade gawks at the mansion and its decoration, flitting between Colossus and Negasonic and Yukio, gleefully grabbing some of the food. And Logan stays by his side the whole time, only watching him, murmuring in his occasionally which makes Wade either jab him in the elbow or cackle.

(And Logan lets him. He doesn't even retaliate aside from a grunt when Wade punches him in the arm, rolling his eyes and flicking his forehead in return but entirely content to let Wade at him. The trust there was so obvious it was painful. The familiarity. The warmth.)

The first time Logan takes his eyes off Wade is when Laura comes up to them. His eyes soften as he looks at her, almost imperceptibly if not for the fact that in their memories, his eyes were always hard. Guarded. They could count on one hand the number of times they saw even a semblance of that expression, normally involving Jean or Rogue.

Laura hugs him, grinning as she prattles on about whatever she'd been doing lately. Logan hugs her back, arms coming to wrap firmly around her. Easy affection. She pulls back and Wade hugs her too, spinning her around in the air as she laughs and hits him and asks him to put her down.

When Logan looks at them, the fondness is so obvious it's painful. They were used to seeing Logan show emotion—anger, sadness, fear, arousal. But never softness. (Especially not for a tumor-ridden mercenary and an experiment built off of his DNA.)

The party continues like that, with Logan leaning against Wade and basking in his presence. Hiding in his shadow when he's tired, leaning his forehead against Wade's shoulder.

Until they finally decide to approach them. Scott and Jean hold hands as they approach him for the first time, tired of observing him all night. Storm follows closely behind.

"Logan, nice seeing you man. It's, uh, been a while," Scott smiles crookedly at him. He expects Logan to respond how he normally does. To grin back, insult him, and start up their typical banter.

Like a well-oiled machine, they kept their rivalry going. Logan and Scott would act like they hated each other in public and fight like children over Jean until she inevitably chose Scott (and then it'd repeat). Sometimes, in the quiet of the night or an emotional moment, they'd become more. But that was rare, and Scott preferred the comfortable rhythm they normally kept to.

But Logan barely looked at him, nodded, and then turned back to Wade as he talked about some kid's show.

"Logan, that was a little rude, don't you think? We haven't heard from you in a while, it's good to see you're doing well." Jean lightly scolded him before letting her face melt into a smile. It was meant to be welcoming. Kind.

Scott tightened his arm around Jean. He knew Jean would always choose him, in the end, but it was annoying to see Logan flirt with her. She'd entertain him enough, and occasionally the three would wind in bed together in a moment of passion. But Jean was his, in the end.

Except, Logan didn't react. He just grunted in response. When his eyes met Jean's they were completely devoid of any attraction. He didn't flirt with her or pay her any attention. His eyes were solely on Wade.

It was only when Wade's eyes flicked toward them and he waved that Logan bothered to acknowledge their existence.

"Oh, hey! You guys are the real deal! The original X-men! The ones that took the 2000s by storm and made Marvel a shit ton of money," he rambled. His face was... interesting, to say the least.

Logan snorted. "Did you not expect to see the X-men in the X-mansion, bub?" The first time he verbally admitted they were even there.

"Considering the budget on my previous movies? Fuck no. It was too expensive to even have a good cameo, let alone actually have them on screen for more than a minute to have a conversation."

...What the hell was he talking about? He sounded clinically insane. And Logan was living with this guy?

But Logan laughed, genuinely, and it was like the world stopped spinning. He smiled and his eyes wrinkled, forming crescents. He teased Wade back in response, but they were stuck in that moment.

Logan was never like that. Never open, never soft. He cared, in a distant way, but he never really stayed. (Was it really that? Was it that he never tried to stay, or that they never gave him reason to? That they never gave him the chance before shutting the door in his face.)

But here it was. Physical proof that he was capable of looking at someone so softly. Of melting his hard exterior and becoming someone softer. Someone capable of cherishing the person they loved, of being domesticated.

Because there was really no other way than "domesticated" to describe him. He used to be like a wild animal—all sharp edges, jagged teeth, and razor-sharp claws. He snarled and growled at anyone who got too close and cornered him. He'd drop by for food, but snatch it and run off.

(But that's the thing about wild animals, isn't it? To get them to calm down, to stop seeing you as a threat, you need to be patient. To reach out. To prove you're safe. Did they ever really try?)

And now he even looked different. His hard muscles had filled out with a layer of fat. He looked healthy, like he wasn't just a tool built to fight and gnaw on the scraps he was given. He looked like a person who went home and ate a warm, balanced dinner at night. Who got adequate sleep and had all of his needs taken care of.

They thought that Logan's personality was rough, sharp, and jagged. That he was just Like That, and that it was useless to try to change it.

(After all, the bad boy is just someone you flirt with. Not someone you take him. Jean had said that, hadn't she?

And Logan had told her he could be the "good guy." Tried to show that he was capable of being more than just how he acted when he was hurt and alone. But she brushed it off. They all did.

And yet here Logan was. Soft and entranced by Wade in a way he never had been, even with her. Looking at him with something so much deeper than lust or attraction or infatuation. Looking at him with devotion. Reverence. Complete and utter love.)

But Logan wasn't Like That. He had always wanted to be soft. To be able to curl up next to somebody and trace the curve of their spine with his fingertips. He'd always yearned for a home he could feel genuinely warm in, where he'd be accepted and allowed to be vulnerable even if it wasn't pretty.

He'd only been hard because he had to. Because if he wasn't, the biting words and indifference of everyone around him would cut so deep he'd never recover. Because if he let himself love and be vulnerable with the X-men and they still viewed him as a passerby, as a tool, as an outsider, as just someone to sleep with—he'd break.

But Wade gave him a home. Gave him the chance to finally love and be loved and not feel afraid. To finally relax and open up. To show his emotions without fear of being scorned and to know he'd always be taken seriously. To not just be seen as the bad boy, but as a broken man desperate for anyone to cling to and feel cared for.

He was finally seen as more than just a stereotype. He was seen and loved for he was.

He was used to being hidden. Like a shameful secret. Jean was embarrassed to like him. Scott hid him away during the night and fought him during the day. He was a temptation, but that was it. They'd always choose each other first. Every member of the X-men had their person, but he was nobody's.

But with Wade, for the first time in his life, he was the first choice. He was the priority. He got to eat at the table instead of being fed scraps thrown onto the floor.

Logan thought it was natural to be treated as lesser. To be an afterthought. But with Wade, who cradled his face like he was something precious and was willing to die for him, he realized that he could be loved just as fiercely as he loved Wade. As an equal. As partners.

And so when he saw the X-men, he reacted the same way they had all those years ago: with indifference. With the same detached care he'd grown so used to. He spared them the effort of a few words, of reluctant acknowledgment, but that was it. If they never wanted to look closer at him or care about his needs, it was fine. But he'd do the same.

After all, there was so need to scramble to collect crumbs when he was well-fed. There was no need to look for a shitty room in an empty-feeling mansion when he already had a home.

[iwasbored777]

I think Branch has abandonment issues because of everything he went through and Poppy knows this.

Yes, both are true and I HAVE to talk about Poppy's behaviour in Trolls Band Together more cuz she doesn't get enough appreciation for her character development and for how much she loves her boyfriend.

At the beginning of the movie she wants him to give his brothers a second chance because she wants him to be with his family. He's not happy about it at first but later he is and she's super happy because she thinks everything is perfect just like he thought.

Until it wasn't. When they both learn at the same time that his brothers don't want to see each other again after rescuing Floyd he leaves and she realizes that this means to him way more than it means to them so she doesn't waste time arguing with them (Branch already did that) and she goes with Branch. She loves him, she doesn't need her favourite boy band to reunite anymore, her priority is making her boyfriend happy again and that can only be accomplished by saving Floyd. But when she finds Branch again he is cold because he's hurt and he doesn't want her help because he thinks that she will abandon him too just like they did. I can only imagine how much it hurt her when he said that, she thought that he believes her that she loves him because she really does. She was already betrayed by a guy she cared about in the past (remember Creek? Ugh I hate him). But instead of focusing on her feelings she's focusing on his because he needs reassurance now more than she does. She trusts Branch, she loves him, she knows he loves her and she tells him that she's with him and reminds him that they've always been there for each other.

She even put his feelings before her sister, when she had to choose. No one's saying that she would never come back to find Viva after the mission is done but she came here to help Branch and that's what she's gonna do above all.

Yes, Branch is an amazing boyfriend, and I'm so thankful that the writers made him this way. I'm not saying that he doesn't deserve the praise he gets, he really does. But I'm saying that Poppy deserves more praise in general. She's so amazing and so underrated.

[shinysobi]

the kiss (aka that one scene) and subsequently—

*spoilers for bridgerton s3*

ahem...this might be a bit indelicate? Let us think about who Colin is, at his core. he is a dreamer. he's sweet, he's kind to a fault, and he's also the Bridgerton brother most likely to have ao3 in the 21st century.

Penelope asks for a kiss, and Colin cannot deny her that. so much of their relationship is evinced by the fact that they cannot deny each other anything, even if it is at the expense of their own well-being. Penelope has never once voiced her feelings for Colin because she is aware that he would never see her in such a light, and mostly because, she does not think that her feelings are his business. In the books and in the show, Penelope has never voiced her crush.

So, when she's facing the very real prospects of remaining a spinster and firmly under the influence of her mother and sister (Prudence, especially, I don't really think Phillipa would be that bad) she makes a choice to ask the love of her life, mind you, the one man she had always felt safe with, to kiss her. She is waving goodbye to the dreams of being married, finding a place of her own in a world where a woman had no value if they were not attached in matrimony to a man. Yes, it seems pathetic, yes, it seems desperate. It is. It is desperate. Penelope is desperate at this moment, and she is reckless, but she is not pathetic. She wants to be kissed, and she asks for it, it is a moment where we see a woman exercise agency for the first time in her life. Feelings are so very rarely black or white, and so is this scene; on one hand, you feel wronged and angry at the fact that Penelope is pleading for a kiss, on the other, you empathize with her situation and where she is coming from. She wants this moment, and who better to ask from, than her best friend? Colin has always, always been there for her, and she has been there for him. They know each other the best, she has had the privilege of being able to love him. She wants love, and she has it in her hands at this moment, a fleeting, transient glimpse into what her life could be if she were someone else. This is the moment when Penelope Featherington's dreams are well and truly shattered.

And that same kiss turns Colin's world on its axis. It is so wonderful to see on screen how the same action can have two entirely opposite, but just as important effects on people. Colin has always loved Penelope. This is not even a discussion. He took action on behalf of her family (on behalf of her, really) when he found out about her cousin's schemes. He gives Cressida the cut direct when she humiliates Penelope in front of him. He seeks her out at every social assembly. He has always looked out for her and has always loved her. But all this is platonic. He has never felt a physical connection with her, because neither of them has had the chance to explore that avenue. Neither Colin nor Penelope are aware of their latent attraction to each other. For Penelope, it is because she has never been allowed to feel a physical connection with anyone, and Colin because he has never thought of pursuing a physical connection with Penelope. It is their kiss that ultimately awakens that connection in Colin, and by connection, Penelope asking Colin for a kiss is what puts the wheels in motion.

Which brings me to the first paragraph. Colin is the sweetest boy in the Bridgerton family (Gregory I love you, but nine children? Get off that woman, immediately). When he realizes that he likes Penelope, and loves her romantically, what does he do? He internalizes it like he does everything else. So much of Colin's character arc, both in the book and in the show is about him internalizing everything. He refuses to voice his own feelings if they make other people uncomfortable, much to the detriment of his own mental health. After being deceived in the first season, he removes himself from London because he cannot bear to stay in the city anymore, not when he is reminded of how naive and stupid he was, every moment. It is also important to realize that Colin has been viewed as the naive, soft-hearted brother, by everyone else. When he gets engaged in season 1, Anthony, his big brother, the example he is supposed to follow, tells him that he should have taken Colin to brothels and accuses him of getting married to have sex. In season two, Penelope, an outsider, is the only person who gives a damn about his thoughts. His own family refuses to listen to him, and what does he do when he returns a second time? He tells them, "I shall not bore you with the details". He knows, no one essentially gives a shit. This is why, when he comes to the knowledge of the full breadth of his feelings for Penelope, he internalizes so hard he dreams of her. And this is not an indelicate dream. He does not dream of taking her in the back of a carriage or on his yellow sheets, he dreams of her returning his feelings. He is yet unaware of the extent of Penelope's feelings toward him, but he knows he should not force his feelings onto her, and that is why he dreams of her.

I could go on and on about why Colin is the best Bridgerton brother (Gregory, nine children) but it will take up a lot of space, so I shall keep it brief: (in the show) Anthony almost marries Edwina, a girl who is what, thirteen(?) twelve (?) years younger than him, a girl who has no safety net outside of her sister and her mother, her sister whom Anthony was in love with, and refused to confront his feelings for. Literally, no one forced Anthony to propose to Edwina, he went down on one knee while being aware of his feelings for her older sister. Kate would have been content with relinquishing her younger sister to a marriage where she loved someone who would forever love another. Imagine if Anthony had married Edwina as he intended. Do you think, for even a second, that he would look at her face and not be reminded of Kate? Not to mention neither of them took action till the very last second, and Edwina, a bystander, was forced to ruin herself. Half the reason why she married abroad is the fact that not a single person in London would have married her (headcanon: she marries the Prince, fuck you, Anthony) when she was very publicly denigrated as the Viscount Bridgerton's cast-off. Yes, the Queen's favor saves Anthony and Kate's marriage from scandal, but it also saves Edwina, it saves her from further public embarrassment and scrutiny by a ton that not only views her as an outsider but also envies her for securing the title of the Season's Diamond. (Book)Benedict forces a woman from a servant class to be his mistress while he searches for the girl he fancied to be the love of his life. I'm sorry, there's no coming back from that. Colin gets angry when he is aware of who Lady Whistledown is, but his anger is not directed at Penelope herself. It is directed at her lack of thought for her own safety. Colin puts Penelope's safety and reputation over everything. In the carriage scene, he steps back as soon as he hears the words "but we are friends" from her mouth; he takes it as a sign, that this is Penelope telling him I don't have feelings for you, and he is happy to respect her wishes. Colin would have never voiced his feelings a second time if she had rebuffed him then, he would have been happy to remove himself from Society and spend his days on the Continent, writing in his journals. So much of both Penelope and Colin is them learning to voice their wants and desires and fuck, it's the most beautiful thing to watch as it comes to life on my screen.

[sassydefendorflower]

I think I finally figured it out, the reason why so many people hesitate to call what Roy did with the Elrics to get them to join the military coercion: Riza telling Winry that it is their choice alone.

Because the fact of the matter is that Riza is wrong.

Edward is eleven in this scene, heavily traumatized, freshily disabled, guilt and nightmare ridden - he's obviously not mature enough to make long-lasting decisions regarding his life, considering he just tried to bring his mother back from the dead.

It's insane for a grown woman to assume that these children will be able to make choices divorced from outside influences.

Ed had a grown man tell him that maybe one day he will be used as a human weapon but the prize will be worth it if they manage to get their bodies back - and you're trying to tell me that's not manipulation and coercion?

The thing is... yeah, it makes perfect sense for Riza to think of it as a free choice.

And that's where this manga really excels and some readers/watchers take the source material at face value.

Because every choice Hawkeye makes throughout the story is influenced and guided by her own moral compass, guilt, shame, and trauma. By the choices she made in the past.

The timeline is never explicitly explained, but we know Riza is a few years younger than Roy. We know Roy left the Hawkeye household at 18 to join the military and that he came back at 20 to learn the secrets of flame alchemy from Riza. We know that she joined the military after he inspired her by his belief in the state propaganda, and we know that by the time they met again on the battlefield another year or two must have passed (it is strongly implied that Riza never finished the military academy, instead being ordered to the front lines for her skills with the sniper rifle before she could complete her last year).

What am I trying to say with this?

It is very possible within canon that Riza herself was only sixteen when she signed up for the Amestrian military. That she lied about her age to enlist. That she herself was a teenager who made choices that led to the death of thousands of Ishvalen citizens.

She grew up abused, with an absentee (then dead) mother, an emotionally distant father, and a lone house for her to take care off. Roy Mustang was her way out, and she was fifteen or sixteen when she gave him a nuclear weapon.

Riza sees that choice as a free one - one she made because that's the kind of person she is. There are no outside influences or socioeconomic factors to blame (in her mind) - she did what she did, no matter what, and that's both why she can carry the guilt and the motivation to move forward with her.

For Riza, in that moment at the Rockbell's, it doesn't matter that Ed is eleven and traumatized - while she can recognize them as children, she has only ever known full responsibility for every choice she's made.

Ed is free to follow Roy into the military and it is his choice alone, because if Riza where to acknowledge that maybe it is more complicated than that, that maybe there are other factors at play, that maybe Roy's goal is not the same as Edward's, then she'd have to acknowledge that maybe - just maybe - not all of the choices she made as a teenager where entirely her own, either.

That maybe her childhood shaped her more than she'd like to admit, that maybe her joining the military was more than just her own unaffected choice, that maybe some of the guilt weighing her down is not entirely her own.

And I am not saying this to paint Roy Mustang in a bad picture - I don't think he lured Riza into the military, but he did influence her. Just as the state propaganda did. And the fact that they are living in a military state.

But I am saying that Riza is projecting her own worldview - in which she is solely responsible for every single thing she's ever done - on a couple of kids, in order to frame her own actions in a larger context.

Especially since their fateful meeting at the Rockbell's takes place only a year after the war's over. The wounds are still raw. Her choices and the consequences of those choices are still raw.

But that doesn't mean she's right.

It doesn't mean that Edward and Alphonse Elric were actually free in their choice to join the military.

Yeah, they could have refused. And then what? Automail's expensive without a military stipend, research limited and locked away, and the taboo? Yeah, if any other military official found out about it they'd be facing the death penalty (even if we know the Homunculi wouldn't have actually killed them).

So they did say Yes. Which is what coercion is.

It doesn't matter that Riza could only see the freedom of their choice - and it doesn't take away from the story.

Because it is a moment in which all characters firmly establish themselves. Roy as someone who will go the extra mile to further his goals (and lets not act as if employing the youngest State Alchemist in the history of Amestris wasn't a great political move on his part), Riza as someone who carries the guilt of her choices like a shield, and Edward and Alphonse as people for whom hope and determination will win over despair every single time.

(and just to underline that I am not making this all up, Riza's insistence to face trial for her acts in Ishval even though she was "just following orders" fits perfectly into this understanding of her character: she made the choice to pull the trigger every single time, it does not matter that a refusal to do so could end in being court-martialed or killed. She's the one to pull the trigger. She's the one who made that choice. So it is her responsibility alone.)