#just a bit of canon evidence to back up that aspect of his characterisation

[magenta-somethings]

bruce canonically once brought an entire block, just so his son's his sidekick's gf wouldn't have to move out of the city. even after warning tim about letting having a love interest interfere with the mission

so put a tally in the bruce-using-his-obscene-wealth-to-help-out-his-kids column

(panels from robin (1993), issue #23)

[kryptonitecore]

Reread: ROM vs. Transformers: Shining Armor

I was unsure what to expect going in. On the one hand, I’ve seen lots of interesting panels from this comic floating around, but on the other hand I don’t have the highest opinion of a lot of the IDW1 crossover things and I didn’t have any prior knowledge of ROM. I’m happy to say I didn’t need a lot of prior knowledge and there were some very concise notes at the front laying down the basics. Honestly, I think perhaps ROM was an easier combination with the Transformers canon, given that it seems to have its own space opera and SFF aspects.

I immediately latched on to Stardrive like a gosling onto its mother. I may also be about to go down a rabbit hole of over-interpreting minor details, but here I go. Stardrive raises some interesting ideas about Cybertronian ageing. The IDW1 continuity doesn’t really account for a subadult period of life. There are ‘newer’ characters and periods of training and education, but not really a fundamental and distinct phase of life that would be equivalent to childhood or adolescence. Stardrive, surrounded by mostly organic species, is shown experiencing a childhood and is interpreted as young by multiple characters from multiple different species: she went to school, someone must have found her that purple cuddly toy, and characters like Rom, who tries to soften criticism directed her way, and the Dire Wraith, who claims she screams ‘like a child’, do not interpret her as a full adult. Admittedly, there’s multiple ways to interpret this in the story itself. It could all be down to socialisation, or, alternatively, it could suggest that there is a period of Cybertronian life (even if it’s relatively short…) that is subadult or somewhat ‘childlike’ and they just don’t mark it? That or the writers just wanted to make Stardrive seem cuter or more innocent, which… goal achieved, I suppose. It’s a shame we didn’t see more of this character, especially with that ending and the question of how, should she survive, these experiences might alter Stardrive given that she seems quite young and soft - not a pushover, but quite a soft person.

I still know nothing about ROM, but I have to say I was not expecting the Solstar Order to be as planet-destruction-happy as they turned out to be. I have to wonder how no one in the Order is questioning Livia a bit more considering… well, everything she says and does? I mean, she can barely hold back her contempt for her peers, let alone everyone else. I enjoyed the multi-sided conflict and it gave the story a nice sense of scale, though I am starting to wonder about the Galactic Council and their hatred of Cybertronians, which seems to be their only defining feature - I don’t know whether I find that a bit wearing or quite funny.

A lot of the images I’ve seen from this comic have been of Starscream and for good reason. If you like IDW1 Starscream, especially if you are interested in a more upbeat take on the character, this is well worth a look. There’s also an interesting sense of camaraderie among the Decepticon characters - some of their interactions are informal, there are nicknames, there are jokes, Astrotrain and Blitzwing are grudging friends, Starscream gets a bit territorial, etc. Also bringing villainous energy, there is ROM’s contribution in the form of Vekktral, who is just delightfully enthusiastic about his combination of magic and technology.

This book mostly escapes continuity traps, but the one thing that does come up is Ultra Magnus - specifically, this is NOT Minimus but someone called Convoy, despite being seemingly close to the modern era. Ultra Magnus’ characterisation is very, very deliberate - it’s even a joke at one point, where Bumblebee talks about how ‘Magnus reacted with a level head, as always’, immediately followed by a scream of ‘Annihilate them!’. Similarly, ‘They’re organics! They barely count as life, anyway’ is certainly a sentiment. It was actually quite entertaining to see evidence of such a wildly different version and a further exploration of the concept of Magnus-as-role rather than individual, however it does have the side effect of suggesting Minimus was not in the job for that long.

I honestly had a lot of fun with these issues. They’re relatively self-contained and might be a bit tonally dissonant compared with what was probably going on in the mainline comics at the time, but it had a lot of life to it, with great art, fun character moments, and it went well above what I expected from a crossover. It got a little cluttered towards the end, but otherwise I was pleasantly surprised by this!

[manekinoodle]

The Worst (TM) Pathologic Ship

A preamble is probably necessary here. This is written in good fun and is not meant to offend. Imagine me cackling obnoxiously while you’re reading. It’ll set the right mood.

TLDR: Andrey/Mark conceivably works as a ship.

How was this idea even born?

Y’know when you say something funny and then a friend says something funny and it keeps building up? That’s what happened. If you remember my little comic about Andrey teaching Grace to shoot, the dummy was in Mark Immortell’s likeness. The following conversation happened with regards to that:

>Peter was just trying to save Andrey from getting even more on Mark’s shitlist

>mark “oh please, if you want to use my likeness for target practice, just hit me up”

>Sounds like a date

>i mean you can’t shoot mark right

>OH NO

>Andrey/mark

At this point the gears started turning. My first thoughts were “haha cursed” as they are about a lot of things, and then I decided to hit up Wattpad for some terrible x reader fanfiction to help me write a Mark Immortell x reader fic.  I didn’t hit up Wattpad because I’m currently at home with my parents who dictate me a nice early bedtime. I slept on it for a bit.

The next morning, I screamed (internally) because somehow the Mark x reader idea I had slept on became a strong urge to write/draw Mark/Andrey. Ironically, of course. That’s my brand. Heh.

I chewed on the idea until it wasn’t so ironic anymore.

Actual stuff under the cut.

Ok, but why?

Look, this isn’t gonna be full of evidence or whatever since these two don’t interact, but this is a joke post anyway, so why do you care? I’m half-kidding, please keep reading. I used the wiki as a loose reference.

An important note is that I’m mostly taking my points from Pathologic 2 characterisations here, especially with regards to meta.

The Players

Let’s take a look at each character separately first. I’ll bring up important canon personality traits and personal interpretations which will play into the relationship dynamic.

Mark Immortell

The most relevant part of Mark’s character for this is his relationship with control. His relationship with it is straightforward in both the play and the meta. After all, he is one of the few impervious to the plague in the story and as the showrunner in meta. In between games, he wrests control of the metanarrative too, so there’s another point for him. I like how he seems to enjoy exercising his power too! He’s a Utopian through and through; he breaks the limits of the play and exercises control beyond what he should be able to as a showrunner in the game. In short, nothing gets on top of Mark Immortell. Figuratively. I think his back might say otherwise.

Andrey Stamatin

I have a lot more to say about Andrey! We’ll start with what lies on the surface, though we’ll get to the good stuff later. Andrey is the red oni to Peter’s blue; he’s the more outwardly aggressive and impulsive of the twins. In canon, Andrey’s character is about breaking the limits set in front of him. We see him do this quite effectively with the construction of the Polyhedron, but what happens when there’s a limit that can’t be broken placed in front of him? We never see this in either game. While both twins drown themselves in something or other that stops them reaching their full creative potential (at least when we see them), no limits are placed in a way where they’re seen actively having to tackle them.

We can get an idea of how an unbreakable limit might present itself to Andrey by taking a look at his relationship with Peter. There’s a lot that can be said, but I will focus on the aspect of control. Andrey fashions himself as Peter’s caretaker, taking control of the latter in a sense. This isn’t a bad thing, considering Peter can barely look after himself properly. On the other hand, Andrey allows himself to be dragged around by Peter’s creative visions. He’s the driving force that brings those ideas to life, sure, but ultimately his strings are being pulled by someone else. From this I think that Andrey is receptive to being controlled in a relationship. Being presented with an unbreakable limit can conceivably end up with him being pliant.

Let me make a slight detour by giving you a couple of personal thoughts on Andrey. Feel free to disagree on this since it’s all interpretation based on gut feeling. A good first impression to Andrey Stamatin would be having your figurative fangs out. A seemingly pure existence without hidden fangs is something that cannot exist to him (an exception can be made for Eva, since she’s so out there that it’s 100% not an act). I don’t believe he places sole value on honesty, per se (think Grief and how soft he actually is), but it plays a large part in his perception of someone. Basically, put your worst foot forward. Andrey is down for that.

How would this work, exactly?

On one hand, we have the meta-dealing Chris McLean himself, and on the other, Mr Andrey “I break all the rules” Stamatin. Let’s try and tell a short story, and I’ll bring up the points I made above when appropriate.

SCENE 1

Every romance must start with a meet cute. Refer to the comic I mentioned at the beginning. PETER has tackled ANDREY to the ground. GRACE is holding a fake gun. There is a training dummy with the likeness of MARK IMMORTELL.

Enter MARK. He calmly walks past the scene and examines the dummy. Impressed, he turns to ANDREY, who has since stood up.

MARK IMMORTELL:         Quite an impressive dummy you’ve made, Andrey.

MARK snickers. The focus is on ANDREY and MARK as PETER and GRACE slowly back away. They expect a fight. Just let them leave, they don’t do anything. PETER and GRACE decide to get some ice-cream off-stage, or maybe paint at home. Anywhere that isn’t here.

MARK IMMORTELL:         If you really wanted to use my likeness as target practice, you could have hit me up.

This was his attempt to provoke. I read this as Mark acknowledging his invulnerability, but this could also be read as an amorous proposal. ANDREY takes the bait and tries to intimidate this tiny little theatre man. He makes to kick MARK in the shin, but Mark’s valise finds itself under his chin before he can do so. ANDREY stalls. MARK looks satisfied with his reaction. He won’t be satisfied for long.

MARK IMMORTELL:         I hope you don’t mind me taking this. I’ll use it in my next show. Do come to see it, won’t you, Andrey?

He leans in towards the other. ANDREY tries to verbally protest, but he finds he cannot speak.

MARK IMMORTELL:         It would be quite a shame if you didn’t.

MARK calls a tragedian to pick the dummy up. As quickly as he entered the stage, he leaves with the tragedian. ANDREY’s gaze follows him, confused. Fade to black.

SCENE 2

The Theatre at night. Enter ANDREY, somewhat nervous. Well, he is nervous but doesn’t act like it. He’s hoping nobody asks him what he’s doing here. BACHELOR and HARUSPEX are chatting in a corner, noticing but not acknowledging Andrey’s presence. CHANGELING is on the second floor, looking down at the scene. ANDREY doesn’t notice her. She snickers into the camera.

Lights are cast on the stage and a pantomime plays out, featuring Andrey’s dummy. ANDREY watches, spellbound. I don’t have an idea of what the pantomime would be, so use your own imagination. After the show ends, only ANDREY is left in the Theatre. The three healers have left in the meantime. They knew what was going to happen. ANDREY, as if possessed, approaches the stage. MARK enters the stage from stage left and they stop in front of each other. MARK looks down at ANDREY almost derisively, but to his surprise, ANDREY just stares back. Beat.

MARK IMMORTELL:         I didn’t expect to see you here today, little shark pup.

Pet name? It’s Mark being a meanie! Andrey is eating this up, however, because overt control is something he can accept. Mark just established dominance over him in Scene 1 and he’s okay with not fighting back… If this was longer, I would have had him try to push a bit more, but we don’t got time for that. Back to the actual play.

ANDREY tries to say something, but it comes out as an unintelligible mumble. MARK lifts his chin up with the end of his valise so ANDREY is properly looking at him.

MARK IMMORTELL:         Did you say something?

ANDREY expects to be unable to speak again. He hesitantly opens his mouth.

ANDREY:                            (his voice cracks slightly) You… asked me to come, didn’t you?

MARK is taken aback (not visibly) by this honest admission. He (and probably you) expected Andrey to put up a small fight at least. However, this little puppet does not mind his strings being pulled. Mark decides to try and push a little harder.

MARK teleports ANDREY up on stage. ANDREY stumbles a little, but Mark’s valise still being under his chin steadies him. MARK pulls the valise so Andrey’s face is quite close to his again. I don’t know what to do from here, so fade to black.

The way I imagined the dynamic going is Mark teasing Andrey and trying to provoke him. Andrey does get pissy sometimes, but it’s extremely cute and low stakes, like teasing a pet. Then, at some point Andrey doesn’t get provoked which would throw Mark off guard. It’s a moment where two characters are going at each other and suddenly stop, allowing the weight of the moment to sink in. It’s in almost every romance story, but I can’t exactly put a name to it. Have enough of that, and we’ve got a nice rom-com on our hands.

Of course, this is just a theory. A Game Theory…

[nightslain]

Shipping Info Meme

Answer the following for your muse so people know how shipping works on your blog.

WHAT IS YOUR OTP FOR YOUR CHARACTER?

I’ve said it once before, and I’m coming back now with even more insight to say it again. Without a doubt, the utterly heartbreaking and tragic love between him and Mathias. The lovely @notte-la-lagna​ taking up the mantle for his character has only reinforced that much for me, and we have devoted many hours to this date building up from the groundwork that LoI somewhat paved out but left unfinished. Filling in the blanks left by the suggestion of their closeness has been a riveting and tear-jerking experience, following and developing these two through the course of a once unshakeable bond to the very height of an absolutely soul-crushing betrayal. Their relationship and the breaking point of which was not at all given the weight it truly merited in the game (not much was), and we have only affirmed that much in our lengthy discussions working to flesh out the largely nebulous friendship suggested in the games, the implications their relationship has for certain things in the canon, and so much more than I can put to words here without making this into an essay lmao. Their relationship may well canonically end in absolute tragedy, but the journey getting there as we see it certainly was not void of love or happiness, which makes it all the more devastating to see where they end up. 10/10, this is the hero/villain ship I’ve been dreaming of for years to satisfy my unquenchable lust for pain.

WHAT ARE YOU WILLING TO WRITE WHEN IT COMES TO SHIPPING?

Fluff, angst, drama, all the basic key notes you’d expect, really! I love a ship I can get deeply invested in and explore at length in threads and discussions, and bringing in challenges such as the immense drama found in Leon and Mathias’ relationship is a very rewarding if not wounding experience. You can imagine from that I have a soft spot for hateships already I’ll bet, and while I do love softer, gentler shipping experiences as well, I find that more turbulent story-threads tend to be more gripping and help deeply with characterisation. I’m a sucker for angst and heartache! But I need some good old fashioned fluff to balance out all the struggle we put our poor muses through too.

HOW LARGE DOES THE AGE GAP HAVE TO BE TO MAKE IT UNCOMFORTABLE?

It’s a stern rule that I want nothing to do with underage ships in any form or capacity, but other than that? As long as all the characters involved are consenting adults, I am not too troubled with age gaps at face value. 

ARE YOU SELECTIVE WHEN SHIPPING?

I certainly am! Over my time on tumblr, I’ve slowed down with shipping quite a bit to the point where I’ve been shipping with the same 3 friends for the past two years almost exclusively, simply for the fact these are people I’ve truly connected with and trust absolutely. I can’t jump into a ship with just anyone, whatever the context--unless both our IC and OOC chemistry are truly phenomenal right off the bat. I prefer to develop a friendship with my RP partners wherein we can really explore and build the relationship between our muses at length. Whatever the ship, whatever the person, I need some time to build rapport between us before getting invested.

HOW FAR DO STEAMY MOMENTS HAVE TO GO BEFORE THEY ARE CONSIDERED NS/FW?

As soon as the clothes come off is usually the cut-off point when Read Mores have to be busted out as far as I’m concerned!

WHO ARE OTHER THE CHARACTERS YOU SHIP YOUR CHARACTER WITH?

If we ever end up getting some backstory about Leon and Trefor, it’s probably safe to hedge your bets I will pay some serious mind to that (there’s fanfic about it already guys, can you believe it?) Because really, I’d love to know what kind of man would follow this fallen Knight out of the safety of France post-LoI and into the monster-laden Wallachia on a revenge-driven hunt for Dracula. That’s one hell of a good friend if nothing more!

And of course, we can’t forget the canon ship between Leon and Sara, even if that was as sorely underdeveloped as everything else in LoI. There’s no denying that he loved that woman, albeit; he abandoned every aspect of his prosperous life to rescue her, regardless of the ramifications, and to go running into Hell unarmed for the sake of her rescue certainly says a lot if nothing else does. Bad PS2 era storytelling aside, I was never in doubt of his love of her, and such a love more than shows its true colours over the course of the tale.

DOES ONE HAVE TO ASK TO SHIP WITH YOU?:

Yes! With my friends, of course ships come about naturally since we’ve been RPing and shipping for so long, we’re past the point of asking (half the time the ships end up just surprising us out of the blue), but on a more general scale? I prefer it if people just ask me if we can explore the possibility of a ship with my muse rather than just hinting towards it or coming at me right out the gate expecting our muses to be shipped together. Good communication is the first step to a good ship, after all!

HOW OFTEN DO YOU LIKE TO SHIP?:

With my regulars, honestly the sky is the limit. We’re constantly discovering new pairings or otherwise new aspects to our existing ships that make them all the richer.

ARE YOU SHIP OBSESSED OR SHIP MORE-OR-LESS?:

Obsessed with shipping with certain people, absolutely! When the experience is so stellar that you can talk for hours with someone and keep bringing in new content and ideas and ways to enrich your ship, or can seamlessly flow into a new one altogether, then of course I’m going to be heavily invested. 

ARE YOU MULTISHIP?:

Selective multiship! As you can probably gather from reading all this. His only active ship right now is (evidently) his ship with Nix’s Mathias and I don’t foresee that changing very soon, but the door’s still open to the possibility!

WHAT IS/ARE YOUR FAVOURITE SHIP(S) IN YOUR CURRENT FANDOM?:

Dracula/Lisa, Alucard/Richter and thanks Netflixvania for dragging me into the bottomless well that is Alucard/Trevor/Sypha. What an absolutely marvellous example of a potential OT3 fellas, a true rarity to be found in the media, I never want to stop watching them interact with each other.

FINALLY, HOW DOES ONE SHIP WITH YOU?:

Talk to me! Plot with me! Thread with me! Let’s just build some chemistry together between us and our muses and see where it goes, man! We need to start somewhere, after all.

Tagged by: @furnezh ❤❤❤

Tagging: @notte-la-lagna @bloodxsong & whoever else is reading this right now

[bewarethewolfarmy]

literally.. you missed out the entire meaning of the post dear. i played a whole damn lot of original characters and canon characters, i seen a lot. generally, if an oc has a faceclaim that it's over-used, they are 'bonkers; or 'only copying other ocs with that face' but if some canon character uses the same fancast all over again it's ok. if a canon character becomes canon divergent, it is a good thing, but if an oc changes something in their bio they are deemed 'not stable characterization'

(First thanks for telling me XD It’s always good to know what people honestly mean when they write something and I prefer to not make asumptions but it can be hard. Also this topic is one I think about a lot and getting different opinions is important to get a stronger view of it.

Based on my own personal experience as an online roleplayer for thirteen years, this is my point of view and why I disagree with the assessment in your post. Read-more for length:

-“ generally, if an oc has a faceclaim that it's over-used, they are 'bonkers; or 'only copying other ocs with that face' but if some canon character uses the same fancast all over again it's ok.” While there are some faceclaims that are used very often, primarily based off of the popularity of the faceclaim themselves, the actual hate I at least have seen those muns get over their faceclaims is not based off of being “bonkers” or “only copying others”. I don’t think I’ve ever seen anyone be called crazy for having a faceclaim; if you have then a) I am so sorry you have had to deal with that and b) it might be important to recognize that not all fandoms are created alike. While MANY are full of assholes (ex-Classic Who fandomer and watcher of the madhouse that is Gotham fandom), many also do not go into a screaming fit about a faceclaim. As long as they are live action if a live action fandom/animated if it’s an animated fandom; now THAT, considering my primary muse had an anime based faceclaim because of an unique aspect of hers, is something I know that fandoms do in shades and will scream about for ocs while also accepting a canon who happens to use an animated faceclaim because they happen to BE Animated (Shalka Master/Doctor was a huge example; I as a DW-primary oc got a lot of hate and dismissal and advice to “change my faceclaim” because my fc was Kanra from Durarara, meanwhile Shalka Doctor was accepted and still loved though because it’s a short ANIMATED episode set has to have animated icons (despite being heavily physically based on his voice actor Richard E. Grant and thus under the same laws should have been made to use his face instead)). I have since changed my fc because I got tired of being hated on for being “a cartoon”. But once more, I really have never seen any oc in any of the massive amount of fandoms I follow (I highlight because I recognize that I do not follow all and I do not see all and there might be many accounts of it; I simply talk on the level of what I see and know of as a roleplayer) and interact with (being a temporal/dimensional traveler is always useful for making new friends) be hated on for being a popular/over-used fc. In addition I’d like to point out that canons do get hurt by using the same faceclaim because that goes into the idea that “all canons are alike” and thus can make the roleplayer feel replaceable because they are for instance an Oswald Cobblepot using Robin’s face but there’s like ten or fifteen others and they are suddenly not special enough to pay much attention to

-”if a canon character becomes canon divergent, it is a good thing, but if an oc changes something in their bio they are deemed 'not stable characterization'“ I would like to bring up once again my canon character Robert James Finn also known as RJ and the argument I still have to have about him being a druggie. I don’t know why I have to do this but I have to constantly remind people that no, RJ does not smoke weed, he is not high, my headcanon for him is as someone who is naturally a bit loopy and immensely intelligent; he admits himself that he often talks the way he does to confuse his enemies which denotes to me someone who recognizes the usefulness of acting a part and his part is the man who no one suspects. Now I don’t get straight hate but does everyone respect my choice in having RJ not do drugs and make sure to actually keep that in mind talking to him? No. And in general “canon divergence” is a very weird term; canon by nature is highly about interpretation. For example: The Doctor and Master. There is many interactions between them since the introduction of Delgado!Master back during Jon Pertwee’s era and especially then the relationship is shown to be a very give and take. There is many points, then and throughout time, where you could say that the Master at the very least is in love with the Doctor and even argue that the Doctor does share this feeling; the famous Mind of Evil “You were within an inch of dying” scene is one of the best examples of evidence for this. BUT similarly there are other interpretations to this; the Master could simply be a sociopath not wishing to lose his best “toy” for example. Which is canon? I have most of my muses as non-hetero, Merrick Baliton being the biggest example; Merrick canonically has never shown interest in boys, only being in love with the princess Shayla, yet mine has fallen in love with and been with multiple males, primarily males at this point. Merrick would be canon divergent and I have no doubt that there are multiple people who dislike my Merrick, my Dillon, my RJ, my Riley, my Bigby (who goes completely against his canon love for Snow by not having her be his True Love like in the comics), my Karone/Astronema, my Sarah or any of my companions’ own interpretations of their muses; people may not be as vocal about it but the fact of the matter is that it does happen. (added while writing the oc portion after this) I can name at least one very good example of an canon who is HIGHLY divergent and has not been allowed to get away scotfree over it; the mun plays an underaged muse from a certain Disney movie involving superheroes and plays them in an incredibly sexualized and discomforting way, to the point that my talking about canon divergence being interpretative? Yeah that doesn’t apply to this guy. His muse regularly from others I have seen gets called out on the disgusting behavior the mun has him engage in and is not dismissed as okay and while there are those who do roleplay with them, I would note that while following them (because I rarely unfollow) I have never seen any of the other muses from his fandom so much as come near him. He is a pariah in his own fandom.

As for ocs being seen as not having stable characterisation, this I can understand but once more I debate the idea that it is so much more rampant than with canons. There are cases in which a mun might change things because they decided they found an easier or simplier way to explain it or because of pressure because of a variety of things (Mary Sue accusations, peer pressure, trigger issues, further education that ended up contradicting something, or simply because their muse did not agree with the mun’s interpretation and they didn’t find out until during a roleplay which has happened to me a lot and is fucking annoying, muses, stop it); these I think are generally accepted, primarily because the change makes sense or the mun explains what they did and why.  Now once more fandom-may-vary but even within the DW fandom (which is my go-to “WHAT THE FUCK” fandom in terms of treatment of members by members) a change when it fits well with the character is seen with a grain of salt but does not cause an explosive blowup. On the other hand there are incidents in which yes, there is bad or unstable characterisation; it is almost always bad roleplayers who are creating characters without care to actually making them something to roleplay with. You know the type and no, it’s very rarely the ones who actually get called out about it; it’s weird but they almost always also get away with it because they find people who don’t really care and just want to roleplay with them. They constantly change their muses and while occasional change is something we expect (all muses and all mun change with time), the sheer number of changing is often the bigger issue. Having a character that you cannot keep track of what their past is, not because they have none but because the mun every day or so is changing something, can make for problem in interacting, especially when you are trying to discuss important points about the muse and work through issues and grief but the traumas keep changing or disappearing completely. Stable characterisation in general tends to be a difficult thing to do at times and if someone does throw around the term “unstable characterisation” at an oc, then it’s perfectly right to throw back at them two words: “the Joker”. Then move on because that clown should and can shut down ANY argument about bio changes and characterisation. Just say your oc is the Joker and laugh your head off.

In closing, basically: I do believe OCs have it inherently worse than canons. There are prejudices against them, ranging from not liking the wording of the about page to disliking a specific faceclaim because it’s a person you hate/animated/too attractive/not attractive enough to fearing a pre-established relationship if their about does include mentionings of your muse to not feeling comfortable with certain genders/sexualities to just plain not liking ocs. OCs by nature do have to work harder to get seen and to get people to want to roleplay with them since they don’t have the “advantage” of brand recognition that most canons do. But canons have it tough too, having to deal with whether or not they have the right headcanons, whether or not they are one of a million or one of a kind, whether their primary fandom is tiny or large, whether or not they ship the right ships and hate the ones others hate, whether their faceclaim is okay to use or not, whether they are too divergent or just divergent enough. Canons have to make themselves seen too especially when there are a lot of the same ones. Canons have to work on their bios to explain who they are, why they are the way they are, fill in the gaps and explain the nuances so that they can shine as a character of their own instead of just “Cersei Lannister” or “Newt Scamander” or “Heckyl of Sentai Six” or “Jan Kandou”. All the things you bring up, while I haven’t witnessed any of that sort of stuff, I have no doubt is not just oc problems when I see canons on a regular basis being bashed because their Loki isn’t “right” or their Ivy and Jervis are in a relationship and it goes against the other person’s perception of those characters or their Kimberly is a little too open with her love or their Dean is too out there or because they have a muse that is traditionally straight but in their version is not.)