#i think he'd agree to it

[smallishdoggo]

I feel like Fearne/Ashton/Braius would break kinda bad. Like, I don't think polyamory would fix any of Braius's issues and would perhaps even make them worse, lol.

I think that neither Fearne nor Ashton are particularly direct communicators when it comes to relationships, and I think Braius would be pretty unhappy being handled in the go with the flow vibes based way they've handled their own relationship. And on their end, Braius has known the Hells for all of a week and is getting matching tattoos and declaring how he doesn't want to be anywhere else in the world than with them-- this man is clingy. I don't get the sense he'd be controlling or anything, but I think he'd want a lot of their time and attention in a way that would probably grate on Ash and Fearne even split between the two of them.

[verflares]

(click for higher quality!) draconified link concept ive been chipping away at this past week ..... here's my funny little compendium concept for him:

"A heroic spirit has taken the form of this bestial dragon. Unlike it's kin, this creature exhibits an extremely aggressive disposition. It appears highly territorial, and will relentlessly chase down those who disturb its skywide patrols - of which it seems to be endlessly searching for either a long-time vassal or foe. Unfortunately, it seems the spirit within has long since forgotten exactly who it was looking for…"

[vaguely-concerned]

lucanis is a 'I could sit in our quiet kitchen on a grey tuesday afternoon drinking coffee and talking with you about nothing much in particular forever and be the happiest man who ever lived' romantic, not a 'classic tropes and grand gestures' romantic. this is a distinction and conceptual gap I personally feel is crucial to understanding what's going on with him when romanced. for all his almost painful sincerity and clear depth of feeling he's not a very effusive guy by nature, but in the history of time no one has ever, with their whole soul, chest and being, been so genuinely and openly happy to just do laundry and taxes with you.

[shinedoitsulikeabright]

Had Odysseus been smarter, he would've perhaps asked Hades to help him evade Poseidon. I mean, Hades was surely annoyed. Poor guy had 500 new arrivals to deal with all because of his brother's little tantrum.

[pynkhues]

I would LOVE to read your analysis of louis as byronic hero as apposed to his reading as gothic heroine. lots of the latter and zero of the former in the fandom.

Sure! Mmm, okay, so –

What are we talking about when we talk about Gothic Heroes?  

When we talk about gothic heroes, we’re really talking about three pretty different character archetypes. All three are vital to the genre, but some are more popular in certain subgenres i.e. your Prometheus Hero may be more common in gothic horror, whereas your Byronic Hero might be more likely to be found in gothic romance. That’s not to say they’re exclusive to those subgenres at all, and there is an argument that these archetypes themselves are gendered (in many ways, I think people confuse Anne being an author of the female gothic with Louis being a gothic heroine, but I’ll get into that later), but this is also not necessarily something that’s exclusive.

Anyway, I’m getting ahead of myself, haha, so the three gothic hero archetypes are:

Milton’s Satan who is the classic gothic hero-villain. You can probably guess from the name, but he was originated in John Milton’s 1667 poem, Paradise Lost. He is God’s favourite angel, but God is forced to cast him out of heaven when he rebels against him. As an archetype, he’s a man pretty much defined by his pride, vanity and self-love, usually fucks his way through whatever book or poem he’s in, has a perverted, incestuous family, and a desire to corrupt other people. He’s also defined as being “too weak to choose what is moral and right, and instead chooses what is pleasurable only to him” and his greatest character flaw, in spite of all The Horrors, is that he’s usually easily misguided or led astray. (I would argue that Lestat fits into this archetype pretty neatly, but that’s a whole other post.)

Prometheus who was established as a gothic archetype by Mary Shelley with Frankenstein in 1818. Your Prometheus Hero is basically represented by the quest for knowledge and the overreach of that quest to bring on unintended consequences. He’s tied, of course, to the Prometheus of Greek myth, so you can get elements of that in this character design too in that he can be devious or a trickster, but the most important part of him is that he is split between his extreme intelligence and his sense of rebellion, and that his sense of rebellion and boundary pushing overtakes his intelligence and basically leads to All The Gothic Horrors.

And the Byronic Hero, who as the name implies, was both created by and inspired by the romantic poet, Lord Byron in his semi-autobiographical poem, Childe Harold’s Pilgrimage which was published between 1812-1818. The archetype is kind of an idealized version of himself, and as historian and critic Lord Macaulay wrote, the character is “a man proud, moody, cynical, with defiance on his brow and misery in his heart, a scorner of his kind, implacable in revenge, yet capable of deep and strong affection.” Adding to that, he’s often called ‘the gloomy egoist’ as a protagonist type, hates society, is often self-destructive and lives either exiled or in a self-exile, and is a stalwart of gothic literature, but especially gothic romance. Interestingly too, in his most iconic depictions he’s often a) darkly featured and/or not white (Heathcliff being the most obvious example of this given Emily Bronte clearly writes him as either Black or South Asian), and b) is often used to explore queer identity, with Byron himself having been bisexual.

Okay, but what about the Gothic Heroine?

Gothic heroines are less delineated and have had more of an evolution over time, which makes sense, given women have consistently been the main audience of gothic literature and have frequently been the most influential writers of the genre too. The gothic genre sort of ‘officially’ started with Horace Walpole’s 1764 novel, The Castle of Otranto and Isabella is largely regarded as the first gothic heroine and the foundation of the archetype, and the book opens even with one of the key defining traits – an innocent, chaste woman without the protection of a family being pursued and persecuted by a man on the rampage.

The gothic heroine was, for years, defined by her lack of agency. She was innocent, chaste, beautiful, curious, plagued by tragedy and often, ultimately, tragic. Isabella survives in The Castle of Otranto, but she’s one of the lucky ones – Cathy dies in Wuthering Heights, Sybil dies in The Picture of Dorian Gray, Justine and Elizabeth both die in Frankenstein, Mina survives in Dracula, but Lucy doesn’t. There’s an argument frequently posited that the gothic genre was, and is, about dead women and the men who mourn them, and Interview with the Vampire certainly lends itself to that pretty neatly.

Of course, the genre has evolved, and in particular by the late 1800s, there was a notable shift in how the Gothic Heroine was depicted. The house became a place of imprisonment where they were further constrained and disempowered, she was infantilized and pathologized and diagnosed as hysterical, and as Avril Horner puts it in her excellent paper, Women, Power and Conflict: the Gothic heroine and ‘Chocolate-box Gothic’, gothic literature of this era “explores “the constraints enforced [by] a patriarchal society that is becoming increasingly nervous about the demands of the ‘New Woman’.”

This was an era where marriage was increasingly understood in feminist circles to be a civil death where women were further subjugated and became the property of their husbands. This was explored through gothic literature as the domestic space evolved into a symbol of patriarchal control in the Female Gothic.

Female Gothic vs Male Gothic

Because here’s the thing – the female gothic and the male gothic are generally understood to be two different subgenres of gothic literature.

While there are plenty of arguments as to what this entails, the basics is that the male gothic is written by men, and usually features graphic horror, rape and the masculine domination of women and often utilises the invasion of women’s spaces as a symbol of further penetrating their bodies, while the female gothic is written by women, and usually features graphic terror, as opposed to horror, while delving more specifically into gender politics. More than that though, its heroines are usually victimized, virginial and powerless while being pursued by villainous men.

The Female Gothic as a genre is also specifically interested in the passage from girlhood to female maturity, and does view the house as a place of entrapment, but she is usually suddenly “threatened with imprisonment in a castle or a great house under the control of a powerful male figure who gave her no chance to escape.”

That’s not Louis’ arc, that’s Claudia’s arc twice over, first with the house at Rue Royale, then with the Paris Coven, and Lestat and Armand aren’t the only powerful male figures who imprison her.

Claudia as the Gothic Heroine

Claudia in many ways is the absolute embodiment of the classic gothic heroine. Even the moment of their meeting is a product of Louis’ Byronic heroism – his act of implacable revenge against the Alderman Fenwick which prompts the rioting that almost kills her. She’s a victim of Louis’ monstrousness before they’ve even met, and while he saves her, he arguably does something worse in trapping her in the house with both himself and Lestat, holding her in an ever-virginal, ever-chaste eternal girlhood, playing into Lestat’s Milton-Satan by enhancing the perversion of family and ultimately infantilizing her out of his own desire for familial closeness.

Claudia has no family protection before Louis and Lestat – a staple of the gothic heroine – she is completely dependent on them in her actual girlhood, and again in adulthood, never developing the strength to be able to turn a companion, to say nothing about the sly lines here and there that further diminish and pathologise her (Lestat calling her histrionic, Louis making her out to be a burden, etc.). This is all further compounded again with the Coven, and when the tragedy of her life ultimately leads to the tragedy of her death.  

Louis as the Byronic Hero

Not to start with a quote, but here’s one from The Literary Icon of the Byronic Hero and its Reincarnation in Emily Bronte’s Wuthering Heights:

“Generally speaking, the Byronic hero exhibits several particular characteristics. He does not possess heroic virtues in the usual, traditional sense. He is a well-educated, intelligent and sophisticated young man, sometimes a nobleman by birth, who at the same time manifests signs of rebellion against all fundamental values and moral codes of the society. Despite his obvious charm and attractiveness, the Byronic hero often shows a great deal of disrespect for any figure of authority. He was considered "the supreme embodiment [...] standing not only against a dehumanized system of labor but also against traditionally repressive religious, social, and familial institutions" (Moglen, 1976: 28).

The Byronic hero is usually a social outcast, a wanderer, or is in exile of some kind, one imposed upon him by some external forces or self-imposed. He also shows an obvious tendency to be arrogant, cunning, cynical, and unrepentant for his faults. He often indulges himself in self destructive activities that bring him to the point of nihilism resulting in his rebellion against life itself. He is hypersensitive, melancholic, introspective, emotionally conflicted, but at the same time mysterious, charismatic, seductive and sexually attractive.”

Louis as he exists in the show to me is pretty much all of those things, and I think to argue that he’s a gothic heroine not only diminishes Claudia’s arc, but robs Louis of his agency within his own story. Louis chooses Lestat, over and over again, he’s not imprisoned by the monster in the domestic sphere, he is one of the monsters who’s controlling the household, including making decisions of when they bring a child into it and when Lestat gets to live in it – he wanted to be turned, he wanted to live with Lestat in Rue Royale, and while there are certainly arguments to be made about their power dynamic within the household in the NOLA era, importantly Louis actually gained social power through his marriage to Lestat, particularly through The Azaelia, he didn’t lose it in the way that’s vital to the story of the gothic heroine.

Daniel Hart even said it in a recent twitter thread about Long Face, but there is an element of Lestat and Louis’ relationship that is transactional, and to me, for that to exist, they both have to have a degree of control over their circumstances and choices in order to negotiate those transactions. Claudia is the one who can’t, she’s the one who’s treated effectively as property, and she’s the one who lacks control over her circumstances.

While you could perhaps argue the constraints of the apartment in Dubai lend more to the gothic heroine archetype, I’d argue it as furthering the Byronic trope again by being representative both of Louis’ self-destruction and self-imposed exile. As Jacob has said a few times, Louis does seem to have known to a degree that Armand was involved in Claudia’s death on some level, and it’s that guilt and misery that has him allowing Armand his degree of control. The fact that Louis was able to leave Armand as easily and as definitively as he was I think demonstrates that distinction too – after all, to compare that ending to Claudia’s multiple attempts to leave the confines of the patriarchal house, both in Rue Royale and Paris, which were punished at every turn – first by her rape, then by Lestat dragging her back off the train, and then by the Coven orchestrating her murder.

Louis gets to leave because Louis can leave, he has both the social and narrative power to, and the fact that he does is, to me, completely at odds with the gothic heroine. Louis can, and does advocate for himself, Louis is proud, moody, cynical. Defiance is a key part of his character, just as his exile from NOLA society due to his race, and his chosen rejection of vampire society in Paris, is. He’s intelligent and sophisticated, travels the world, and has misery in his heart, guilt that eats him up, and self-destructive tendencies. That’s a Byronic Hero, baby!  

[drowningparty]

I just think the polite, well-behaved young man who secretly enjoys murdering people with his bare hands and gouging their eyes out and the blood-splattered god who delights in carnage and gleefully exploding people with his mind should, hand in unloveable hand, embrace their primal rage, become avatars of the slaughter together, and be deliriously happy for all of 2 seconds before one of them invariably kills the other. and it would be a real coin toss who dies first

[blindmagdalena]

How do you think homelander would be with an s/o that casually likes to share food and drinks? Like they offer him a sip of their drink or are always trying to get him to try their food but on the other hand they also casually will take his drink (probably a glass of milk) and take a sip before handing it back

Also I feel like homie would be a huge crybaby with anything that’s too sour or spicy food/drink wise.

"Try a sip?" You offer, holding your strawberry lemonade out to Homelander.

He's taken aback. "Uh... sure." He moves to take the drink, but you beat him by simply bringing the straw closer to his lips. He feels a little silly—like a kid being spoon fed—but he obligingly takes a sip. He can't stop himself before he makes a face: it's much too sweet, and the sour doesn't help it any.

You laugh. He bristles initially, but you're not laughing at him, he realizes. You look sympathetic as you pull the drink away. "Not a fan?"

"No," he says flatly, wiping his lips.

"Maybe next time."

Sure enough, there are many, many next time's. Whenever you're eating or drinking something new, you've stopped asking before putting it in front of his mouth, and he's stopped questioning it. He's come to love the way you always feed it to him yourself.

He rarely ever likes what you have him sample, but it's not about the food, really. It's about the hundreds of tiny things you do each day to make him feel like a part of your life. It's about how eagerly you share your every little experience with him.

It's as if somehow you know just how much he's missed out on.

"Is this just milk?" You ask one day, pointing to his glass.

A small part of him braces. Will you think that's strange? "Yes." He watches you lift it without a thought and take a little sip of it. You wrinkle your nose, and he smiles, that flash of tension easing from his body. "Not a fan?"

"Not really," you admit, setting it back down.

"Maybe next time," he says fondly, taking a hefty swig of his own.

[arthursfuckinghat]

The whole conversation between Arthur and Dutch on the way to Lagras in Country Persuits really is just the "I give you food and a roof over your head, you have no right to question me" argument you have with your parents

[frownyalfred]

thinking about how Gotham and Bruce/Batman are cursed and how slowly, over time, by bringing each sequential Robin into his care/mission he's inadvertently cursing them as well and how it would ruin Bruce if he ever knew

[moongothic]

The worst part about trying to figure out what Crocodile's deal is that because he's so fucking irredeemably evil in Alabasta... Like... Yeah he's just irredeemably evil. Like I love him but he did cause countless casualties, a ton of pain and suffering and literally attempted to blow up a million people

Like no amount of theoretical "trying to do it to save his son from the Government" or "trying to stop the Government from hurting anyone else" or just "doing it for the greater good" is going to make him any less of a mass murderer

But also Robin absolutely 100% helped with all of that shit simply because she wanted to read the Poneglyph for herself.

No amount of her intending to betray Crocodile from the begining and sabotaging his plans erases the fact that Robin also caused countless people to starve to death and die in the civil war. Her sabotages only succeeded out of sheer luck, and only spared the lives of the people at the final battle. She has the blood of countless innocents on her hands. Because she wanted to read history.

But her crimes were swept under the rug because she has a sad backstory and her sabotages worked out just at the nick of time by sheer dumb luck

So Croc??? Just??? Is there a chance??? At all???

But also he did literally intend to sell Buggy into slavery

Like, fuck Buggy, but jesus

What's also killing me is that we like. Don't know what Luffy thinks of Crocodile right now. Which really is like. The thing that will decide how we, as the readers, are supposed to feel about Crocodile. Luffy is our POV

Like we don't know what Luffy's opinion of Crocodile is after he helped save Luffy (and spared Ace once) during the Summit War. Like Luffy clearly fucking hated the man in Impel Down and the two interactions they had during the War weren't like positive (in the sense that Luffy himself didn't think of the interactions as particularly positive. Defending Whitebeard from being attacked once and then being like "wait what HIM?!" when Crocodile defended Ace. To be fair, in the midst of the chaos, there wasn't much time to spend on Pondering On Such Things because Ace needed to be saved, and Oda goes out of his way to not show us what's going on inside Luffy's head, because it's all meant to be out in the open anyways. Regardless, these weren't like "yay it's Crocodile! :)" moments for Luffy is what I mean)

But also Luffy was very grateful of Law for saving his life and was willing to put his trust into Law for their alliance- of course, they weren't explicitly enemies to begin with, rivals at most, but still. Luffy respects those who help him.

But also Luffy grew during the timeskip. Like he's not that clueless anymore (like he finally understands Hancock is in love with him etc), and similarly Luffy gets that Buggy is an absolute loser now. But also Buggy did also help save Luffy's life (even if it was by accident), and while IDK if Luffy is aware of that, I don't think that helped improve Luffy's impression of Buggy

So like. The fuck does Luffy think of Crocodile, at this moment? Even with the Cross Guild reveal, he didn't even really comment on Croc and just focused his energy on being confused about Buggy being "the leader" of CG. IDK it feels almost intentional or something, that we don't know what Luffy thinks?? Especially since we did get Zoro's opinion on Mihawk in the situation?? Or am I delulu?? (Sidenote. I'd love to know what Robin would have to say about Crocodile helping save Luffy's life. What Jinbei might think of the final words Crocodile left him with before blasting them out of Akainu's reach. But mainly just Robin's thoughts)

Like IDK my best guess would be that Luffy still hates Crocodile just the same but is like grossed out by technically owing him one??? In the classic

-kinda way, you know? And that he'd be just kinda confused about it?

Because I can't fucking imagine Luffy being like "oh we're cool now" with Crocodile, let alone "Yay Crocodile :) He saved my life!". But also like. Luffy does kind of owe Croc one. Kind of. And Luffy is usually very respectful of that kind of thing. Aaaaaaaa???

(Also does. Does Luffy even know it was Crocodile who yeeted him and Jinbei out of Akainu's reach to begin with. 'Cause he was unconcious. Knocked the fuck out. Does. Does Luffy even know. Did anybody tell him???)

I just.

There's the reasonable part of me that knows Crocodile is an irredeemable evil dickbag and everything he has ever said and done up to the most recent chapters support that. He is too far gone.

And then there's the absolutely delulu part that loves a tragic villian who gets a heartwrenching redemption that's looking for any fucking sign that could indicate Crocodile could maybe be one

[johnnyshrine]

★ 051 // “Catnip”

[qoldenskies]

You're so right that Leo is the main villain in CL, because like.....dude is already canonically implied to have a fundamental understanding of what makes people tick, and we've seen in that one episode with Big Mama that he is fully petty enough to play the long game of running circles around someone/just genuinely riling them up until he breaks them down or otherwise manages to get a response out of them (which I think was why he kind of fell back into little shit behavior during the movie for a time BUT WE CAN TALK ABOUT THAT LATER). He may not be as in tune with emotions as Mikey is, but he understands people.

And CL explores what would happen if you took the moralistic side of that personality trait away from him. I've always kind of maintained that Leo would genuinely make for a terrifying villain if he had less of a strict moral code, but CL!Leo really......showcases that to an extreme. He's really the first one to be overtly nasty towards Donnie, and even when Donnie questions it he immediately gaslight gatekeep girlbosses the shit out of him in such a ruthless way that it completely undermines his confidence from then on out. Watching him during the curse really was like not being able to tear your eyes away from a car wreck or something, it was beautiful and terrible all at the same time.

(Of course, now he's going to have to live the rest of his life knowing about how easily he could break someone down if he tried hard enough, and that's.....gotta be not entirely fun knowledge to be in possession of.)

YES EXACTLYYYYYYY..... like i know donnie loves villainous aesthetics and is occasionally a deranged little freak for fun but i still posit leo would be a LOT scarier as a villain. donnie may be capable of more but i think leo's opportunism and ability to psychologically profile people he barely knows (because he is not super acquainted with big mama at the point of many unhappy returns! they've met, like. what, twice? maybe three times?) and then use that to outwit and play them, even when big mama is established to be conniving,,, tell me that isnt a guy that would be capable of some utterly evil shit

[miniminijiminni]

save me house husband lan wangji, house husband lan wangji save me

[secretagentsloveblogs]

btw if u take hush outside to see the christmas lights, he looks like this

trust me i was there when it happened

[lidoshka]

AU where everything is the same except the cuadruplets have white hair.

+

I've been reading too much reddit; have a Sanji with lunarian DNA.

This changes nothing in the plot... except perhaps he can dye his hair Ramona style.

[astronnova]

thinking about the fact danny has a basketball goal over his bedroom door. thinking about that he has a basketball

i cant find a ss but i swear he also has a skateboard in there occasionally too. its so endearing to me that he likes basketball. i dont remember it ever being touched on properly, but here it is. his room is pretty inconsistent usually (windows appearing in random spots and shelves disappearing when they want to do a certain shot) so i cant remember how many times he actually see the little basketball goal but .... its there