#off my soapbox FOR NOW

[featuresofinterest]

god i hope the cpsc takes the shot. i think this would dramatically change their entire business model. amazon makes so much money by selling defective or mislabeled or just plain dangerous products and then faces little liability because this stuff is actually being sold by random third-party sellers that don't get vetted at all and can be hard to prosecute because they're in china or wherever. this is a big part of what makes amazon so powerful and it would be good for everyone if they were forced to bear more responsibility for the damages caused by the crap available on their website

[jaztice]

ttrpgs are poetry. to Me

To See With Eyes Unclouded By Hate | The Fall of Home | Uncanny | Shadow / Giant | Misspent Youth | Thorn | Eyes on the Prize | Cracker Barrel Has Fallen

[comradecowplant]

okay I promise to get off my soapbox on this issue but I just wanted to reblog once more to highlight the important points in my tags and also I can't stop thinking about how nasty it is to compare the fascist women hogging out over desantis & his abortion ban to the old ladies who are excited to have their life's work teaching & serving rural communities recognized by the leader of their country. Again, just a crumb of forethought before we post about countries we don't know about, folks. Just a crumb.

This staged photo looks familiar. What other authoritarian am I thinking of?

Republicans men are restructuring the lives of women as 'less than'. When you have no control over your body and must obey the State, you are not free.

[fourraccoonsinacoat]

Not sure if this is a hot take or not, but I'm going to say it. Astarion is more than his trauma and he doesn't need to be treated with kid gloves.

I say this as someone who relates hard with his backstory, and as someone who has heaps of C-PTSD from years of abuse.

I love his soft moments and absolutely think he deserves to be with someone who makes him feel safe, physically and emotionally. But, I also love that he's an asshole, is flippant, is egotistical, is rash and that he is flawed. It makes him into a fully realized person.

A person who, rather than being fixed, needs someone who will accept him and be patient with him. A person who, rather than needing a protector, needs someone who will give him a safe space to figure shit out and make mistakes.

As someone who struggles with sexual trauma and body autonomy issues, the way the fandom treats his character sometimes really makes me cringe. People with sexual trauma are still allowed to want and enjoy sex, whether it's with a longterm partner or a one-night stand. That's okay, just as long as it's their decision and they feel safe. People with sexual trauma are also allowed to be hot, and people shouldn't be made to feel guilty for thinking so.

Unless someone is being a creep, I'm always flattered when I'm complimented on my looks. It makes me feel good about myself and I'm not ashamed of that.

People with trauma are allowed to be strong, capable, successful and powerful. They are not damsels in constant need of soothing and saving. They are also allowed to be flawed, ignorant, rude and capable of making really dumb decisions. I've made plenty.

They are also allowed to be motivated by more than just their trauma.

Let's not take Astarion's autonomy away once again by making him into this fragile little lamb who is in constant need of hugs and soothing.

Let him be a sassy asshole who is capable of protecting himself and the people he cares about. Let him be more than just a damsel in distress and actually listen to him when he says he wants his autonomy.

Autonomy also means being seen as something more than a fragile babygirl in constant need of protecting.

[lavellaned]

Actually I think one of the reasons why this game is so awful to get through is how it treats abuse, abusers, and abuse victims.

Under cut due to length of rambling:

First of all, Morrigan. Abused as a child by her mother, Flemeth aka Mythal, learned about the world and how to interact with it in a skewed way. Was treated in a way that no child should be by anyone let alone their parent.

Fast forward to Inquisition, particularly a worldstate in which Kieran is alive. The scene in the fade where Morrigan confronts Flemythal is one of the most important and special scenes in all of dragon age to me.

Growing up through abuse as a child you never think "I don't deserve this", you mainly think things like "Why is this happening to me?" and "Bad things happen to me." You know that these things are bad and make you feel bad, but when your baseline for how you should experience the world is abusive, you don't have the point of reference to think otherwise. And then you grow up. You look back on the abuse through the eyes of the child who experienced it but also through the detached, adult view that you currently have and have to reconcile the two. It's not easier nor pleasant. Getting to the age your abuser was/getting into the position of power your abuser had over you is difficult. Being at that stage and picturing yourself doing what was done to you to someone else is fucking sickening, and then you start to realize "I wasn't the problem, it WASN'T my fault, YOU are the one that's fucked up." But a lot of people can't and therefore the cycle of abuse continues.

But Morrigan does. She straight up tells her abuser "I will not be the mother you were to me." To have a character who survived childhood abuse be able to reach a point in their life where they can take back their personhood from their abuser is pretty damn important, actually. To this day I get weepy just thinking about it.

And then fucking veilguard happened.

Not only does it not matter if Kieran is alive or if Morrigan drank from the well (something that would BIND HER SPIRIT TO HER ABUSER), but Morrigan straight up let Mythal hitch a ride in her. The very thing that Morrigan tried to prevent ever since the first goddamn game? And we're all just supposed to accept and be ok with this?

The only way I can see this not being a complete character assassination of Morrigan is if Mythal just straight up possessed her unwillingly/killed her. Have Mythal use Morrigan as a information receptacle for new players, but also use old players' already-implemented relationship with her as a way to manipulate them. Either way, shit sucks.

Then there's the Crows. You know, the guild who takes children from brothels, orphanages, the streets and puts them through Hunger Games levels of training in which they either die or survive to become a slave assassin for the rest of their life. Not in veilguard. We're all just one big happy family. We rule Antiva, yippee!

Finally, there's Solas. One could argue his entire existence is the product of abuse, and everything that has happened in Thedas is because of it. I think framing his regrets as physical manifestations that want to kill him is a really interesting narrative choice. Unlocking the regret murals was one of the very few parts of this game that invoked a strong emotional response from me, not just because I'm an unapologetic Solas Enjoyer but because the implications are heartbreaking.

And then the game has you sit through the most fucking unbearable CBT group therapy session to talk about them with some of the most annoying damn people in Thedas who treat the literal apocalyptic levels of abuse Solas went through for millennia as something like a joke? And we the player are not given the option to challenge this? This game makes the point to force the player to agree with the flippant attitudes brought up from this.

Then brings up the final scene with Solas. Do I think the meeting with Mythal and Solas was handled well? Yes and no, but that's for another time. Solas is so far in the trenches of the trauma of abuse that he will not stop until his abuser pretty much tells him "I'm done abusing you." I think this was good and bad, again another time.

The way Solas interacts with his abuser is the direct flipside of how Morrigan does. You see more than one way someone can heal/not heal from it.

Morrigan, someone with arguable little power in the world, stands up against her abuser unflinchingly.

Solas, described through history as a GOD, someone with unfathomable amounts of knowledge and power, cowers and offers his abuser a literal weapon to kill him with, unprompted.

If this was a good game, it would be about regret but also about survivor's guilt, something that those who survived abuse have to deal with for the rest of their lives. But it's not, because it's a a bad game.

[catboyposer]

make no mistake that emo/scene is a music based subculture because it is. But i feel like people are so quick to dismiss the "aesthetics" of it so quickly and regard it as something trivial and unimportant.

Scemo is art to me, both in music and in fashion and in visuals. Broken hearts and scratchy emo boy doodles with demon wings and slit wrists. crying anime wolves with swoopy bangs. checker boards and razor blades and poetry about how you are sad and alone because youre 13 and youre experiencing the horrors of the world for the first time in your life. scuffed up converse with fading sharpie doodles and that one thick rubber bracelet from hot topic thats about to snap from over use. overly complex blingees of skelanimals and Pon and Zi with glitter and rainbows and textures and screenshots of JTHM panels with lyrics poorly edited in the speech bubbles.

such a beautiful and unique form of self expression that you can only unlock by being your true authentic self that many people are bullied to grow out of lest they be labeled as tryhard fakedeep lolcows posted on r/im14andthisisdeep. but like you know what. it IS that deep! not many people stay making this kind of art for long. "its just a phase lol i was so cringe back then" well its not for me and it never will be. its so meaningful to me

u can be smug about the music all u want because i get it, its important to remember and acknowledge when discussing the subculture but dont act like the art isnt worth anything

[cartoonjessie]

Matangi's tone is taunting, but Maui's confidence hasn't been broken - yet. "And you'll finish it?" she asks, hiding in the shadows. "Team up with your precious..." Suddenly she's in his ear. "...human again?" Realizing Matangi can see right through him, Maui tries to strike at her with a grunt, but she's already gone. Her laughter fills the cavern, and Maui realizes he's made a mistake by showing her he cares. Trying to bluff his way out of this situation, he replies: "Team? You mean that girl with the canoe and that goofy little chicken? We weren't a team. I just used her to get my hook." Mini Maui, not bright enough to see what Maui is doing, gets insulted on Moana's behalf, slapping him painfully in the chest, to which Maui eyes him in frustration. If only his tattoo could play along, maybe they could stop painting a larger target on Moana's back.

[beifong-brainrot]

I've honestly always loved the scene between Zuko and Katara in the Crystal Caves during the Crossroads of Destiny, even though it's been kinda diluted by shipping discourse.

I love how this scene showcases how far Zuko's story has come, but that it still has a ways to go. It's also a great moment from Katara, showing off her compassion and kindness, despite her rightful anger at Zuko. And this moment of "reaching across the aisle" between two children who were forced into something much bigger and crueler than they could ever be apways makes me quite emotional.

But I'm kinda tired of seeing this scene in just that vacuum, when looking at it in relation to two other scenes makes it so much more interesting.

The first scene we can compare this interaction to is pretty obvious, since it's basically "the other half" of Katara and Zuko's moment. It's Iroh and Aang's conversation in the tunnel.

I adore this scene it's just such a vibe I too would like to walk through a tunnel with a nice old man who gives me good advice (even if said nice old man is a war criminal)

Of course the first obvious parallel between these two converastions is a member of the Gaang (two members who have been most affected by the fire nations actions btw) having a genuine, deep conversation with a banished member of the Fire Nation royal family.

I also think this conversation contrasts Katara and Zuko's conversation very well. It juxtaposes Iroh and Zuko, showing us how far Iroh has come and how far Zuko still has to go.

I think it's very symbolic that Katara and Zuko connect mainly on their pasts, while Iroh and Aang do about the present and future.

Two quotes in this conversation stand out to me particularly.

Iroh: Perfection and power are overrated. I think you were very wise to choose happiness and love.

It not only relates to Aang's current predicament, but it also foreshadows Zuko's dissatisfaction with his life after he returns to the Fire Nation at Azula's side. After Zuko helps "kill" Aang and take over Ba Sing Se, he has acheived what he believed would be his version of perfection, while also getting back the power he was born into. But he is miserable. He's dissatisfied, wracked with guilt and constantly second guessing himself and the world around him. He even says this: During the meeting, I was a perfect prince... the son my father wanted. But I wasn't me.

But Zuko was also unable to fully choose a simple life of peace and happiness in Ba Sing Se, choosing to fight Azula when she attacks him and Iroh. Because he still subconciously was searching for that feeling of power and wasn't ready to allow himself to prioritise things other than his honour. He wanted to fight Azula and prove himself, but he just eneded up allowing himself to be captured by the overwhelming force of the Dai Li.

While Iroh has learnt to see the merit in a simple life and actively rejects the power (for better or for worse) that comes with his status as a member of the royal family.

Iroh: I don't know the answer. Sometimes, life is like this dark tunnel. You can't always see the light at the end of the tunnel, but if you just keep moving, [Aang earthbends the rocks away one last time. Iroh's fire blows out. He smiles.] you will come to a better place.

Of course, this quote could relate to many things, including just the whole story of the show, but it also obviously relates to Zuko's redemption arc. Zuko's story is the epitome of continuing to slowlu crawl through a dark tunnel until you reach a better place. He stagnates and stumbles occasionally, but he keeps goingm and eventually gets there.

He reaches his better place.

It's interesting to see the contrast between Zuko and Katara's interaction and that of Iroh and Aang.

I think the scene in which Aang and Katara split off from Zuko and Iroh.

Aang and Iroh maintain eye contact, and Aang even gives a respectful bow. While Katara tries to make eye contact with Zuko, but he turns his gaze away, as if ashamed of his moment of weakness. Eye contact is very important is ATLA's visual storytelling, as I've spoken before in my post analysing the mutuality of Kataang's gaze.

I believe this scene foreshadows Zuko siding with Azula and Iroh siding with the Gaang at the end of the episode. Iroh and Aang have reached an understanding, and therefore, they are represented as facing each other and parting on good, respectful terms.

While in Katara and Zuko's case, Katara tries to make a similar connection with Zuko, however he rejects that connection. Ultimately this forces Katara to turn her back on him too, which may foreshadow her rightful anger at him in B3.

Ok, so the first interaction I want to metion gives us a bit of insight to Zuko, but what about Katara?

For that we have to go all the way back to B1, to an episode that I don't really see talked about in relation to Katara's story. Jeong Jeong is only the second friendly firebender Katara has encountered in probably her entire life, the first being Shayu, with whom she had very little interaction. Of course, I think this would at least give her pause.

Jeong Jeong and Katara's conversation is very short, but I think it had a great impact on Katara.

Jeong Jeong : You have healing abilities. The great benders of the Water Tribe sometimes have this ability. I've always wished I were blessed like you - free from this burning curse. Katara: But you're a great master. You have powers that I will never know. Jeong Jeong: Water brings healing and life. But fire brings only destruction and pain. It forces those of us burdened with its care to walk a razor's edge between humanity and savagery. Eventually, we are torn apart.

Jeong Jeong is the polar opposite of the firebender archetype Katara had in her head. He's thoughtful, disciplined and very careful with his firebending. Jeong Jeong's hatred of his own firebending also stands as a contrast to Katara considering her waterbending a vital and beautiful part of who she is as a person.

I always found it interesting that outside of Aang, Jeong Jeong was one of the first people in the series to respect Katara as a waterbender and see her potential, as he even connects her abilities to great waterbenders. It's especially a stark difference to how he treated Aang, the literal Avatar.

The way Jeong Jeong talks about firebending also reflects what Katara has seen herself of it.

Yet she pushes back at his self depreciation, showing that she still sees the value of his abilities. This foreshadows Katara's compassion for the people of the Fire Nation, especially when paired with Sokka's distrust of them.

I also think it's quite interesting that healing is often involved in Katara's attempts to connect with Fire Nation people. Her first connection is with Jeong Jeong, then she offers to heal Iroh, later Zuko's scar, she heals people in the village during the Painted Lady incident. Finally, the crowning jewel of this series of events is her healing Zuko after the Agni Kai.

This is especially poignant in the story of her and Zuko's relationship, with Katara offering her healing services to him twice, but being either rejected or interrupted. And finally she does heal him at the very end of the show, after he took lightning for her, symbolising a "bridging the gap", so to speak.

I think Katara and Zuko's conversation ties back to Katara's interaction with Jeong Jeong for a few reasons. Firstly, there's the obvious of Katara having a moment with a firebender with a facial scar. Also Katara's wording when she offers to heal Zuko's scar: instead of saying that she's a healer, she says "I have healing abilities ", which is exactly how Jeong Jeong described her power.

Ans once again, Jeong Jeong is the one to protect Katara and buy her time to escape, ehile Zuko betrays her. This once again just shows how far Zuko has yet to go before B3.

I've always thought that the way ceratain Avatar scenes intertwine with themes and similarities is very fascinating and fun to pick apart.

The scene between Zuko and Katara is profound, but I think it's often viewed in isolation, be it due to people wearing ship goggles or it just standing our more. But I think one of the reasons it's so wonderful is that it interweaves into so many other events of "reaching across the isle", of our protagonists connacting with firebenders. It's not just a good character moment for Zuko and Katara, it's a mark that connection and peace with the Fire Nation is possible, that it can be acheived, that it slowly is being acheived. Every one of these interactions is unique, but they all form a good foundation for B3, when we really get into humanising the Fire Nation civillians.

The scene between Zuko and Katara is beautiful not only because of what it is, but also because of what it symbolises: the hope of peace.

Ok this was "stating the obvious", once again brought to you by Quill in their pretentious humanistics student hat. I like to vomit words and some of you like to read them! So thank you if you have read them

[sparring-spirals]

I was initially clipping this to capture the overwhelmingly accurate, absolutely devastating hilarity of "you went for realistic, and sadly, you nailed it". And then just kept recording because I really fucking love the discussion about how to balance the line between like:

You are trying to tell a story that feels good and gives you the kind of lift you might be looking for in an explicitly fantasy story,

vs

How to ensure it still feels grounded and rewarding in a way where you can "bring this good feeling back to earth" at the end.

Like they're talking about TTRPG's but they clearly make parallels to other forms of storytelling/worldbuilding mediums, like movies, and. like. Yeah. Yeah.

Like the framing of "you really recreated the feeling of powerlessness..." and wanting the fantasy element to manifest in there being the clearer, straightforward ways to solve complex issues, vs trying to ensure that you can have a victory and it feels feasible and substantial and applicable in some way, and has something you can take out of the fantasy world and hold with you back on "terra firma".

Its tricky! Its a tricky thing to balance, and I don't think there's a single "right" answer nor should there be because it depends. It depends on the story, and the intent, and the setting, and the medium, and etc. Big fan of this framework to explain it.

[fallen-goldfishcracker]

Every time someone says Wyll is "obviously a straight man" an angel loses its wings.

[skateboardtotheheart]

"edwin is over 100 years old"

yes. technically.

except that he spent 70 years in hell. he was an inexperienced teenager when he died. he has spent barely 50 years of his entire existence, both living and dead, in the real world. hell gave him strengths and experiences but it's not real world experience. also, he does not age. nor does charles. they are dead. and despite having been dead as long as they have and doing all that they do, they still have the mindsets of teenagers. they make decisions and have emotional reactions and life discoveries of teenagers. is it possible that they do in fact mature over time? yes, and we see that throughout their story. but they are still teenagers at heart.

so yes, edwin is over 100 years old.

but he is 16.

[theeclecticrainbowwitch]

So, I really like Bacchus/Dionysus. I don't work with him or anything, I just like his queerness and feminist agenda. But there is something that has been annoying me... His staff is not a pine cone.

Here are some examples of said staff(held by him, some maenads, and his wife):

The staff is described as a pine cone with oak leaves around it, he is also said to be wearing an oak leaf crown.

Here's the thing, why would the god of wine and drunken parties have a pine cone with oak leaves?

The answer is that he wouldn't.

So what is this plant? You may ask, well as a gardener and plant enthusiast as well as a study of Greek art and myth, I give you:

HOPS!!!!!!!!!

This is literally what they make beer with, wheat and hops.... And Dionysus is the god of alcohol. So the reasonable assumption should be that this is the plant that he is holding!!!

But I can't find a single article about this! Not even any speculation!! Why!! It's driving me crazy so I thought I'd share it with you all.

(Now I can understand a little why no one has ever realized this, hops are like two inches long a piece so it is a giant hop, but he's a god!!! He could totally create giant hops!!)

[biancadoes1]

I’m just curious… do you have any insider tea or any rumors you hear that most don’t get to hear? Is that why you are so confident they are together or is it just the crumbs we get on social media?

You don’t have to spill the tea obviously! I’m just curious if you have any :)

I know just as much as you guys do. Also, no one on the inside of this situation is going to come to me of all people to feed me things. Don't get me wrong I'd LOVE that, who wouldn't, but it's just not something anyone should suspect is happening here.

People do come to me though but I don't speak publicly about anything in those conversations. If someone is messaging me privately, I'm assuming it's not something they want to talk about openly and I respect that.

I'm just very confident in what we've seen from Nicola and now Luke. When you really take a step back, stop combing over small, insignificant details and put it all together, you can really see it for what it is.

But also keep in mind that I'm speculating. We are ALL speculating. Everyone has their own beliefs about the ship and that's great. What you see me talk about and post about is what I believe. Some agree, a lot don't.

BUT REST ASSURED, anon, that if I had tea, I would NEVER share it with any of you. No offense but legit info should be kept out of the public fandom spaces. We've seen how fast shit spreads across all platforms. Something with actual fact and proof backing it up shouldn't be part of that spread.

[melandrops]

whispers softly Come here. No, come closer. A bit closer. Perfect.

I know neoliberal is just code for dumb stupidhead if you're a leftist who doesn't read theory, but I need all of you to know that Adjudicator Shrue isn't a neoliberal.

Neoliberalism specifically advocates for deregulation, for a free market with very little government interference and for privatization of various (traditionally government owned/regulated) industries. It's often associated with trickle down economics is a largely conservative ideology.

Where does Shrue give any indication that they align with these principles? Shrue is anti-war, pro government, and a highly principled person that is not driven by money.

I'd say that in season two, during the reelection campaign, Shrue presents more as a liberal identity. They're concerned with optics, with PR and with making the right move in order to get reelected. However they also stand by their principles and remain relatively honest. They want progress, but the progress they're searching for is far from radical and they're not particularly fussed about how soon it happens.

By the time we first see them in season 3, it's clear the war has radicalized Shrue a bit. They're jaded, tired and they never wanted the war to begin with but now they have to contend with it along with all the other remaining pieces on the board. They're moving more left on the scale. They stand out among the crowd as an "alternative voice" but they aren't too different, they still largely adhere to the same beliefs about sacrifice and religion.

At the point in the series that I'm making this post (post episode 39), it's safe to say that Shrue has been fully radicalized by the exposure to the full evil that encapsulates their government. It's unclear what policies Shrue will take from here on out in public, but in private we know Shrue does not hold any of the same conservative beliefs that the other politicians do. They hate the corporatism, they hate the money talk, and they hate the manipulation and the lies. This is no neoliberal.

I'm not just saying all this to sound like a nerd or like I'm smart. Shrue's political beliefs have genuine impact on the choices they'll make in the future and on the narrative. It's important to understand the media you're engaging in and the full weight behind it. You might think Shrue is an idiot, but they're not a neoliberal.

[a-very-sparkly-nerd]

Some of you guys REALLY need to learn the difference between EXPLANATION and JUSTIFICATION because they are BY NO MEANS THE SAME.

[discountsoysauce]

I don't understand the idea that Victor has no backstory. Like- yeah, his backstory isn't as horrifically tragic and detailed as Eli's is, but we do know a good bit about him from what he's said so far.

His parents are pretty successful, so we can assume he grew up rich. Victor states that they write all of these books about family but have never taken time out of their day for him, even saying something along the lines of the last time they put aside time for him was his birth (not exact quotes, I don't have the energy to look back through the books rn), so we can assume that they were incredibly neglectful, most likely leaving him at home for days, weeks, maybe months at a time and probably not paying much attention to him even in times when they were home. Whether they paid someone to take care of him in that time or he had to learn to be self-sufficient is debatable.

I personally don't think they were physically abusive, and there doesn't seem to be any evidence at present that supports that idea. Verbal abuse is more likely, but I still don't think it was the case. It doesn't seem like they were around him long enough to do either. I don't think those things really need to be a part of his backstory to make it interesting or compelling. His parents were neglectful, and it shaped pretty much everything about who he is.

The biggest and most obvious one is Victor's obsession with attention. There are multiple references throughout the books of Victor craving attention from those around him, namely Angie and Eli. More than anything, Victor wants to be seen. He wants to be a part of something. He wants to be remembered and acknowledged and thought about. He craves the attention his parents never gave him. He doesn't want to be left behind or forgotten.

Being left behind is another big fear for him (I'm mostly speaking about Lockland here, as he becomes a bit less dependent after he becomes an EO, though there can still be an argument made about him latching onto Mitch and Sydney and Dol and Dominic in a kind of makeshift family he never had). He hates seeing Eli succeed because it feels like he's being left behind. He wants to be so intertwined with another person that they can't possibly forget him. He wants to form a connection so deep that it's impossible to sever. To Victor, there's a connection between 'success' and being left behind. He doesn't want to just be an expendable sidekick or an accessory. He wants to be an integral part of someone. Victor's life revolving around Eli is a symptom of his upbringing.

His social skills and general demeanor are also something that can be analyzed. From the beginning, he's set up as the antithesis to Eli, from social class to backstory to appearance to demeanor. They're the same at their core, but opposites in nearly everything else. Compared to Eli, Victor is a total recluse. He hates being around people, he avoids parties, and we barely see him interact with or pay attention to anyone except the people he genuinely cares about unless he absolutely needs to. His demeanor is off-putting, and he doesn't really make an effort to hide that, although he does just enough to make sure he isn't a complete social outcast. Victor grew up in one home with no siblings and parents who were hardly around. Compared to Eli, who was carted from home to home, meeting new people and learning how to blend in all the time, Victor likely doesn't have much in the way of social experience. He didn't have to hide who he was nearly as much as Eli did because there was no one there to see it anyway.

This being said, he is described as being a good liar and able to fool those around him, although notably worse at it than Eli. This one is more of a longshot, but I don't think it's improbable. Victor's parents were successful published authors who garnered their success based on the books they wrote about family. It's possible that Victor had to make press appearances at some point when he was younger, and learned how to lie for the cameras, or he just spent so long out of the company of others that he started seeing other people as more objects to use and less real living people, making it easier to learn the motions of manipulating them. Either way, Victor learns how to do or say the right thing to get someone to believe him, but he states that Eli is much better at actually faking emotions than he is. This is because while Eli spent his life following his father's death surrounded by people and thus learned how to change his entire self to appear more presentable to the general public, Victor only learned how to manipulate people through speech or actions. He can tell you exactly what you want to hear, but he can't put on a fake persona the way Eli can because he never needed to.

In conclusion, Victor does have a backstory, and it informs every aspect of his character, including his relationship to Eli.