#rich texts

[notthequiettype]

watch now on prime

[ohtendril]

3.02 - 3.08

[superbat-love]

Bruce: Commissioner Gordon, I wasn’t expecting a visit this late.

Gordon: My apologies, Bruce, there are some things that I need to talk to you about regarding the Wilson case.

Bruce: No apologies needed, Commissioner. Please, have a seat. Would you like a cup of tea?

Gordon: Tea would be-

Bruce: ?

Gordon:

Bruce: Commissioner?

Gordon:

Bruce: Commissioner Gordon, is everything all right?

Gordon: Bruce, there’s a- there’s a ghost floating down your hallway…

Bruce: [turns to see a sleeping Clark floating horizontally out of his bedroom, wrapped up in his blanket]

Bruce: Oh, that’s just my great-great-granduncle Tom. He’s always haunting this hallway on Thursdays. It’s his weekly chess game, and he never got over that one loss. Poor Uncle Tom…

Gordon:

Bruce: Alfred, why don’t you go and see if Uncle Tom can be persuaded to haunt another hallway instead?

Alfred: Right away, Master Bruce.

[andatsea]

Dusk lingers in your hand.

--

Twitter / Shop / INPRNT / Patreon

[advanced-fangirlism]

[cuddlytogas]

So I accidentally almost got into an argument on Twitter, and now I'm thinking about bad historical costuming tropes. Specifically, Action Hero Leather Pants.

See, I was light-heartedly pointing out the inaccuracies of the costumes in Black Sails, and someone came out of the woodwork to defend the show. The misunderstanding was that they thought I was dismissing the show just for its costumes, which I wasn't - I was simply pointing out that it can't entirely care about material history (meaning specifically physical objects/culture) if it treats its clothes like that.

But this person was slightly offended on behalf of their show - especially, quote, "And from a fan of OFMD, no less!" Which got me thinking - it's true! I can abide a lot more historical costuming inaccuracy from Our Flag than I can Black Sails or Vikings. And I don't think it's just because one has my blorbos in it. But really, when it comes down to it...

What is the difference between this and this?

Here's the thing. Leather pants in period dramas isn't new. You've got your Vikings, Tudors, Outlander, Pirates of the Caribbean, Once Upon a Time, Will, The Musketeers, even Shakespeare in Love - they love to shove people in leather and call it a day. But where does this come from?

Obviously we have the modern connotations. Modern leather clothes developed in a few subcultures: cowboys drew on Native American clothing. (Allegedly. This is a little beyond my purview, I haven't seen any solid evidence, and it sounds like the kind of fact that people repeat a lot but is based on an assumption. I wouldn't know, though.) Leather was used in some WWI and II uniforms.

But the big boom came in the mid-C20th in motorcycle, punk/goth, and gay subcultures, all intertwined with each other and the above. Motorcyclists wear leather as practical protective gear, and it gets picked up by rock and punk artists as a symbol of counterculture, and transferred to movie designs. It gets wrapped up in gay and kink communities, with even more countercultural and taboo meanings. By the late C20th, leather has entered mainstream fashion, but it still carries those references to goths, punks, BDSM, and motorbike gangs, to James Dean, Marlon Brando, and Mick Jagger. This is whence we get our Spikes and Dave Listers in 1980s/90s media, bad boys and working-class punks.

And some of the above "historical" design choices clearly build on these meanings. William Shakespeare is dressed in a black leather doublet to evoke the swaggering bad boy artist heartthrob, probably down on his luck. So is Kit Marlowe.

But the associations get a little fuzzier after that. Hook, with his eyeliner and jewellery, sure. King Henry, yeah, I see it. It's hideously ahistorical, but sure. But what about Jamie and Will and Ragnar, in their browns and shabby, battle-ready chic? Well, here we get the other strain of Bad Period Drama Leather.

See, designers like to point to history, but it's just not true. Leather armour, especially in the western/European world, is very, very rare, and not just because it decays faster than metal. (Yes, even in ancient Greece/Rome, despite many articles claiming that as the start of the leather armour trend!) It simply wasn't used a lot, because it's frankly useless at defending the body compared to metal. Leather was used as a backing for some splint armour pieces, and for belts, sheathes, and buckles, but it simply wasn't worn like the costumes above. It's heavy, uncomfortable, and hard to repair - it's simply not practical for a garment when you have perfectly comfortable, insulating, and widely available linen, wool, and cotton!

As far as I can see, the real influence on leather in period dramas is fantasy. Fantasy media has proliferated the idea of leather armour as the lightweight choice for rangers, elves, and rogues, a natural, quiet, flexible material, less flashy or restrictive than metal. And it is cheaper for a costume department to make, and easier for an actor to wear on set. It's in Dungeons and Dragons and Lord of the Rings, King Arthur, Runescape, and World of Warcraft.

And I think this is how we get to characters like Ragnar and Vane. This idea of leather as practical gear and light armour, it's fantasy, but it has this lineage, behind which sits cowboy chaps and bomber/flight jackets. It's usually brown compared to the punk bad boy's black, less shiny, and more often piecemeal or decorated. In fact, there's a great distinction between the two Period Leather Modes within the same piece of media: Robin Hood (2006)! Compare the brooding, fascist-coded villain Guy of Gisborne with the shabby, bow-wielding, forest-dwelling Robin:

So, back to the original question: What's the difference between Charles Vane in Black Sails, and Edward Teach in Our Flag Means Death?

Simply put, it's intention. There is nothing intentional about Vane's leather in Black Sails. It's not the only leather in the show, and it only says what all shabby period leather says, relying on the same tropes as fantasy armour: he's a bad boy and a fighter in workaday leather, poor, flexible, and practical. None of these connotations are based in reality or history, and they've been done countless times before. It's boring design, neither historically accurate nor particularly creative, but much the same as all the other shabby chic fighters on our screens. He has a broad lineage in Lord of the Rings and Pirates of the Caribbean and such, but that's it.

In Our Flag, however, the lineage is much, much more intentional. Ed is a direct homage to Mad Max, the costuming in which is both practical (Max is an ex-cop and road warrior), and draws on punk and kink designs to evoke a counterculture gone mad to the point of social breakdown, exploiting the thrill of the taboo to frighten and titillate the audience.

In particular, Ed is styled after Max in the second movie, having lost his family, been badly injured, and watched the world turn into an apocalypse. He's a broken man, withdrawn, violent, and deliberately cutting himself off from others to avoid getting hurt again. The plot of Mad Max 2 is him learning to open up and help others, making himself vulnerable to more loss, but more human in the process.

This ties directly into the themes of Our Flag - it's a deliberate intertext. Ed's emotional journey is also one from isolation and pain to vulnerability, community, and love. Mad Max (intentionally and unintentionally) explores themes of masculinity, violence, and power, while Max has become simplified in the popular imagination as a stoic, badass action hero rather than the more complex character he is, struggling with loss and humanity. Similarly, Our Flag explores masculinity, both textually (Stede is trying to build a less abusive pirate culture) and metatextually (the show champions complex, banal, and tender masculinities, especially when we're used to only seeing pirates in either gritty action movies or childish comedies).

Our Flag also draws on the specific countercultures of motorcycles, rockers, and gay/BDSM culture in its design and themes. Naturally, in such a queer show, one can't help but make the connection between leather pirates and leather daddies, and the design certainly nods at this, with its vests and studs. I always think about this guy, with his flat cap so reminiscient of gay leather fashions.

More overtly, though, Blackbeard and his crew are styled as both violent gangsters and countercultural rockstars. They rove the seas like a bikie gang, free and violent, and are seen as icons, bad boys and celebrities. Other pirates revere Blackbeard and wish they could be on his crew, while civilians are awed by his reputation, desperate for juicy, gory details.

This isn't all of why I like the costuming in Our Flag Means Death (especially season 1). Stede's outfits are by no means accurate, but they're a lot more accurate than most pirate media, and they're bright and colourful, with accurate and delightful silks, lace, velvets, and brocades, and lovely, puffy skirts on his jackets. Many of the Revenge crew wear recognisable sailor's trousers, and practical but bright, varied gear that easily conveys personality and flair. There is a surprising dedication to little details, like changing Ed's trousers to fall-fronts for a historical feel, Izzy's puffy sleeves, the handmade fringe on Lucius's red jacket, or the increasing absurdity of navy uniform cuffs between Nigel and Chauncey.

A really big one is the fact that they don't shy away from historical footwear! In almost every example above, we see the period drama's obsession with putting men in skinny jeans and bucket-top boots, but not only does Stede wear his little red-heeled shoes with stockings, but most of his crew, and the ordinary people of Barbados, wear low boots or pumps, and even rough, masculine characters like Pete wear knee breeches and bright colours. It's inaccurate, but at least it's a new kind of inaccuracy, that builds much more on actual historical fashions, and eschews the shortcuts of other, grittier period dramas in favour of colour and personality.

But also. At least it fucking says something with its leather.

[yuwuta]

I HAD TO HAVE THIS TALK WITH YOU, CAUSE I’D HATE TO HAVE TO ACT A FOOL — MEGUMI FUHSIGURO

cw this exists in the same rich kids/boarding school au as this piece, which are slowly forming their own universe, implied (past) drug use/underage drinking, more of megumi being your guard dog everybody cheer

Megumi scowls as yet another phone call goes to voicemail. He’s been standing outside the racetrack for fifteen minutes, watching Yuuji absolutely pummel Aoi in polo, and waiting for you. He huffs, just as Yuuji loudly celebrates another point, thumbing a text to Yuuta, asking if he’s seen you all morning. Yuuji claimed you’d left him all by himself after your shared morning class, Nobara was still in Switzerland, and Tsumiki also seemed to be ignoring his messages. 

He needed answers, and quickly, because this is the free period that Muta and his goons also have free, and he would hate to go back on his promise to stop egging him so soon after you’d asked him so sweetly to knock it off. 

Yuuta (received 12:57pm) — She’s fine, Tsumiki and I are with her. Picnic tables outside of the building 703. — Warning, your least favorite upperclassmen are here too, but don’t make a scene. They’re annoying, but not trouble yet. 

Megumi squints, turning on his heels towards the large building opposite the racetracks. As he rounds the side that opens into a field, formally known as one the many lawns dedicated in the Gojo family’s name, and informally revered as your favorite lunchtime spot, he hears the familiar sound of Tsumiki’s laughter, and the unpleasant squawking of his least favorite upperclassmen. 

Seeing you, Yuuta, and Tsumiki sitting at the picnic bench under the blooming wisteria was business as usual; seeing Hakari and another senior infiltrating the seating arrangement was not. Megumi frowns, strolling up to the table to halt the conversation when he’s noticed by you, and sized up by the upperclassman. 

“Oh, uh—hey, I—good afternoon, Fushiguro!” the other senior has the decency to greet him, stumbling with their overly-chipper tone. Megumi eyes them and blinks. Their face is a familiar shadow to Hakari’s, but he never could recall their name, no matter how many times he had the displeasure of running into the duo.  

“It was,” Megumi drawls. He turns his head to face you again, “You’re late.” 

From this angle, you have to tilt your head up to make eye contact with him. There’s an innocence behind your eyes, genuine warning, weary concern; and still, so beautiful it makes Megumi’s thoughts venture elsewhere—only for a moment; he supposes he should be grateful for Hakari’s presence, just this once, because the interjection of his grating voice pulls Megumi back to reality. 

“Relax, Fushiguro, we were all just talking, having a good time,” Hakari whistles, a dirty grin on his lips, “Ain’t that right, Kirara?” 

Ah, Kirara. That’s their name. Megumi doesn’t have time to mull it over, or pretend to commit it to memory; the majority of his energy is focused on preventing himself from throwing a punch. Briefly, he makes eye-contact with Tsumiki, a silent warning in her eyes to not be violent; so Megumi looks to the other side of the table at Yuuta, whose hollow eyes are apologetic, but cautious. Megumi can tell they’ve both been doing their best to neutralize the conversation before he arrived, without setting off your own alarm bells. 

They’ve been patient, but he won’t be: “Get lost, Hakari.” 

“Whoah, no need to rush things. Come on, I didn’t even get a chance to invite you to our party yet,” Hakari’s grin widens, “I just figured I’d get your owner on board before I pet the puppy, yeah?” 

Tsumiki and Yuuta share a look. Megumi bares teeth to growl, rests his palms on the picnic table and leans over to deliver his message again, “Get lost.” 

“Kin, don’t be so rude!” Megumi can hear Kirara’s teeth chattering beside him, a chittering voice attempting to cut through the tension, “What—what he means is that you’re all invited, really!” 

Megumi turns his head, not to acknowledge Kirara or to back down to Hakari, but to look at you. He knows that you know that there are three options to how this ends, and given that he’s already got a strike in your book for bullying Kokichi, and that Yuuta’s route would cause significantly more drama than his, he’s hoping you’ll settle this yourself. 

He tilts his head just enough, raised eyebrows in warning and wait; and then, you give a conceding blink, a small sigh, part your lips to speak, still looking at Megumi when you say: “Hakari, Kirara, you two should grab lunch. They’re going to stop serving the hot food soon.” 

A command hidden as a suggestion. It makes the upperclassmen scowl, but still Hakari motions across the table to Kirara, and they both gather their belongings. “Whatever,” he scoffs, “You know where to find us when you want to have some real fun.” 

Hakari flashes you a wink over his shoulder before he and Kirara make their way around the building and towards the main dining hall. When they’re out of earshot, you smile, look away from Megumi, and back down to your lunch, grabbing the single, wrapped daifuku and tearing open the packaging, before looking back up to him with a smile, “Well, have a seat, Megumi. Join us.” 

Megumi scoffs, standing up straight again, “You’re supposed to be in a meeting with Gojo right now.” 

“I already had Yuuta do my bidding this morning, because he was so sweet to wake up before noon,” you reply, taking the desert out of the plastic, flashing Yuuta a brief smile before looking up to him again, “So I told him lunch was on me, and we ran into Tsumiki on our way. It’s so nice out, isn’t it? Come on, sit with us, enjoy the weather. Yuuta was telling us about the new coup he bought.”

Tsumiki chimes in about her lunch, looking over at Yuuta’s half-eaten tray and wishing she’d got beef instead of chicken. He offers her what’s left of his plate, and she politely declines, before Yuuta insists, pushing his food across the table to her, and you pitch in, putting the remainder of your sauce next to her. The three of you seem to easily pick up where your conversation was presumably before Hakari and Kirara crashed your lunch. 

Megumi’s scowl deepens. He knows that you know that he wants to know why Hakari and Kirara were here in the first place, he knows that you know that their party invitation was just a scheme to get you into trouble and get a rise out of him, he knows that you know he’s going to kick their asses six ways to Sunday unless you tell him not you. 

“Megumi,” you cut through his thoughts, words noticeably heavier, “Sit.” 

He rolls his tongue in his cheek, and you squint a bit, tilting your head to motion to the empty space beside you on the bench. You only spare him a sharp glance, before giving your attention back to Tsumiki, clapping happily as she shows you something she bought on her phone. 

With a huff, Megumi rounds the table, sets his bag down on the soft grass and swings his legs over the bench and next to you. Tsumiki turns her phone to Yuuta, and your attention is back to Megumi, breaking your daifuku in half and offering a piece to him. He puts an elbow on the table, leans his cheek into his palm, a defiant expression on his face you pay no mind to—you scrunch your nose with a deceptive smile, bringing the mochi to his lips, and opening your mouth mockingly for him to follow. He blinks at you, slowly; once, twice, a third time before his head dips every so slightly, mouth a jar, letting you place the dessert between his teeth. Only after he has it in his mouth do you begin to eat your half, sparing a hand to raise your arm and pat the top of his head, “See? That wasn’t so hard, was it?” 

Megumi tilts his head further into his palm. “You didn’t answer my calls.” 

“When you called, I was eating lunch. It’s rude to take calls when you have company,” you defend yourself. 

“Yuuta answered my texts.”

“Yuuta is scared of you,” you chirp, “And unlike you, he cares to not have write-ups on his transcript. He keeps his physical encounters off-campus.” 

“I am not scared of Megumi,” Yuuta scoffs, leaning over to poke at your forehead, “I’m scared of Tsumiki. And I did not want to be scolded for getting blood on her new Chanel skirt.” 

Between the two of them, Yuuta was certainly the more reformed one; it only took one incident of Tsumiki pulling at his ear and scolding him about using his words instead of his fists for him to actually listen to her. Megumi couldn’t blame him, Tsumiki was hellish when she was truly angry, and he feared Tsumiki as much as the next person, but he also knew how she had a soft spot for her younger brother; a mercy that Yuuta, Yuuji, and Nobara were not privy to when their violent streaks got the best of them. 

Besides, when Tsumiki couldn’t get to him, you were there to tug on his leash and reign him in. 

“Wimp,” Tsumiki coughs, “And simp,” she taunts her brother, “We ought to pick new bodyguards in our next life.”

You laugh softly at her teasing, but still, you rest your elbow on the table to mirror Megumi’s position, “You’re right. I call dibs on Yuuji.” 

Your joke makes the others laugh, and Megumi rolls his eyes as you all chuckle. Still, he shifts to lean his head against your shoulder, sly as he knocks his head against your neck and reminds you of a simple fact: “That’s too bad. You’re stuck with me, in this life and the next.”

[bruciemilf]

No thoughts, only AU where Thomas Wayne is the resident doctor from Park Row who occasionally curb stomps mobsters and cops

SAVE ME, GUN BATMAN, SAVE ME

[glittergroovy]

[emptyjunior]

Can I say how much I love how Ouran High School handles the rich boy/poor girl in love trope. 

Like I absolutely believe it’s discussions about classism and elitism to this Day still hold up! 

I will admit there is so much weird stuff in ouran😭, but we see the Handsome ‘Unlimited Money’ Male Lead a LOT in anime and I feel ouran gets a lot of points of the characterisation SO right, that a lot of other shows just don’t! 

Ouran does the whole love story/harem/all the boys want brown hair girl that we project on, trope. Like they do that, but they show that at the foundation, the root of all of it, those rich boys are JEALOUS. They aren’t approaching Haruhi with the need to protect and own her, at their core the rich are envious of her! Even though they have everything, they want what she has! 

Like we see in the real world with how the rich cosplay as poor! And say "ohhhh I'm so broke please venmo me for lunch" and wear their ripped jeans and strained sweaters and take pictures at the met gala with a box of McDonalds fries in their hand. 

The classist comments made towards Haruhi ARE comedic relief, but the joke isn’t on characters like Haruhi, the joke is on THEM. 

They are the ones who can’t do anything! They are the ones who are stilted and emotionally closed off! They are the ones who can’t make an instant coffee or go to a mall without help! 

THAT is why Haruhi is the center of this harem, why she is the one they’re chasing. They are jealous of her insight and world experience from living independently, from living a REAL life. That is her enviable trait. Haruhi GETS people! And they don’t. Their wealth has isolated them and now there is a barrier between these characters and the rest of the world and they have no idea how to navigate it. 

And this is the foundation of 90% of the problems/conflict in the show! 

The holiday ep when Hikaru has feelings because Haruhi reconnects with Nice Guy Arai? Hikaru says he doesn’t like this guy for all these reasons and most of them are like ‘he’s just some nobody from nothing who only knows Haruhi cause they went to some stupid public school together’. Like okay? Haruhi has all of those ‘bad traits’ as well but you still seem to like her?  

Because it’s not about that, it’s never about that, it’s not even about the love rival/romance angle (at least not completely).  

Hikaru is scared and embarrassed! He already was when they got there, when these rich boys crashed Haruhi’s summer to find out she is an employee here and she is working with her own two hands. This is not a break for her! And then he’s so worried when Haruhi and Arai find each other because what they have is so untouchable to him. Same background, same class, they can meet each other’s needs! And know the other's needs! And this is a chasm that Hikaru has no idea how to cross so he starts lashing out. 

And that episode concludes with Hikaru being told about Haruhi’s fear of thunderstorms, finally actually listening and empathizing with what that means, and then going to her and giving her the stuff she needs to deal with that problem (blanket, headphones, support, protection etc.). 

He has to LEARN that none of those poor people inherently know all this secret knowledge! They just care and ask each other stuff! You can ask Haruhi what she's afraid of and then help her with that! It was always this simple! Just because you’re not the same class as her and knowing her isn’t as easy as it is with people the same as you, doesn’t mean you’ll never know! Learn! Listen! Keep trying! 

Ouran shows their rich characters being hurt by their wealth. Their elitists mindset does NOT benefit them and they’re only narratively rewarded when they break out of it, THAT’S why the arcs are so good. 

(And also while we’re here, I LOVE when they do eps that show Tamaki’s character is actually a parallel of Haruhi’s. Tamaki grew up as an illegitimate child, hidden away in France with his mother. He knows what it is to not be at the top of the food chain, and he learns the skills to keep living! Tamaki is a survivor in a world run by a man who was ashamed of him and did not want him. That can destroy a child, but Tamaki doesn’t let it. He learns how to work people and he learns that belief in yourself is the most powerful asset someone can have. And this is the life experience he imparts onto Kyoya and this SAVES Kyoya, who was barreling towards a black pit of despair and chasing his father’s shadow. The ‘poor’ characters of this show have power that the rich people desperately desire, and in the end they learn that it’s not something you take it’s something you build for yourself.) 

[ghost-girl277]

jjk- They text you after a one night stand

(*^*)Characters: gojo, geto, nanami, toji

(*^*)feel free to request a smau or one shot, for now I’ll do jjk and demon slayer

(*^*)cont: suggestive

[fernhelm]

jegulus is more fun for me when james is at least a little bit of the cocky asshole he is in canon. i think him being a tad mean-spirited would make him much more relatable to regulus. he’s a prankster! he’s puck! i think he trusts his own interpretations of how others feel more than their own words. he’s a hopeless romantic and he’s writing a script for the love confession before the convo even happens. so good thing regulus is a grade-A bullshit detector and can knock james off balance in an instant. he’s goofy and charming but he will also push and push until he gets what he wants from you. and this would of course work on regulus (attention starved), but i truly believe it would piss lily off soooo bad. there is an element of performance to his behavior. he is always doing it for the studio audience. he’s throwing out cliché lines like he’s a romcom lead. he knows he’s hot. he does that thing where he lifts his shirt up to wipe his forehead and show off his abs. it’s the guy you want to hate but also begrudgingly respect in high school, and then could actually become friends with once you’re out. he’s a jock, yknow? that’s Sir Robin of Loxley. he’s never thinking about the power differential between him and severus, he sees himself as the knight in shining armor saving lily. insane levels of self-righteousness. this is why jegulus is the type of couple to have a big blowout fight and “go on a break” every couple of months, but ultimately be together forever. it’s what james wants— a relationship where they can break up and make up a thousand times and never doubt their love for each other. he lives for the dramaaa

[sexy-celestial]

Love yourself, take pride in your appearance, self reflect, sculpt your body, prioritise beauty, stretch regularly, meditate, journal, eat nutritionally abundant food. You have one body — optimise, nourish and take pride in it.

[ohtendril]

+ bonus

[starcurtain]

I wish everyone collectively understood aventurine’s character like you…things would be so much easier! I genuinely don’t understand how people keep getting his motivations wrong??? Could it be because some of the most popular Aven fanfics were written prior to his release? That could have contributed to some of the takes we tend to see about him…thoughts?

I struggled all day to come up with a concise way to answer this and couldn't think of one, so here, have a long-winded ramble:

I don't think early fic writers have much impact in the situation with Aventurine's character now, since most people can look at when a story was posted and go "Oh, this was before we had ____ information."

I think that Aventurine's problem is being a male character in a gacha game. Gacha game characters are designed to sell. Hoyo can sell female characters very, very easily. Give her huge tits and a visible underwear strap and you're good to go. I love all my guy friends, but I'm not gonna sugarcoat it: straight men are not the hardest audience to please. Hit a particular fetish (feet, spandex, dommy mommy), and you're gucci.

Nah, we all know why Jade's trailer is Like That.™

Male characters in gacha are harder to sell because women as consumers are a little harder to predict. Does every woman want a tall, ripped hunk? Shit, no, small cute boyish models like Aventurine are selling better now? Why?! Would a bad boy be more popular than a nice guy??? It's harder to account for women's tastes, especially because they are often (a little) less visually-oriented.

Hoyo is good at what they do though, and they've figured out that male characters sell very well when they possess at least one of two specific traits:

Endearing vulnerability/helplessness

Gay ship tease

Give a character both, like Aventurine? They might as well be printing money.

That sound you hear is Hoyo's stock prices rising.

So, from the very beginning, Hoyo is incentivized to create a character that appeals to people, a character people will want to crack their wallets open for. And they achieved this, first and foremost, by giving Aventurine traits that female players (in particular, but men too), find especially appealing: emotional and physical vulnerability.

We see Aventurine's pain. We sympathize with his grief. We identify with his struggle to make meaning of his difficult life. He's our woobie, blorbo, babygirl, whatever the hell they're calling it now.

He can't hide his suffering anymore. He's on the very edge. He's a dude in distress. He's surrounded by enemies! He misses his mama! He's been betrayed! No one understands him like you do, dear player!

The ultimate feeling evoked is: He needs to be saved.

When people talk about male power fantasies, I think they forget that women can experience them too, and "Emotionally vulnerable man that only I (or my favorite character) can fix" is actually a female power fantasy.

And from there it's really easy, right: the people who shell out cash to buy warps for their harmed-husbando feel like they've saved him; the people who are into mlm ships look for the nearest hot dude to be the savior Ratio was waiting for his time lol.

Morally and intellectually, this type of deep-down-golden-hearted, emotionally-wounded male character is very easy to digest. There is nothing to dislike about this type of character or role in the story: this character is a good guy who has just gone through so many terrible situations, whose victim status makes him endearing, and whose lack of agency means that any of the questionable or downright bad things he does are always the result of someone else forcing his hand, and never something he would have chosen himself.

His motivations are always clear and consistent: get free, heal, and live happily ever after.

Insert the Wreck-It Ralph meme: "Do people assume all your problems got solved when a big strong man showed up?" But to be fair, a big strong man did kind of solve Aventurine's problem, so--

Anyway, it's simple. It's straightforward. Morally, it's pretty cut and dry, black and white: Aventurine is our hero, which means everyone dictating the course of his miserable life is evil.

Hoyo is not remotely discouraging people from literally buying into this emotional appeal.

And trust me, I get it. I'll be the first to admit that hurt-comfort is its own entire genre in fandom because it is so appealing. People eat up Aventurine's tragic backstory like candy! The idea of watching a character go through hell at the hands of bad guys just to finally find a happy end is like the definition of everyone's favorite story.

In fact... people love Aventurine's suffering so much, they have invented whole new ways for him to suffer that aren't even in the game.

This is where we get all the headcanons that Aventurine was a sex slave, every single person he meets hates him because of his race, the Stonehearts are executioners holding knives to his throat, Jade enslaved him to the IPC with a lifelong contract, his material possessions belong to the company, the IPC is forcing him to take only the most dangerous missions where he is being required by his evil jailers to continually put his life on the line... You name it and I promise you, I can find a fanfic where Aventurine suffers from it. 😂

Bro can't even sleep in on his day off; life is so hard for this man.

Being serious: if the game is telling us that Aventurine is a victim... Why not make him the perfect victim?

Why not envision an Aventurine with no freedom, who bears no responsibility for any of the horrible situations he is in or any of the dubious things he does?

It's so natural to like that version of Aventurine, so appealing to see a totally powerless underdog use his own wits and charms to claw his way up to freedom. Or, if you're the kind who really relishes angst: It's even appealing to see Aventurine lose more. To delight in fics where he loses his wealth, where the IPC punishes him for past crimes while he's powerless to stop them... (I assure you, this is many people's cup of tea and the fanfics prove it!)

Ultimately, there's nothing wrong with liking characters who are exactly this straightforward! It's completely fine to embrace characters that are intentionally written to be morally above-board, whose primary role in the story is to generate angst by being a good person who suffers, or those characters who never show unlikable traits, bad decisions, or contradictory actions.

The problem is that that's just not who the game is telling us Aventurine is.

Hoyo may be capitalizing off people who love to envision poor Aventurine still living his life as a slave... But the game also needs to tell a complicated enough story overall to appeal to people who don't care about this specific husbando--Aventurine's role in the actual game's plot has to be interesting enough for almost everyone to appreciate it, not just Aventurine's simp squad. (Don't get mad, I'm in the simp squad with you.)

So his character doesn't stop at just being a pure-hearted victim who is still waiting to be saved.

Aventurine is not that easy to label, and I think the biggest struggle in this character's fandom right now is between people who prefer the even-more-angsty, still-a-slave Aventurine versus people who want a morally grey, self-destructive character instead.

To me personally, while I greatly understand the appeal of fanon!Aventurine and the joy of a really juicy angst fic where characters lose it all, I think that missing out on the depth that canon is suggesting would be a real loss on the fandom's part.

The character motivations that Aventurine shows in the game are complicated. They cancel each other out. They're basically self-harm! He makes almost every situation he's in worse for himself--on purpose.

He is a good person, but also a person who has done unspeakable things. He does have morals, but he's not above allowing those who don't have them to use him to their advantage.

He's both the victim and the victor. He's his own worst enemy. He's a lost little boy who's been making terrible decisions for himself since he was like eight years old, and a grown ass man who is barely managing to fake his way through an existence that destiny is not letting him quit.

This kind of character is a lot harder to embrace. He's done things that most people would find appalling--like willingly joining up with the organization that let his entire race be massacred. He's invented a whole new peacock persona to frivolously flaunt riches he doesn't even care about (Poison Dart Frog Self-Defense 101). He actively plays into racist stereotypes about his people to manipulate others through their preconceived expectations. He's made a mockery of his mother's and sister's hopes and dreams by endlessly trying to throw his own life away.

He has flaws! He bet everything he had on a ploy without doing his homework to find out if the people he was risking his life for were even still around. (Maybe he already knew, and couldn't bear to admit it, even to himself.) He's intentionally off-putting and obnoxious to everyone he meets (Poison Dart Frog Self-Defense 102). He terrifies everyone who gets close to him by (seemingly) carelessly throwing himself into the jaws of death without the slightest provocation.

He knowingly allows the IPC to exploit his power and talents for profit. Did everyone forget that his role in the Strategic Investment Department is asset liquidation?! Like, his actual day-to-day job is ruining people's lives. Canonically, Aventurine kills people when his deals go bad.

His motivations change off-screen in two lines of story text. We're told in one line that his biggest reason for joining the IPC was to make money to save the Avgin, then in the next line we find out that's impossible. And... then what? What motivations does he even have now? The whole point of his character arc from 2.0-2.1 is that he was on the edge of giving in to utter despair and nihilism because he couldn't even perceive a single reason to stay alive. He has no purpose in life before Penacony, and that didn't start with the Stonehearts at all??

People keep saying Aventurine was held in the IPC by golden handcuffs, but how do you tie down someone for whom profit is meaningless? What can you offer to a man whose only desire is to bring back something already lost forever? How do you imprison someone whose only definition of freedom is, canonically, death?

Working for the Stonehearts is obviously not healthy. But that's why Aventurine was doing it--because taking dangerous missions allowed him to put himself at risk. The job that he originally pursued hoping to save his people became a direct means to self-harm, and the IPC's only real role in that was just happily profiting off the results.

The journal entries for Aventurine's quests are there deliberately to tell the player what is on his mind, and none of it has to do with escaping from his job:

Like... Work is the least of this man's problems.

At really the risk of rambling on too long now, he's also just a massive walking contradiction:

Aventurine is among the most explicitly religious characters in the game, yet he's one of the only people in the entire game that we have ever seen actively question his people's aeon.

You might be tempted to think Aventurine's risky gambles with his life as an adult are a result of giving up after finding out about the Avgin massacre... Butttt no, Hoyo makes sure to tell us that even at knee-high in the Sigonian desert, Kakavasha was already willing to risk himself in a fight to the death against monsters because even back then he found his own life to have less value than a single memento.

He's the "chosen one" who will lead his people to prosperity... except they're all dead.

He's explicitly suicidal... andddd also a pathstrider of Preservation.

He wants to die... He doesn't want to die. He wants to make it end, yet goes to staggering lengths to continually survive. (Every plan risks his life on purpose--but every plan's win condition is also to live.) He life is the chip tossed down, but his hand is trembling beneath the table. When faced with an otherwise unsurvivable situation, Aventurine literally became a winner of the Hunger Games. He beat other innocent people to death with his own chain-bound hands just to come out alive.

He knows the IPC failed the Avgin and left them to die... and he still willingly sought out a position of power in their organization. Maybe he really is after revenge... but maybe not.

He starts his journey in the IPC with a truly noble goal in mind: to help his people using his newfound wealth and power. He's a good guy who did genuinely want to save the Avgin and repay all those who helped him. But once it became clear he was too late, once it was obvious he would have no use at all for that monetary wealth and power he risked his life to get... What did he do with it? Unlike Jade, we don't see him over here donating to orphanages. (I'm not that heartless; I'm sure he does actually do a lot of good things with his money on the side, but the point is that the game does not show us that--it shows us, over and over again, Aventurine putting on a wasteful, over-indulgent persona toward wealth. We've supposed to feel how meaningless money is to him, how meaningless everything is becoming to him.)

He outright refuses to use underhanded tactics or to cheat at gambles, which is meant to show us that's he's more morally upright than his coworkers. There's an entire exchange where he says that he'll never stoop to using manipulation the way Opal does. But... he doesn't have any issue fulfilling Opal's exact agenda. He was never remotely morally conflicted about denying the Penaconians their freedom by dragging Penacony back under IPC control.

He's willing to risk his own life, which is one thing--but he's also willing to risk other people's well-being. Topaz accuses him of constantly egging their clients on into dangerous situations; we've actively seen him shove a gun into Ratio's hands and pull the trigger with no care for how Ratio would feel about that on their very first meeting... Dragging the Astral Express crew into the entire Penacony plan in the first place was exceedingly dangerous...

To me, I just think it's vital to understand his character through the lens of these contradictions because they demonstrate the extreme polarity of Aventurine's life: from rags to riches, from powerless to empowered by multiple aeons, from willing to kill to survive to killing himself... He has quite literally lived a life of "all or nothing," and while he is the victim of many terrible situations out of his control, his arc as a character involves facing the truth of himself and the future his own actions are hurtling him toward.

Frankly, the Aventurine that canon is suggesting is a little annoying. You want to grab him by the shoulders, shake him, and say "Why are you like this?!" And he won't even have an answer for you, because he doesn't even know why he's still alive.

In the end, to me, this is so, so much more interesting. I can read an endless supply of hurt-comfort fics where Aventurine escapes the evil IPC and Ratio is there to fill the void in his life with the power of love and catcakes and be a perfectly happy clam online, but I want canon to continue to serve us this incredible mess of a man who constantly takes one step forward and two steps back.

Who is fully aware of his role as a cog in the grotesque profit-wheel of cosmic capitalism and still manages to say he never changed from the rags-wearing desert rat of the Sigonian wastes.

Who over and over again flirts with nihility but, ultimately, even if he has to wrest it from the grip of the gods themselves with bloody, chain-bound hands, chooses life.

[daddiesdrarryy]

Blaise: Can I have your number, Weasley?

Ron: Oh, sure, I want to! But I don’t have a phone or anything

Blaise: No worries

*an hour later*

Blaise: Here it is

Ron: That’s…a phone

Blaise: Yes! Now can I have your number?