#npd coded

[robintism]

shinonome ena: npd or bpd?

A while ago there was discourse (albeit, on twitter, where else would discourse be) about Ena’s cluster B coding. About whether she was NPD or BPD-coded and “what’s wrong with letting people headcanon whatever they want?” The thing is that you CAN headcanon whatever you want, but coding is something interwoven with the canon narrative that serves a purpose for the character. 

If we want to argue about coding, we must first look into what sets NPD and BPD apart.

NPD and BPD are both Cluster B personality disorder, characterised by unpredictable, dramatic, or intensely emotional responses to things. Outwardly, many of NPD and BPD traits and behaviours are similar. Their respective episodes can look like one another’s and many mistake one for the other. These two disorders are also incredibly gendered in the sense that NPD women are notoriously misdiagnosed as BPD, and the reverse being true for BPD men. Women and female characters who display Cluster B behaviour are more often than not, diagnosed with BPD without being given much thought or consideration.

This is the core of the issue with Ena. Many are quick to point out the Cluster B likeness of her behaviours, but are unable to properly pinpoint the intention behind it, which would become the crux to solve the question. 

MORE UNDER THE CUT

Ena’s motivations & fears

At the start of the Nightcord story, we can see that Ena is jealous of Mafuyu’s innate talents, and even angrier at her for saying that she has nothing, when she has everything that Ena has ever wanted. Ena struggles with empathy here (which I will touch upon more later) but the key to her character is very explicitly shown here – Envy. She is envious of what Mafuyu has that she can never be able to attain, because talent is something you’re born with. At this point in the story, she already wants to disappear because of her perceived lack of her skill, and her belief that she will never be enough for her father, and herself. So seeing Mafuyu, who has everything she’s ever wanted (on a surface level anyways) also want to disappear, angered her to no end. 

In case I wasn’t clear enough, Ena’s motivations are linked to her simultaneous superiority and inferiority complex, her ego. She wants to be better than everyone else, and can be critical of others, but any criticism of her is a blow to her ego. In a way, Mafuyu’s depression is like a blow to herself because “If I were you, I would never be as miserable as I am now.” Not only is she unable to empathise with Mafuyu here, she’s suffered a blow to her ego. Her and Mafuyu are uncanny mirrors of each other here–Mafuyu has the talent, Ena has the will but both are miserable in their respective standings because they lack what the other has.

On This Blank Canvas I Paint is, in my opinion, one of the best Ena focus events because it dives deep into her insecurities and issues, even if it doesn’t offer an immediate and complete resolution. This event shows us the first of her many hurdles, and how she dealt with it in the process. It also shows us her very first “crash”.

At first when she was at the top of the Art Class and getting praised, she was happy and confident. Then came the conversation with Papanome, where her entire worldview and confidence was shattered. She was shaken and her next composition was a complete bust, it was as if a switch had been flipped. 

Ena’s father is a bad father, and he shouldn’t have said all that in such a manner, but for the sake of this analysis let’s take a deeper dive into his words. Papanome, as a seasoned artist, has experienced the industry much more than Ena has. He KNOWS the reality behind the industry, and knew his daughter well enough to understand that if she kept going with that kind of mindset, she would’ve crumbled. And she did. 

The next time she went to class, she was criticised by her teacher, and he even points out her core motivation “If praise is all you seek” because all this time, she’s only ever been praised for her artworks. It was her primary motivation in this field, to the point that she grew complacent and stagnated without realising that her peers have evolved well beyond her. 

That realisation shatters her again, when she realises that everyone else has improved but her. Her sense of self-worth begins to deteriorate and she spirals, she even disassociates to the end of class and quits impulsively because she couldn’t take it anymore.

Basically, it struck her ego and she has a narcissistic crash. Narcissistic crash happens when a person with NPD becomes unable to uphold their grandiose, confident image due to a perceived fatal blow to their ego or reputation. This leads to a breakdown which manifests as angry outbursts, depression, withdrawal from others, irritable or defensive behaviour, and verbal or physical aggression. My understanding is that, internally the pwNPD feels a loss of self along with perceived rejection and abandonment. (Side note: I was doing some research thinking this was a splitting episode but it’s actually a narc crash, you learn new things everyday). This describes Ena’s crash and other outbursts really well. She tends to be very defensive and actually did withdraw from others, she even dropped out of her art class without warning after this incident. This is because her ego has classified the art class and her teacher as a threat to her image and self-esteem, so she needs to withdraw from it.

Again, this is the crux of BPD vs NPD. The key to BPD is the persistent fear of abandonment, while NPD has to do with the ego. None of Ena’s (coded) cluster B behaviour stems from a fear of being abandoned, or being unable to define herself. It stems from her need for grandiosity and her need to be important, successful and better.

Ena’s right to exist

Ena validates herself through the amount of praise (and therefore, also criticism) she receives. When her artwork was first criticised in her flashback in On This Blank Canvas I Paint, she loses motivation, her grip on herself and her sense of self-worth. When her artwork doesn’t gain traction on her social media, she posts selfies, which admittedly get a lot more views and compliments. While she is disheartened by her artworks not getting as much attention, because she does actually love art and drawing, she is able to in a sense, replenish her narc supply by posting pictures of herself. 

The Primary Narcissistic Supply is attention, in both its public forms (fame, notoriety, infamy, celebrity) and its private, interpersonal forms (adoration, adulation, applause, fear, repulsion). Any kind of attention, both negative and positive, contributes to the narc supply. Here, Ena taps on her own face card to boost her narc supply because she knows she will gain attention through it. She validates herself in these forms and lives vicariously through her followers’ eyes. 

This isn’t to say that there is anything inherently disordered or even wrong about wanting attention, especially attention online, but this combined with her other traits combines to form a bigger, narcissistic picture.

While BPD sufferers also have issues with their self-worth and identity, and may use similar methods to have a better grip on themselves, it manifests slightly differently. Borderlines are more likely to shape themselves into what others want, in order to avoid abandonment. Whereas narcissists are more likely to show off the more palatable parts of themselves while hiding their perceived weaknesses, so everyone will only see their inflated self. In a sense, both “manipulate” how others view them in order to feed into their personality disorders but in different ways and for wholly different reasons.

Narcissus flowers 

Also, Ena has a lot of association with narcissus flowers. In her 3rd anniversary redesign, there are narcissus flowers on the pattern of her dress. In her card, I Don’t Want To Give Up, she wears a flower crown made of these flowers, and they are also spotted on the pattern of her dress. One of her outfits from a card where she is explicitly shown to be painting, a card that represents the exploration of her character (since it’s a colourful festival card), is called “Narcissus Salopette''. 

Other than their obvious correlation to narcissism and by extension, NPD, these flowers represent Ena’s self-obsession and her need to overcome it to achieve something great for herself.

One of the official art also has this. 

Rin, in the Empty Sekai, is a direct manifestation of Ena’s feelings. Here they mirror each other, and Ena is shown as a reflection of Rin in the pond, much like the infamous Narcissus myth where he drowns to his death after falling into the pond from admiring himself too much. The myth of Narcissus warns us of self-obsession, to the point of neglecting the world and the people around us. We destroy ourselves in the pursuit of ourselves because we can’t see beyond it.

Ultimately, this isn’t to say that you can’t headcanon her to have BPD or relate to her if you don’t have NPD, but ignoring her very blatant narcissism coding is just really, really weird when 1) NPD is severely stigmatised 2) NPD women go under the radar by professionals and casual armchair diagnosers in favour of BPD.

[thecherubprince]

me the second i see a mean/destructive/selfish young character (they are 100% npd coded and i can feel the childhood neglect seeping from them)

[viveela]

A style comic I just had to get out of my system

[narcissisticpdcultureis]

NPD culture fucking hates Jimmy from Mouthwashing

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[bricky-brikson]

Thinking about the "trilion and 12 years old" joke about Bill and thinking about his psychological development after the Euclydia massacre

In the show, we see that while he can plan ahead and manipulate people, he's often foiled by his own impulsiveness/anger/emotions. His ultimate goal is to escape the Nightmare Realm/Dimension 0. And sure, he says this is because he promised the Henchmaniacs he'd help them, but ultimately as others have pointed out, Bill is terrified of death. He wants to live forever - have "a party that never ends with a host who never dies". All he cares about is himself, his own survival and hedonism

All this to say, Bill has the emotional development of a teen. He hasn't gotten past the self-centredness nor the reward/adrenaline seeking behaviour, but has emotionally evolved enough to be able to manipulate people and such (and be able to feel guilt, even if it's just a picogram). Though his immaturity shows when he doesn't get his way.

One might think that, being a trillion years old, he would've developed a bit, but here's the thing - major traumas can "freeze" people at certain developmental stages. We don't know how old Bill was when Euclydia was destroyed - though considering his behaviour I would bet he was a teen.

(Or whatever the equivalent of that stage is for his species. They have exoskeletons- do they have instars then? Whatever, that's not on the topic of this post)

Seeing his entire dimension destroyed after (what was probably) a well-intentioned attempt to show them what he saw ("They'll see. They'll all see.") permanently emotionally stunted him. However it was he got his powers, he was a teen/young adult with powerful abilities who had just erased an entire dimension from existence and was now accountable to no one but himself while also being deeply traumatized. His constant partying and implied substance use were probably the only coping mechanisms he could think of, dissociating because he has no idea how to actually confront what happened. The way he talks about the massacre - he detaches himself from it yet still admits guilt ("A monster."). Only post-divorce does he implicate himself in the event, though still obscuring its true nature ("I liberated them.").

Being surrounded by individuals who are similarly maladjusted for most of his trillion-year lifespan certainly didn't help things. The Henchmaniacs are likely somewhat stunted as well, or at the very least don't offer much in the way of mature/emotionally adult conversation, especially since Bill reacts so poorly (read: homocidally) to any sense of malcontent.

Which is to say, I think part of why Ford was important to Bill was because, compared to him, Ford was more emotionally developed (Ford is emotionally stunted in his own ways, but not as severely as Bill IMO). Subconsciously, their relationship was reaching a hand out to the scared teenager in the centre of Bill's psyche and offering him someone to lean on- someone who had their shit a little bit more figured out. A kind of figure Bill hadn't had since he killed his parents.

Of course, such vulnerability probably felt so alien that Bill tried to distance himself. I always wondered - why didn't Bill just lie to Ford about his plan to take over Dimension 49'\ ? Ford would've believed him, finished the portal, and Bill's plan would've been fulfilled. Well, I think it was Bill trying to burn the emotional bridge. In his own impulsivity, his own desire to dissociate instead of confront, he would rather make sure that he would never be able to be vulnerable to Ford than fulfill his grand plan.

...

I don't remember where I was going with this. There's no conclusion. I'm spinning this triangular multidimensional tyrant at physically impossible speeds in my mind and if I didn't write something about him my skull was going to turn into a fine powder. It's almost 2 AM, so it's entirely possible this post makes 0 sense, in which case feel free to inform me of that in the notes.

[agenderduck]

This is one of many posts I have planned on electricity. For this post specifically, I’m touching on the lack of autonomy the puppets have, and the unhealthy coping mechanisms and regression they fall into. If you listen closely, duck and red are talking about stain edwards, specifically how they had been used as a replacement for duck, in the background while yellow is preparing to climb the staircase. Considering the bigger boys actions later on in the episode, this feels more significant than just a joke or a piece of background dialogue (it probably is, just bear with me for the sake of over analysis). It’s a detail I don’t see brought up often, but an interesting one nonetheless. Not just because it’s funny, but because it serves as insight for what’s to come. This conversation is barely audible as yellow stares up into the black abyss above him. A divide between the trio is set up here, they are not on the same page. As yellow scales the staircase, base level red and duck fiddle with electricity. Theres a lack of care for the objects, or even living things around them showcasing that have that potential to do worse like the big and bigger boys. On a smaller scale, yes, but there’s a colder quality to the scene. Electracy warns them that what they’re doing is too much, but they are ignored. This ultimately leads to the power outage, spurred on by the two’s reckless over usage of electricity

The limited use of technology, and by contrast overconsumption is intentional, as it showcases a real lack of freedom. The puppets are stuck in a cycle regardless of what they do. They desperately want to feel in control of something even if it’s trivial. When they’re not doing that, the trio find themselves waiting for things like having access to a computer once a year. It’s worth noting that Colin is an older model of computer, as is pretty much every other piece of technology in the house. Interestingly, the trio do actually own a laptop, which is a lot more modern in appearance. They are never seen doing anything with it however. The few things that do take on a more modern appearance are either unusable or serve as a distraction. So the choice of duck having a hand held device in the void feels significant. It’s almost like a reminder to the audience that in theory, knowledge is right outside of their grip but they will never have it. Everything they do is limited.

The fridge scene is a rare moment where we see the puppets speak their genuine feelings, no strings attached. Not at all one sided or hollow. Duck and Red sit beside each other in the fridge scene knowing this is not something they’re allowed to have, but you can tell they want to scoot closer. They live in an unforgiving routine where the mere act of looking at each other feels like rebellion. They’re something more tangible and warm than their bigger counterparts, even if through skin made of cheap felt and faux fur. Compare this to the cold emptiness of the big and bigger boys and how duck and red seem to grow further apart despite always being paired together. Even if they’re sitting at a similar length in both rooms, the bigger boys seem to be magnetically pulled apart rather than together. The big boys sit side by side with their limbs tangled, in defiance maybe, but they don’t question their environment anymore and the walls have gotten smaller. The bigger boys live in a pseudo- futuristic prison. They have become the technology seen being fiddled with before. They play into each other’s antics, but lack any real emotion which greatly upsets yellow once he comes across them. He watches as they poke and prod at a suspiciously stain edwards shaped hunk of meat as their only source of entertainment, thinking that this is as good as it gets. Technology prodding at flesh. A parallel between Stain Edwards and the puppets can be drawn here.

Stain Edwards, in their initial appearance clearly craves more in life, but their sole purpose is to be moldable, to be shaped into anything the hands that grasp them want them to be. The trio are the same way, though they don’t know it. They’re obviously not aware of their true situation, but each of them have their own level of awareness, albeit in different areas, but that’s a different post for a different time. Red and duck comply and mold to their environments out of fear, a fear of losing that false sense of control. So, the bigger boys become the perpetrators of violence. They let bitterness consume them until they’re unrecognizable. Their egos get the better of them, fully encompassing them and leaving nothing but mechanical empty husks behind. Red and Duck are tricked into believing they’re in control, when in reality they’ve dug themselves into an even deeper hole than before. They expect yellow to join them, as this is just the way things are, and this horrifies him. Here before him are creatures that sound vaguely like his friends but in a completely unrecognizable form. Ultimately, no matter what form they take on, yellow’s urge to search for answers will always scare them. Yellow’s batteries means change, and change means bad things will happen. No more false sense of control. Yellow literally has his awareness stolen from him time and time again through his batteries. Without them, not only can’t he properly articulate himself, but he also can’t remember what happened before.

Yellow loves his friends, he knows that they’re flawed, and he can’t help but scale back down the staircase time and time again to help them. They’re all he has. He knows that they’re smart to an extent, but is that enough? Will they be able to handle it this time? I think he knows the answer to this already, though he desperately wants it not to be true. He knows that it’s not their fault that they get like this, but also maybe it is. Because truthfully the two like to let it get worse. Yellow sees the good in Duck and red and he wants them to do better, even if his efforts are in vain. Because the puppets do not have autonomy. He shreds the book because he can’t bear a reality where his friends don’t love him, but also because that’s where his strings are pulling him to begin with. He looks to duck as he does so knowing it will make him happy, as if to say he’s not wrong anymore. All he ever wants is to please him. Truthfully, that book had nothing that could truly help them , as such a thing doesn’t exist. Still there’s that small thought in the back of his mind that it could, and ultimately he chooses his friends over knowledge every time. It was never his choice to begin with. It was inevitably going to end this way, and a small part of yellow knows that, even if he can’t express it. The puppets are prisoners here, prisoners to another prisoner. She too participates in the same routines everyday, she too has strings that hold her back, but that’s a post for another day.

[fairytypingg]

the day ppl stop using "narcissist" as a synonym for "bad person" is the day i can rest in peace

[magpod-confessions]

fandom martin rep is incorrect!!! ON SO MANY LEVELS!!!!!!!!! he is a flawed character in so many interesting ways and people fail to see his more manipulative side WHICH IS WHAT MAKES HIM SUCH A GOOD CHARACTER

(not saying they’re totally wrong, just in the general way he’s though/spoken about)

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[lycoryspreachin]

barty is a narcissist. is it surprising? prehaps not, but what it is is very telling of his behaviour and upbringing.

narcissistic personality disorder is of course a difficult thing to describe or analyse over such short and relatively lighthearted writing but i will attempt my best.

barty's character takes various forms of materialisation in my mind and subconscious, however, there are specific traits i never fail to assign him. he is insecure, with no sense of self, has dramatic delusions of grandiosity and out of all the people who viscerally hate him he does the most. if we consider this hypothesis, we are swiftly presented with the scaffolding of what we can imagine barty's childhood to have been. we can easily paint in our minds the crouch's family situation. in the center of the canvas is an unattentive man, careless for nothing but his own grand ambitions. on his right, is a sick but beautiful woman, who heart only beat for barty's own, whose life has been sold and whose future holds only despair. her present, however, lies between her frail and pale hands, her only son. around the gracious trio nothing but high grey walls with cloudy and mighty windows giving out on a large and empty, dull, green land. with no stable structure on which to climb, the lonely child grabs on the unsteady and burning one, his mother. I'm fairly certain barty hates her, so much that he can only ever love her. she the poison in his veins, threatening his life and she is the very organ keeping him alive. her death was the death of his soul, he was sure of it. it left him wondering whether climbing that shaky rock to avoid the flood was worth the fall once it yeld under the stream. it was a humiliation to be alive and he would do all he could to never feel shame ever again.

younger in order to not distress and unleash his mother’s distorted bursts of emotions, he learned to observe her every move, and then everyone every move, he grew paranoid, until he couldn’t trust anyone, until he couldn’t value people anymore, except for his harem of gods of course. he had a very simplistic view of people, you were either absolute scum or absolutely divine and his view of himself often fluctuated between the former and the latter. he lies, he deceives, and he wants, he wants to be seen and heard and considered. he preys on those around him, and he will catch them because he always succeeds in everything he does.

the way he grew up greatly shaped him, or rather, his identity was never shaped due to it. he doesn't exist, he isn't anything and i would go as far as saying he views himself as dead. he devotes his life to the worship of gods he sees around. the god of knowledge, of beauty, of evil and voldemort ( maybe he saw him as the manifestation of all of the deities he followed for so long ). he had gone mad, and maybe he allowed himself to go mad, to be liberated and exist, freely, shamelessly, boundlessly. he sacrificed a life for eternity, an entire existence for a unique remembrance.

and i think within the context of his life he is somewhat dearly and betwitchingly admirable

[moonlit-dreamers]

how do ppl look at sun and how they portray him and not think hes a narcissist?

hes so npd coded and nobody says anything

he goes cough sniffle sob when not being payed attention to for more than 5 minutes, he becomes a living light bulb when complimented, and he also has shit self esteem and relies on other ppls praises to keep him afloat. he also latches onto ppl he finds interesting or who praises him or literally gives him any attention. hes also focused on his job and wants to be good so ppl will look at him in a positive light. also constantly feeling the need to be perfect and getting very upset when he isnt. i could go on and on and pull up the fucking dsm 5 but i wont unless prompted bc i absolutely will

and how much of this is projection? find out on the next episode of birdcage gives dca personality disorders *bows*

[taxi-boi]

free my man! he did all that shit but he was [stigmatized disorder] coded and all of his actions were the result of ableist/sanist writing decisions made by the author.

[writers-in-moominvalley]

Mythological parallels.

[seth-burroughs]

The difference between Yomi's and Halara's lovable narcissisms is that Yomi has narcissistic personality disorder that ruins his life everyday, while Halara has a narcissistic personality bordering on specially honed skill that aids them on the battlefield and emits a highly threatening and dangerous aura capable of destroying all detected empaths in their radius. They are not the same. I am not pitting them against each other they're doing that to themselves consciously and willingly

[rab1darachn1d]

does anybody remember this fuckass cat I hate

[narcissisticpdcultureis]

npd culture is seeing someone make a very well though out post about why they think a character has NPD (stanford pines in this case) and opening to comments to see “but he can’t have NPD he’s [insert positive trait that isnt antithetical to him having NPD]” or “yea it was so awful when he did [insert thing related to NPD symptoms] i’m so glad someone else sees this”

.

[foullittleberry]

I'm so fucking cool and great and awesome and you should all do whatever I say