#so they developed this victim complex

[selkiesstories]

Ten Big Myths of World War I

[mariocki]

Honor Blackman guest stars as art expert Syd Lewis in Saber of London: Deep in the Heart of Chelsea (1.3, NBC, 1957)

[astuteology]

ִֶָ𓏲࣪𖹭ASTROLOGY NOTESִֶָ𓏲࣪𖹭

● Scorpio venus- gets sexualized alot. Many people would fantasize about these people but will not let them know. MANYYYY have crushes on them.👀

● Capricorn + Scorpio placements- are either very naive and easily influenced/manipulated or the manipulator themselves. BUT the way their mind worksss.. ufff... they get shit done, they have solutions to e.v.e.r.y.t.h.i.n.g. Can become a lawyer cuz mann you can't win against them. Everrrr.

● Capricorn/ aquarius or earth sign placements/degrees- you would rarely see them support astrology. They'll show interest if you're telling them everything good about their sign, as soon as you get to the negative part.... out the door🚶🏻‍♀️(although it's not always the case)

● In synastry if you have- venus square north node/ venus square saturn, venus square neptune, venus square uranus.... its not going to be a long lasting relationship. Cuz venus, the planet of love, is literally denied its main role. Degrees matter too, more than 5, can work. Less than 5, probably not.

● sagittarius placements- go from being fun and adventurous to being serious and mature. As the grow older, they start understanding life on a deeper level. Also, sagittarius placements are quite lucky (see where it is placed or where jupiter is placed.)

●Neptune/pluto/lilith/mars- on the ascendant, doesn't matter the aspect, GAIN ATTENTION WHEREVER THEY GO. People be turning their heads to look at you. You're random people's crush. And those who feel threatened by your presence, tries to spread false rumors about you or tell you that you're 'too bossy' 'too much' too this and that. They're just jealous cuz you got the IT factor in you and you not only gain everyone's attention but also their crushes 😌.

● Taurus placements- they have a very soothing voice. Their voice gain everyone's attention around them. Even if its noisy, as soon as a Taurus start saying something, everything gets quite. Its just the way they talk, they can have a deep or soft voice, but the way they speak is very beautiful.

● Libra placements- are superrrr nice. They're always there for you. They feel nice and happy when the people close to them are happy. Since libra is the sign of balance, they know when to be nice and when to be a bitch... so don't ever walk over them, You won't like it.

● I think aries and Capricorn placements- are the only placements that fear failure ALOT. Like ALOT. Even if they don't have a way, they'll make one. They have to do something, they can't just sit and relax, their soul won't let them.

● 12th house placements will know things beforehand due to overthinking. They would know if this friend of them is going to betray them. They start feeling uneasy somewhere in their body. With the 8th house placements, once they trust, they give their trust to you 100% and they usually gets backstabbed. Then they stop trusting people completely.

● Underdeveloped Scorpio placements- if your crush is a scorpio or has prominent scorpio placements, please stay away. They are usually involved with someone but keep it hidden. You won't know it until and unless they tell you, which they never. So its better to keep your heart safe than knowing at the end that they were involved with someone all this time.

● (in synastry) Underdeveloped scorpio venus and pisces venus- toxic, manipulative and narcissistic together. They talk shit about their close friends with each other. They turn against their friends. They develop, a kind of, superiority complex.

⋆⋅☆⋅⋆Dark side of underdeveloped placements:

▪︎ Capricorns- rude af. Very mean for no reason. They think they are the main character. No honey you're just a bitch.

▪︎ scorpios- fucking cheaters. One person is not enough for them. Very toxic. Will body/slut shame you behind your back. Oh and secrets??? What are those? Now everyone knows them.

▪︎ Aries- can yall stop playing victim card and become more mature and responsible please? What's with yall crying and throwing a tantrum to get your point proven right? Ridiculous. Also stop guilt tripping people.

▪︎ taurus- why do you feel good when someone has less than you?? Why do you judge people when you yourself are negative.

▪︎ Gemini- yall try so fucking hard to get attention. Yall really dont get a hint that your crush doesn't wanna talk to you huh? You irritate alot of people around you. Very pick me energy with this. And no youre not know it all.

▪︎ Cancer- these bitches ruin 'THE CANCER' reputation. They go around lying about everything. Share someone else's secrets'. Puts blame on the other person.

▪︎ leo- yall need to be humbled very bad. Everything depends on your mood and self esteem huh? Yall throw people's past on their face in front of everyone when yall get pissed. Istg you feel better and satisfied when someone is put down in front of you.

▪︎ aquarius- please shut up with the false conclusions. Yall never accept your fault. You fuck up someone's mind then tell everyone they're crazy for acting like that.

▪︎ pisces- no not everyone is in love with you. Get out of your head please. Stop messing with people's feelings' and mind. Stop being avoidant. Stop being a bitch.

▪︎ virgo- DONT force your thoughts on someone else. Dont criticize them for having their own thoughts. Anyone can have different thoughts. And stop trying to subconsciously control people. You make people walk on egg shells.

▪︎libra- stop being 2 faced. Youre not everything a person desires.

▪︎ sagittarius- you make people fall for you then use them and throw away. Say it with me bitch...... people 🔪 are🔪 not🔪 for🔪 fun🔪. Also even if you have everything, yall still act like you got nothing. You dont help people. You only care about yourself.

—–- ⋆⋅☆⋅⋆ ––—

Thank you 🩷

[logansdoll]

ivy, l. howlett

typically saturdays are for relaxation... not treating car crash victims.

CW: canon typical violence, gore, guns, mutation, profanity, innuendos, mature themes, mentions of sex, y/n is very poison ivy-esque, jean grey exists but is not present, etc.

The longer you lived in the mansion, the quicker you realized you'd never get a true day to yourself again.

You tied up your hair with a heavy sigh, the click of your heels loud against the steady beep of the man's EKG.

Calmly, you glanced at the monitor, soft eyes combing over his QRS complex in an attempt to double check for any abnormalities.

His mutation was one you had never seen before, and you wanted to make sure it didn't affect the efficacy of your data.

Despite being a victim of a nasty car accident, his heartbeat, along with his many other vitals, were ones of a person with a perfect bill of health.

'A healing ability along with his claws?'

Looking up, you held your hand out to the small philodendron across the room, using your power to grow one of its stems and reach toward the table, grabbing the parts for a syringe and bringing it to you.

"Thank you, Phil," you hummed, carefully returning him to his pot.

What would really back up your hunch would be a blood sample...

Expertly, you assembled the injector, doing so with perfect ease as if you'd done it a hundred times before—which you had.

Once it was done, you gently slid your hand under his arm, turning it over to reveal the veins near the crease of his elbow.

You held the needle at the ready, just inches away from pricking his skin, before thoughtlessly glancing up at his face.

For about the sixtieth time in the hour.

'Damn...'

He was absolutely, positively gorgeous—the handsomest man you had ever seen.

Rugged, hunky features with sexy facial hair to match, paired with thick arms, delicious pectorals, and abs carved out of stone.

'You've had a chance to gawk... now back to business.'

Clearing your throat, you quickly shook yourself out of it, refocusing on the task at hand and pressing the needle against his skin.

Big mistake.

In an instant, he was awake and jumping off the table, the shock forcing you to drop the needle as he grabbed you, slinging his arm around your neck.

Eyes wide, you quickly reached out to Phil, the small plant quickly growing humongous right before your eyes.

The mystery man stared at it, brows furrowed in confusion, until one of its newly acquired vines shot straight for his head, forcing him to let go of you and dive out of the way.

Gasping for air, you thankfully clutched your throat, attempting to catch your breath as Phil's limbs chased the man out into the hall.

'The professor'll stop him from hurting anyone upstairs... hopefully Phil can grab him before then...'

Slowly starting to recover, you grasped the table's edge, using it to hoist yourself back up on your feet, grumbling to yourself about how rough he was.

Suddenly, the vines began to recede, one of them resting on your shoulder and blooming a flower.

"He made it to the elevator?" you parroted, turning to the plant and catching the blossom as it gracefully fell into your palm, reporting the new development.

You let out a knowing sigh, already able to foresee the scolding you were about to receive from the team's leader.

"Scott's gonna kill me..." 

Why did shit like this always happen to him?

It was beginning to become routine for Logan to wake up in unknown places, with people he's never seen before, yet people who seemed to know everything about him.

"I'm Charles Xavier. Would you like some breakfast?" the old man in the wheelchair asked, cool as a cucumber despite the strange man standing in his office.

"Where am I?" Logan asked, brows furrowed and eyes flicking around the room in an attempt to find some sort of clue.

"Westchester, New York," Xavier answered, wheeling out from behind his desk. "You were attacked. My people brought you here for medical attention."

"I don't need medical attention."

The old man made a small smile, "Yes, of course."

He seemed to have an answer for everything...

Suddenly, the memory of a little stowaway popped into Logan's head, reminding him of the precarious situation she was in.

"Where's the girl?" he asked again, still looking around.

"Rogue? She's here. She's fine."

"Really?"

Just then, the door opened, a woman with stark white hair strutting in with a man—who had the weirdest sunglasses in the world—at her side.

"Ah, Logan, I'd like you to meet Ororo Monroe, also called Storm," Xavier introduced, Ororo greeting him with a soft hello, "Along with Scott Summers, also called Cyclops."

Scott held out his hand to shake, but was met with a suspicious glare that held little to no warmth at all.

"They saved your life."

That is... until you came walking in after.

"And I believe you've already met Dr. (y/n) (l/n)."

His eyes flicked to yours, and there he saw the most beautiful woman he had seen in a long time—and trust, he had seen plenty.

The way your curls framed your face...

The way your clothes accentuated your figure...

The way your skin seemed to glow, despite being indoors...

You looked like you stepped out the pages of a beauty magazine, or the screen of a blockbuster movie.

'Damn...'

He wasn't one to stare, but you made it hard not to.

"You're in my school for the gifted. For mutants," Xavier continued, stealing away his attention. "You'll be safe away from Magneto."

"What's a Magneto?"

"A very powerful mutant who believes that a war is brewing between mutants and the rest of humanity. I've been following his activities for some time. The man who attacked you is an associate of his called Sabretooth."

"Sabretooth?" Logan raised a brow, amused.

The professor nodded, and Logan quickly turned to Ororo, pointing, "Storm," he clicked his tongue.

He faced Xavier again, donning what seemed like a rarely occurring smile.

"What do they call you? Wheels?" 

Letting out a dry laugh, he started toward the door, done with the conversation.

"This is the stupidest thing I've ever heard."

But Scott didn't move out of his way, instead standing firm in his place.

"Cyclops, right?" Logan grabbed him by the shirt, roughly. "You wanna get out of my way?"

"Logan, it's been almost fifteen years, hasn't it?" Xavier stopped him. "Living from day to day, moving from place to place, with no memory of who or what you are."

Logan whipped around, facing the professor with a sharp glare, "Shut up."

"Give me a chance... I may be able to help you find some answers."

"How do you know?"

On cue, Xavier's voice began to echo in his mind, whispering words that didn't seem to come out of his mouth.

'The hell...'

"What is this place?"

By the professor's powers of persuasion, he managed to calm Logan down, filling him in on everything about Xavier's School for Gifted Youngsters and convincing him to compromise long enough for you to finish your tests.

Which was why he was now back on your work bench, staring up at you intensely as you removed the small, plastic patches from his skin.

"I'm sorry," he blurted, seemingly out of nowhere—but he honestly felt guilty for nearly strangling you to death.

You knew that... but you wanted to hear him say it.

"Sorry for what?" you asked, innocently, as you plucked off the last few.

"If I hurt you," he clarified, pointing to your neck.

Pleased, you gave him a warm nod, flashing a small smile before turning and starting up the MRI.

Maybe he wasn't so bad after all...

"So... you couldn't wait to get my shirt off again, huh?"

'Never mind.'

You glanced back at him, letting out a soft scoff at his gall before pressing the button and sending him sliding into chamber, abruptly.

Once he was fully in, you headed over to the viewing room next door, where the others waited for you to explain what they were seeing.

"The metal is an alloy called adamantium. Supposedly indestructible," you started, looking at the X-rays of his skeleton. "It's been surgically grafted to his entire skeleton."

"How could he have survived a procedure like that?" Ororo asked, concerned.

"His mutation," you answered. "He has uncharted regenerative capability, which enables him to heal rapidly."

You crossed your arms over your chest.

"This also makes his age impossible to determine. He could very well be older than you, Professor."

"Who did this to him?" Scott asked.

"He doesn't know, nor does he remember anything about his life before it happened."

"Experimentation on mutants," Xavier sighed, thoughtfully. "It's not unheard of... but I've never seen anything like this before."

"What do you think Magneto wants with him?" you asked, worried.

A face off with him would spell doom for Logan.

He could very well just rip the metal bones right out of him, form a skewer, and impale him with his own skeleton.

'Gross...'

The thought made your stomach churn.

"I'm not entirely sure it's him Magneto wants..."

[prideprejudce]

I think alot more people would enjoy the show if they learned to see Rhaenyra and Alicent as Unreliable Narrators, and characters who are supposed to have glaring flaws and weaknesses.

Mandatory preface- There are Issues™️ with season 2 that are its own other ask- but the complaints ive seen about character assassination on both women kind of tells me ppl just wanted to see the two just GirlBossing around, not being tragic characters trapped in their own circumstances.

For Alicent specifically- she just isn't written to be Cersei 2.0, and while it was really interesting to see motherhood from cersei's point of view, its already been done!! I actually prefer seeing Alicent's mercurial clinging to and abandoning motherhood- its interesting!! She was made a mother at what- 15? An age where you truly arent mentally developed enough to raise 3 kids, AND be a child bride, AND be a queen, (AND be a lesbian).

Alicent is interesting to me because she's stunted at 15 years old, she's an adult woman who talks to and sometimes bullies her kids as if they are her peers, and is obsessed with her childhood crush(es). She hasn't built any new relationships* past the ones she was entangled with as a teenager, she's obsessed with both acting out to make SOMEONE see that shes suffering, (she's honestly pretty blatant for someone who prides themselves on being the Temperate Voice of Reason) but also to erase herself and reset to before she had to marry the king, before aemma died.

I think most of her 'bad out of character' decisions are just these two impulses winning out, her trying to force a reset, go back to a time where none of this had happened yet, when things were simpler and she had love and every day wasn't the worst day of her life™️.

She sleeps with cole, the man she thought was pretty at 15 (her last uncomplicated attraction just before it all went wrong and aemma died) -she doesnt seem to like it that much, but she does seem compelled to seek him out, esp when upset- shes obsessed with, and desperate to reconnect with Rhaenyra, her childhood best friend (and first love) and get back to where they were as kids, AND she still treats and asks her father for absolution as if he's still the only authority that matters to her just like she did at 15. Alot of her 'victim complex/bewildered they took it so far' behaviour in the plotting of rhaenyra's usurption reads to me like a teenager in over her head, she talked big game and now its real and shes panicking!! She's tragic BECAUSE she's still a teenager- so stunted shes unable to meaningfully grow up and learn to make healthier choices for herself, or move on and stop trying to grasp at the 'if i could just go back' urge.

As a mother, I think this creates an interesting dynamic as well, and I do like that in the casting even, she seems closer in age to her kids than rhaenyra does to hers. I think the contrast ppl are drawing with Alicent Protecting Her Kids in season1 compared to her giving them up in season two isn't bad writing to me, just massive differences in context. Sure she protected Aemond in driftmark, but we cant ignore that she probably felt humiliated by her husband choosing rhaenyra's side over hers in front of everyone, did it seem like a grown woman fighting for her son?? or a teenager furious with her ex winning one over her again? or both!! both sides twisted together is still interesting! When she protected Aegon from Rhaenys, is stepping in front of her son the king to protect him from the enemies dragon fire not the most romantic daydream of a deserving death a child bride could come up with?? Was it the impulse to protect the son she couldnt decide if she loved or hated, or was it to have the most heroic death possible to escape the reality that she sees coming. And if Rhaenyra hears about how Brave she was in the face of a dragons maw, and cries about it forever and feels sooo bad and regrets it til the day she dies, thats an added bonus. I think Alicent loves her kids, but is teenager selfish about HOW she loves and protects her kids, and is unable to be a mature, consistant, protective mother to them when she also sees them as having ruined her life. I think in season 2 when she 'gives them up' shes relieved, and once again following the compulsion of 'if i reset to when Rhaenyra was heir, i had no sons, and i wasn't married or queen, everything will be better'. I think theres complexity to it, i think she does love her sons and feels insane about it, but I think Alicent has been trying to Go Back in more and more Intense ways ever since she got married, and we might be giving her sanity more credit than it deserves when it comes to the need to wipe the board clean and go back to being 15.

hey anon are you trying to get married to me or what

[chrkrose]

Daemon without Nettles in his arc: he no longer develops a bond with a woman who brings him no political advantage; he’ll no longer question his belief of Targaryen supremacy by facing the reality that maybe a person without Valyrian ancestry was able to claim a dragon; he’ll no longer betray his cause, his Queen and his blood to save an innocent woman from death. Regardless if you consider nettles another victim of his grooming habits, he put her before all the things he believed to save her when that would bring him nothing. If out of guilt or selfless love, it’s nuance we won’t see coming from him anymore. So a character who is already pretty dark will become much darker.

Rhaenyra without Nettles in her arc: she no longer has any reason to display her racism and classism; she’ll no longer order the death of a woman based on accusations that this woman is sleeping with her husband when said husband was already cheating on her with others and she was aware of it; she’ll no longer sabotage an ally for a petty reason and alienate a dragon rider who so far had fought for her cause. So an already whitewashed character becomes even more saintly in the narrative.

SO HOW IS NETTLES ERASURE SOMETHING DONE BY THE WRITERS TO BENEFIT DAEMON WHEN ITS HIS CHARACTER WHO LOSES ALL NUANCE AND COMPLEXITY WITH HER REMOVED FROM THE STORY?

Be so for real, are yall stupid or something?

[stardustizuku]

Unfortunately I came across a very strange and misinformed video about Black Butler.

It’s not good. Don’t watch it. Unless you wanna ruin your day, in which case have fun.

Despite it all, I watched it. What left me wondering, however, was how off the mark the person who made the video was on, well, everything.

From their insistence that the Book of Circus Arc theme or point is non existent, to reading Ciel’s character so badly they genuinely thought the Green Witch Arc did nothing for his character development.

While baffled, it also made me think on how someone could read Black Butler so badly.

Sure, you can say that there’s no real way to read or interpret something “in the wrong way” but interpreting The Hunger Games as a pure battle-royale action story would make you believe it’s bad.

“Why are we focusing so much on how the capitol preps them?” Or “Why isn’t Katniss winning everything?” Or “I wanna know more about the rebellion” All questions that miss the actual point of the story - which is criticizing (not solving or ignoring) the way that media distracts us from violence via spectacle.

The same thing applies here. While there is no “right” way to consume media, there’s things that the author makes clear they wanna focus when creating a story. Things that, if you understand, make the story you’re reading actually make sense.

And in Black Butler there’s three things that you have to understand to properly get what Yana is saying.

Sebastian is the protagonist

Ciel and Sebastian’s relationship IS the story.

And that relationship is, fundamentally, a positive one.

A quicker version of it would be:

Black Butler is a love story from the POV of Sebastian, and you have to ship it to get it

- but that’s not entirely true.

You can still look at it as a complex but ultimately positive rship and get in broad strokes of what it’s conveying. It doesn’t have to be romantic. Although, it helps much more than a platonic framing.

(That said, interpreting their rship as father and son, still isn’t the best way to go about it. Mostly because by its very nature of “soul consuming” their relationship is extremely sexually charged. And hey, if you’re into that I don’t judge. However, if you’re desperately trying to interpret their rship as NOT romantic to the point you fall back on heteronormative patriarchal ideals of nuclear familiar as framing device, I don’t think this interpretation bodes with you)

Now, having all that ground work:

Why do I say these are the key components to understand BB?

Okay so, first,

1. Sebastian is the Main Character. The protagonist.

There’s a lot of people who wanna argue against it, claiming he’s either the villain or the antagonist. Both wrong.

He does not function as an antagonist. Even if, and an emphasis on if, you consider Ciel to the protagonist, Sebastian isn’t a narrative antagonist.

If you wanna go back to Creative Writing 101, be my guest. An antagonist is directly defined by the protagonist. It’s the opposing force. If the protagonist wants A, the antagonist wants to stop them from getting A.

Sebastian’s catchphrase is “Yes, my Lord”. He never opposes Ciel, in fact quite the contrary. By the mere fact they’ve created contract, it means that they’ve both agreed in the inevitable outcome.

People want to frame Sebastian as the villain, because Ciel having his soul taken by a demon, would be a BAD END in the context of their moral compass. They see Ciel as a frail victim of abuse, who’s being tricked by Sebastian, who wants Ciel’s soul.

Which is an. Interpretation. A bad one. But still one.

The narrative (and whether the narrative fits your personal moral compass and lack of critical thinking is irrelevant) treats Ciel as an agent in his own destiny. The abuse he suffered was the moment in which he had no control. It’s only after he meets Sebastian that he can rid of both his guilt and his despair, and do what he wants.

In this case though, it’s revenge.

The famous “Asthma” scene shows this. If Ciel is taken back to his past, he becomes helpless. Swarmed with pain and memories that make it so that he can’t even react. Sebastian is his saving grace. If Ciel didn’t have him, and the power he wields to rebuilt what’s broken, he would crumble once more.

If Ciel has a panic attack, because of all the pain he has, Sebastian picks him up and says “you are not a helpless child anymore, you are not a victim anymore, you have the power to do anything. So, what do you wanna do?”

Ciel’s answer is to kill them.

A proper analogy would be to say that, if Sebastian offers a gun, Ciel pulls the trigger. They are both at fault. Sebastian, strictly speaking, is not here to directly cause Ciel’s downfall, but as a tool Ciel uses to plunge into the abyss.

If, again if, you were to frame Ciel as a protagonist, Sebastian falls closer to the “Voice of reason” character. Not a literal voice of reason, but a literary one. If you have a protagonist and an antagonist exchanging ideals, the Voice of Reason serves to engage with the protagonist on their own ideals.

That said, Ciel isn’t the protagonist. The story quickly falls apart if you interpret it as such.

Things such as Ciel’s character arc being…shall I say odd?

It’s not that his character arc isn’t there, but it’s never lineal. His goals stay the same, the only thing that happens is that we start to peel back the “why”s of his goals. Throughout the series it’s never about Ciel understanding himself better, he knows who he is, he knows what he wants, he knows why he wants it. He doesn’t ever need to uncover these, but simply remember them. Because it’s always about the audience understanding Ciel.

He knows he wants revenge.

In the Circus Arc: He knows that he needs Sebastian because without him, the pain of the abuse he suffered would be too much to bear. But WE are introduced to it.

In the Book of Atlantis: He knows that with this new lease he does not want happiness and peace, he wants revenge. The one being told this is the audience.

In Green Witch Arc: He knows that their revenge isn’t for his family, the real Ciel or guilt. It’s because he wants it. He’s angry, he’s upset, and this is entirely for him. The one being told this is the audience.

Except. Not really. The one either discovering or remembering these key moments - is always Sebastian.

Sebastian is the one who reassures him that he now holds the power of a demon to override the pain. Sebastian is the one who remembers that to override that pain, Ciel wants revenge. And Sebastian is the one who discovers that that revenge isn’t built out of grief or guilt, but for himself.

We are witnessing it all, through the eyes of Sebastian.

This is why we have an extremely vague idea of who Ciel is, Sebastian does not have the whole picture.

If you haven’t been reading this manga with your eyes closed, you’ll realize we have a better grasp at Sebastian’s character than that of Ciel. We get a lot of insight on how he thinks and what he values through light hearted dialogue he has with the servants. You even see the character development in these little interactions.

Think about how when he first arrived to the mansion he magically created food with no regards to taste, but when he meets Bard he states that food is created to see whoever will eat it, smile.

That is character development, more than you will be able to see from Ciel.

Because Ciel’s character, while not static, doesn’t go from point A to point B. Mostly, cause it doesn’t need to. He went through that when he lost the real Ciel and got Sebastian. Everything we are watching is the falling out.

Now, given the fact that I’ve told you that it makes more sense for Sebastian to be the protagonist/main character, and that he 100% isn’t either a villain or antagonist in ANY of the interpretations you can get:

Do you believe me?

If you don’t, you’ll probably believe Yana herself.

This is from the first Volume, where Yana herself describes the process of making Black Butler. The primary idea behind the creation of BB was a butler as a “hero”.

If you go back to the introductory chapter, you notice that Ciel is barely mentioned. He’s simply the one to give Sebastian impossible tasks and standards that Sebastian must find how to overcome.

Ciel is properly introduced until the NEXT chapter. The second chapter has this formula too, introducing Lizzie as a problem to overcome. Although, to Sebastian the best way to “get rid of the problem” is simply to indulge her.

The issue here being that the problem isn’t as simple as a business meeting but something directly tied to Ciel and Ciel’s past. Each time that Sebastian has to solve a problem, it chips away at Ciel. While with Lizzie he shows a persona, once he’s alone with Sebastian he acknowledges the toll it took on him. It serves to build Ciel as Sebastian’s master, and how some problems aren’t as simple as discarding a tablecloth.

The third and the fourth, are a unified narrative, with a similar premise to the first chapter. Ciel gets kidnapped and Sebastian must find a way to retrieve him without raising suspicions.

If the first chapter is to set up what Sebastian must do as a butler, the third and the fourth serve to set up what he must do as a demon.

The entirety of the volume, and up to Book of Circus Arc, is about how Sebastian tries to follow the increasingly absurd orders that Ciel has - it is not about Ciel trying to solve them.

That’s how they work, we follow Sebastian for the most part, because he’s the one having to come up with the solutions.

If anything, in early Kuro, where the emphasis was more on a slice of life conflict, Ciel is the antagonist. He’s the one creating problems for Sebastian to solve.

What’s more, in the second volume, the very first chapter is one from Sebastian’s POV. So far, we hadn’t gotten an entire chapter from Ciel’s POV. In fact, I would find it hard to point to a single chapter where Ciel is the POV throughout. The reveal of real Ciel and the flashback is the closest contender.

But once we move past early Kuro, and into Book of Circus, this set up changes.

It’s fairly easy to assume that Ciel is the main character, because from this point on the conflict of the plot sorta surrounded him. We spend a lot of time with him and with his story. The enemies start being people directly tied to Ciel and Ciel’s trauma. Rarely, if at all, we get to see Sebastian before he met Ciel.The framing device for the story, is Ciel.

This is where point 2 gets intertwined.

2.- Sebastian and Ciel’s relationship IS the story.

The story begins at the point where Sebastian and Ciel met. Who Ciel was before he met Sebastian, informs why he’s the way he is when he does. You have to know all he went through to understand why he’s a brat, why he lashes out. However Sebastian’s past doesn’t matter…because Sebastian himself doesn’t care much for who he was, before he was “Sebastian”. That’s also part of the narrative.

Unlike Ciel, he doesn’t seem opposed to revealing information from before the contract. He talks about how pets from where he is from are gross, he talks about how he knows how to dance because of other places he’s been to, and alludes to the life he's lived before.

Just that, to him, they're footnotes.

He makes allusions to a very bland, uninteresting life, up to the point he meets Ciel.

That’s why we don’t know more about his past.

As for why we focus on Ciel’s story…okay maybe we need Creative Writing lessons 102

I studied Dramaturgy for about 3 to 4 years. And something you notice is how play-writing is the quintessential story telling. It’s making it work with the bare bones of a story.

Some other mediums have more finesse, more depth, or more spectacle - all amazing things that work for whatever they’re created for. But understanding a play, how and why it works, helps understand the fundamentals of any derivative story telling medium.

Particularly, conflict.

Conflict is dialogue and dialogue can take many forms. A story, in its essence, is a dialogue between two opposing ideas.

Take Batman, for example, who embodies the ideas of justice and order. On his own, he’s not a well rounded character.

If you ONLY present him, in a vaccum with nothing else, you don’t have a character. You have a list of characteristics that you’re supposed to know.

You only know who he is when you have dialogue with another character.

I say Dialogue, but it doesn’t necessarily mean spoken language at one another. Dialogue can mean fist fighting, playing tabletop games, talking to other people about the other, or even just a competition. The idea is to simply to compare and contrast both ideas.

If you want an example on how tabletop games serve as dialogue, watch the video “Well, Someone Had to Explain the Liar’s Dice Scene” by Lord Ravecraft

Another example, were we to retake Batman, you have him fight Joker. Who’s the embodiment of chaos and randomness.

In the following picture, you get far more information than the one previously shown. While the Joke fights with daggers and fake guns, Batman only uses his fists. He doesn’t use the tricks that Joker does. His serious demeanor, contrasted with Joker’s glee at the dangerous situation. The fact that Batman has a deathly grip on Joker’s shirt, while the Joker doesn’t, which shows a desperation to catch him.

You are being shown, through a dialogue, who Batman is.

It’s so much easier and much more effective to explore a character through another character.

This is the reason why Shonen has a tendency to make incredibly good gay ships. If you want to explore Naruto’s personality, and his feelings of inferiority, you HAVE to have him interact with Sasuke.

If you wanna understand Hinata’s passion for volleyball, you have him enjoy himself the most with the only other crazy motherfucker who’s as obsessed with volleyball - Kageyama.

And I think that originally, Yana had this problem.

Sebastian was the protagonist, but she had little room to develop him as a character in the confines of the manor, dealing with random enemies.

She likely tried to create Grell as someone of the same stature as Sebastian. Someone who could be this other person to engage dialogue with and show or allude to his past a bit more.

The problem being that Sebastian didn’t care for his past. Or really, engaging with anyone. He sees everyone as below him, but when confronted with Grell who isn’t below him, he doesn’t wanna talk to her.

So you’re stuck in conundrum.

How do you have dialogue with a character, that as a character trait, doesn’t really wanna have dialogue?

Well, Grell also solves the problem. Because only the moment she gets him to start any semblance of a dialogue - is questioning why he’s serving Ciel.

And this is the moment when it’s perfectly cemented that the focus of the story is their relationship.

Why is Sebastian here? Why does he stay? What did he see in Ciel that made him want this extremely convoluted contract?

THATS the dialogue.

THATS the conversation we’re having in Black Butler.

We need to know Ciel because understanding who he is, let’s us know WHY /Sebastian/ is here.

Then slowly, with the introduction with the Undertaker, we find out Sebastian’s conflict.

Which is…

He’s scared of losing Ciel. It becomes apparent with the constant imagery of the Undertaker taking away Ciel and at some point even obtaining r!Ciel’s body, that he’s worried it might happen.

But he can only be worried that Ciel might be taken away if he wants to stay near Ciel.

And that’s his character arc.

Realizing that he actually likes Ciel, cares for him and the role he plays a butler that he doesn’t want this to end.

In the first chapters, he doesn’t feel a need to protect Ciel anymore than what’s strictly necessary. Just don’t die, that’s about as deep as his involvement in chapter 4 gets.

But by the Green Witch Arc, he feels a need to protect Ciel from ANY harm.

This is why I also said

3.- Their relationship is fundamentally a positive one.

In broad strokes, Sebastian to Ciel is the person who allows him to survive. He’s not worried about giving up his soul since he’s already dead. While Ciel to Sebastian, is someone who’s making him have fun. He’s slowly becoming more and more attached to Ciel and the life he has with Ciel.

Their relationship is not that of just a predator and prey, but also of master and pet.

In the terms that Black Butler itself would call: Sebastian is a wild wolf acting like a collared dog.

Ciel is aware that the wild beast will eat him at the end of the day, but if he clings hard to leash for now, he might just be able to have Sebastian maul his abusers.

Sebastian as a dog, currently finds that he enjoys being a chained dog.

(This is demonstrated in the Green Witch arc where he quite literally says, he doesn’t wanna be a wild beast and prefers to be a butler)

And much like the actual DOG Sebastian, Ciel constantly interprets his attempts to get close and protect him, as an act of aggression.

This push and pull of Ciel’s perception of Sebastian and Sebastian’s true motives is what feeds the story.

And the briefs interludes were that isn’t the case (what other people call the “plot”, but I would refer to as the connective tissue) such as Sullivan and Wolfram, the other servant’s past, the grim reapers and the like, serve as a parallel to Ciel and Sebastian relationship. Either to signify how they care for each other, highlight their weaknesses or fears, or explore how they feel.

It’s no surprise that Sullivan and Wolfram are parallels to Ciel and Sebastian. A sheltered sickly child who seeks the protection of a cold hearted machine that only knew how to kill, but who eventually found he cared for her genuinely.

Undertaker and Claudia’s relationship being heavily paralleled with them, even though we aren’t 109% sure what they had but heavily implied it was a romantic attraction from the undead supernatural creature and a Phantomhive.

Everything is a parallel.

That’s why, like the approach of the terrible original video, is flawed.

Trying to interpret Black Butler as action scene after action scene, with mystery after mystery with the only connective tissue being the mystery of who burned down the mansion - is missing the trees for the forest.

That’s not the point.

And if you’re too much of a prude to engage with gothic horror in its gothic horror game, I see little point as to why you even bother to engage with it at all.

A lot of people, including the person who create the video, simply refuse to acknowledge Black Butler IS the story of Sebastian and Ciel as a close and positive relationship, romantically and sexually charged. The reason for it being that they’re “put off” by it.

Part of me wonders how much that is genuinely true, and how much is just performative outrage. It’s like ignoring the fact that Cersei and Jami are in an incestous relationship and try to frame it as “platonic love”, because the idea of it is THAT off putting.

But regardless of that, if you don’t like the fact that it’s as canon as canon can get, I would reccomend you don’t engage with the story at all.

As I’ve explained, the entirety of the series is about them. If you refuse to see Sebastian and Ciel as, at the very least, a duo that cares deeply for the other - you aren’t reading Black Butler.

I have no idea what you’re reading.Perhaps your own biases and subconscious stigma with British aesthetic. At that point, watch the fucking British Royalty Gossip Magazine. You’d find more substance there.

Just don’t be like the person in the video, please? Don’t play dumb. Don’t ignore the fact that Yana is a Shotacon, don’t ignore the fact Sebastian is a hero, don’t ignore the fact that the entirety of the story is based on Sebastian and Ciel’s dynamic.

Because if you do, you are ashamed. You are ashamed of what this story is about. You don’t wanna engage with the text, you want to engage with yourself. You wanna project into Ciel whatever traumas and experiences you have, for the sake a vanity project, where you come out as the morally superior.

You don’t wanna talk about Black Butler, you wanna talk about how good YOU are. How you “don’t sin” by watching it “without all the gross unholy stuff”.

Which is the exact opposite of what BB is about.

So, if you don’t want to, save us all the humiliation fetish and leave.

[linkspooky]

TOGACHAKO VS. FUFFY: How To Save Your Evil Girlfriend

So, once again My Hero Academia has failed to deliver on its promise of saving / redeeming one of the main villains of its story, and victims of its ficitonal society. This time I'm going to make the added argument that not only does failing to save Toga make the story worse, it also makes Uraraka's character almost completely hollow. While you can dismiss Deku's lack of character development as him being a shonen protagonist, both Uraraka and Shoto had arcs and Ochako's is effectively ruined by her failure to save Toga.

In order to make my point I am going to compare it to a villain redemption arc in another piece of media that does it right, Faith's character, and her strained relationship with Buffy in Buffy the Vampire Slayer. A series which is overall anti-state punishment and pro-redemption and delivers on practically all the themes MHA promised us.

MORE UNDER THE CUT:

THE GOOD GIRL and THE BAD GIRL

There is a reoccurring dynamic between two female characters in media, usually between a heroine and a female villainness that I like to call: The Good Girl vs. Bad Girl complex.

However, if you were a Freudian you'd be calling this a Madonna Whore Complex.

To explain the Madonna Whore Complex, one of the biggest examples in other Media is Aronofsky's Black Swan. The entire movie is themed around the Madonna Whore complex, and the impossible double standards the male perception imposes upon women.

"The white swan and the black swan are not merely characters, and not merely characters that are relevant to Nina. The black swan and the white swan are archetypes of women. They are emblematic of the Madonna and the Whore [...] . The white swan is the Madonna, she is pure, innocent, the ingenue. The black swan is the whore, she is cunning and deviant. The seductress. Nina and her ballet counterpart Odette are characterized as perfect ingénues. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity. She is the fawn eyed damsel in distress and in literary films she's often the heroine or protagonist. On the other side of the coin from the ingenue, we have the seductress, embodied by Lily and her ballet counterpart Odelle. The seductress is characterized by her promiscuity, cunning nature and sex appeal. She is the alluring femme fatalle, willing to do whatever it takes to get what she wants. She's most often framed as the village. These draw parallels to Freud's psychoanalytical theory, a theory that suggests in the minds of some men they struggle to fully see women as fully realized and rather view them in archetypal categories." [SOURCE]

Black Swan is also a movie where Natalie Portman attempting to live up to the impossible expectations society has placed on her to be both the White Swan and the Black Swan goes insane, and quite possibly dies at the end of the movie.

Considering that Toga's entire story is that she is a shapeshifter who went mad because she could not fit both her parent's and society's expectations of being a "normal girl" then you can see why the Madonna Whore Complex is relevant, with the oversexualized, vampish, femme fatalle Toga quite obviously playing the part of the whore.

Before you call me a fraud for citing freud though, let me prove my point that the Madonna Whore Complex is quite literally everywhere in media.

I could literally keep going if this post didn't have an image limit: Jean Grey and Emma Frost, Jean Grey and Madelyne Pryor, Starfire and Blackfire, Raven and Terra, The Two Sisters from Ginger Snaps, t's literally everywhere all the way back to Lilith and Eve.

More intelligent takes on this trope play with the concept of the Madonna Whore Complex (MWC) to either present the archetypes as two fully rounded people (Catra and Adora) or demonstrate that it's impossible for women to fit into these two dinstinct categories (Natalie Portman in Black Swan).

Buffy the Vampire Slayer is a work that challenges the MWC, by allowing both its good girl, and bad girl to be fully realized characters. My Hero Academia plays the MWC straight to a sexist extent by not allowing Uraraka and Toga to escape their categorization of Good Girl and Bad Girl, and also going out of its way to punish and kill the seductress for her sexuality like this is a slasher horror movie. Actually, it's worse than a horror movie because at least Jennifer's Body plays with the MWC in a clever way.

It's not just bad writing anymore Hori's writing has crossed over into actively murdering female characters to enforce puritan values, but let's not get into that just yet we'll talk about the writing portion instead.

I'm going to outline what BTVS accomplishes, demonstrate how it does this below, and then go on at length picking apart how MHA fails.

BTVS:

Shows Buffy and Faith as fully realized people

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Breaks down those two categories

Redeems it's bad girl

With that out of the way let's get the ball rolling.

HOW TO (NOT) SAVE YOUR EVIL GIRLFRIEND

This is the part where everyone in the audience is going to gasp. Even though I'm using Buffy and Faith as a positive example of deconstructing the MWC and redeeming a villain, Buffy does not save Faith. The two of them reconcile in the end, but Faith is not redeemed or saved by Buffy, and in fact Buffy is in part responsible for Faith's fall.

So, why would I say Buffy and Faith are a better example of villain redemption then Uraraka who at least did everything she could to offer a helping hand to Toga?

Because Buffy not saving Faith is THE POINT and Faith receiving redemption even though Buffy gave up on her is also THE POINT. Lemme explain, by starting at the beginning.

BTVS is a story that exists to flip both horror tropes, and the idea of the chosen hero on its head. The concept started out with Joss Whedon noticing that the Cheerleader is always the first victim in any given horror movie, and wondering what it would look like if the Cheerleader could fight back. If the Cheerleader was the thing that monsters ran away from.

Which leads us to Buffy Summers. Buffy is chosen by the universe to slay vampires, she is hero with super strength that can easily take on legions of vampires and often has to fight even tougher villains for each season's conflict. Buffy carries all the classic features of both the ingenue and the chosen one protagonist rolled up into one:. Ingénues are young, innocent girls who possess qualities of youth, innocence, kindness, naivete and purity.

However, after dying in the first season, and having to kill her boyfriend in the second season after he turned evil and inflicted a lot of psychosexual abuse on her Buffy has also got a whole lot of trauma. Which is when Faith appears on the scene. One of the first ways that the show challenges the idea of the "Chosen One" is that there are actually two Chosen Ones, Faith being the other Slayer.

Buffy much like Deku has a case of protagonism brain rot, but in her case she was actually chosen by the mystic powers that be to be the protagonist of reality. Buffy, who views herself as the hero of the story as a coping mechanism (we'll get back to this later) is suddenly challenged when the fates chose yet another chosen hero, challenging her pre-conceived notion that she is the hero of the story. If Buffy is not the only hero then who is she? What is all the suffering she's endured so far if it's not a part of her own personal hero's journey?

Buffy begins to dislike Faith on sight for projection reasons, before Faith does anything wrong. In a way Buffy herself the female lead is enforcing society's standards of the MWC because all the reasons Buffy decides to disturst and dislike Faith on sight are because she exhibits qualities of the seductress.

Faith is openly promiscuous, often comparing the art of killing vampires to sex, she is also someone who is proud of her power as a a slayer and uses it for her own purposes. She is a slayer for selfish reasons (apparently) while Buffy is the selfless hero. In the first episode Faith appears in, Faith, Hope and Trick Buffy is almost immediately hostile to Faith who has so far done nothing wrong for, trying to get along with Buffy's friends, getting a little bit too into vampire slaying and openly relishing her strength, and like occasionally making lood comments.

FAITH: Don't… touch… me…! BUFFY - yanks Faith off the unconscious vamp with one hand, stakes the vamp withher other. Then she turns to Faith who is breathing hard, high on adrenaline, rubbing her fists. BUFFY: What is wrong with you? FAITH: What are you talking about? BUFFY: I'm talking about you living large on the great undead here. FAITH: Gee, if doing violence to vampires upsets you, I'm pretty sure you're in the wrong line a work… BUFFY: Or maybe you like it just a little too much. FAITH: I was getting the job done. BUFFY: The job is to slay demons. Not mash them into sloppy joes while their

Buffy then escalates to like ableist slurs towards Faith within half an episode for getting slightly violent in a fight against vampires that were trying to kill her.

GILES: Well, Buffy, you have to realize you and Faith have very different temperaments… BUFFY: I know, mine would be the sane one. Giles, she's not playing with a full deck. She has almost no deck. She has a three. GILES: You said yourself she killed one of them, she's a plucky fighter who got a little carried away. Which isnatural, she's focussed on Slaying,she doesn't have a whole other lifehere like you --

The twist this episode is that no matter how much Faith tries to present herself as a free-spirit, she's actually a scared homeless girl who just happened to become the Slayer. Unlike Buffy she does not have a watcher, a mother, or friends to support her. She lives in the cheapest motel in sunnydale. The reason she's so violent against vampires is because she is understandably having a trauma flashback because her mentor was murdered right in front of her by a different vamp.

This is repeating pattern throughout the whole season, Faith is shown to be a victim of trauma, and occasionally acts in ways that are understandable for a victim like her to ask, only for Buffy to start mischaracterizing her as someone violent and insane and throwing the slurs.

You can compare both Faith and Toga as characters who are complex victims of trauma who society turns their back on and become bad victims, but Faith is a special case because we actively see her turn to the dark side. Faith starts out trying to be a hero like the rest and she practically does nothing wrong for half a season, and when she does finally make a mistake and become a bad victim it's the hero's desire to punish her and castigate her that turns her into a villain.

We actively see Faith's fall happen onscreen, and it's like totally Buffy's fault. Buffy throws her completely under the bus, because she's so desperate to see Faith as the Bad Slayer and Buffy as the Good Slayer. Faith is almost pushed into evil because of the MWC, the characters around her can't see her as a fully fleshed out human being so they are quick to demonize her when she starts acting like a bad victim.

So the two episodes appropriately named: Bad Girls and Consequences depict Faith's fall. In that episode Faith and Buffy are fighting vampires, and one human is mixed among the vampires. The human grabs Faith by the shoulder, and Faith thinking that the human is a vampire turns him around and stakes him.

It's a complete accident, something that Giles even says later on is an accident that can happen to any Slayer on the job and is completely normal. It's a murder that Buffy herself could have committed.

GILES: This is not the first time something like this has happened. BUFFY: It's not? GILES: A slayer is on the front lines of a nightly war, Buffy. It's tragic - but accidents have happened. BUFFY: What do you do? GILES: The council investigates, meters out punishment if punishment is due… I've no plan to involve them,however. That's the last thing Faith needs right now. She's unstable, Buffy. She seems utterly unable to accept responsibility. Shows no remorse.

However, even in the same breath Giles explains that it's an accident and not Faith's fault, he's also calling Faith unstable and irresponsible. Basically when they're not calling her a psycho (just hitting her with the ableist slurs), the protagonists all lowkey imply that Faith is somehow inherently violent and unstable because she displays symptoms of a bad victim.

I might also remind you Faith has not done anything to earn any of these accusations, until she kills someone in a complete accident. A complete accident that Giles once again said wasn't her fault and wasn't really a big deal.

FAITH: My dead mother hits harder than that.

Faith is stated to be a victim of physical abuse, heavily implied to be a victim of sexual abuse, and is homeless (none of the main characters offer to let her stay in her house she spends half a season in a terrible motel). However, Faith is quickly demonized by the white wealthy main characters for acting in ways that are completely typical for a homeless teenager.

The moment she commits one mistake they all turn on her and use that mistake as proof of these violent tendencies they all want to accuse her of having. Faith can never be the ingenue so she must be the seductress, because she can't just be a person.

Buffy: So, I, uh... (sees Faith scrubbing) How are ya doin'? Faith: (still scrubbing) I'm alright. You know me. Buffy: Faith, we need to talk about what we're gonna do. Faith: (looks at Buffy) There's nothing to talk about. I was doing my job. Buffy: Being a Slayer is not the same as being a k*ller. Faith has nothing to say. She's finished scrubbing. Buffy: Faith, please don't shut me out here. Look, sooner or later, we're both gonna have to deal.

It is essentially two episodes of this, Faith after killing someone on accident in a life or death fight is constantly called a murderer by others. She wasn't even like, drunk, or high, or being especially reckless she was being a normal slayer.

FAITH: So the mayor of Sunnydale is a black hat. Shocker, huh? BUFFY: Actually - yeah. I didn't get the bad guy vibe off him. Faith shakes her head. Scoffs. FAITH: When you gonna learn, B? It doesn't matter what kind of "vibe" a person gives off. Nine times outta ten he face they're showing you? It isn't the real one. BUFFY: I guess you know a lot about that. FAITH: What's that supposed to mean? BUFFY: Look at you, Faith. Less than twenty four hours ago you killed a guy. And now you're laughing and scratching and zipidee doo dah. That's not your real face, and I know it. I know what you're feeling because I feel it too. FAITH: Do you? So, fill me in. I'd like to hear this. BUFFY: Dirty. Like something sick creeped inside you and you can't get it out. And you keep hoping what happened wasjust some nightmare…

Faith is dirty, faith is disgusting, faith is unstable, Faith is sick for... killing a guy on accident in a way that Giles said was a perfectly understandable accident, and not showing clear guilt because the moment she did it everyone around her jumped on her and started accusing her of being a murderer.

Why do the selfless main characters suddenly start demonizing this girl before she even did anything wrong - well it's because she's poor problem solved.

No, but it does play a factor. Why do most american white middle class look down on the homeless? Because, they must have done something to deserve it, right? If Faith killed a man, that clearly is an indication that she was violent all along and the heroes don't have to sympathize with the fact she's homeless or you know lift a finger to help her.

Now, this makes it sound like I hate Buffy, but Buffy is actually my favorite character in the whole show. The thing is Buffy's complete lack of sympathy for Faith makes her a better character. Buffy needs to demonize Faith and throw her under the bus, because Buffy is a victim of sexual abuse too. Her boyfriend turned evil after having sex with her once, and spent an entire season stalking her and terrorizing her the entire season 2 Buffy / Angel plotline is a thinly veiled groomer metaphor.

The thing about Buffy is she's not allowed to show any kind of reaction to her trauma. The episodes preceeding Faith, Hope and Trick are Anne, an episode where Buffy runs away from home after being sexually abused (stalking is sexual abuse) by Angel for a whole season and feeling like no one would understand her, and Dead Man's Party, an episode where every single one of Buffy's loved ones ruthlessly criticize her for having run away. Like, how dare a teenager not react perfectly to being horribly stalked by a serial killer after she had sex with him for like half a year.

JOYCE: Buffy! You didn't give me any time. You just dumped this… this thing on me and expected me to get it. Well -guess what? Mom's not perfect. I handled it badly. But that doesn'tgive you the right to punish me byrunning away. BUFFY: Punish you? I didn't do this to punish you XANDER: Well you did. You should have seen what it did to her. BUFFY: Great. Would anybody else care to weigh in? What about you? By the dip. XANDER: Maybe you don't want to hear it, Buffy. But taking off like that was selfishand stupid. Buffy's breaking down. It's all too much. BUFFY: Okay - I screwed up! I know it - alright!? But you have no idea. You have no idea what happened to me or what I was feeling

The reason Buffy is so hard on Faith is because everyone else is equally hard on her. The label of the ingenue is so difficult for Buffy to maintain, because she has to be pure, and without any flaws, especially when reacting to trauma that she throws Faith under the bus for her bad victim behaviors.

The white middle class demonize the homeless because they don't want to face the reality it can happen to them, Buffy doesn't want to reflect on all the things her and Faith have in common because she could very easily become Faith. Buffy is the victim of extremely similiar trauma to Faith, and being pressured to be the perfect victim of that trauma in a way that's destroying her mentally slowly.

FAITH: It was good, wasn't it? The sex? The danger? Bet a part of you even dug him when he went psycho BUFFY: No FAITH: See - you need me to tow the line because you're afraid you'll go over it, aren't you, B? You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you... ( Something snaps in Buffy. She rears back and POPS Faith a good one. Faith falls back, but she's smiling as she puts a hand to her bleeding mouth. ) FAITH: There's my girl…

Buffy is suffering under the expectations of the MWC too, but in her desperation to make Faith out to be the seductress instead of... like... a csa victim... Buffy is reinforcing those standards on both herself and another woman.

The entirety of Bad Girls and Conesequences is Faith being called a murderer by several people, having another trauma flashback to a sexual assault because Xander came to her motel room under the guise of "helping her", getting hit over the head and chained to a wall, then getting the swat team called on her and almost dragged to London for trial. Then the heroes do nothing to help her. The first thing Faith does is go to the main villain, who buys her an apartment AND A PLAYSTATION. So... the evil main Villain of the show helped Faith with her homelessness situation while none of the main characters lifted a finger.

it sounds like it sucks but it doesn't because it's all intentional. Buffy cannot process her own sexual trauma so she is just awful to people who are also domestic abuse victims. here's one of my favorite scenes, Buffy yells at a girl being beaten by her boyfriend with a visible black eye.

Buffy: Where can we find him? Debbie: I-I don't know. Buffy: You're lying. Debbie: What if I am? What are you gonna do about it? Willow: Wrong question. Buffy takes her by the arm again and pushes her up against the sink in front of the mirror. Buffy: Look at yourself. Why are you protecting him? Anybody who really loved you couldn't do this to you. She takes a few steps away. Debbie turns around to face them. Debbie: Would they take him someplace? Buffy: Probably. Debbie: (shakes her head, sobbing) I could never do that to him.(Willow sighs) I'm his everything. Buffy: (disgusted) Great. So what, you two live out your Grimm fairy tale? Two people are dead.

That poor girl gets her neck snapped like five minutes later and Buffy just kinda, moves on even though it would have been an easily preventable death.

Buffy getting mad at an abuse victim for showing textbook behaviors of abuse victims in bad relationships. Buffy is a good character because she is a hero, she can be empathic, but she really only understands heroism in term of defeating the bad guys, and when called to relate to people with complex trauma, especially trauma that reflects her own trauma she can't! She just can't process it! The expectations of being the ingenue, the perfect hero are so crushing she can't cope with a messy reality so she needs to have a black and white view of herself and other people.

Buffy needs to be firmly in the good category, and Faith needs to be firmly in the bad category in order for Buffy's brain to keep working.

Not only does Buffy's conflict with Faith characterize how much Faith suffers for being a bad victim, it shows how the pressure to be a good victim destroys Buffy mentally to the point where she starts using Faith as a punching bag.

Literallly.

It's all intentional too, Buffy gets called out on it, Faith always gets the last word and the final episode of the season makes out Buffy to be a hypocrite. After Buffy literally threw Faith under the bus, called her disgusting for murdering a man, Buffy is completely willing to murder Faith to get a cure for her vampire boyfriend who's been poisoned.

All human life is sacred and needs to be protected, but Fuck Faith I guess.

Faith: I could say the same about you. I mean, you're still the same better-than-thou Buffy. I mean, I knew it somehow. I kept having this dream, I'm not sure what it means, but in the dream the self-righteous blond chick stabs me, and you wanna know why? Buffy: You had it coming. Faith: That's one interpretation, but in my dream, she does it for a guy. Faith: I wake up to find the blond chick isn't even dating the guy she was so nuts about before. I mean, she's moved on to the first college beefstick she meets. Not only has she forgotten about the love of her life, but she's forgotten about the chick she nearly k*lled for him. So that's my dream. That and some stuff about cigars and a tunnel. But tell me, college girl, what does it mean? Buffy: To me? Mostly, that you still mouth off about things you don't understand. (Sirens) Uh-oh. I guess somebody knows you're here.

So the show goes to great length to show you that there are two sides to this conflict, Buffy demonizes Faith, because her friends expect her to be the perfect hero. Faith reacts badly to trauma because she has no support system, and the people around her have no empathy for her because they're too privileged to imagine the things in Faith's life ever happening to her.

Buffy and Faith are fully realized people.

Buffy and Faith are presented to the audience as the ingenue and the seductress but they're both fully realized characters. Buffy's not the ingenue because she's just as capable of murder as Faith is. Faith isn't the seductress because she's a homeless teenager. They are both victims of sexual trauma, though one reacts in what people consider an "acceptable way" and the other is a total slut about it.

Shows the pressure to conform to the "Good Girl / Bad Girl" label.

Buffy throws Faith under the bus specifically because the pressure in her life to be the perfect slayer is so immense that it could be her that takes the fall so she needs to believe in black and white concepts like she is inherently good and Faith is inherently bad to justify the bad things that happen to Faith and therefore convince herself said bad things could never happen to her. "You can't handle watching me living my own way and having a blast - because it tempts you. You know it could be you..."

Faith: Angel said there was no way you were gonna give me a chance. Buffy: I gave you every chance! I tried so hard to help you, and you spat on me. My life was just something for you to play with. Angel - Riley - anything that you could take from me - you took. I've lost battles before - but nobody else has -ever- made me a victim. Faith: And you can't stand that. You're all about control. You have no idea what it's like on the other side! Where nothing's in control, nothing makes sense! There is just pain and hate and nothing you do means anything. You can't even.. Buffy: Shut up!"

Buffy needs to fit her and Faith into neat little boxes because she cannot face the inherent senselessness of the world (and also that she is a victim too "you made me a victim")

Breaks down those two categories

Even in Seasons where Faith is not present she haunts the narrative, because the writers were well aware that Buffy and Faith are the same person under different circumstances.

All of Season 6 Buffy is faced with many of the same situations that Faith was, she suddenly becomes poor and in danger of losing her house, she has extreme depression from coming back from the dead (long story) she can't share those feelings with any of her friends because they treated her much like they did Faith - having no sympathy for imperfect victims. Buffy even gets into an unhealthy, sexual relationship, and like Natalie Portman basically changes from the ingenue into the seductress.

A relationship she has to keep a secret because once again, Buffy must fit into the box of the ingenue in order to be loved by her friends. This leads to her committing several bad behaviors, and at times borderline emotional abuse towards her sister (and debatably her boyfriend) and all comes to a head when Buffy is faced with the exact same situation as Faith.

Buffy in Season 6 believes she has killed a person accidentally while being the Slayer. It's a repeat of Bad Girls with several paralels, including someone trying to hide the body only for it to turn up later, and Buffy insisting she has to turn herself into the police and face jailtime.

However, in this version Buffy unlike Faith has friends who try to stop her from turning herself in and explain to her the murder wasn't her fault - and Buffy still reacts the same way Faith does. She basically borderline quotes Faith.

Faith: Shut up! Do you think I'm afraid of you? [Faith grabs Buffy and throws her down, then sits on top of her and starts punching her.] Faith: You're nothing. [Punch. Punch.] Faith: Disgusting. [Punch. Punch.] [Faith grabs Buffy's hair with both hand and bangs her head.] Faith: Murderous bitch. [Bang. Bang...] You're nothing. [Bang. Bang...] Faith: [Switches back to punches] You're [Faith is now crying.] disgusting.

This is an earlier scene which plays out as an exact parallel to this scene:

BUFFY: You can't understand why this is killing me, can you? SPIKE: Why don't you explain it? She hits him a few more times. He takes it, not fighting back. SPIKE: Come on, that's it, put it on me. Put it all on me. (She kicks him) That's my girl. BUFFY: (yelling) I am not your girl! She hits him hard. He falls back onto his butt. Buffy gets on top of him and begins hitting him over and over. BUFFY: You don't ... have a soul! There is nothing good or clean in you. You are dead inside! You can't feel anything real! I could never ... be your girl! She continues hitting him throughout this. Now Spike goes back to human face. He's looking very bruised and bloody, but he doesn't fight back, just takes it. Buffy hits him again and again, looking angry and desperate. Finally she stops and looks at him in horror.

So if Buffy can react the exact same way that Faith does, when faced with the same trauma there is no good girl or bad girl, there's only two people who are complicated human beings.

The story *gasp* lets the hero be a bad girl.

Redeems it's bad girl

Faith's redemption is a shocking contrast to MHA the plot of BTVS does not allow Faith to commit suicide in order to redeem herself. In fact, her entire arc is an argument against the "put her down like a mad dog" trope. Starting with the fact that the heroes who are partly responsible for Faith's fall in the first place, are all too willing to just let the homeless teenager fall by the wayside, and then put her down for her own sake.

As I stated above, the inherent hypocrisy Buffy shows in her calling Faith a murderer and irredeemable for killing someone on accident because all human life is sacred to her, and then going on to try to murder Faith at the end of the season already shows the "put her down like a mad dog" argument doesn't work. Faith isn't too far gone, it's just Buffy who sees her that way. And because Buffy has given up on Faith she's failing at being a hero.

As I said above, Buffy is not the one to rescue Faith. In fact, in the episodes where Faith's redemption arc starts, Buffy is the one trying to hunt her down and enforce punishment on her. The episodes "5x5" and "Sanctuary" are both focused on Buffy going to LA to hunt down and interfere when Angel is trying to help Faith get back on her feet. The two episdodes basically explore the concept of redemption vs. punishment and how punishment saves no one.

5x5 depicts Faith's spiral as she runs away to LA to escape Buffy who is hunting her down, and accepts a job to assassinate Angel, which if she succeeds will get her rich and also get the cops off of her trail. We're led the whole episode to believe Faith has learned nothing until the confrontation with Angel at the very end, which you should really watch because it's great television.

Faith: You hear me? - You don't know what evil is! - I'm bad! - Fight back! Faith keeps whaling on Angel, sometimes he ducks, sometimes the hits connect. Angel grabs a hold of her: Nice try, Faith. He tosses her away from him. Then walks after her. Angel: I know what you want. She hits him and he hits back dropping her. She comes back up hitting and screaming, but not making much of a dent. Wesley leans out of the window and sees Faith beating up on Angel. He goes into the kitchen and grabs a butcher knife, then heads for the door. Angel as he dodges another hit: I'm not gonna make it easy for you. Faith throws herself against Angel screaming: I'm evil! I'm bad! I'm evil! Do you hear me? I'm bad! Angel, I'm bad! (She begins to sob, grabbing a hold of Angel's shirt and shaking him) I'm ba-ad. Do you hear me? I'm bad! I'm bad! I'm bad. Please. Angel, please, just do it. Wesley comes running out of the house. Faith sobbing: Angel please, just do it. Just do it. Just k*ll me. Just k*ll me." Angel wraps his arms around her shoulders and pulls her against him. She over balances them and they sink to their knees, Angel still holding her as she cries. Angel: Shh. It's all right. It's okay. I'm here. I'm right here. Shh.

Faith tries to take the Toga approach to commit suicide in order to atone, but Angel actively understands that is what she's trying to do, and denies her the chance to die to redeem herself and instead holds her until she calms down.

Angel doesn't just save her once though he spends the entire next episode defending Faith from Buffy who has come to LA to take her revenge, and trying to talk Faith into believing she can still keep on living in spite of all the bad things she's done.

Faith: Are you saying I got to apologize? Angel: Think you can? Faith: I don’t' know. - How do you say 'Gee, I'm really sorry tortured you I nearly to death? Angel: Well, first off I think I'd leave off the 'Gee.' And secondly I think you have to ask yourself: are you? Faith: What? Angel: Sorry. Faith: And what if I *can't* say it? There are some things you can't just take back, no matter how sorry you *are*, right? Angel: Yeah, there are. I've got some experience in that area. Faith: Right. And you've been doing this for a hundred years! I'm not gonna make it through the next ten minutes. Angel: So make it through the next five, the next minute." Faith: "I don't think I can. Angel: Yes, you can. Faith walks away: God, it hurts. I hate that it hurts like this. Angel follows her: Oh well, it's supposed to hurt. All that pain, all that suffering you caused is coming back on you. Feel it! Deal with it! Then maybe you've got a shot at being free.

Angel's advice is "Guilt is supposed to hurt but if you face your pain you can try to find a way to be free of it" which is something much more profound then any of the forgiveness crap they peddle in MHA. More importantly though, the conflict the whole episode goes out of its way to show that revenge is bad, and punishment doesn't save a soul.

Angel: I didn't - I didn't think it was your business. Buffy: Not my business? Angel: I needed more time with Faith. I'm not sure... Buffy: You needed - do you have any idea what it was like for me to see you with her? That you went behind my back... Angel: Buffy, this wasn't about you! This was about saving someone's soul. Buffy: I came here because you were in danger. Angel: I'm in Danger every day. You came here because of faith. You were looking for vengeance. Buffy: I have a right to it. Angel: Not in my city.

Faith's suicidal ideation is a recurring theme that carries through her character arc in the following season - she does in fact go to prison for awhile (Elizabeth Dushku had to go make Bring it On) but Buffy remains anti-state punishment because going to Prison doesn't help her whatsoever. In fact, she just breaks out when she has to save Angel and spends the rest of the season free.

There are two episodes that actually are dedicated to showing prison didn't help, and what Faith needs to redeem herself is to spend every day of her life trying to be good, not just accepting punishment.

ANGEL: Faith, wake up! FAITH: (wakes) I've rolled the bones. You for me. ANGEL: I used to think that. That there'd be a point when I'd paid my dues. Angel and Angelus are fighting in the alley again. Angel leaves the fight and goes over to Faith's side, holding her up in his arms. ANGEL: Faith, listen to me. You saw me drink. It doesn't get much lower than that. And I thought I could make up for it by disappearing. FAITH: I did my time. ANGEL: Our time is never up, Faith. We pay for everything. FAITH: It hurts. ANGEL: I know. I know. ANGEL: Get up! You have to get up now. Faith, you have to fight. I need you to fight. Do you understand what I'm saying?

So you have one manga series where the teenage girl who did bad things commits suicide because she believed she was going to be in prison for the rest of her life and had no future, and you have the other where the teenage girl tries to commit suicide - only for Angel to stop her and encourage her every step of the way that there's still a future for her even if she can't be "forgiven".

One work ends Toga's life because she's done "unforgivable things" and the other tells Faith that the things she should feel guilty for the things she's done, and she should feel that guilt so she can keep working to be a better person every single day.

One of these is a good message to send to your teenage homeless trauma victim, the other is incredibly harmful. With that out of the way let's switch to BNHA.

HOW TO BURY YOUR GAYS

Now I'm going to attempt to demonstrate why MHA fails to truly deconstruct the MWC, and this not only ruins any potential character development for Uraraka, it also sends a deeply harmful message with Toga's death.

I think I've gone to great length above explaining how BTVS communicates it's stance of being anti-punishment and pro-redemption and even goes as far to demonstrate how punishment does not save anyone. Yet, here is the manga about heroes saving people that completely fumbles those exact same themes.

MHA:

Doesn't show Toga and Ochako as fully realized people

Doesn't show the pressure to conform to the "Good Girl / Bad Girl" label.

Doesn't break down down those two categories

Doesn't redeem it's bad girl

So let me start by saying outside of the context of the story Ochako and Toga both had the potential to be great characters. Unforunately this isn't Gacha, so the way the characters are written in the story, and the quality of their story arcs affects how well they are characterized.

Toga is much better off as a character as opposed to Ochako who sort is reduced to a satellite that revolves around Deku, but their story arcs and the way they conclude does a disservice to both of them as characters. They fail entirely to be shown as fully realized people by their narratives, because of the narratives desire to force them into the good girl and bad girl box.

More or less, Ochako isn't allowed to have flaws, and Toga isn't allowed to redeem herself in any way that doesn't involve killing herself.

Let's get to the characters though, the basic premise of the comparsion between Toga and Ochako is that Ochako perfectly fits into the mould of what society considers a "good, nice girl" she perfectly embodies the ingenue. Whereas Toga was horribly abused for most of her life until she snapped, because she was unable to simply pretend to be the normal girl that Ochako is naturally.

One thing I will give credit to MHA for, it does Toga being pushed to the margins and eventually falling off the edge of society as a young eventually homeless girl that no one cared enough to help about as effectively as Faith did. Toga and Faith were also both demonized before they did anything wrong, and were further demonized because they didn't act the way good victims were supposed to act.

The manga is almost masterful at portraying how much being forced into the box of the ingenue caused Toga's mental decline, until she eventually snapped and became the seductress instead.

Toga hasn't even done anything yet, she's already being punished and demonized simply for appearing deviant. Because once again the categories of Ingenue and Seductress aren't for viewing women and girls as fully realized people, you are either a perfect, innocent, girl, or you're a whore.

Toga is also hypersexual the same way Faith is. Of course it's not done with any of the same amount of nuance of BTVS because Hori has a habit of using Toga for fanservice, but Toga does have a habit of sexualizing herself, in a way that would be classified as deviant love. We also in the manga first view her as nothing more than a shallow yandere who creeps Uraraka out with her blushing and hot desire for blood, only to be shown she's actually capable of being an emotionally intelligent and caring individual when it comes to how she relates to her friends.

Toga viewing sucking blood as love is a clear metaphor for deviant sexuality, or even hyper sexuality, it's something that makes her a literal vamp. Toga being overly sexually aggressive and suggestive with the way she sucks blood is something the society she's in demonizes her for, Deku even makes a thoughtless comment that pushes her off the edge that he'd never even think of hurting someone he loved.

Faith is a CSA victim who is constantly trying to play off her trauma, so she's totally into sex guys, she loves sex, she loves it rough, she goes to clubs and grinds on guys, she's all into sex and violence and safety words are for chumps.

Toga was told her way of expressing love and attraction was wrong and deviant from a young age, and as a result of that the same way that Faith embraces hypersexuality, Toga embraces her femme fatalle / yandere persona and plays it up. Well everyone was right about her, she's fine with being a monster, so she just wants to live as a monster stabbing people randomly and taking their blood before moving onto the next victim.

They can't ever be the ingenue, so Faith and Toga embrace being the seductress instead. Yes, Hori does use Toga for fanservice, but at the same time you can't deny she's deliberately playing up her sexuality like a femme fatalle in a way that is not healthy (Faith is a hypersexual teenager too, I'm saying it's a trauma response for both of them).

MHA also shows much like with Faith how Toga despite being just a teenager is someone all of society has given up on - the same way that everyone gave up on Faith for being a homeless teenager. Then further demonized her for acting in ways homeless teenagers act, until she at last finally committed one crime and they turned on her.

Toga's first crime was committed after her mental breakdown, but it's revealed much later on that Toga wanted to ask Saito for permission to drink his blood, and if she'd just been granted it or at least the emotional abuse heaped on her had stopped she never would have had her breakdown.

For Toga it was Saito, for Faith it was killing by Mistake, after being abandoned they endured violence that further radicalized them with no help from the heroes.

Toga's character also textually acknowledges that the heroes are not going to help her, and are likely going to kill her, whereas in Buffy it stays subtext. Which isn't a problem, it trusts it's audience to go "Oh, the good guys are being jerks here" however, it's a direct facet of MHA's worldbuilding that Toga has watched the heroes kill her best friend, and now thinks she has to fight to the death because the heroes will kill her too. She can't back down and let herself be saved, because the heroes don't even see her as human.

Buffy can't forgive Faith for accidentally killing some random guy because all human life is sacred, but also she tries to kill Faith multiple times, because Faith's not human I guess. Uraraka and Deku believe themselves to be heroes but they actively support people like Hawks, who murdered Toga's best friend and have done absolutely nothing to show her that they won't kill her.

Toga reflects a lot of Faith's suffering for being a bad victim that society allowed to fall through the cracks, and a Seductress who needs to be punished for expressing her sexuality. In fact if it were just Toga, you could call it at least an effective deconstruction of the "seductress/whore" because Toga is a fully realized character and her entire backstory is about how society's expectations for her to be a perfect ingenue, and then punishing her when she wasn't a perfect ingenue is what led to her complete mental breakdown. She couldn't be the white swan or the black swan, so she became the blood-soaked swan instead.

Where the comparison starts to fall apart is Ochako. Toga is a character, and Ochako is not. Just like Deku Ochako more or less just kind of morphs into a plot device that exists to save the villain counterparts to prove what good heroes the kids are - and then she doesn't even do that part. Failing to save Toga is the final nail in the coffin for Ochako being a character and not a plot device to show how good and virtuous the heroes are.

BTVS goes to painstaking extents to establish how Buffy and Faith are the exact same girl in different circumstances. They are both victims of sexual abuse. They're both the Slayer. They both lose their mom at different points in the story. They both struggle with the fact that slayers are also killers, they're both the "chosen one". They both have issues that makes them conflate sexuality with violence.

Buffy is put through several situations that parallel Faith, she loses her mom, she becomes financially destitute, she starts exploring her sexuality in a very faith-like way. The two of them swap bodies at one point and nobody can tell the difference.

There's no strong parallel between Ochako and Toga to give the audience a reason why we should care about the relationship between the two girls in the first place. Ochako's connection to Toga tells us nothing about her character, because there's no strong parallel as shown to us by the story.

There are some parallels, the story attempts to tackle the emotional repression angle of how much the ingenue suffers because she's forced to repress her emotions and how much she envies Toga's free expression.

Why does Ochako think that way? Why does she focus on Toga in particular? The plot tells us why Buffy feels she has so much in common with Faith, they're both the chosen one but Buffy feels like she's under such intense pressure to be perfect that seeing Faith get to act out and express herself makes her jealous.

The manga tells us that Ochako is emotionally repressed, but it doesn't show us, because there are never any real consequences for Ochako repressing her feelings. Natalie Portman in Black Swan, and Buffy both experience mental spirals because the pressure to be the perfect woman is too much for them - to meet the impossible purity standards of the ingenue while still being a sexual creature.

In Uraraka this is the extremely simplified belief that she can't have feelings for a boy, while also being a hero because those beings are selfish and she should be focused on saving people. However, we never see her suffer because of these feelings. We don't even get the bare minimum of having her angst over unrequited love.

I don't want to give Ochako too little credit, there are several things that could have been a connection to Ochako, but they all turn out to be non-starters. Ochako is poor and often makes remarks like "The best way to save money is to not eat" in omake and she hangs out with mostly rich friends. She had early angst about the fact that her friends were becoming heroes for mostly altruistic reasons and she became a hero for money.

That could have also connected to the scene where Ochako witnessed the scene of a hero quitting amongst all of the destruction after the end of the first war arc, to show her the consequences of all the heroes who were heroes for less than altruistic reasons.

Ochako could have even told Toga something along the lines of "I was poor, I know how it is to struggle" especially since Toga spent a good portion of time homeless after she was throne out by her parents.

Instead that goes unaddressed except in this scene which makes it look like Toga is ignorant for assuming Ochako never suffered.

Toga and Ochako both feel like they need to repress their feelings but Toga was emotionall abused by her parents, then experienced psychiatric abuse, and then was disowned after her mental breakdown led to a violent incident. Uraraka feels like she can't tell the boy she loves how she feels. One of thsee things is not like the others.

There are more possible connections that you could draw between them, Uraraka gives a big speech about how the heroes have it rough too guys and at that point it cuts to a picture of Toga crying and that could have led to a revelation that if Ochako is asking the common people to see heroes as human beings, then they should try to see villains as human beings too.

This could also couple well with the fact that Toga believes Ochako wants to kill her the same way that Hawks killed Twice. Both of these facts, Ochako originally only being a hero for money and watching heroes for money quit, and also Ochako learning about Twice killing Toga's friends could lead to some self-reflection on the hero system and Ochako could listen to Toga and be the one to convince her that heroes will save her.

However, none of these happen so we don't know why Ochako feels compelled to save Toga, other than the fact that Ochako is just that nice.

It is really a repeat of Deku's writing, we are told that Himiko just really, really, really wants to save Toga, but not only are we never given an in character reason why that is, but we're also supposed to ignore all the evidence that contradicts this.

Ochako wants to reach out and touch the sadness inside of Toga, but she never actually does anything to try to understand or talk to Toga until the last possible minute. In fact, it's Toga who reaches out several times and Uraraka who ignores her. It is Ochako who insists several times that Toga's deeds are unforgivable and then the conversation stops there.

There's also the scene where Deku and Ochako are looking over the cliffside and Ochako is actively reminding herself of the damage that Ochako caused as a reason that she doesn't have to think of her as a human being.

Ochako doesn't even go in with a plan to take down Toga non-lethally like Shoto did with Toya, nor does she even think about what she wants to say to her until the last possible moment.

Ochako's actions make her more like Buffy, someone who actively doesn't empathize with the villain and doesn't want to save her because of her own personal hangups. (However, we're given no personal hangups for why Ochako, the most perfect hero ever wouldn't want to save Toga). Her actions are like Buffy's, not reaching out a hand to Toga she only gets worse and worse, but we're told the opposite. That she's someone who wants to reach and touch Toga's sadness.

It would be better if Ochako DIDN'T want to save Toga, because at least there would be an arc to it. The lack of empathy would be a character flaw on Ochako's part, something that she needs to overcome to be a proper hero. It would be better if Ochako DIDN'T want to save Toga, because then she'd need an in character reason why she doesn't empathize with Toga, like Buffy does with Faith.

Ochako is supposed to be deconstructing the ingenue, but she's not allowed to have any flaws, or be anything other than the perfect, empathic hero and because of that she ends up reinforcing the Ingenue instead. The ingenue isn't allowed to be anything other than perfect, and the Seductress must be punished.

Doesn't allow the Bad Girl to be redeemed:

Toga's death ends up reinforcing basically every backwards double standard about the MWC including the need for men to punish and villify women who freely express their sexuality. Toga's entire character arc is asking the question if soemone like her is allowed to live in this society, if the heroes will save the life of someone like her and the answer we receive is: no she can't live.

Toga can't live in this world, she has to die. Not only does Twice die and never receive justice and his murderer get off scott free, Toga who asks the question of if she's going to die too, the answer is yes.

In both of these plotlines you have young woman who have done bad things but are still teenagers, who are struggling with suicidal ideation who believe their only escape is death. Faith is told that the guilt of the things she's done is painful, but she has to live in order to make up for it because that's the only way to free herself. Whereas, Toga comes to the conclusion that there is no future for her other than being in jail for the rest of her life and therefore it's not worth living.

Toga has to be punished by the narrative in a way that's completely unnecessary, because characters like Bakugo and Edgeshot somehow survived doing open heart surgery in the middle of an active battlefield, but Toga dies from a blood transfusion.

One of these narratives is telling a troubled young abuse victim who's still a teenager to live, and the other is telling her to die. Now which one of these plotlines would you want a young girl to read?

[vrronica-sawyer]

Polygun but it’s how they all see each other

i always really like in books with different narrators when how a character looks itself is unreliable narration bc they describe themself differently compared to how the other pov characters see them, and the dungeon meshi shapeshifter chart scratched that itch for me art wise and I got inspired ✨

To be more specific this is what they each picture when they think of each person 👉👈

Details under cut!!

Meryl clothing details aside because I think she’s just short and the boys aren’t looking at her traveling clothes too hard (and vash clearly likes making his own clothes with how much his overly intricate jacket design changes so ofc his version of her outfit just looks like another one of his designs 🙄) all of the clothes are based on specific parts of the manga!

A big thing with these designs was taking moments that were important regarding each characters relationship with the pov character and adding in visual nods to that to show what memories stuck with them to shape their image of that person.

The clearest example of this is everyone thinking of a different Vash coat, for Wolfwood it’s what he was wearing when he turned him over to Knives, to Meryl it’s his final fight coat, and for Milly it’s when she met him.

It may be Trimax but I will always have a soft spot for 98 millywood so those two’s impression of each other has been influenced by that, but more specifically just the idea of them both alone together, layers and walls down, hair messy from sleep. Their relationship is one I just see very clearly developing over a lot of late nights at inns and bars during traveling!

Vash is the trademarked inventor of Savior Martyr Victim complex supreme and when he thinks of everyone he sees times they’ve been let down by him. To me he’s the biggest broken gear in their dynamic because of the way he holds himself back and isolates, the ship really works in spite of him most of the time. But he also sees traces of times his desire to be by their side was cemented. His Meryl is heavily based on after she was kidnapped by the GHGs and he lost control in front of her, but her hair is longer + earrings are gone like when they saw each other again after Knives released the ark, and she has a black turtleneck peaking out from under her traveling clothes the way it did under her space suit during the final battle. His Milly has the hair and undershirt of the final battle but her outer clothes are from when they traveled together for the majority of Trimax. His wolfwood isn’t doing too well.

Meryl’s versions of Milly and Wolfwood are both pretty similar to how they looked when she first met them, wolfwoods hair is just a little longer like I imagine it being towards the end of Trimax and is very windswept, from their short first meeting in the original Trigun manga run I always got the impression she thought he looked very cool lol, she was staring up at him like ://0 the whole chapter.

I mentioned it before but honestly most of Wolfwood’s Vash is based on how he looked when he turned him over to Knives, not only do I think that moment stuck with him but I feel like it’s a good visual summary of all the mixed feelings he has towards Vash. He’s drawn to him and sees how sad he his but he also sees how inhuman he is and the threat he and knives pose for the people he cares about and prioritizes. At the end of the day Wolfwood chose the orphans over Vash twice and never went back on that, and a big part of why he broke Vash our of Knives prison was just so he could go fight Knives to the death for humanity’s sake, and I think that’s important to his character and their relationship.

Similarly, Meryl’s Vash is really just final arc Vash. She’d already developed a very strong impression of him before then but they would go weeks to even years without seeing each other and each time the way he looked and the way she felt about him would change drastically, it seemed to me like it wasn’t till she was on the ship advocating for him and the people living on gunsmoke that she knew how she felt about him and what kind of person she saw him to be. It was also a huge moment for her character wise with the way she faced her fears in the name of human connection and made the active choice to not be as apathetic and closed off as she realized she had been in the early manga.

I think Milly’s first impression of Vash was strong and accurate enough to not change much, this nice guy is Vash the Stampede and there is definitely something weird about him.

I don’t know why Wolfwood doesn’t know what Meryl’s hair looks like, what’s wrong with that guy? In general his version of Meryl is very inaccurate now that I’m looking at it, I promise he likes her

+small details that are my personal headcanon and not the characters interpretations are Meryl and Wolfwoods hair being a bit more curly/textured than canon, Milly’s eyes being green, and Meryl’s earrings being silver (gold earrings with a white black and blue outfit and silver guns?? C’mon girl accessorize properly)

[wortsandall]

billy isn't a character.

hes a plot point. an object used for max's development. but he could've been. but the duffer brothers were too lazy to actually put the effort in to redeem him properly. so they took the easy way out and hoped it'd work to kill him off in a hero's sacrifice. which feels hollow and unemotional as he was literally a puppet for 95% of the season.

but they dropped all these hints to deeper shit they could've used to make an actual character-an interesting one too. that they did absolutely nothing with and is never mentioned again.

billy being abandoned by his mother and left with his abusive dad who punishes him for his stepsister's perceived bad behavior. that same father ridiculing him over his perceived masculinity, and calling him slurs when he doesn't perform. a step mom who sees it but doesn't intervene. moved from his hometown against his will. hes alone in a town he hates. no friends, no freedom. he cant even surf any more.

the animosity betweeen billy and max being about the move to hawkins. something mentioned several times but never explained. they both blame each other for it. billys performative masculinity, yet his clear obsession with steve harrington. calling steve pretty boy, the one earring, the very specific slur his father uses against him.

ALL of that is just canon.

now, billy is an asshole straight up. he threatened to run over a bunch of kids for no reason and broke max's skateboard. like yeah. hes such an ass. but theres a lot of complex shit packed in there.

he was screaming for help when he gets possessed, watching himself kill people. he's literally screaming. and nobody gives a single fuck (except for max) and that makes sense for the characters as they've been treated pretty horribly by billy. but he was 17 years old. he never got a chance to change or to even realize he wanted to. thats fucking depressing. him being an abuse victim (and nowhere near a perfect one) means he never got to grow outside of the box hed been shoved in. he never got to be anything else.

he's not a character. not with any motivations or anything. he existed to be in the way and then to die to further max's development. and i can't just be okay with that.

[lovelybluebirdie]

Blood whispers

Astarion x gn!Reader 

Summary: On the night you almost killed him, Astarion promised to help you overcome your urges. When they suddenly threaten to overwhelm you again, he needs to take care of you.

Word Count: 2,8k

no warnings, hurt/comfort, fluff

AO3

Travelling across the shadow-cursed lands had provided Astarion some valuable knowledge. Not only had he learned the meanings of the scars on his back, it was also revealed that the scheme behind the tadpole in his brain was far greater than he had initially anticipated.

These discoveries alone should have been enough to keep him adequately occupied, yet there had been another novelty: for the first time in his life he had developed genuine affection for someone. Namely for you, the softhearted adventurer with an undeniable saviour-complex. You had filled his chest with an unfamiliar warmth and therefore led him to great confusion - at least until his constant brooding had left the inevitable conclusion that you meant far more to him than a solely guarantee for his safety.

His plan with you had been calculated to serve his own needs. He needed protection, so he had aimed to lure you into a selfish alliance by gaining your trust and using his charm to get you on his side. 

As it turned out, this simple little plan of his had fallen apart rather quickly: not only had he come to truly care about you, he had also openly admitted these feelings to you. To his surprise, you had shared that you felt the same.

Even though Astarion wasn’t entirely sure what he was doing with you half the time or where all of this was leading - being with you was astonishingly nice. 

From the moment Astarion had told you about his failed plan, you had decided to be with each other without sleeping together. For the past centuries, sex had been merely a tool for him to collect victims for his former master, so it still brought up feelings of loath and disgust. 

With you, he experienced that there was more to intimacy than sex.

At first, the thought of forming a sincere connection had terrified him. What was he to do with you, and how could he be close to you in a real way - in a way that mattered?

But somehow, you made it easy for him. 

You had been considerate not to overwhelm him with your affection. It had been small steps: a single grasp for his hand, some soft kisses in the safety of your blanket or a heartfelt embrace in between all the fights and mischief that paved the way along your journey to free yourself from the tadpoles.

Sometimes you would read to him, his head resting comfortably in your lap, while your fingers formed circles through his curls. He adored the feeling of your body close against his back, leaving the sensation of your warm hands on his chest the last thing he would remember before he would fall into his nightly trance. 

You made him feel safe, and he found himself positively enjoying your time together.

Of course there had also been that other night. 

That night, when the fear over losing you to your darkness had scared Astarion more than any torture his former master could have ever inflicted on him.

You had woken him with a vigorous shake, eyes wide open and sheer panic in your voice. “We don’t have much time,” you would say, almost swallowing your tongue. “I’m going to kill the person I care about most – and it is you.”

Flattery aside, the threat of being murdered by his lover posed a fairly unpleasant way to be brought from his rest, so Astarion was forced to act fast. 

You had spent the night with your wrists tied up while he watched over you, ensuring that you faced no harm. On the next morning you were yourself again, but the whole ordeal had left its mark on both of you.

And that was another thing about you: despite being the kindest person Astarion had ever met, you were also the only one that was cursed to unwillingly bring a great deal of murder and despair into this world. 

Those violent urges would occasionally infest your mind with a strong yearn to kill and destroy. Gruesome thoughts, suddenly engulfing you with malicious intent - their origin unknown to you. When you resisted them, they would usually fade as quickly as they came, leaving you with a throbbing headache.

One might say that those were not exactly the best circumstances for a blossoming relationship, but Astarion was not particularly impressed by such assumptions. In fact, he had learnt that there was a certain comfort in sharing the burden of internal turmoil. Perhaps that was one of the reasons he had found himself drawn to you from the moment you had met.

Besides, Astarion was confident that you would find a way to rid yourself from these aggravating compulsions for good. After all, he had promised you on that fateful night - and even if he might exaggerate at times, he had meant every single word.

A light breeze rustled through the trees and brought him back from his thoughts. He sat next to his tent with a book in his hands and relished the last beams the sun would offer that day. The warmth was pleasant on his skin, especially after the long march that was behind him.

You and the rest of your companions had left the shadowlands a few days ago and were now heading towards Baldur’s Gate. After hiking through dense forests and small villages, you had decided it was time to make camp and continue your travels after dawn.

It was unusually quiet today. Perhaps the others were taking some time for themselves as well, he thought. You would probably gather around the fire later this evening, sharing some tales over a bottle of wine or discussing the next steps lying ahead of you. 

Astarion let his gaze wander, back from the other tents to a more secluded spot, where he found you. You were sitting in the grass, holding one arm out in front of you with a loaf of bread beside your feet. A small bird with bright orange feathers was fluttering excitedly around you. It seemed like you were about to toss it some crumbs, and it was impatiently waiting to get its beak full.

Astarion rolled his eyes. Typical. You would probably even share your food with some random animal if it meant starving yourself. 

Then again, it was also kind of adorable, he thought as his lips inevitably turned into a grin.

As he continued to watch you from afar, he realised that something was off about you. You weren't moving at all. 

That was odd. 

Your arm looked too stiff, slightly cramped even, and as he squinted his eyes to get a better look, he could see that your hand was clenched into a fist. It was as if you were forcing yourself to hold the position.

Astarion’s senses immediately sharpened.

He got up with haste, carelessly tossing his book aside and lunged towards you while calling out your name.

This was bad.

Uneasiness spread over his body like a rash, before he could even pinpoint what was going on with you. 

“My love, are you al-” The sentence stuck in his throat as he finally came to see you up close.

Your mouth was twitching, contorting your soft features into a grotesque grimace. You looked nothing like your usual self.

Astarion had seen this expression on you before.

His thoughts started to race, as he prepared himself to force you to the ground if necessary. He had no rope on him to restrain you, but in lack of a better solution his laces would have to do.

In any case, he would not let that thing take control over you.

He reached for your shoulder, bracing himself for the worst - but before he could grab you, your features already started to relax.

You must have snapped out of it. This was you again. 

You let your stiffened arm hang down and opened your fist, spilling the remaining crumbs on the floor. Instead of picking them up, the bird hastily flew away. Even the creature must have sensed that something was off.

Astarion let himself sink next to you in the grass and sighed. The danger had passed, it had not taken you.

“I wanted to feed it, I swear,” you explained between quivering lips. “But - my wretched brain almost made me kill this poor little thing.” Your hands were trembling, a deep misery resonating within your words.

A thick lump formed in Astarion’s throat as he noticed tears started to glisten in your eyes.

“I know, my love,” he said and rested his hand on your shoulder. “But remember, this isn’t you. And you brought the bird no harm.”

You swallowed hard and fixated him with your gaze. 

“Yes, this time. But what if I couldn’t have stopped myself? What if I would have killed it - just like that, without any other reason than my sick thoughts ordering me to?”

“Well, in that case…, “ Astarion replied and tapped his chin, “I assume Gale would have served you some poultry tonight. And I would’ve been glad to depend on blood for a chance, since you’d probably have to fight over that unfortunate little thing. I mean you have to admit, to fill the stomachs of our dear friends you should have aimed for something more substantial to mangle.” 

Astarion was no fool. This wasn’t just about you hypothetically killing that bird. Your urges evidently didn’t spare other living beings as well - including himself. This was serious, and yet he felt the need to cheer you up over some silly remark, as you would often find solace in your shared banter. While it was certainly not his best attempt to brighten the mood, it was an attempt nonetheless.

To his satisfaction, you huffed a quick chuckle that finally caused the tears in your eyes to spill over. 

“You’re pretty macabre, you know that?” you scolded and slightly shook your head.

“Am I now? Darling, I’m hurt,” he exclaimed in exaggerated dismay, before a genuine fondness took over his voice. “But honestly, I’m truly proud of you. I can only imagine the force that overwhelms you in those moments, and yet… You’ve proven more than once that you’re stronger than this.” He let his fingers gently brush over the wetness covering your cheeks. 

The gravity of the situation appeared to reclaim you with pressing weight, wiping off the faint smile at his clumsy attempt. You turned your head away from him.

“Astarion… I understand if you would hate me for this.” It was no more than a mumble coming from you, but enough to take Astarion aback. 

He gave his answer fast, almost instinctive.

“No, I could never hate you.” 

It was true. That he could never, not when there was so much about you to love. But somehow, he couldn’t bring himself to say this out loud to you, not yet at least. 

Instead, a tight knot formed in his chest, as he watched your eyes focusing the space between your feet while you let out a quiet sob.

“My love, look at me.” He spoke softly as he reached out for you. With the utmost tenderness, he cupped your face in his hands and made your eyes meet his. “The other night, when you almost drenched my curls in a veil of the beautiful red of my blood, I made you a promise. You remember, don’t you?”

You nodded with your face still resting between his slender hands, as another quiet sob spilled from your lips. 

“Good. And I mean it still. We will get you through whatever the hells this is. We are in this together.” 

His voice trembled despite the honesty that fueled his words. Astarion had no intention to abandon you, the same way you had sworn to help him with his own demons. But this was not about him, this was about you.

You shifted a little closer and wrapped your arms around him - tentatively, almost hesitant at first, until you drew him into a tight embrace.

Your body was warm and pleasant against his, and he would let you hold him - not only because you needed this, but because he wanted to.

“It's okay my sweet, I’ve got you,” he whispered while he cradled you in his arms and let his lips graze against your temple.

Your fingers clutched the collar of his shirt while he breathed words of comfort over the sobs that escaped your throat. 

For now, there was no need for anything else, only him holding you while you cried.

Had he not already sworn to rid you of this affliction, he would tell you over and over again like a broken record, until he made sure that every inch of your body was certain about it.

Eventually you would clear your throat and look up to him. Your face was still wet from your tears, but there was also a glimmer of hope to be found. 

“Thank you. For believing in the good in me, I mean. Despite all of this.” 

“Well, who else would I believe in if not my brave little fool over here?” Astarion said and put a quick kiss to your hair. “Besides, I have no intention of dying again, so ridding yourself from this murderous condition might align with that rather splendidly.”

Your lips curled to a smile, only to be immediately disrupted by a pained groan that left your mouth and made you wince in Astarion’s arms.

“How bad is it?” he asked with concern as he glanced at you.

Another wince. “Honestly? Like my skull was split open with an axe,” you replied with a sharp exhale. “But it’s not the worst I ever had. I’m sure it’ll pass any minute.”

You pushed your fingers to your eyes and stretched your neck upwards, causing Astarion to doubt your words.

He knew that those headaches came with your affliction. Sometimes they would dissolve rather quickly, other times they got so worse that you had to lie down and he would fetch you a cloth drenched in the coldest water he could gather. 

The urgent need to comfort you rose in him again, so he put his hands on your face and slowly pulled you towards him until he could feel your breath on his skin. Then he carefully rested his brow against yours.

That was the best he could think of for now. He closed his eyes and felt your familiar warmth spreading onto him, hoping that he would spend you some soothing coldness.

You remained like this for a moment, the only sound coming from your steady breath. 

Astarion eventually lifted his brow and placed the softest kiss on its former place, right where he assumed your pain was sitting. With his hands, he reached for the back of your neck, giving it a gentle massage.

Your eyes remained closed while you let out a silent moan. You seemed to relax from his touch, the dampness on your skin bathing your handsome features in a light shimmer.

There was this sensation again, something Astarion only had with you. A prickling flutter, spreading from his chest all over his body.

What had you done to him that made him so blissfully light and at the same time would completely sweep him off his feet? Had his heart still pumped blood, Astarion was sure it would beat up to his neck right now. 

“Gods, you’re beautiful.” His adoration made him almost stumble over his words, but he needed you to hear them. 

Then he kissed the tip of your nose, before his lips would finally find yours. You tasted soft and sweet, making him longing to have more of you. Heat rose to his ears as his tongue gently curled around yours, while your hand stroked through his hair, pulling him closer to you. He couldn’t stop his lips from forming a loving smile over your pleasant warmth, before they met yours again for another tender kiss. There was no tadpole, no Cazador, nor the darkness in you. This moment belonged to you and him alone - and every touch was right.

He finished your kiss with another quick peck to your forehead and cleared his throat. “I do rather like that, you know.” 

“That’s pretty convenient,” you whispered with fondness in your eyes, “because I think that actually helped. My head feels light again.” 

“I'm glad,” Astarion murmured with relief. “Is there anything else you need? Just tell me, and I’ll get it for you.”

“For now, all I need is your presence,” you replied before resting your hand on his cheek. “Knowing that you'll stay with me.” 

“Of course, my love,” Astarion assured as he graciously sunk against your palm. “You’re not alone in this, you have me. And I’m not going anywhere.”

And it was true. It was a promise, after all.

Masterlist

[genderkoolaid]

Examples of transandrophobia: i've seen sections of Leslie Feinberg's piece "Sisterhood: Make it Real" passed around this site for literally years, and TODAY was the first time that I saw the whole thing and learned that ze called out cisfeminists in it for getting rid of trans men the second they started transitioning. Like I always thought it was a good piece but I had literally NO IDEA that it talked about trans men because that part was never included in posts about it, even when those posts were calling out cisfeminism for being transphobic. I'm just gobsmacked tbh

This is a great point!

Honestly more people need to read that full chapter. There's a lot of really good points.

Amongst other things, Leslie talks about how "women good men bad" is poor feminism:

Of course, as a result of the oppression women face growing up in such a violently anti-woman environment, some women draw a line between women as allies and men as enemies. While it’s understandable that an individual might do so out of fear, this approach fails as theory. It lumps John Brown and John D. Rockefeller together as enemies and Sojourner Truth and Margaret Thatcher together as allies. This view of who to trust and who to dread will not keep women safe or keep the movement on course.

How feminine men are victims of gender oppression:

The oppression of feminine men is an important one to me, since I consider drag queens to be my sisters. I’ve heard women criticize drag queens for “mocking women’s oppression” by imitating femininity to an extreme, just as I’ve been told that I am imitating men. Feminists are justifiably angry at women’s oppression - so am I! I believe, however, that those who denounce drag queens aim their criticism at the wrong people. This misunderstanding doesn’t take gender oppression into account. For instance, to criticize male-to-female drag performers, but leave out a discussion of gender oppression, lumps drag queen RuPaul together with men like actor John Wayne! RuPaul is a victim of gender oppression, as well as of racism.

How masculine women are assumed to know less about gender oppression:

But I grew up very masculine, so the complex and powerful set of skills that feminine girls developed to walk safely through the world were useless to me. I had to learn a very different set of skills, many of them martial. While we both grew up as girls, our experiences were dissimilar because our gender expressions were very different. Masculine girls and women face terrible condemnation and brutality including sexual violence - for crossing the boundary of what is “acceptable” female expression. But masculine women are not assumed to have a very high consciousness about fighting women’s oppression, since we are thought to be imitating men.

And as you said, how trans men deserve access to women's and lesbian's spaces without having their transmasculinity ignored or seen as being butch-in-denial:

And our female-to-male transsexual brothers have a right to feel welcome at women’s movement events or lesbian bars. However, that shouldn’t feed into to misconception that all female-to-male transsexuals were butches who just couldn’t deal with their oppression as lesbians. If that were true, then why does a large percentage of post-transition transsexual men identify as gay and bisexual, which may have placed them in a heterosexual or bisexual status before their transition? There are transsexual men who did help build the women’s and lesbian communities, and still have a large base of friends there. They should enjoy the support of women on their journey. Doesn’t everyone want their friends around them at a time of great change? And women could learn a great deal about what it means to be a man or a woman from sharing the lessons of transition.

Not that "trans women belong in feminism" wouldn't be a good point on its own, but people's selectivity with which parts of that chapter they share definitely warrant scrutiny.

[furiousgoldfish]

When people hear stories about abuse, they often get fascinated and interested in the abuser, and the 'mystery' behind their behaviour. They'll want to analyze what happened to this person to make them act in such twisted and sadistic ways, and they want to find the past event or past abuse that would 'explain it all'. Abusers will also, very happily recount the past abuse whenever it's time to explain away their behaviour, so nobody could hold them accountable, because after all, they had had it rough! Of course they're now abusive, it's only natural.

Fascination with explaining away abuser's behaviour often leaves victim's situation forgotten and ignored. Victims are supposed to just 'get over it', not be so sensitive, and be careful to not turn into abusers themselves, because after all, being abused means you become an abuser, according to the abuser. Except it doesn't, and victims often don't end up abusing anyone else, especially not in the horrific ways they themselves have been abused. So we're having two opposing stories: one is told by the abuser, and it's easy, simple, explains everything away, and it says, abuse causes future abusers, I am the proof, I was abused and now I am like this. Victim's story goes: I was abused, and now I struggle to function, I have cptsd, I have flashbacks, nightmares, panic attacks, anxiety, eating disorder. I struggle with suicidal feelings and wishing I didn't exist. I feel like I'm not important at all in this world and like I have no community, no family, no home. Failure of everyone to help me while I was being abused caused me to feel like an outcast from society, someone who isn't a part of it, who doesn't matter. I would never do this to another person, I feel like a part of me was torn away into pieces and I struggle to put myself back together.

Now that story is complex, it implicates the society in failing to stop the abuse and making the victim's life worse, it showcases the actual consequences of abuse, which are not 'becoming evil', but feeling ultimately traumatized and damaged, struggling to find joy and happiness in life in the aftermath. Society doesn't want to hear that; it makes abuse into a problem that should collectively be dealt with, rather than pushing it all onto individuals who find themselves trapped in it and suffering. It's much easier to pretend that abuse just makes someone abusive, and for people who are abusive, we need to feel sorry for, because they were 'made to be like this', and for those abused, we just need to shame them and control them so they don't become abusive themselves.

There are abusers who have lived privileged lives, there are abusers who have been spoiled and rewarded for their acts of abuse. Most abusers don't show the symptoms of trauma nearly as bad as the victims of abuse do, they're most often just having the symptoms of 'I lash out my anger on those who cannot defend themselves' and 'everyone needs to feel sorry for me because I am having the roughest time on the planet'. Weird how the victims almost never develop these two symptoms! Victims will go and compare their situation to everyone who has it worse, and will struggle to express or direct anger at anything. 

So what is the actual source of abuse, if not past trauma? There's no study or statistics that can tell us that for sure, and abusers are careful to maintain their story and are not interested in being studied past what makes people feel bad for them. I would guess that it's a mix of entitlement, being in a position of power over someone vulnerable, never having to develop empathy or compassion, being rewarded continuously for acts of abuse, and social influence (admiring other abusers and wanting the power they have). A lot of social structures support and enable abuse of those who are at the very bottom of it, with very few protections against it. A lot of people believe it's their right to abuse someone if they have the power over that person, and gain power specifically for that cause. Abusers will have children and believe this is their property and they can do whatever they please with it, abuse being a part of it.

If we don't know where abuse comes from, how do we combat it? I don't believe in feeling sorry for the abusers or giving them endless attention, chances, excuses and rationalizations; instead I believe we should stand firm on the fact that abuse is inexcusable, and will have consequences, regardless of how it came into their behaviour. If abuse always had consequences, regardless of the history of the abuser, they would know they can't get away with it, that they can't later make everyone feel sorry for them and go on with their sob stories. Abuse would get them punished, not sympathized with.

I also believe the abuser's point of view should be decentralized; it should be victims who get to speak. It's easy for the abuser to show themselves in the positive light, minimizing the abuse, insisting the victim provoked or wanted it, that it wasn't that bad and it was done with 'best intentions'. But if we listened to victims, we would quickly understand that anyone who can do this to another person is monstrous, and should not be extended any sympathy. Abusers don't extend their sympathy to the victims when they abuse, so why should they expect to get it? Society should take abuse more seriously and put defenses into place, so abusers are not as easily able to put it behind closed doors. Resources for recognizing abuse, especially child abuse and intimate abuse, should be taught, spread and shared in society, so nobody would be able to convince another that suffering abuse is normal, or justified.

One of the biggest barriers to escaping abuse is victim confessing what's been happening to a trusted family member or a friend, and then this family member or a friend shaming and blaming them for it, instead of offering help and protection. It takes a lot of courage to even say something out loud, knowing the abuser would punish them for it, and then to be punished externally for speaking out, it's devastating. If abuse was taken seriously, and victims understood to be fault-free, but singled out, isolated and hurt in a way that nobody should be, and it was understood it's a societal responsibility to protect them against this, it would be easier to speak out, and get support. It often takes a society to help someone get free, because abusers are hell-bent on abusing once they start to, the victims need multiple barriers before abusers could get anywhere near them.

And why shouldn't we want that? If we know there are people in society such as children, young people, people without regular income, poor people, disabled people, compassionate people, marginalized people, people who struggle to recognize and flag down predators, shouldn't we want to make sure they're protected? That nothing bad happens to them, and they're free to live their lives safe from those who would do them continuous harm and make them want to die? We want our young, old, kind, vulnerable, sensitive, disabled, poor, compassionate and marginalized people safe and happy. There's no reason to throw them under the bus and leave them to suffer abuse.

[webanglikethat]

“Gabe wasn’t abusive enough”

as a victim of abuse myself, everyone complaining that Gabe is not ''abusive enough'' makes me SO fucking enraged. just because we don't see sally limping with a black eye while blood is rushing down her face, it does not mean she's not abused. one thing that is extremely important to recognize when it comes to abuse is that abuse can manifest in various forms -> including emotional, psychological, verbal, and financial abuse and even many more. it is not always visible or easily identifiable. abuse leaves scars that aren't always visible to the naked eye. stop pretending it is always black and white.

now to Gabe -> he is financially abusive: he is unemployed and seemingly devoid of any inclination towards responsibility. he shamelessly exploits Sally's hard-earned money and so, her efforts to secure a stable financial future for herself and Percy are callously disregarded as Gabe channels those funds into a destructive vortex of gambling.

-> he is verbally abusive to Percy: he always belittles him, undermining his self-esteem and sense of worth. Percy is barely twelve, living in a world that was not crafted for him, and he is trying to come to terms with that and there is Gabe, taking advantage of that. the psychological impact of Gabe's actions goes beyond mere verbal jabs; it seeps into the very fabric of Percy's self-concept. if you want to believe it or not.

-> he is okay with physical abuse: when Percy mentions he got kicked out for ´´assaulting a girl´´, instead of the expected concern or guidance everyone would expect from a normal person, Gabe's response is a simple yet chilling "okay," delivered with an almost impressed and approving tone. rather than condemning the use of physical force, Gabe's indifferent response basically indicates that he too would be okay with it and that perhaps, Percy's house isn't the safe place he thought it would be. (which we know is true, if you have read the books)

-> he is mentally abusive: HE answered Sally’s phone and spoke to the principal at Yancy. Gabe, ever the puppeteer, attempted //again// to extend his pathetic influence by seeking to control not only the household dynamics but also the very upbringing of Sally's son.

-> coercive control: Gabe is exerting control over the family's mobility by dictating access to the car. by making Sally negotiate, Gabe is asserting dominance and creating an environment where Sally feels compelled to seek his permission for everyday activities.

-> neglect: believe it or not, but failing to provide basic needs, including emotional support, is a form of abuse. Gabe's complete disregard for Percy's well-being is neglectful and abusive. period.

-> and I cannot believe that twelve year old Percy saw the red flags before some of you all -- who are grown adults -- did. Percy's recognition of the subtle manipulation tactics employed by Gabe literally showcase the emotional intelligence and observational skills that children can only develop when navigating difficult circumstances (shoutout to my psychology class).

and also, fuck you. what is abusive enough to you? as a survivor of abuse, I find this idea so fucking deeply troubling. what exactly constitutes 'abusive enough' to you? is it only valid if there's kicking or punching involved? let me be clear: abuse isn't just about physical violence. it is such a complex issue with many facets - emotional manipulation, verbal degradation, financial control, and psychological torment are all forms of abuse that can leave lasting scars. by suggesting Gabe needs to be 'more abusive,' you're unintentionally trivializing the experiences of countless abuse survivors whose abusers never laid a hand on them. this often prevents victims from seeking help. many abuse survivors struggle with self-doubt, wondering if their experiences 'count' because they don't match the extreme portrayals often seen in media. abuse isn't a spicy sauce you can just keep adding to until it burns. it’s not a competition to see who can be the most horrible human being possible. also how exactly are you measuring here? do you have a handy little scale? oh, he only emotionally devastated her today. that’a like, a 3 out of 10 on the abuse-o-meter. needs more punching!' Newsflash: abuse isn't some kind of a spectator sport. it’s not here for your entertainment or to meet your arbitrary standards of 'enough.'

so you know what? I think TV shows need more representation like this. the portrayal of Gabe as an abuser who initially appears harmless and quite stupid aligns with the reality of many abusive relationships because contrary to popular perceptions, abuse doesn't always manifest in blatant physical aggression or explicit threats. more often than not, it takes on subtler forms, such as psychological, emotional, or financial manipulation (as I already mentioned).

and I am so proud that the show chose this narrative path because it sheds light on the less-discussed aspects of abuse. in my opinion, the show proves to be a valuable resource by deviating from conventional tropes in its portrayal. victims often hesitate to seek help when their experiences deviate from the expected narrative, and bystanders may struggle to recognize the more subtle aspects of abuse, perpetuating a culture of silence and impunity for abusers. so good job to the percy jackson directors, you got my respect. <3

[sephirthoughts]

Vincent’s lingering obsession with Lucrecia is excellent drama, but their story is not a doomed romance.

This is an unpopular opinion, but I don’t think Lucrecia deserves nearly as much pity and excusing of her actions as she gets. This is not character-hate post, it's an analysis of a character I think gets short shrift as a Mother-Mary in a bell jar, and deserves better.

Lucrecia is morally grey. Charcoal grey. I love complex, morally grey characters, particularly when they're women, since usually women are relegated to roles that infantilize and objectify them, particularly in video games, which have historically been a very backward, androcentric medium. I strongly dislike brainless victims, subject to the whims of the male characters, without much agency, and Lucrecia was not such a character.

Lucrecia was an adult with agency and brains. She was a grown ass adult. She was a brilliant scientist. She made decisions with her eyes open, and even sacrificed her unborn child to her work. She is a very interesting character. The fact that she didn't idolize motherhood as the end-all of female existence, and that her obsession with her work was stronger than her desire to be a 'good mother' makes her far more interesting than otherwise. The fact that she regretted it later and wanted him back doesn’t magically make her a good person, or change the choices she made. It demonstrates guilt and remorse, which are part of character development. The bottom line is that she committed atrocities in the name of science, then felt guilty about it later, once she realized how devastating the consequences were to her personally. To say she didn’t know what she was doing or Hojo manipulated or controlled her is to infantilize and disrespect her character. She’s not some sacrificial angel who was a victim of circumstances; she was a willing participant in her own downfall.

Lucrecia is a tragic character, but she's not a romantic lead. Except in Vincent's head. After all was said and done, she had one of those too-late changes of heart that make tragedy so emotionally impactful. She had a human reaction to Vincent's death and felt terribly guilty for her role in all of it, as she should. That doesn't mean she loved him, it means she wasn't a monster. She lost her son, and gradually, Hojo's callous inhumanity and her inability to escape the net she wove with her own hands closed in on her. Did she deserve to never hold her baby son and never see him even once? No. But she caused it, with her own actions. That's tragedy. She was miserable, bereft, and riddled with guilt, so she made a last-ditch effort to make something right...by doing more insane science shit that turned Vincent into a monster. Seeing that she'd only made everything worse, she tried to kill herself, but was unable to, and thus ran off to become a crystal statue in a cave (this is a trope that I dislike, but that's the story, so that's what we've got).

Vincent is a bad judge of the circumstances. Vincent persists in seeing her as a lost love, and someone from whom he was unjustly separated by circumstances. The fact that he is so blinded by his feelings for her that he places her on this pedestal and can't blame her for what she did is excellent characterization, and I love it, but it's because he’s wrong. He loved her. She didn’t love him (I think she was in love with his father, but that's just icing on the tragedy cake, at this point). His lingering attachment, not to the real Lucrecia, but to the idealized version of her he has in his mind, is a very sad reality that adds so much delicious pain to his character. In the end, he is unable to blame her, because he loved his image of her (and Hojo is a way easier target for anger, because he's literally the worst), which speaks far more to his personal bias in the situation than to her actual role in it. She’s not moustache-twirlingly evil like Hojo but she’s not Vincent's star cross'd soul mate tragically torn away by cruel fate. Lucrecia was her own person.

In summation. Their story is not a doomed romance, it's a complicated, messy, ugly tangle of thorns, and one of the best written tragedies in a game that literally bleeds tragedy from every orifice. It's got one-sided love, obsession, mad science, betrayal, jealousy, fetal experimentation, murder, corpse reanimation, and a guy who can't die, and is left to deal with the consequences of everyone else's actions by himself forever. No one is innocent and no one comes out unscathed…strike that. Vincent is innocent and Hojo comes out unscathed. But still. Lucrecia is not a holy mother, she's not a brainless victim, and she's not Vincent's lost love. She's a person he loved, and who didn't reciprocate. Most importantly, she's a person. A whole-ass, complex, morally grey, fully developed person, who made terrible choices, then made even worse choices, and in the end, couldn't escape the fate she wove for herself.

And then wound up encased in crystal so she could be a pretty statue forever cause the game devs just couldn't help themselves I guess.

[dippedinmelancholy]

It's so horribly clear SJM was writing off of vibes for the backstory of Feyre for ACOTAR, specifically their downfall into being poor and how Feyre was the only victim, since she hunted. Her narrative is that Nesta is a bitch and Elain is too stupid to realize she should be helping. Oh, and her dad is just like, there I guess. As someone who really grew up poor, poor enough that my family used a washboard at one point to scrub our clothes, grew tomatoes and cucumbers just to have something to eat through the summer, went months in a row with no electricity and the smallest things in the world felt like actual miracles . . . It's such weak writing. You don't hit rock bottom immediately. Hunting alone simply isn't enough. No one can convince me they were just eating whatever meat Feyre brought home, that's not how making food last goes. You make stew (arguably a lot since it's what stretches the most).You don't buy new clothes all of the time, you mend them. You ration your flour, your milk, you trade what you can with neighbors. It's evidence that either Feyre or SJM just doesn't value feminine work, because when you're so poor you don't know if you can eat for the full week, it's the feminine work that keeps your house alive. Additionally, Elain is so clearly not stupid????? Feyre just imagines the worst of both of her sisters. She thinks Nesta is simply bitchy to be cruel to her specifically, rather than Idk, she's pissed at her worthless deadbeat dad and mourning that their mother is dead? It's Elain who buys Feyre the paints, so she knows enough to try and make Feyre happy. In ACOSF, it's CASSIAN who goes on this who tangent about "Nesta was wrong, Elain saw everything and knew exactly why she did it" in regards to Nesta's anger and the memory of Nesta stealing a Duke's heart at 14. So it's not a recent development thanks to being a seer/fae. She's always seen. She's always known. She just let others cater to her. Let others take on the social and physical burdens. Let her sisters put her own happiness and softness above her own. In a better world, all three sisters who be an exploration of trauma responses from the beginning. Instead, they were written to ensure you saw Feyre as the perfect victim, rather than a complex person who doesn't react well, because no one does.