#that's why his story is so tragic and so compelling

[ladyantiheroine]

Rewatching Batman and Batman Returns back-to-back and it's just reminding me why I like Selina as a love interest better than Vicki.

I mean, anyone who follows me already knows I'm a batcat fan, and I don't find Vicki that compelling outside of the TellTale Games version of her. But even beyond my own preferences, Selina is just a better match for Bruce in the Burtonverse overall.

The problem with Vicki is that she's so distant from Bruce's world. Just as Bruce explains in Batman Returns, she couldn't reconcile the two parts of him; Bruce Wayne and Batman. She had "difficulty with his duality," to paraphrase Selina. Part of it is Bruce's unwillingness to open up to another person, but I never got the vibe that Vicki liked Bruce being Batman. When she discovers his identity, she says to him, "I've loved you since I met you, but I don't know what to think of all this." It seemed like she wanted him to just be a normal guy, which of course, he can't be. Even at the end of the movie, she seems to accept Bruce as Batman begrudgingly, as something to tolerate rather than understand.

(At the end of the movie, Alfred tells her that Bruce will be "a little bit late" and she responds with "I'm not a bit surprised." It's meant to be a cute jab, but to me it just seems like she's passively accepted that Bruce's alter ego will always take precedent over her, and that's not very romantic to me)

On top of that, their date scenes are kind of bland, they don't really get to know each other that well, and they don't seem to have much in common. Overall, Vicki is written like a stock love interest, a damsel in distress to scream until Batman saves her. There's not much glue keeping them together.

But Selina on the other hand? She knows what it's like to have a darker alter ago. She knows what it's like to be traumatized and hurt by the criminals of Gotham (Max Shrek and Penguin). She knows what it's like to be a freak. Bruce himself says so in their movie: they're the same, "split down the center." When she finds out Bruce is Batman, she's upset not because she can't reconcile the two halves of him (like Vicki) but because it puts them on opposite sides of the law ("Does this mean we have to start fighting?"). They are perfectly matched but kept apart by outside forces and conflicting priorities, rather than other than lack of communication and compatibility.

On top of that, Bruce and Selina have way more chemistry (bolstered by Keaton and Pfeiffer's performances). On their date, they talk deeply to each other, about their pasts and their desires. They seem to innately connect in a way I never felt with Vicki, who seems to beg Bruce to be normal while he seems borderline bored with her half the time. With Vicki, it's like he's acting out a script. With Selina, it's an organic spark.

Of course, Selina does end up leaving at the end of their story, because she's been pinned down by men for too long and needs to go off on her own. Unlike Vicki, she's not built for the normal "fairy tale castle" life. And because he loves her, Bruce follows the old truth that if you love someone, set them free.

But despite this ending, I buy the tragic love story of Bruce and Selina more than the straightforward Hollywood ending of Bruce and Vicki. The former felt like soulmates torn apart by circumstances, the latter felt like two people who were never going to work in the first place because they weren't compatible.

If you ask me, Vicki was just a stepping stone for Bruce on his way to Selina. She taught him a lesson: He needs someone who will understand him fully and join him in the night, not simply wait for him to return and act "normal" again.

The big difference is this: When the bat signal hits the sky, Vicki is going to stand back and worry.

But Selina Kyle? She's going to grab her whip and join Batman on the battle field by his side.

And at the end of the day, I'd much rather see a badass power couple working together as a team rather than a worried wife sitting at home while her husband goes off and saves the day.

[levitatingbiscuits]

i think it's kind of insulting to anakin as a character when people pose him as a perpetual victim of everyone around him instead of a very powerful, very intelligent man who was responsible for his own actions.

i've noticed that a lot of diehard "anakin did nothing wrong" people very deliberately try to erase his agency and portray him as much less intelligent and capable than he actually is. the thing is, we know that's not the case! anakin was incredibly intelligent and successful and admired long before he became vader. he had a deep understanding of jedi philosophy, even if he was unwilling to apply it. we know this, not just from his explanations to padme and ahsoka about what jedi do and why, but from how good he is at killing jedi. anakin could hunt them down better than anyone else in the empire because HE USED TO BE ONE and he could predict exactly how they would behave based on their worldview, ethics, way of life, etc. he just didn't want to behave that way himself. he is the most dangerous person in the galaxy not just because he's powerful, but because he's SMART and he knows his enemy. he might have anger issues, but he's also very calculating and a "cunning warrior." the only one who could send him into a blind rage was obi-wan, but he learned from that and shaped his fury into a weapon he could use to devastating effect. vader was able to kill obi-wan because he learned from his mistakes; he was able to manipulate luke into almost falling multiple times. anakin in the OT is a man who has spent two decades honing his craft as a highly successful, extremely powerful sith. he is in control of himself and his actions, and that's why he's such a formidable villain.

so it kind of rubs me the wrong way when people say that he was always a fragile mess that the jedi order fucked up, or that he was palpatine's helpless puppet. i don't think anakin was traumatized by having occasional disagreements with the council. if that were the case, qui-gon and obi-wan would have both fallen long before he did. anakin was a powerful force user who disagreed with the council and vocalized it, not a bullying victim. i don't think obi-wan is responsible for all his choices, because that implies anakin traded being watto's slave in favor of being obi-wan's, when the whole point is that he chose to become a jedi as an assertion of his own freedom and personhood. palpatine might have thought that anakin was his attack dog, but anakin PROVED HIM WRONG and once again destroyed his chains by defying sidious in favor of love and compassion. his story ends with him embracing the jedi way, saving his son, and being reunited with his old teachers in the Force.

anakin chose to die as a jedi, just like he had once chosen to live as a sith. the power to make those choices was always HIS, not the council's or obi-wan's or palpatine's, because his story and the galaxy at large were always shaped, ultimately, by his choices.

[ty-bayonet-betteridge]

3l!grian is frequently depicted as a tragic figure and sometimes i wonder if we even watched the same series

[willowcrowned]

the irony of naomi novik’s books having very little fic on ao3 does not escape me. it does however annoy me a great deal

[themidnightcircusshow]

@heartofstanding tagged me in this meme months ago and unfortunately it took me this long to get to it because I had a mild crisis over how long it's been since I've read a novel, let alone one that I loved 😅 so this is nine of my favourite novels (not books, because if I included manga/short stories/comics/etc this would be giant)

0The Picture of Dorian Gray -- Oscar Wilde// Pyrrhus-- Mark Merlis//The Scarecrow--Ronald Hugh Morrieson//Unnatural History--Kate Osman//Tunnels of Blood--Darren Shan//The Coffin Dancer--Jeffery Deaver//Hero--Perry Moore//Frankenstein--Mary Shelley//One Flew Over the Cuckoo's Nest-- Ken Kasey

[llycaons]

sometimes I feel like I've overcorrected on the unhealthy relationships in media thing because there is so much nauseating bullshit out there that people present as aspirational, which is kind of a shame because a lot of the most interesting fictional relationships are absolute nightmares and it's a real gift to see them appreciated by people who understand the nuances and the appeal

[agnimybeloved]

regarding that last post... not that black butler's canon has to be uplifting or have dadbastian or a happy ending to be "good" (i'm actually partial to tragedies especially the cyclical kind and would love for the series to straight up end with despair and the collection on the contract lol) but i do think that toboso's largely fumbled the found-family/interpersonal,/introspective aspects of her story and sacrificed a lot of narrative and thematic meat there for low-brow and off-putting comedy.... which is really exactly all she does with ciel's trauma as well-- shallowly using it for the purposes of trauma porn and/or comedy/inappropriate fanservice.

ciel only seems to have reasonable responses to his trauma when its aesthetically convenient if that makes sense. i honestly could go as far as to say that she depicts his trauma fetishistically-- every instance i can recall of ciel having an extreme traumatic response (i.e. vomiting, flashbacks, psychosis) is represented with (imo but honestly.... i'd be shocked if this wasn't intentional...) sexual undertones. his episode during the green witch arc doesn't have one of these moments within the episode itself as far as i can recall, but certainly i think the preceding/inciting medical emergency that forces him and sebastian to bathe together contributes to the reoccurring sexualization of "sickness" (physical & psychological).

not to mention ciel's subsequent episode is treated as the dramatic peak of his ptsd and something that he "overcomes" through sheer force of will (and the threats of sebastian... neither of which are a proper/reasonable way to handle such an extreme trauma response) and doesn't really battle going forward in the story. of course a lot of stories take this "one dramatic moment and then its fixed" approach to representing mental illness, and it makes narrative sense for toboso to want to more or less settle that thread to gear up for the important blue cult arc, but i think toboso's handling of mental illness in general goes so far beyond suspension of disbelief and tastelessness that i think she should lowkey be brained for it. the way she intermittently writes ciel's traumatic experiences as something horrifying and wrong and to be given sympathy meanwhile relentlessly putting ciel in inappropriate fanservice situations that diminish the severity of csa & pedophilia as well as disrespect the complexities of trauma and turn them into comedy... mind boggling...

overall though i think that black butler shows a real mastery of narrative arcs while falling short in terms of character arcs. most of the time these arcs are shown in retrospect with the addition of new backstory, but it feels as if the characters in present have barely grown at all... not that every story has to be character driven and a static character type makes sense for someone like sebastian, but for all that ciel is a unique and mature thirteen year old due to the circumstances of his life, he is still a thirteen year old, and one that has experienced a significant trauma quite recently at that. not allowing him coming of age-esque character arcs considering all that sort of breaks the believability of his character imo.

but i think that coattails does a lot in staying loyal to ciel's character and experiences while also respecting his trauma and bringing the depth and flexibility of adolescence to his worldview and actions that toboso unfortunately seems disinterested in. i love that aforementioned chapter of coattails and its sentiments especially with how it reexamines ciel's actions at kelvin's manor and the worldview that lead to burning it down with the children inside... not that it was an out of character decision for ciel in the moment, but i think it established a lot more severe facts about his character and worldview than toboso is willing to address in her writing and therefore feels unresolved. coattails' remedy to that awkwardness by coming full circle is so intriguing and fulfilling in contrast... it shows how adolescence and trauma can work together to so completely convince one of hopelessness and yet how just a bit of hope can change that worldview entirely. literally just the honest love of a random dog and the mundane care of a guardian... there is a cure and it is this..... what da helllll....

[pollyanna-nana]

One of the most tragic and compelling aspects of Dunmeshi, to me, is that we’ll probably never know (unless Kui tells us lol) how Delgal actually felt about Thistle. I’ve seen people say that he genuinely cared for him as a brother and his journey to the surface was to save him from his madness as much as it was his people. I’ve seen people say that he saw Thistle as nothing more than a fancy accessory or tool that ended up going astray. Others I’ve seen (and personally agree with) say that the truth lies somewhere in the middle. But honestly, I think any one of these interpretations has the potential to be correct… and that’s just heartbreaking.

After all, Delgal is dead. Like, dead-dead. The very first chapter of the manga starts with his spirit leaving this mortal coil, taking that answer with him. And…

How he talks about Thistle here… it’s interesting. He does not ask for him to be talked down, or captured or imprisoned, but instead “defeated”. Which Mithrun interprets as asking for his death… which is reasonable, because that’s likely how the vast majority of adventurers interpreted his words, too. Obviously as he was crumbling to dust he probably didn’t have the capacity to be particularly verbose or explain the complex backstory to how the kingdom ended up this way, but the effect is the same no matter how he may have felt with it. He asked for Thistle to be killed.

But… even in situations where he wasn’t under any such time limit to explain what was going on, he still seemed not to. Most glaringly:

Yaad seemingly has no idea that it was Delgal’s fault that Thistle sought the demon’s power. Obviously he couldn’t talk to him about it because Thistle was, uh, a little out there by that point, but why didn’t Delgal explain? Was he embarrassed? Mournful? Couldn’t find the words?

Delgal was scared of dying. He wanted prosperity at any cost, and how could Thistle possibly refuse? Did he even realize that what he was the one who pushed his own brother— One who basically helped raise him despite being a child himself, and in many ways is still a child— down this path? Or was it like watching an overzealous employee misinterpret directions?

The way Yaad describes things here makes it sound like Thistle simply dug too deep in his studies and fell into madness, but we know that’s not true. Delgal didn’t “suggest” he learn magic, he wanted a mage who could help himself and his people defy death, which he admits to Thistle openly:

So, why? Why not tell his grandson, at least, the truth of the matter? Did he worry it might make the remaining residents more likely to upset Thistle, and therefore suffer the consequences? Did he just not care? For what it’s worth though, Yaad does suspect the truth from Delgal’s behavior.

He “always blamed himself” for his descent into the dark arts. This is just Yaad’s observation, and that’s without knowing that it was quite literally Delgal’s fault Thistle went down this path. So, why? Why was it all kept a secret?

Of course, this made things ripe for the winged lion to manipulate to its advantage. Clearly despite knowing he’d pushed him into using it, Delgal still thought the lion was a force of good that was misused by Thistle as a result of his madness. His face in that last panel is particularly haunting. He looks terrible, gaunt and pale with overgrown hair and missing teeth. Had he gone mad, with grief and sorrow, as well?

Could he no longer see Thistle the way he did when they were younger? No one can ask him, because he died long before the story even began.

To go back to the original question, well, how did Delgal see Thistle? None of the previous points make a definitive answer any clearer, and I think that’s just brilliant. And so, so tragic.

[loeh]

From the moment he saw your portrait, his life began to change in ways he could hardly understand. At first, he attended the auction out of obligation. He was indifferent to the event until he saw you, captured in a frame, almost lost among the other items on display.

You didn’t stand out at first. Your beauty wasn’t the kind that demanded immediate attention. Yet, when the bidding for your portrait began, he found himself compelled to participate. Was it boredom? A reckless display of wealth? He couldn’t say, even to himself.

The moment he brought your portrait home, he placed it in his room—an odd choice, one that puzzled him. It started as a mere curiosity. What was it about you that had so many people interested? Why did you look so serene, yet so stern?

Your gown, with its deep crimson velvet, was a masterpiece of craftsmanship, clinging to your form like a whispered secret. The intricate lace on the bodice gracefully embraced your delicate shoulders, while the silk train flowed like liquid fire. It was mesmerizing, yet it was your expression that truly captivated him. It wasn’t one of joy or contentment, but of solemness—a quiet command that demanded respect and obedience.

Each night, as he looked upon the portrait, he became more obsessed, wondering who you were, what thoughts filled your mind when you posed for this image. It was as though you had reached out from the canvas, drawing him into a world where he couldn’t escape your gaze, a world where he was slowly losing himself to an obsession he couldn’t explain.

His curiosity had become an all-consuming obsession. The more he stared at your portrait, the more he needed to know about the woman who had captivated him so completely. He scoured records, questioned merchants, and chased down rumors, but for the longest time, his search led nowhere. You seemed to be a ghost, a figure lost to time.

Finally, after what felt like an endless pursuit, he encountered an elderly man who claimed to know your story. The man spoke with a somber tone, revealing that you were once the Crown Princess of a proud and flourishing kingdom. But tragedy had struck when your father’s own brother, betrayed the royal family. He committed treason, igniting a rebellion that tore the kingdom apart.

Despite being outnumbered and facing overwhelming odds, you stood as the last line of defense. You took up arms, leading the loyalists in a desperate attempt to save your home. The man recounted how you fought with unmatched bravery, refusing to yield even as the kingdom crumbled around you. But in the end, your efforts were not enough.

The last anyone saw of you was during a fierce duel with your once loyal knight and lover on the edge of a cliff. Some say you were killed in that final battle; others believe you vanished, your fate a mystery. The man who recounted this tale was none other than the head butler of your kingdom, a loyal servant who had witnessed the downfall firsthand.

Through further questioning, he learned that after your supposed death, your uncle’s reign quickly fell into chaos. The kingdom, once thriving, could not withstand the internal strife and soon succumbed to external wars. These conflicts were so devastating that they effectively erased the kingdom from history, leaving nothing behind but forgotten ruins and faded memories.

The more he uncovered, the deeper his obsession grew. You were no longer just a figure in a painting; you were a tragic heroine. The thought that your story, your life, could be forgotten by time haunted him. He felt an inexplicable connection to you, as if understanding your past could somehow fill the emptiness he felt within himself.

In the end, his search led him to a humble barhouse where you, once a Crown Princess, were now reduced to serving as a maid. The sight of you, stripped of your former grandeur, struck him like a blow to the heart. How could someone of your noble stature have fallen so low? The injustice of it consumed him, feeding the obsession that had taken root within him.

Determined to restore you to the glory he believed you deserved, he decided to take matters into his own hands. He married you, forcibly and without your consent, convinced that he was saving you from a life of indignity. To him, this was an act of love, a twisted belief that he was doing what was best for you, even if you couldn't see it.

He impregnated you with his children, two daughters who became the center of his world. In his mind, he had found his happy ending—a life with you by his side, a family that completed the vision he had constructed in his obsessive heart. He had given you back everything you had lost, or so he thought.

But you, despite everything, continued to resist. You sought every chance to escape, your spirit undimmed even in the face of his control. You spoke of how you didn't love this life, how you longed to be free from the gilded cage he had created. To him, your words were incomprehensible. How could you not see that he had given you everything? How could you reject the life he had worked so hard to build for you?

In his eyes, your ingratitude was maddening. He had rescued you, loved you, given you the children he believed would bind you to him forever. Yet you still sought to flee, still spoke of a life you wanted to escape from. To him, it was baffling—shouldn't you be more grateful? Shouldn't you love the life he had crafted for you with such care and obsession?

But in his twisted perception of love, he could not see the prison he had built around you, nor the pain he caused in his relentless pursuit of a happiness that was his alone.

Maximillian Ashet, Dylan Sean Blathe, Anastacius de Alger Obelia, Dion Agriche, Cruel Harte, Rezef Hill, Eros Vasilios, Callisto Regulus, Ahin Grace, Theobold von Baden Mismarck, Noah Wynknight, Abel Heilon, Prince Escalus, Luciano Valeztena

[burntoutdaydreamer]

To Write Better Antagonists, Have Them Embody the Protagonist's Struggles

(Spoilers for The Devil Wears Prada, Avatar the Last Airbender, Kung Fu Panda 2, and The Hunger Games triology).

Writing antagonists and villains can be hard, especially if you don't know how to do so.

I think a lot of writers' first impulse is to start off with a placeholder antagonist, only to find that this character ends up falling flat. They finish their story only for readers to find the antagonist is not scary or threatening at all.

Often the default reaction to this is to focus on making the antagonist meaner, badder, or scarier in whatever way they can- or alternatively they introduce a Tragic Backstory to make them seem broken and sympathetic. Often, this ends up having the exact opposite effect. Instead of a compelling and genuinely terrifying villain, the writer ends up with a Big Bad Edge Lord who the reader just straight up does not care about, or actively rolls their eyes at (I'm looking at you, Marvel).

What makes an antagonist or villain intimidating is not the sheer power they hold, but the personal or existential threat they pose to the protagonist. Meaning, their strength as a character comes from how they tie into the themes of the story.

To show what I mean, here's four examples of the thematic roles an antagonist can serve:

1. A Dark Reflection of the Protagonist

The Devil Wears Prada

Miranda Priestly is initially presented as a terrible boss- which she is- but as the movie goes on, we get to see her in a new light. We see her as an bonafide expert in her field, and a professional woman who’s incredible at what she does. We even begin to see her personal struggles behind the scenes, where it’s clear her success has come at a huge personal cost. Her marriages fall apart, she spends every waking moment working, and because she’s a woman in the corporate world, people are constantly trying to tear her down.

The climax of the movie, and the moment that leaves the viewer most disturbed, does not feature Miranda abusing Andy worse than ever before, but praising her. Specifically, she praises her by saying “I see a great deal of myself in you.” Here, we realize that, like Miranda, Andy has put her job and her career before everything else that she cares about, and has been slowly sacrificing everything about herself just to keep it. While Andy's actions are still a far cry from Miranda's sadistic and abusive managerial style, it's similar enough to recognize that if she continues down her path, she will likely end up turning into Miranda.

In the movie's resolution, Andy does not defeat Miranda by impressing her or proving her wrong (she already did that around the half way mark). Instead, she rejects the values and ideals that her toxic workplace has been forcing on her, and chooses to leave it all behind.

2. An Obstacle to the Protagonist's Ideals

Avatar: The Last Airbender

Fire Lord Ozai is a Big Bad Baddie without much depth or redemptive qualities. Normally this makes for a bad antagonist (and it's probably the reason Ozai has very little screen time compared to his children), but in Avatar: The Last Airbender, it works.

Why?

Because his very existence is a threat to Aang's values of nonviolence and forgiveness.

Fire Lord Ozai cannot be reasoned with. He plans to conquer and burn down the world, and for most of the story, it seems that the only way to stop him is to kill him, which goes against everything Aang stands for. Whether or not Aang could beat the Fire Lord was never really in question, at least for any adults watching the show. The real tension of the final season came from whether Aang could defeat the Fire Lord without sacrificing the ideals he inherited from the nomads; i.e. whether he could fulfill the role of the Avatar while remaining true to himself and his culture.

In the end, he manages to find a way: he defeats the Fire Lord not by killing him, but by stripping him of his powers.

3. A Symbol of the Protagonist's Inner Struggle

Kung Fu Panda 2

Kung Fu Panda 2 is about Po's quest for inner peace, and the villain, Lord Shen, symbolizes everything that's standing in his way.

Po and Lord Shen have very different stories that share one thing in common: they both cannot let go of the past. Lord Shen is obsessed with proving his parents wrong and getting vengeance by conquering all of China. Po is struggling to come to terms with the fact that he is adopted and is desperate to figure out who he is and why he ended up left in a box of radishes as a baby.

Lord Shen symbolizes Po's inner struggle in two main ways: one, he was the source of the tragedy that separated him from his parents, and two, he reinforces Po's negative assumptions about himself. When Po realizes that Lord Shen knows about his past and confronts him, Lord Shen immediately tells Po exactly what he's afraid of hearing: that his parents abandoned him because they didn't love him. Po and the Furious Five struggle to beat Shen not because he's powerful, but because Po can't let go of the past, and this causes him to repeatedly freeze up in battle, which Shen uses to his advantage.

Po overcomes Shen when he does the one thing Shen is incapable of: he lets go of the past and finds inner peace. Po comes to terms with his tragic past and recognizes that it does not define him, while Shen holds on to his obsession of defying his fate, which ultimately leads to his downfall.

4. A Representative of a Harsh Reality or a Bigger System

The Hunger Games

We don't really see President Snow do all that much on his own. Most of the direct conflict that Katniss faces is not against him, but against his underlings and the larger Capitol government. The few interactions we see between her and President Snow are mainly the two of them talking, and this is where we see the kind of threat he poses.

President Snow never lies to Katniss, not even once, and this is the true genius behind his character. He doesn't have to lie to or deceive Katniss, because the truth is enough to keep her complicit.

Katniss knows that fighting Snow and the Capital will lead to total war and destruction- the kind where there are survivors, but no winners. Snow tells her to imagine thousands upon thousands of her people dead, and that's exactly what happens. The entirety of District 12 gets bombed to ashes, Peeta gets brainwashed and turned into a human weapon, and her sister Prim, the very person she set out to protect at the beginning of the story, dies just before the Capitol's surrender. The districts won, but at a devastating cost.

Even after President Snow is captured and put up for execution, he continues to hurt Katniss by telling her the truth. He tells her that the bombs that killed her sister Prim were not sent by him, but by the people on her side. He brings to her attention that the rebellion she's been fighting for might just implement a regime just as oppressive and brutal as the one they overthrew and he's right.

In the end, Katniss is not the one to kill President Snow. She passes up her one chance to kill him to take down President Coin instead.

[charmwasjess]

Still thinking about Galidraan, about the Legends vs Canon treatment of Dooku’s character, namely his exit from the Jedi. 

It’s funny how much it matters to me and improves Dooku’s story that he didn’t leave the Jedi out of growing disillusionment with the Order itself. In the current canon, it’s all framed around a very Padme-esque disenchantment with current political makeup of the Republic, the Jedi being used by the Senate and political machines inappropriately, and how planets with little wealth or influence are left out. In the penultimate moment of crisis, he leaves for Serenno, not because he can’t be a Jedi any longer. Because of a conviction that he could truly make something better. 

And I don’t mean to suggest that he never expresses any criticism of the Jedi or particularly, the Council. He seems to have founded that characteristic trait within the Disaster Lineage. (Ironically, the person in Dooku’s story who should have the most legitimate reason to have a personal problem with the Jedi Order is fucking Sifo-Dyas, who never seems to have considered leaving and literally dies telling the camera he did it all to save the Jedi, but that’s a different post.) But that isn't what compels Dooku to leave. In fact, he remains close with the Order for years afterward.

Why it matters to me is because that detail makes Dooku ultimately betraying the Order SO MUCH MORE FUCKED. 

Because they weren’t an old score he was settling. It wasn't seething resentment that boiled out into revenge years later. They were innocent collateral damage of his decisions. His family. His lineage. His legacy. It makes his treachery so much more personal. He had a wager, power for a horrible cost, and he took the power and paid the horrible cost. Sidious really gets him with:

If Dooku hated them and had always thought they deserved to be destroyed, it wouldn’t have been a true Sith bargain, the trade off wouldn’t have tallied. In the same way that Vader could not have existed if Anakin hadn’t loved Padme and yet still killed her.

If Dooku was just a horrible, conceited, power-hungry ass who expectedly traded the kinda shitty people in his life for a shot at more power, it wouldn’t be a very good story. If he really didn’t give a shit, why would Sidious make that his initiation? But if he does - does care deeply about Sifo-Dyas, does love Qui-Gon like a son, is touched by Yaddle’s kindness and sympathy, begins to see Asajj as a true apprentice, consistently tries to save Obi-Wan out of affection, still considers the Jedi his true family - and yet still dooms them all, how much more tragic and horrible and sickening and real and interesting is his story?

[adventures-in-mangaland]

Even More Dead Boy Detectives Fic Recs

I've discovered some amazing new authors since my last post! And writers I've already recced have published more great stories So here's another fic rec post!

Who? You mean your teammate in the Codependency World Cup? (series) by RoseGanymede95

I couldn't chose! They're all great! Basically a series of Edwin and Charles through the years and on cases pre-show. It scratches that adjusting-to-being-dead/newly-escaped-from-Hell itch and the authors writing is magic! It also fleshes out a really interesting conflict in the payneland dynamic: Charles' drive to protect Edwin at all costs clashing with Edwin's guilt over putting Charles at risk/depriving him of some ideal afterlife. Parts one and four also introduces Constantine/Johanna and part three revolves around an absolutely gut-wrenching temporary break-up. 😢

In Hell I'll Be in Good Company by laylabinx

Charles rescuing Edwin from Hell does not go smoothly. Just. Bucketloads of Trauma for both of them. And for you, the Reader. It's so good though!

your fangs in my neck (like an anchor like a vow) by shadowquill17

Vampire Edwin AU! It's great because it combines the (homo)eroticism of vampiric feeding with Charles' whole bisexual crisis and post-confession Edwin worrying about making Charles uncomfortable. Also Charles is some kind of demigod/immortal agent of divine vengeance which is an AMAZING detail and I desperately want to see some fanart!

The same author's ongoing story to the pain is also excellent though very angsty (cw temporary character death). I'm anxiously waiting for an update!

To Memory Now I Can't Recall by engineering_madonna

This is an amnesia fic and the most recent in an established relationship series. The first two installments feature the boys getting together and navigating their new relationship, so pulling the old 'character A forgets their whole romantic relationship with character B' trope hits especially hard! The whole series is lovely, but I am WEAK for temporary-amnesia.

Lemonade & Sunrises by paraph

A Quiet Place AU! The boys are alive, but they're the only ones. Very bleak but in a way that makes me want more!

1999 au (series) by websters_lieb

The boys figure their shit out in the 90s. Also, Edwin gets to read Maurice and queer theory. The cases in both stories are compelling and the author's writing and characterisation of the boys are excellent.

I also recommend offer me that deathless death which is about the boys' first meeting, Charles' funeral and the birth of the agency.

if I could reach the stars (i'd give them all to you) by ObsessedWithFandom

Charles falls first, Edwin falls harder. This is an AU of the author's excellent Charles' bisexual awakening fic, which I also highly recommend. It has lovely OCs and Charles having a sweet little friendship/romance with the boy he saved in canon, which actually makes his death a whole lot more tragic.

Came up from that lake of fire by ghostinthelibrary

Charles and Edwin get caught escaping Hell and promise to capture a demon-eating ghost called The Deathless in exchange for their freedom. With the added twist that they get to be alive again! An exciting case, high stakes and all the alive-again culture shocks and emotional/interpersonal drama you could ask for.

gig officially gigged by laiqualaurelote

Band AU! It shouldn't work but it does. Which might also be an in-universe review for the band tbh. Idk, I loved Edwin's massive obscure musical instruments and Charles being his unpaid roadie. Peak Found Family Feels.

No Rehearsing It, No Reversing It by DontOffendTheBees

Charles overthinks being in love with Edwin, my beloved. This time with increasingly flimsy pretexts for why they NEED to kiss. Just perfect Idiots in Love, no notes.

The Case of David Bowie's Made up Sexuality by williamvapespeare

The agency attempt to help a living lesbian couple deal with a haunting. Meanwhile, Charles struggles through his bisexual (re)awakening. With bonus past (living) Charles no-homo-ing himself to the nth degree. Pure of heart, dumb of ass, indeed.

The lamps are going out by CasiHuman

Vengeful Spirit Edwin AU! Has some interesting ghost lore and Edwin being convinced his touch is painful to Charles (love that trope!). Also features some of the author's adorable/hilarious fanart at the end.

just frame the halves (and call them brothers) by Anonymous

Crystal stumbles upon the ghost of Edwin's older brother, who hires the agency to free him and his platoon from the battleground they've been haunting. Case fic with interesting details about Edwin's family life and an awkward as hell family reunion.

the case of the very long ferry ride by obsceme

Sex pollen but with skin hunger, so it's more touching turned making out and hand jobs in a bathroom. Interesting use of ghost lore and it's cute and well written.

Form 239, Schedule L by sanctuary_for_all

Charles Rowland's Love Language is Acts of Service: The Fic. So many feels! Plus Afterlife worldbuilding and some quality Night Nurse rep.

don't go sharing your devotions (lay all your love on me) by Hephanna

The boys and Crystal accidentally summon an alternate universe version of Charles. He's very... handsy. Charles being jealous of himself is objectively hilarious and it looks like it could be heading towards throuple territory. Possibly even a foursome, if alternate Edwin figures out parallel universe travel. Which he probably will.

Still a Better Lovestory by Vamillepudding

Hanahaki disease! Charles is on the case but Edwin's being weirdly uncooperative about his own curse. I loved the worldbuilding (there's a whole sisterhood of washerwomen!) and the angst, plus the writing is excellent.

The author has also written Eternal Sunshine, in which Edwin is cursed to feel no love of any kind. It makes for an interesting character study, contrasting cursed Edwin, his public reserve and his actual personality.

[discoonthegrass]

Watched The Search for Spock for the first time the other day, and wow this movie is such a tragic love story I’m in awe:

Kirk reflects in his personal log that he feels very uneasy, like a home without the children except even more empty (basically implying that even his “spouse” is gone)

Jim feels that he’s left the noblest part of himself (Spock is a part of him apparently) on the new planet

Sarek automatically assuming that Kirk holds Spock’s katra (why would he assume that if they were just friends)

“Your son meant more to me than you could know. I would’ve given my life if it could’ve saved his.”

Sarek essentially forcing Kirk to relive the worst possible moment of his life, and Kirk tearing up all over again

Jim saying he has a responsibility to Spock’s eternal soul “as surely as if it was his own” (if this isn’t admitting they’re soulmates idk what is)

Jim directly being told that if he goes through with this, he will never sit in the captain’s chair again which has always been shown as the most important thing to him, yet he completely ignores that and goes to warp speed because now nothing matters more than getting Spock’s soul to its resting place

Even in the middle of an intense confrontation with the Klingons, Jim’s face still betrays his hope and joy after he hears about the “Vulcan scientist [he’s] acquainted with”

Jim BLOWS UP the Enterprise instead of surrendering to the Klingons because he can’t give up on saving Spock now, and barely even mourns since he’s already lost someone more important

Jim demanding that Spock get beamed up and the Klingon captain refusing because he can tell how much Jim wants it/cares for Spock

Jim immediately rushing to Spock’s unconscious body and shielding it with his own, draping Spock’s body over himself in a protective “white knight” stance

Unlike everyone else, Jim is restless during the fal-tor-pan, wanting to be with Spock but being prevented from doing so and resorting to pacing instead

Jim not even asking about how Bones is faring but immediately wondering about Spock

“I had to do [it]. If I hadn’t tried, the cost would’ve been my soul.”

Sarek even points out that Jim paid with his ship and his son, but Jim genuinely feels it was worth it

Spock, having just been revived, is supposed to leave to get healed but is compelled to turn back — he cannot recognize any of them (not even McCoy who he literally cohabitated in the same body with) except Jim

Spock asking why Jim came back for him, and Jim responding “because the needs of the one outweigh the needs of the many” (the reverse of the Vulcan philosophy—he’s saying it was illogical but he needed Spock back and Spock too needed him)

Spock parroting the “I have been and always shall be your friend” line, then finally identifying him as “Jim”

Jim’s face melts into the biggest smile ever seen on his face, even as he’s tearing up from joy

Suffice to say, I love this movie and will be considering it a romance with a side of action from now on.

[sorcave]

After spending some time thinking about Peter Pettigrew, I’ve realized there’s a huge disconnect between how he’s portrayed in canon and how the fandom—especially within Marauders fanon—handles him. Let me preface this by saying, I get it. The Marauders era is filled with beloved, tragic characters like Sirius, Remus, and James, who are all charismatic in their own ways. It’s easy to frame Peter as the villain, the weak link in the group, because, well, he is the one who betrays them. But I can’t help feeling like fanon’s interpretation of him has become deeply flawed and even unfair in its simplification of his character.

Peter Pettigrew, as written in the books, is actually a much more complex figure than the rat-betrayer caricature that fanon often makes him out to be. He’s not some mustache-twirling villain, nor is he just a pathetic hanger-on who was lucky to be in the Marauders’ circle. If you really pay attention to the way his character is written, he’s someone who’s constantly underestimated by the people around him, including the very friends he ends up betraying. He’s not powerful in the traditional sense, but his cunning is what allows him to survive the chaos of two wizarding wars. He’s not a mastermind, sure, but he’s resourceful in a way that deserves more recognition than he gets. Canonically, it’s clear that he isn’t just bumbling around until he stumbles into Voldemort’s arms—he’s making calculated choices, and we need to give those choices the weight they deserve.

This brings me to why I think fanon’s insistence on reducing Peter to a one-dimensional villain is so misguided. There's this huge trend in Marauders fandom where Peter is either villainized beyond recognition or, worse, completely written out of the story. He’s often replaced in fanon with a random “better” Marauder, or he’s ignored entirely, as if his betrayal somehow disqualifies him from being part of the story. And here’s the thing: canon compliance isn’t a crime! In fact, canon gives us a far more interesting story. The tragedy of Peter’s betrayal is that he was their friend—he shared their dorm, their secrets, and their history. His actions were not driven by some inherent evil but by fear, survival instincts, and yes, cowardice. It’s a much richer narrative than reducing him to a monster.

In the fandom, there’s often this hyperfocus on moral purity when it comes to the Marauders, especially when it comes to ships and rewriting dynamics. Peter, however, disrupts that neat narrative, so fanon tries to erase him to preserve the integrity of the fan-created relationships. But that oversimplifies everything. Why should we villainize people for sticking to canon when canon is, arguably, what makes the Marauders’ story so compelling in the first place? The fall of the Marauders—this group of young, talented, promising boys—hinges on Peter’s betrayal. You can't just ignore that without losing a fundamental piece of what makes their story so tragic. He’s not a random character you can swap out. He’s the pivot point.

Peter’s character also raises some interesting discussions about how we view heroism and villainy in fandom spaces. For instance, we’re often quick to forgive other characters—Sirius, for all his bravado, is reckless and cruel to people like Snape, but we don’t hold it against him in the same way. We empathize with his trauma, his tragic backstory. So why is it that Peter, who is also a product of his circumstances, is written off? He wasn’t born evil; he was shaped by the same war that shaped all of them, but his path led him to make different choices. There’s something so fascinating about exploring how someone who was once a friend could betray everything. It’s a conversation about human flaws, not just villainy.

And yes, in a world full of Marauders fan content, it’s fine to like your AUs or write your fix-its. But let’s not pretend that sticking to canon, and appreciating Peter for the complex character he is, is somehow less valid. The fandom would benefit from looking at Peter as more than just “the betrayer” and instead as someone who, like everyone else in the story, is a deeply flawed person whose mistakes have devastating consequences. That makes the story richer, more painful, and ultimately, more meaningful.

forgive me for the ramble but Im going insane with my term paper and my thesis, unfortunately I've been diving too deep into the marauders again

[noirandchocolate]

All the Champions’ demises at the Blights’ hands are tragic, but Mipha’s is forever the one that fucks me up the most when we play BotW because out of the group she is the only one that, one hundred years after the Calamity, should not be dead.

By the time that the game is taking place, Urbosa, Revali, and Daruk would have passed of old age even if things had gone right. But Mipha would still be in her early prime. Not even Queen of the Zora yet! Now that’s not to say her death is more compelling simply because she had a longer possible lifespan ahead of her. All of our companions were taken unjustly, too soon. No, what destroys me about her story every time is that…

Mipha has living family and friends.

The others are celebrated among their people, but only the Zora explicitly have citizens who personally remember their Champion. While Daruk has an entire mountain carved in his likeness, Revali has many admirers among the Rito, and Urbosa’s people speak her name with reverence, Mipha is still actively mourned. By people who knew and loved her.

Her now elderly teachers, who remain angry over her untimely loss. Her young-adult peers who recall playing with her and Link as kids. Sidon, who still wears the whistle he had as a child and who, after you complete the Vah Ruta mission, never tears himself from the plaza before his sister’s statue. King Dorephan, who asks Link about Mipha’s fate, because even after a century, he never fully gave up hope that she might be trapped, but alive.

Mipha should not be dead, but she is, and her death remains a fresh wound.

And she knows it, too. And that’s why, even when her spirit is freed, unlike with the others her story has such an air of melancholy amid the eventual triumph. She looks down upon the Domain from atop Vah Ruta, and…

“Father…are you well, I wonder? I want you to know... I have always followed my heart. I'm sorry I made you worry... I wish I could see you again... Even just once more..."

She could be there. With her father, with her little brother who is so big now, and who is trying so so hard to be like his sister. But she’s not. And she is terribly missed in a way that’s unique among the Champions.

God, it just rips my heart to pieces.

[zafulz]

Regarding SotE's ending.

Spoilers ahead, rant.

I'm a dissappointed on the fandom always wanting to take sides for the most nuanced narratives ever written in games, sometimes it feels like we play different games at all. They want to excuse other demigods and put the blame on the ones who wanted to changed the status quo, when we all should realize how the Greater Will and the Outer Gods had influence and have been the ones to actually be playing chess with their tragic fates. Radahn and Morgott wanted to keep and perpetuate Marika's / Golden Order rule, Miquella, Ranni and Rykard wanted to get rid of all the Gods (using the Stars/Moon, destroying gods or becoming God themselves), and Mogh, Malenia and Godwyn had their fates taken by Outer Gods/Plots. They were all played and incited by the horrors of Marika, under the Greater Will. Remember that Marika shattered the Elden Ring to rebel against the Greater Will due to all the grief and most recently Godwyn's death, so we can guess she realized too late.

Then, it surprises me how easy we are to label Miquella as a villain without taking all that into the equation. The game changers, following up Ranni's statements, were only Miquella, Malenia (as she was almost ready to become a goddess even before Miquella), and her. Ranni, probably the one who knew all of Marika's record and was already done with the situation of her family and the Lands Between, started this first with killing Godwyn. Miquella just could not keep at delaying the facts during the time he tried to revive his brother and revert his twin curse, leading to despising the Greater Will and deciding to ascend having learned the horrors of the Lands of Shadow and the current state of the Lands Between. The actions taken by them can't be honestly judged at certain human moral standpoint, since we are talking of literal demigods, SOME of them supporting the current status quote where Omens, Demi Humans, Albinaurics, Giants where OBLITERATED to keep the Golden Order's rule. The DLC covers the process in which Miquella decided to walk the same path as Marika, probably for similar "better world" goals, but Marika just followed the Greater Will. Miquella decided to become a god and strip himself from all essence, without any guidance. Is not a mending rune to keep the Elden Ring somehow. The story trailer show us how Marika called the Greater Will, now dried up after thousands of sacrifices, Miquella becomes a God by stripping himself of what attaches him to the world (reminds me of Tales of Symphonia, where Colette is loosing all senses to become an angel or the Avatar State) St. Trina asks us to kill him, because she understood this path will only create another Greater Will-like God, no feelings, just cold stare and control, a caged god.

Now, somethings that aren't clear is how the affection compelling powers works. Miquella shattered his own rune knowing this would remove his "charm" from others. Why he did that? What's the vow Radahn and Miquella made? The cutscene crystal clear shows Miquella is afraid of becoming a god, but taking that decision on this vow.

Probably a fight with Malenia before becoming Lord. Whispered this part on his ear like normal.

A LOT of information is missing, but the point was that there are no " villains" in this game, BUT THE GODS. It is a Man vs God narrative that is very nuanced. Thanks for your time.

Ps. Did you notice this?

Grace and the Gods influence reflect in the eyes. Messmer is final proof of it when he breaks his Grace and Serpent appears isntead, or Miquella showing up with eyes shut, becoming a God himself. Ranni Melina I wish we could have more dialog options and reactions from what we did in this DLC :')