#tragically this is a horrible and bad trait

[monards]

sorry I was too overwhelmed by excitement to leave a comment. Do you still love me

[luna-azzurra]

How to Create A Villain

The best villains? They don’t even see themselves as the bad guys. They’re 100% convinced that what they’re doing is right, even if it’s messed up. Maybe they’re trying to “save the world” by doing something super questionable, or they think enforcing strict rules is the only way to keep society in check. They truly believe they’re the hero of their own story, which makes them way more interesting and real.

And Yeah, your villain might want power, but the real question is: Why? Were they humiliated in the past and now want control? Did they grow up powerless and now crave it to avoid being vulnerable again? When you dig into their backstory and show us why they’re doing horrible things, it makes them a lot more relatable—even if they’re totally wrong.

Flat, one-note villains are boring. If your antagonist is going to stick with people, they need depth. Show us what’s going on under the surface. Maybe they lie awake at night, doubting their choices, or they’re still haunted by a massive failure that’s pushing them toward their goal. A villain with personal struggles and vulnerabilities feels way more human and way harder to fully

A great Villain doesn’t just fight the hero, they reflect them. They might have totally different goals, but at their core, they share similar traits, maybe ambition, stubbornness, or a tragic backstory. When the hero looks at the villain, they should see a bit of themselves, and that’s what makes the conflict between them so intense.

When the villain finally goes down, it should feel big. Their defeat shouldn’t just be a fight, it should hit them emotionally. Ideally, their downfall comes from their own flaws, maybe they got too arrogant or made a mistake because of their obsessive goal. The best villain defeats leave the audience feeling a little sad or conflicted, not just happy for the hero’s win.

[maxiemumdamage]

To me Azula is a tragic character specifically because while she was failed by everyone around her, it also would’ve been unreasonable to expect any of them to save her. Among those who wanted to help her, practically no one had the understanding or power to change her. They couldn’t get Azula to stop being cruel, in large part because they couldn’t change the circumstances that nurtured her worst traits.

Except Ozai obviously. Fuck him. He’s why Azula is like that to begin with. But the power and sway he has over her also made it borderline impossible for anyone else to make her change.

(MUCH more to say about this here:)

People tend to blame Ursa for Azula’s behavior first and foremost. And…yes, Ursa was pretty clearly closer with Zuko than Azula. But of course she was! Ursa’s son was constantly abused and degraded by his father — as per the comics, Ozai outright told Ursa he would do this for all of Zuko’s life in order to hurt his wife. Zuko needed Ursa’s support to have any sense of self-esteem and frankly, for his own safety.

Zuko needed his mother just to be safe and not be alone, while Azula needed her mother for moral education. Even if you don’t think Ursa’s priorities were the right ones…choosing her daughter over her son might not have been enough to change Azula anyway. It would’ve been devastating for Zuko without necessarily improving Azula in any meaningful way, because Ursa didn’t actually have the authority to meaningfully oppose her husband.

By the time it would’ve been evident that Azula had a super skewed moral compass as a result of being around Ozai so much…she still would’ve been like, eight years old max, for one thing. Little kids say and do a lot of fucked up shit, because they don’t understand morals or the world by and by large. For another, once it was obvious she was parroting horrible stuff from her father, Azula also would’ve had no respect for her mother. So what could Ursa do, by the time she realized she needed to do something?

We see in flashbacks that Ursa tried, even when her child didn’t respect her and she couldn’t enforce meaningful consequences for the bad behavior Ozai rewarded. Ursa scolded Azula for saying cruel things. She made Zuko spend time with his sister, rewarding Azula for any moments of kindness or cooperation (even when Azula was just faking it to get an opportunity to bully Zuko and Mai). She tried.

As for Ursa leaving…uh, if she hadn’t, Zuko would have died. He absolutely, 100% would have died if his mother hadn’t cut a deal with Ozai to put him on the throne in exchange for disappearing. She made Azulon and his ultimatum go away because that was necessary to protect Zuko.

Ursa did fail to morally guide her daughter. But to do otherwise would’ve been to neglect her son, then to sign Zuko’s death warrant. I’m not gonna pretend she didn’t choose one kid over the other — I just also think choosing to support the kid whom she knew her husband was mistreating wasn’t necessarily the wrong call.

And even if it was…choosing differently might not have done anything. Because Ursa could only offer affection, while Ozai wielded both the carrot and a stick. Azula would’ve likely still fawned to the more powerful abuser, still learned harmful behavior, and still internalized that her cruelty was not just necessary but acceptable. Rewarded, even.

There’s Iroh to mention as well. He admittedly had a lot more influence and ability to stand up to Ozai than Ursa did, but in fairness…that wasn’t his kid. He had his own son to worry about, and then he was grieving, and then…he chose Zuko too.

For the same reason as Ursa, I don’t quite blame him for it — Zuko needed help much more immediately. When Zuko was banished, Iroh did the right thing by going with. But I do think those in-between years in the palace were a time Iroh (still mourning, but still) had the chance to influence Azula a little. But…

…I’ve seen a post theorizing that Iroh dislikes his niece because she reminds him of who he used to be, and…I think that’s very likely. They’re the golden children of their fathers, the firebending prodigies, the conquerors of Ba Sing Se.

I also think it’s because he and Azula are so alike that he has no idea how to help her.

Iroh didn’t have a moral revelation about the Fire Nation’s conquest, not until it cost him his son’s life. His realization about war being wrong, subsequently becoming more worldly and gaining respect for other cultures, it happened only when the Fire Nation’s system stopped working for him personally. So he wouldn’t know how to make Azula see that system as wrong, to make her change for the better as he did. He can’t recreate his own reasons for changing.

Also, quite frankly — Iroh barely to not at all managed to turn Zuko off the Fire Nation’s propaganda. Zuko always had morals, sure, but he did not have any semblance of the idea that “war (of conquest) is wrong” or even “wow my father is abusive and terrible to me personally” after three years of travel with Iroh. Being an Earth Kingdom refugee and meeting the Gaang was when Zuko really changed. And I think Zuko (who got his face burned off at 13) would probably be a much easier egg to crack on the redemption front than Azula (for whom the cruel and abusive system has always worked, she’s fine with it as long as she’s the one on top).

I also am briefly going off topic here to say…I like the idea of Azula redemption. I agree that she is sometimes condemned too strongly, to harshly, given that she is just a teenage girl. But her youth doesn’t take away from her cruelty. She is someone who knowingly does wrong, because she sees it as a way to protect herself. A meaningful redemption arc for her has to acknowledge that, not just sweep it under the rug by claiming she always loved her victims.

Because yes, Azula’s loved ones who are of a similar age to her but have less power are in fact her victims. They love her, she loves them, but she does hurt them all the same. That also has to be acknowledged in the quest to redeem her.

Zuko and Mai and Ty Lee all flatly have no power over Azula — she has power over them, in fact, thanks to her status as Ozai’s favored child and just as a princess, respectively. Ursa and Iroh were adults who at least wouldn’t be hurt by trying to help Azula, but for her brother and friends? Changing her could be dangerous.

Zuko is nominally safer as the Crown Prince, but…he’s awful at politics and their infinitely more powerful Dad blatantly favors Azula. He can’t stand up to her. And the one time were shown that Ursa, trying to correct Azula’s cruelty, made her son play nice, feels cruel to Zuko. He gets hurt and humiliated for no reason but for his sister’s sake entertainment and (failed) moral education. It’s not his job to redeem his sister.

And then there’s Mai and Ty Lee, who may be nobles, but still can’t do anything to Princess Azula. In fact, even before Mai or Ty Lee have done anything, Azula is threatening their family and bodily safety, respectively, as a loyalty test. They cannot challenge Azula in any meaningful way without endangering their lives and safety. It’s not fair to expect them to fix her.

Who does that leave that Azula is even close to? The Gaang literally know nothing of her but “Zuko’s sister who keeps trying to kill us.” None of the Fire Nation Generals or Nobles will want her to change. Azulon rewarded her bad behavior almost as hard as Ozai. Lo and Li, maybe, but for all they’re the wise old ladies Azula takes advice from, Azula doesn’t actually interact with them very often.

Azula is a tragic character because, while she was a child who should have been redeemed and had better, it makes perfect sense she didn’t. No one could change her. No one could offer a sweeter carrot or bigger stick than Ozai. And by the time he was out of the picture, the story was over.

[key0-m0ve-al0ng]

It's sad to me that if the Milgram cases were Real with ALL the character traits/situational factors being the Same and we analyzed the people the same way we do the characters, we'd all be mocked and degraded for humanizing these "muderers" (except MAYBE Shidou and Yuno but that's not even beginning to touch the other end of the spectrum; some of the patronizing the fans do of characters reflect their real-life sense of "pity" etc.)

Like obviously people are gonna be wary about actions that lead to Death but tbh ALL THESE MURDERS WERE PREVENTABLE WITH BETTER SOCIETAL STRUCTURES

this wasn't supposed to be a long post but fuck it

Haruka needed a caretaker and a care team who understood his emotional and physical needs; he was neglected and compared instead, left to cope with intensely painful emotions alone.

Yuno is highly isolated and seeks feelings of warmth and closeness in quick gratification, because giving your heart to someone else in a selfish world is dangerous; she needed honesty and realness, and also an economy that doesn't make men's objectification of her an ideal career choice.

Fuuta is also highly isolated and has extremely punitive views; his "community" was built on vitriol instead of good faith.

Muu is a neglected teen who lashed out as a result of the social structures she and her friends perpetuated; a culture of perfectionism and hierarchal notions make desperation to stay "on top" explosive.

Shidou shouldn't live in a world where he has to "deceive" people to help transplant patients, or suffer with guilt over his own family; a culture of death acceptance and genorosity would help him overcome these horrible feelings.

Mahiru had her mind fixated on a highly commercialized/mainstream idea of "love" and "romance," wrapping her self-worth in it to the point where she pulled another down; had her partner been honest with her, in a world where saving face and repression wasn't more important than communicating, they could have been at peace with or without each other.

Kazui was forced by the expectations of others to play a role he never wanted to, and another human's hopes and dreams were wrapped up in this role; his "failure" to be a husband to her as a straight man would not have even been an issue in a world where everyone can explore themselves without shame.

Amane was raised with cult ideology and shown immense levels of violence for a child to comprehend; she should have been protected, and a world where safety is more important than ideology would have saved their whole family.

Mikoto was heavily abused to the point where "survive by any means necessary" is on the table; everyone involved in his "murder" would have been better off showing a lot more compassion to others AND themselves.

Kotoko, though no "tragic backstory" that we know of, has always known that this world and that people in it can be violent and cruel; giving them a taste of their own medicine wouldn't be so bad if the medicine weren't so horrible to begin with.

If this world sought understanding before judgement, Es would not have the weight of 10+ worlds on their shoulders.

But if the world wasn't this way, we wouldn't have Milgram.

So it goes.

[scary-grace]

On Heroes and Villains

(or: how I stopped worrying and learned to hate the system)

Now that I’ve gone off a bit about how Midoriya sees heroes and how he sees himself, it’s time to go off about how he conceptualizes villains. The definition of “hero” in BNHA society veers off of what we’d consider the idealistic definition, and indeed the definition that the Western-style comic books Horikoshi was apparently partially inspired by follow — a hero is someone who acts to save others, often at great risk, without being asked and without asking for payment in return. Unlike BNHA’s heroes, heroes in Western comics are sometimes viewed negatively by society and civilians (see various eras of the X-Men, Spider-Man, Batman, etc) but that doesn’t change the fact that they are heroes at their core. Heroism under the idealist/Western comic definition is both intrinsic and chosen. Heroism in BNHA draws a government salary.

That’s heroes. How about villains? In Western comics, villains are people who do bad things, often using supernatural abilities on civilians who aren’t able to defend themselves the same way. Villains are sometimes portrayed as evil for evil’s sake (ex. the Joker), but more often they’re humanized. A classic example is the X-Men’s Magneto. In his initial appearances in the comics, he’s unquestionably a villain — a mutant supremacist who believes that the human majority should be subject to the mutant minority. This is a bad look. Plus ultra bad, one might say. But when the comics reveal Magneto’s backstory, it becomes clear why he holds that viewpoint: As a Jewish character alive during World War II, he was a member of a tiny minority, persecuted and murdered en masse by the majority culture. The phrase “never again” is often used when referencing the Holocaust, and Magneto takes that concept and broadens it. Never again will he or anyone like him suffer at the hands of the majority. Magneto’s backstory, tragic as it is, doesn’t excuse his villainous actions (prior to his various redemptions, that is), but it does explain them. The reader understands why Magneto does what he does, and more importantly, the reader is meant to care. In Western comics, ‘villain’ isn’t a personality trait, but a descriptor of someone’s actions — and quite crucially, they can choose a different action at any time.

BNHA takes a different viewpoint. Villain isn’t a description of a person’s behavior, but an intrinsic trait. And this gets problematic when one thinks about the fact that all someone needs to do is use their quirk in the committing of a crime to qualify as a villain.

Moving on. At the beginning of BNHA, there’s no evidence that Midoriya or anyone else has much sympathy or even a desire to understand the villains. Notably, the first villains we’re shown are thieves — the purse snatcher on the train, who activates his quirk out of panic when he’s caught, and the Sludge Villain, who by virtue of his heteromorphic quirk is using his quirk at all times. (That begs an interesting and horrible question. Some heteromorphs are theoretically using their quirks all the time. Would getting a parking ticket while “using their quirk” then classify them as a villain?) In any case, the motivation of these characters is identified as greed or enjoyment of stealing. But there are a lot of reasons why a person might steal. I don’t expect Midoriya to ask those questions in Chapter 1 as a fourteen year old who idolizes heroes. But it would bother me less if it hadn’t turned out to be a harbinger of things to come.

The first villain Midoriya encounters as a hero student is Shigaraki, who at first glance during the USJ attack appears to be the least threatening of the main trio. He’s also the youngest and the most physically vulnerable of the group. Unlike the previous villains, Shigaraki actually has a chance to explain his motivations — which are admittedly not phrased well, and are thoroughly infected by All For One’s ideology. However, Shigaraki is given multiple chances to explain his motivations, and his ability to articulate them improves by leaps and bounds. Shigaraki also has something in his back pocket that villains such as Toga and Twice don’t have: He’s related to a hero, and particularly a hero that All Might holds in the highest esteem. And yet, while Midoriya can sympathize with or “understand” Stain and Gentle Criminal, he can’t or won’t reckon with Shigaraki. (He also fails to understand Overhaul, but there’s an important difference in that Overhaul has no desire to be understood, saved, or stopped.)

On the surface, this makes no sense. Stain explicitly targets heroes, members of a group Midoriya is aiming to be part of. Gentle Criminal threatens to ruin the school festival, which Midoriya and his classmates have worked hard for, and unlike Stain, Shigaraki, or Overhaul, Gentle Criminal turns his villainy into a performance. His motivation is entirely selfish. Stain’s motivation doesn’t arise from a personal grievance. Why can Midoriya acknowledge common ground with them and not with Shigaraki?

Because in Midoriya’s worldview, “villain” isn’t something a person does. Villain is something a person is.

On some level, Midoriya is able to identify with Stain and with Gentle Criminal. Because he can identify with them, he makes a small but significant leap in logic — they’re like me, and I’m not a villain, so they can’t be villains, either. Under this paradigm, Gentle Criminal’s selfish crimes are relevant only where they might put Midoriya out. Under this same paradigm, Stain’s murders become a misguided offshoot of his veneration of All Might. Villains that Midoriya personally understands are seen as people. Villains he can’t relate to aren’t.

Shigaraki and the League of Villains have legitimate grievances, causes of their misery that they’re able to name and point to. The bystander effect, heteromorph discrimination, the school-to-prison pipeline, general intolerance, parental abuse, and so on. They also get chances to articulate these viewpoints to the heroes. But because Midoriya can’t personally relate to Shigaraki, because Shigaraki got angry in the face of his mistreatment instead of accepting it in silence like Midoriya did, Shigaraki never escapes the category of villain.

A villain in BNHA society is effectively unpersoned. They can be injured with impunity, to the point where villain-specific hospitals exist to treat the injuries caused by heroes. They can be imprisoned under inhumane conditions. They can be written off completely. This inverts the Western comic understanding, wherein heroism is intrinsic and villainy is a choice; under BNHA’s paradigm, heroism is a choice, and villainy is intrinsic. Villains can’t be saved, and it doesn’t matter, because there was nothing there to save in the first place.

In fact, the only way Midoriya is comfortable acknowledging Shigaraki is by acknowledging that he was once Tenko Shimura — an innocent child, a victim of All For One who should have been saved. This viewpoint has the benefit of being uncomplicated and not requiring Midoriya to think too hard. To reckon with Shigaraki as an adult, Midoriya would have to accomplish the Magneto dialectic; that is, acknowledging that while Shigaraki’s actions are terrible, the person taking those actions didn’t spring fully formed into the world as the Symbol of Fear. Shigaraki is still a victim of All For One, and arguably the victim who suffered the most at his hands. It’s entirely reasonable for Shigaraki to be hurt and furious that he wasn’t rescued. But rather than understanding that the innocent child and the adult villain are facets of the same individual, Midoriya separates them — which allows him to metaphorically “save” Tenko while literally murdering Tomura.

To summarize: Unless he’s able to personally relate to the villain in question on a superficial level, Midoriya makes no distinction between person and action. “Villain” is seen as an intrinsic, immutable trait, a label that effectively dehumanizes the individual it’s applied to. In BNHA, the only “redeemable” villain is a dead villain, and neither BNHA nor its main character ever takes issue with this premise. At least not enough to matter for the villains themselves.

I’m going to take a second to vent about this heroes act/villains are bullshit. We see multiple heroes take actions while on the job as heroes that should disqualify them from the label. Even as a full-blown hero, Bakugou is an utter shit whose main interests are becoming Number One and beating Midoriya, rather than actually helping anyone. Present Mic, as much as I love him, attempts to murder Kurogiri in cold blood even knowing that Kurogiri used to be his friend and that there’s at least a possibility that his friend’s consciousness is still present. Hawks straight up murders someone on camera. These characters aren’t even acting like heroes at this point. But as long as they don’t earn the label of “villain”, anything can be excused…and is excused, by the narrative, by BNHA society, and by BNHA’s creator.

[kikyoupdates]

Tears of a Villainess ⭑˚🗡️⭑ 𝑝𝑟𝑜𝑙𝑜𝑔𝑢𝑒: 𝑎 𝑛𝑒𝑤 𝑙𝑖𝑓𝑒

yandere!ocs x reader

yandere, reverse harem, isekai, original characters x fem!reader, slowburn, slowburn yandere

Reincarnation isn't as great as it sounds, especially when you've been reborn as none other than the villainess. Fated to die if you stand in the heroine's way, you immediately resolve to distance yourself from the plot. As long as you have nothing to do with any of the relevant characters, surely, you'll be able to avoid an untimely death. But in a horrible turn of events, the heroine ends up wanting to get close to you. Are you really doomed to meet the villainess' tragic end? Or is there an even more sinister fate that awaits you?

story masterlist | next

Nobody likes the villainess. 

This is because in virtually every novel, anime, or game, she is designed to be the heroine’s adversary. She is given little to no redeemable qualities, so that people will sympathize with the heroine that much more. While people root for the heroine to succeed, they also root for the villainess to fail—and inevitably, she does. 

The game you’ve just finished playing is no exception.

“Wow. The villainess died in this ending too, huh?” 

You rub your eyes. It’s late, nearly halfway through the night already. You have a bad habit of getting sucked into the games you play and losing track of time. You’ll be dead on your feet tomorrow, but you suppose that’s nothing special. At least you managed to clear all the major routes. There might’ve been some secret endings you missed, but you’ll go back and find those another day. 

A heavy yawn falls from your lips. You lean back and stretch your arms out before closing your laptop and standing up from your desk. 

As far as dating sims go, this one wasn’t too bad. The plot was predictable enough, but the characters were a lot more interesting than you were expecting. The heroine was perhaps a bit more naive than you would’ve liked, but you enjoyed her dynamic with each of the love interests, and all in all, it made for a likable cast. 

Except for the villainess, of course. Nobody ever likes the villainess. 

You start washing up and getting ready for bed, thoughts lingering all the while. If only the villainess had more depth to her. It’s a common trend in all of these fantasy-themed dating sims. Like, you understand that she’s meant to be an antagonist, but she’s still human, at the end of the day. Isn’t she allowed to have any sympathetic traits? Anything that could possibly make the player understand why she behaves the way that she does? 

It’s practically an unwritten rule that villainess characters are required to be devoid of any actual substance. Their purpose is simply to torment the heroine, and somewhere down the road, face penance for their crimes. 

The whole trope has been done to death by this point. Just once, can’t they come up with a more realistic villainess, who isn’t pure evil and has the capacity for normal human emotion? It’s true that antagonists are meant to be disliked, but you would still be much more appreciative of a credible and well-developed adversary. It would definitely enrich the story. 

If you were ever to be put in charge of the villainess character, you’d like to think that you would do her justice.

But, well, that obviously won’t happen.

You get into bed, pile on some blankets, then flick your nightstand lamp off. Darkness comes quickly, signaling your weary eyelids to fall shut. Exhausted from a long night, you fall asleep right away.

Blissfully unaware.

Shit… it’s so bright. 

As always, it takes a while for your eyes to open, and they do so with remarkable reluctance. You would think that since you’re not at all a morning person, you would get into the habit of going to bed early, but no, you’re determined to make the experience as painful as possible every time. 

“G-Good morning, Lady [Name]. It’s time to wake up now. Did you sleep well?” 

There’s a voice in the room. There’s a voice in the room, and it isn’t yours, which is kind of a big deal, because you live alone. 

You jolt upright in bed, suddenly wide awake. “The fuck?! Who are you?” 

It takes a few seconds for the blurriness to fade from your eyes, but when it finally does, you find yourself staring at a young woman you most certainly do not recognize. She has a meek, almost fearful expression, and her shoulders seem to be trembling a bit. 

Why does she look so scared? You’re the one who’s supposed to be scared in this situation. After all, you just woke up with a goddamn stranger in your room. 

Except… is this even your room? 

On second glance, you realize that this doesn’t look anything like your bedroom. It’s countless times bigger, for one, not to mention how extravagantly decorated it is. Rather than a bedroom for a debt-addled university student, it looks more like the kind of chambers a princess might sleep in. 

“I-I’m not sure what you mean, my lady,” the woman stammers in response. “Please forgive my rudeness. I was told to wake you at this hour because your fiancé is coming to visit this morning.” 

“Huh…?” 

You’re still gaping from having looked around the room, which is without a doubt, not the same old crappy bedroom you’re used to. But now that you finally look back at her, you realize that she’s equally as strange as the surroundings you find yourself in. 

“Is that a maid outfit?” you ask. 

She blinks twice, then casts a quick glance towards her attire. Obviously, she must not understand the purpose of the question, because her brows knit together in visible confusion. 

“Yes, it is,” she nods hastily. There’s a pause, and then she looks scared again. “Does it… displease you? You said before you didn’t like the previous design. I-I can run down to the seamstress and have her come up with a different uniform that’s more to your tastes. Please forgive me for upsetting you this early in the morning.” 

She bows deeply, as if she’s seeking to be absolved for some grave sin. You still don’t understand what the hell is going on, but based on how she’s dressed, and the way she keeps referring to you, it seems unlikely that she’s here to cause you any harm.

Actually, what did she call you earlier?” 

“[Name],” you repeat, pointing to yourself. The maid cautiously raises her head and looks up at you, and you proceed to point again. “When you say that, are you… referring to me?” 

Once again, she looks confused beyond belief, but despite that, she nods in agreement.

Well, then. This is awkward. Because as far as you remember, that is not your name. 

You’re not sure what else to do but jump out of bed, and you run to the first mirror you can spot. As it so happens, there’s a massive vanity in the room, and it quickly confirms your greatest fears. 

“Holy fuck.” 

This isn’t your body. For as many years as you’ve lived, you have never looked like this. Even your voice sounds a bit different than usual, but you initially chalked that up to morning grogginess. 

Slowly but surely, it’s all coming together, and you can’t even believe just how absurd this situation is.

You know who you are now. Having gotten a good look at yourself, but not only that, having heard how that maid referred to you, there’s no longer any doubt in your mind.

[Name]. You know that name all too well.

It’s none other than the villainess from the goddamn dating sim you just played.

You pinch your cheeks, and much to your horror, you can feel the pain. All of this is far too realistic and far too lucid for it to be a simple dream. The more time passes, the more you become viscerally aware of that fact.

This has seriously got to be a fucking joke. 

When you said you had a tendency to get sucked into the games you played, you didn’t mean it literally! 

“My lady,” the maid mumbles hesitantly. You notice that she’s incredibly wary of you, and is mindful of keeping as much distance as possible. “Is everything… alright? I-I’m very sorry if I’m overstepping. I just worry that… you might not be feeling well. Should I call for a doctor?” 

Now you understand why she’s so skittish around you. In the game, the villainess treated everyone around her cruelly, including the maids and servants who’d waited on her for years. She was a true bitch in every sense of the word, just like every other one of her villainess predecessors, but now, it falls on you to take her place. 

This is a big problem. 

Because as far as you know, the only fate that awaits you in this world is death. 

“I’m fine,” you reassure, smiling for good measure. Right. There’s no sense in panicking right off the bat. You’re sure there must be a solution. For the time being, you need to come to terms with everything. “Um… I’m sorry, but I’ve forgotten your name. Anyways, would you please step out of the room so I can change? I'm still a bit drowsy. I’ll feel better once you give me a few minutes.” 

The maid tries—but fails—to hide her shock. Something about what you just said must have tripped her up. The part about forgetting what to call her, maybe? Or perhaps your overall demeanor is off. It’s true that you’ve been acting kind of crazy, like questioning your own name and whatnot. 

Well, hopefully she doesn’t read into it too much. 

While the maid scampers off and shuts the door behind her, you start pacing around the room. It’s massive, so it actually feels less like pacing and more like walking laps around a field, but that’s neither here nor there. 

You’ve been reincarnated into a dating sim, as the villainess who is destined to die in all of the game’s major endings. No matter who the heroine ends up with, her happy ending will come at the expense of your life. 

But that’s only if you actually adhere to the plot, right? 

You don’t know how the mechanics of this universe function. Even though this is a video game, it feels every bit the same as living in the real world. Of course, this fictional world was constructed around the plot, and you have no way of knowing if the world will continue to exist should things go awry. 

Still, you’re willing to bet that it should. After all, the villainess is just a bland, disposable character. Her only purpose is to create conflict and add pressure to the heroine’s life. If you deliberately avoid crucial stages of the plot, doesn’t that mean that the heroine will naturally fall in love with one of her suitors and get her happily ever after? There doesn’t need to be a villainess in this story. Or in any story, for that matter. 

You turn back towards the vanity to get another look at yourself. It feels so strange to stare back into a reflection that isn’t truly your own. But you don’t know how you’ll ever get back to your old world, and if such a thing is even possible anymore. 

For better or worse, you will have to live on.

Lady [Name]. The villainess who attempted to thwart the heroine at every turn, and who made it her life’s mission to bring nothing but misfortune to those around her. 

That is who you’ve been reborn as, and needless to say, it’s going to take a lot of getting used to. 

“...think she must have eaten something rotten last night,” you can just vaguely hear someone whispering. “She even said sorry to me! And she acted like she didn’t know her own name!” 

When you step out into the hallway after getting dressed, you aren’t at all surprised to hear people gossiping about you. As you surmised, it’s the same maid from earlier, the one who woke you up, and she’s chatting up a storm to practically anyone who’s willing to listen. 

However, everyone’s faces turn pale when they see you approaching, and the poor maid snaps her lips shut as if she’s a clam. It seriously looks like she just saw her life flash before her eyes. 

The servants all seem to fear you, and rightfully so. In the game, even though nothing was ever shown from the villainess’ perspective, it was still common knowledge that she mistreated her housestaff. She was a pompous, spoiled brat who clearly thought she was above everyone else. That cruel attitude of hers naturally carried over to her treatment of the heroine, and to far greater extremes. 

It’s true that you’ve been reborn as the villainess, but that doesn’t mean that you have to be a villainess. In fact, you think it would be in your best interest to turn your reputation around. Surely then, you’ll have no way of getting caught up in nasty business with the heroine. You don’t want anyone to take issue with you. After all, the more enemies you have, the more likely you are to be killed. 

Besides, it’s also just common decency to not act like a bitch. 

“L-Lady [Name],” the same maid blanches. She’s clearly horrified to have been caught gossiping, and she brings her hands together, already begging to be forgiven. “I’m so sorry, I don’t know what came over me, I just—” 

“Don’t worry about it,” you dismiss, letting slip a chuckle. “I was acting pretty strange this morning, huh? I guess I just didn’t get a good night’s sleep. But I’m feeling much better now. Anyways, I hope all of you are having a lovely morning so far!”

You walk off confidently, feeling as though you’ve taken yet another step towards restoring the villainess’ horrible reputation. 

It’s not going to be that easy, though. 

“She must have been possessed by a spirit…” 

While everyone is losing their heads due to your sudden change in demeanor, you take the opportunity to walk through the manor and familiarize yourself with your surroundings. From what you remember, [Name] is the daughter of wealthy, reputable nobles. Her father is an affluent man with many connections, and it follows that she would grow up to be incredibly full of herself, used to always getting whatever she wants. 

Seriously. Can’t these villainesses ever have more inspired backstories? 

You shake your head in disbelief. Well, whatever. Perhaps it’s better that you don’t come from a tragic background. If there’s one benefit to being transported to this world, it’s the fact that you at least don’t have any more debts or student loans to worry about. 

Then again, none of that will matter if you end up dead. You need to remember that every decision you make from now on could end up impacting your future in a big way. 

Amongst the chaos of waking up in a completely new body, however, you’ve forgotten a very crucial piece of information. Something the maid mentioned earlier, which has since slipped your mind. 

“[Name]!” someone suddenly exclaims. It’s a woman you don’t recognize, but she’s dressed immaculately and bears a striking resemblance to you, so you assume she must be your mother. 

“Good morning,” you greet. You’re not sure what the right etiquette is for whenever nobles greet their parents, so you curtsy awkwardly. 

Your mother just stares at you, and the silence is palpable.

Looks like that was a swing and a miss. 

“What’s the matter with you?” she then frowns, gesturing towards your general appearance. “Why do you look so unkempt? I thought I reminded you last night that your fiancé would be visiting today. He’s just arrived and will be joining us for breakfast. And you expect to greet him in such a state?” 

“I look nice,” you say simply.

“You aren’t even properly zipped up in the back. And did you even put on any makeup? Good grief. Which incompetent maid dressed you this morning? I’ll need to have a word with her.” 

You’d rather not get anyone in trouble, especially since that one maid in particular looked like she was fighting for her life. 

“I dressed myself today,” you confess. 

Your mother’s eyes widen. “What? Why in the world would you do that when you have countless servants to do it for you?” 

“Um… I don't know. Just for fun, I guess.” 

She proceeds to give you that same quiet yet judgmental look from earlier, but after a heavy sigh, she relents. 

“Well, I suppose it doesn’t matter anymore,” she grumbles, fiddling with the zippers of your dress and adjusting everything in place. She fusses over you for a while, but finally, she appears satisfied. Well, somewhat, at least. “That will have to do. You wouldn’t want to keep your guest waiting. Come along.” 

She gestures for you to follow, which is actually a lucky break, because you were pretty much lost before she showed up. 

Your mother walks for a while, then stops before a large door. 

“He’s already waiting inside,” she tells you. “Make sure to be on your best behavior. We want this arrangement to go well. Alright?” 

You nod in agreement. You’re not sure whether the villainess was well-behaved or not, but surely it can’t hurt to have your parents’ approval. You’ll need their resources and support if you ever land yourself in hot water. 

Thus, you step inside the room to meet with your fiancé. But you’ve been so caught up in all the craziness that you actually forgot exactly who that fiancé was. 

Soon enough, he’s looking you dead in the eye. 

“Good morning, [Name]. I’m truly fortunate to meet with you so early in the day.” 

The young man bows politely, and when he raises his head, there’s a subtle, practiced smile on his lips. It’s the smile of someone who is well-versed in etiquette and knows how to behave around others, but it isn’t a genuine smile, and certainly not the smile of someone who is happy to see their fiancée. 

After all, he has no interest in you. He will never have any interest in you.

He is Alistair Calderwood, and he is destined to fall in love with the heroine. 

You don’t respond. His was the first route you ever played in the game, so you’d almost forgotten that technically speaking, he was the villainess’ fiancé to start. It was one of the main reasons she harassed the heroine. Because their engagement fell through. 

“[Name]?” your mother frowns. She chuckles weakly, unsettled by your silence, then outright jabs you in the ribs. “What are you doing? Hurry up and greet him!” 

Greet him. Right, you have to greet him. It’s the normal thing to do. You’re meant to greet your fiancé, then enjoy a nice breakfast together.

But if you stick to normalcy, to the way things are supposed to go, you’ll end up dead faster than you know it. 

So, fuck being normal. You’ve already decided what the right course of action is.

“Hello, Alistair,” you say, responding to his bow with a polite curtsy. “It’s nice to see you too. Thank you for coming all this way, but…”

He tilts his head, waiting for you to finish your sentence, but nothing could have prepared him for what you’re about to say. 

“...I think we should break off our engagement.”

Alistair’s jaw drops open. So does your mother’s, for that matter. Even the servant standing idle in the corner of the room lets out a quiet gasp and covers their mouth with the palm of their hand. 

As for you? 

You can hardly contain your smile.

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[freakenomenon]

okay hereeee are some ted opinions that i feel as though i should share before i explode with frustration.

teds paranoia is due to AM of course, yes. this is horribly tragic and what AM has done to the survivors is HORRIBLE. but.... it doesn't excuse the CLEAR misogynistic bias ( and possible racial bias STAY WITH ME HERE IM BLACK I AM THE MOST CERTIFIED TO TALK ABOUT THIS. ) ted displays towards ellen. when talking about the others he doesn't make derogatory statements towards their gender identities or their choices within their past lives. especially with benny being gay he only states that AM had sexually humiliated him because of it, which does not mean he agrees with it. but then when he shifts over to ellen it's so OBVIOUS how victim blamey and sexist his words are. implying that she enjoys servicing them and that AM had given her pleasure despite her clearly not wanting any of that. he doesnt only just GLOSS OVER the sexual humiliation of benny, he uses it against ELLEN. paranoia does not CAUSE bigotry to sprout, as someone with paranoia if anything it's more offensive to IMPLY that it would cause saying something that horrendous to a SEXUAL ASSAULT VICTIM. ( not only talking about the elevator here by the way, ellen being forced to service the others can genuinely be considered proximity assault and COERCION but whatever ) yes, i do feel bad for ted in the aspect that he is a torture victim and he's gone through so much and that he has genuinely been driven mad. but bigotry within madness cannot be justified in ANY right. it's also very insulting to his character to imply that his ONLY personality traits are being a douchebag. yes it's a big part of him because he is ,,, a douchebag. but to truly understand why you shouldn't like ted as a PERSON ( not as a character, he's very well written do whatever you want ) you have to peel away exactly at what makes his actions unjustifiable in the end.

moving on, his portrayal in the game is both interesting and completely absurd and horrendous. let me start this off by saying. Ted. Does NOT. love ellen. Ted is not ACTUALLY in love with this woman. He's just clinging to whatever he can for validation and he believes that he is ENTITLED to her validation because of his isolation and belief that the MEN hate him. not to mention his warped view on sex due to him being groomed may have led him to believe that sex = love. the short sporadic and awfully humiliating sparks of passion between ellen and ted during those intimate moments, especially for a grooming victim. may be incredibly confusing and conflicting. which of course is not at all teds fault, he's a victim. i don't blame him for that. teds character in the game in some aspects couldve been a beautifully done portrayal of how "love" and a want for it can bring out the worst in someone. that having trauma doesn't always make good functioning morally correct members of society. in other aspects. it's. bad. God fucking. JESUS it's bad i don't even want to talk about how horrendous he is written in the game christ on a celery stick. I can't even say this is because of my personal disliking of ted. all of the characters are so STRANGELY written in the game that is actually absurd in resemblance to their characters in the short story. but whatever.

rant over.

[touchlikethesun]

TW: sa. Hi! I hope it's okay to talk about it but about your tags in that post about SVSSS and SA being a recurring theme, I agree with a lot of it. I would say that even Bingge can be argued to be have some trauma since his first time was coerced. Someone pointed out Bingge could've become hypersexual as a result of that trauma and that it made me see the whole harem thing in a new light (but it doesn't make him innocent since he forced himself on a bunch of wives). It really is such a recurring theme it's hinted for Shen Jiu and for Su Xiyan and Binghe with the Old Palace Master. Su Xiyan's story is even the catalyst for Binghe's tragic backstory... You made a very good observation OP!

hey anon, yeah it's alright to talk about! i do appreciate you including a tw, but this is a topic i find really interesting, i actually opened my laptop back up to answer you lol

as for luo bingge, i didn't get into it in my tags bc… lowkey didn't expect ppl to read them lol (ty for doing so tho xx) and also he's quite a complicated case. we obviously can't say for certain since we see so little of him and what we do know is told to us thru multiple layers of unreliable narration, but i do think there is enough to suggest many of luo bingge's early sexual experiences were probably coerced or non-consensual, leading to trauma-induced hypersexual behavior. (edit: i am adding this parenthetical a few hours later after writing the rest of this and i didn't know how to fit it in otherwise so apologies, but i think it's worth pointing out that luo binghe - both bingmei and bingge, so i think we can consider it to be a core trait - do naturally have a much higher libido than most people. with bingmei we see how this causes issues for him in his relationship with shen qingqiu, but it's managed with kindness because sqq loves him and is patient enough to teach him boundaries and managed by binghe himself who loves and doesn't want to hurt sqq and who has been taught consent and respect from a younger age. when it comes to bingge, who lacks the sort of safe space provided by sqq and has no education in the matter, i think it's easy to see how he would have a much harder time understanding and managing his libido - again it isn't an excuse for SA, but this is just another convention of the genre that were it to be realised has horrible implications and consequences.)

but also, luo bingge lives in a world where healthy consensual sexual dynamics are so rarely modeled for him (the aforementioned coercive sex, but also constantly being gifted wives by other men, and the normalisation of rape in a world with sex pollen (sorry ik i already said that but like really it is so incredibly fucked up if you think about the implications of sex pollen in a real world)), and where he is being taught that the only way to be safe is to have physical power over others - of course we the reader know this is because it's being written as a venting male fantasy revenge story with a target audience of incels, but concretely this is bad for luo bingge's psyche, and you know, also leads him to do horrible things in retaliation and hurt and innombrable amount of people

and again, i don't know how much of this was really intentional on mxtx's part and how much i am reading into it, but svsss is about making one-dimensional smut novel characters into fully realised people and extrapolating out the implications for what it would mean for that world to be a real one. like, shanq qinghua and especially shen qingqiu have to learn that the people they live with are not as simple as they might have appeared on the screen of the webnovel. and part of the extrapolating, from my read of svsss, involves interrogating the ways characters have and have had their agency infringed upon in the original pidw and finding ways to return their agency to them in svsss. this is perhaps most clearly seen in the way all the "wife" characters in svsss are allowed to be their own people separate from binghe, with different passions and drives and again, agency to direct their own lives, contrary to sqq's expectations of them. however this also involves bringing to light just how pervasive and damaging the sexual violence in the original story really is, by showing the abuse that su xiyan suffered, by showing how binghe is negatively affected by xin mo and the other coercive elements of this world, by subverting expectations with shen jiu and showing how he was also a victim, and by making the only truly irredeemably evil character the old palace master, a disgusting old pervert and sexual harasser.

anyways yeah i think it's a really interesting aspect of svsss, and while i can understand why it might not be at the forefront of everyone's mind (good lord is it a BUMMER to think about), it would be a disservice to the narrative to forget it entirely.

[clearpurpleskies]

There’s something about James wanting to self-destruct and punish himself, but the human part of him can’t help but indulge. Drink, companionship, thievery, violence (and not just on the receiving end), and the ensueing shame that comes from giving in. The idea of him becoming near inrecognizable to the man he thought he was, acting in ways far below what he’d consider dignified, and feeling shame for it, but not being able to resist because at the end of the day he is a human in emotional anguish, and occasionally gives way to piratical traits he sought to extinguish. He’s less than a pirate, even. Drunk to the point of unconsciousness, waking up in his own blood and vomit, not knowing where he is or why. At least a pirate may have a penny to his name and somewhere to go. But not this rum-soaked dishrag. It’s embarrassing, but who gives a damn at this point, right?

I been meaning to reply to this ask for weeks now, I just wasn't sure how. Still not, but I'm giving it a try—

I cant read feelings in the asks but why do I get the slight feeling this is an angry one? 🥺😶‍🌫️ dont be mad at me please, im sensitive and i'll cry.

Anyways,

James and the Terrible, Horrible, No Good, Very Bad Tortuga vacations, yes.

So when I say that I think everything he does is to self-sabotage, it's because at this point in his life, he has lost everything that meant something to him. His career/commission, his ship and crew, his reputation, his fiancée (who chose a blacksmith over him, mind you), and his sense of purpose too.

He is the son of a renowned Lord Admiral, and he failed catastrophically in everything he was supposed to excell at. All expectations suddenly washed away with the hurricane that took the Dauntless.

Like we say in spanish: el hombre tocó fondo. (The man hit rock bottom). And there's no going back to what he was, what he had. All that hope is gone, he doesnt think he will get it back at all. Look how surprised he was when Beckett offered him an admiral comission in the deleted scene (they should've kept it in the movie I'll die mad about it).

He was ready to just accept the letters of Marque and become a privateer. At least that was decent, he probably thought. He never even considered that he could actually get an official commission again.

So yeah, I'm sure he craved human connection and comfort, but from my interpretation, I believe he didn't feel worthy of it, of any of that, so he rejected it. Anything that brought him comfort like a woman's touch for example, like a warm bed, like a safe place, he just rejected it and focused on numbing the emotional pain with alcohol and the physical pain (picking fights, etc).

I just love James Norrington character so much because he's the perfect tragic hero. He is trying to be lawful neutral, but he has a big heart, so he can't. I wish they'd let him have a reckoning arc instead of killing him off like that, but well...

That is what fanfiction is for, isn't it?

[flow2024]

ur quynh hopes for TOG2?

mostly that she is There for a large part of the film, i fear she's gonna end up taking the place of 'secondary villain revealed to be manipulated by a Bigger Bad'. i really hope this isn't the case bc i find her and her anger at humanity post iron coffin so so interesting. id like her to reunite with the rest but i also don't think they're gonna have the screen time to give that the nuance it deserves - either they tone down how furious she is, they have it all up to uma thurman's manipulation, or they have her forgive the others super quick.

but it's so interesting to me because there's not really anything the others need to be forgiven for - from what we're told in the movie they tried and they failed to find her, which isn't really their fault in any way. the ocean is big. but her anger isn't unjustified because what was done to her was deeply cruel, and having that manifest as rage is interesting! i think being trapped drowning for 500 years, even if she knows that they couldn't possibly have found her, would still lead to her feeling abandoned. nobody's in the wrong, really, it's just a horrible situation. and that to me is Catnip conflict wise. all the more tragic and all the more difficult to work back from.

her anger being utilised by uma thurman against the guard + partially a product of manipulation feels like an easy way out i.e. quynh realises it wasn't true and then suddenly becomes good again which would be such a cop out. i like eventual quynh reunion / happy ending fics but also i want her to be angry and i want the film to give her the space and time to be.

outside of that id like generally a more cohesive sense of who she is, all we currently have is the comics (noriko's immense vengefulness is a character trait i would love to see translated to quynh, bonsai shokunin makes it so much clearer why she does what she does in the end) and joe's pit viper comment, i want to see more of how she interacts with andy but also the others! i know nile's there in the andromaquynh fight and i want to see them interact too!! quynh could be such a complicated antagonist but like ive said the resolution to that without having her be completely irredeemable would be too complex for the netflix action movie of the month with a second, scarier villain so i mourn what could be

tldr: i want quynh to go apeshit

[linkspooky]

You need to make another one of those "metas written by comparing characters with another show you liked" post about Getou now that you experienced FGO Morgan/Aesc.

Time to compare two characters from two different shows I liked (in this case Jujutsu Kaisen and Fate Grand Order: Cosmos of the Lostbelt 6 Faerie Britian) to illustrate what makes a good corruption / fallen hero arc. Two of the best examples I can think of in recent memory are Geto Suguru, and Morgan le Fay of Faerie Britian. They both have tragic arcs which follow similar beats which I think will illustrate exactly why audiences find these characters so compelling.

Both of these characters have their stories told out of order, appearing as villains first before their backstory is revealed but for the sake of simplicity I'm going in chronological order, the heroes they started as all the way to the villains they ended up being.

Before beginning though, a brief lesson on tragedy. Aristotle's poetics argued tragedy runs on the principal of catharsis. The audience feels for the characters on stage, no matter how terrible their acts may be. He argued in favor of moral ambiguity in its heroes. The tragic hero must neither be a villan or virtuous man, but a "character between these two extremes, ... a man who is not eminently goo and just, yet whose misfortune is brought about not by vice of depravity, but by some error or frailty [Aristotle's Poetics.]

The protagonists of tragedies are still heroes, but their good qualities are twisted against them. A tumblr post I see going around from time to time makes the argument that if Othello (the protagonist of Othello) were in Hamlet the story would not be a tragedy because Otello would just stab his uncle and avenge his father. If Hamlet (the protagonist of Hamlet) were in Othello, the story would not be a tragedy because Hamlet who is a characteristic overthinker would probably not fall victim to Iago's manipulations and jump to conclusions the way Othello did. Both of these characters are heroic, Hamlet is a clever and scheming prince, Othello is a talented general a moor who's managed to rise up the ranks in a racist society. However, they are both put into stories where those heroic values are twisted against them by the narrative framework itself. So to make the protagonists of tragedies into villains who were evil all along, ruins the moral ambiguity and therefore the catharsis of a tragedy.

Geto Suguru and Morgan Le Fay are heroes, placed in a narrative framework that twists their own heroic traits against them in ways they can't endure. They fall because of frailty, not because they were inherently evil to begin with. They are antagonists who have the qualities of protagonists, and once were arguably protagonists of the story, which is probably why they have so many fans in the audience despite the fact that they are both of them mass murderers and tyrants.

Now with the long preamble let's look at the stories.

Both characters start as essentially protagonists, and they foil the protagonists they are fighting against during their villain phase. Geto Suguru is a heavy foil for Yuji (we'll talk about this later) and Morgan so heavily foils Castoria because they are both the chosen one.

I'm going to start with Morgan because Fate/Nasuverse lore is a pain to explain. To simplify her story, Morgan Le Fay is from an alternate universe version of Britian. In that Britian everything is ruled by faeries. These are trickster faeries who are total jerks and extremely murderous at times. They were supposed to forge excalibur, but they just didn't do it because they were lazy. This was very bad, so the universe sent a big huge guy to tell them to forge the sword. They were lazy though so instead of listening to him they murdered him in his sleep and he died a horrible death.

The faeries could no longer be forgiven for failing to craft excalibur which is a really important sword that needed to exist, so god or heaven or fate or whoever decided to punish them and sent Aesc who will later be known as Morgan le Fay.

There's some time travel shenanigans but I'm going to skip it because it's confusing. Basically Aesc's job is to wipe out all fairy life and bring an end to their alternate universe, but she decides to defy her destiny instead. The heavens or whoever keep conjuring calamities to wipe out the fairites to punish them for their sins, but instead Aesc fights against them and saves the fairies.

I had a duty to paradise, but I knew that duty would result in Britiain's destruction. This other me, though... She loved Britiain dearly, even the lostbelt version of it. I thought about it, and I realized I wanted the same thing she did. From then on I chose to live as her. (Witch! Witch! Witch! You were the only one to survive the calamity) Countless times, I stopped the calamities. Countless times, I mended clan disputes to end wars. I did not mind. It was not the fairies I loved. I only loved britain itself and the home I would make here. It would be my very own Britian - something that was forever beyond my reach in Proper Human History. I did everything I could to make it a reality. Eventually though, I realized the best way to do that was to keep the faeries safe.

However, because Aesc is not one of them the fairies are generally ungrateful for her saving them again and again. Aesc gathers comrades around her to help ward off these calamities and save people, but she's often attacked by the same fairies she's just saved.

She continues fighting the system of her world again and again, until she's betrayed for the last time in her attempt to save Britan. The final straw is when after years of hard work she's finally brokered a piece and made a king who rules over all the allied fairy tribes, only for his coronation to be ruined, the king to be assassinated along with the entire round table. The king was also her lover, Uther.

Aaah! Aaaah! Why? Why? Why? This was supposed to be the greatest day in fairy history... Everything was supposed to change for the better! BUt they killed Uther! They slaughtered my entire round table like they were trash! They asked the world of us! They thought the world of Uther! BUt now, they've poisoned him...THey were too afraid to even face him cowards. Uther talk to me, please say something! I never let failure stop me! I've kept trying all these thousands of years! Am I doomed to failure here, too! Is it still not enough? Am I not enough? Is it not... Can I not save Britain? Is there no Britain that can be mine! Peace, equality, I never should have tried for either! How dare they! I can never forgive them ever!

You see much like Geto Suguru which I'll later illustrate, Aesc is caught in a cycle where she must continually fight disasters for the faeries to save them only to be met with their continued disdain. Her own higher minded intentions to save the people are what damns her to this painful cycle. If she'd been less heroic, if she didn't care she wouldn't have suffered. She's sacrificing herself over and over again, but sacrificing yourself is in a way just suffering. No one actually wants to walk the thorny path of the martyr, you'll get your feet hurt from all the thorns.

The people who are now accustomed to being saved despite doing none of the work themselves, are by and by completely ungrateful for Aesc's sacrifice. Aesc is a hero, but she's not in a hero's story so she doesn't get any of the benefits of a hero really. She's working with higher minded and more idealistic goals in a deeply cynical world and punished for it. I remind you, she was just there to kill all the faeries and end the world but she tried to save them instead.

It's important to emphasize their good intentions, because a shallower character reading would suggest that they just came out of the womb wanting to murder people. However, they're driven to it because they tried to be good, because they tried to be a hero. They are like Hamlet, and like Othello in the wrong story. They're also sacrificing themselves going against the system of their world and trying to be better than it, only to get dragged down. Their resentment grows against the people they are trying to save, the selfish and weak people who don't seem all that grateful for their heroism. The ones who aren't making sacrifices, the ones who are just content being saved.

I finally understood. My enemy wasn't just the calamities, it was the faeries of Britain as well. They were pure and innocent in the truest sense, they enjoyed both good and evil things alike without losing either that purity or innocence. They are at their core, no different from the loathsome humans who drove me from britain. So I crushed every possible source of malice. Vested interests. Discrimmination. Oppression. Envy. Mockery. All of it. But it wasn't enough. A few fairies took a look at the foundation of peace so many had worked so hard to build ... and tore it apart, because they didn't like it, because they could.

This is what finally leads to Morgan's breaking point, to decide that actually... fairies don't deserve rights. Morgan decides that the fairies are unworthy of salvation and rather than being the hero the only way to accomplish her goals is to become the oppressor and tyrant.

I give up, if everything has failed if it has all come to nothing, then I can never believe in people's so called goodness or understand it. Even if I did, what would be the point? Everything I did, everything I worked for... was just a waste of time. After all the times they betrayed me I should ahve known better... but I still clung foolishly to a sliver of hope. ANd now, because I wasted my time caring about something so utterly absurd, I've failed yet again. If my intent was to keep britain alive, then I was a fool to think being its savior was the way to accomplish it. No more. I will find another way. A better way. ...That's it. I won't deliver the fairies to absolution; I won't deliver salvation. Enough of this faerie of paradise, enough of being Avalon le Fae, I should have ruled this land from the start.

However, as I said it's only Morgan's repeated attempts to be the hero and save the fairies that drove her to this conclusion. However, I'd be amiss to say that Morgan didn't have flaws or selfish qualities from the start. Morgan le Fay is created from the Morgan le Fay we created with from proper legend. I'm not going to explain the lore, but basically she's an alternate universe version, who received memories from the Morgan le Fay of our universe. She knows the story of Morgan le Fay who tried to steal King Arthur's kingdom out from under him.

Alternate Universe Morgan le Fay still had the same chip on her shoulder, and entitlement that our Morgan did. She wanted the kingdom, and wanted Britain for herself. Her desire to play savior might have come from that very same entitlement that she deserves britain. Similiarly, she was most likely hurt so badly from the lack of praise because she also deserves praise for her actions. She has a bit of a superiority complex that places her above the fairies and makes her believe she has the right to rule.

However, as I said Morgan didn't start out as a tyrant she did earnestly try to save the faeries despite harboring those more negative qualities and selfish intentions. She may have had a more self-serving variety of selflessness but it's more the fragility of her that causes her fall. She didn't fall because she was rotten to begin with, she was just not strong enough to withstand years and years of ungratefulness from the faeries and betrayal. She has all the makings of a proper hero, she decides to defy destiny to save the people of faerie britain when she was supposed to be their destroyer. However, because she's in a tragedy she falls due to her insecurities and flaws overwhelming her rather than rising to the occasion.

Her manga chapter and the FGO Lostbelt game prose itself uses the light in the distance as a metaphor for this. Morgan continues going forward on the faint light of hope that things will work out for her and that even as a tyrant she can save Britain. However, it's that same light that damns her. In tragedies heroic qualities become flipped into flaws. Morgan's most heroic quality is her determination, the willpower to endeavor for thousands of years to try to save Faerie Britain, but that determination makes her unchanging, causes her to make the same mistakes over and over again, and just makes her continually suffer like Sisyphus pushing his boulder up the hill.

But that light is just an insect trap - or at least that's how it is for the protagonist of the tragedy. Road to hell, and all that.

After reaching her breaking point Morgan decides she'll no longer try to save the fairies but rather only care about saving the kingdom itself. She goes from the kingdom's hero to its oppressive tyrant after seizing the throne for herself.

That's where we meet the villain we know today.

Now shifting gears to Geto Suguru, he is someone who starts out his story trying to be a hero. A little bit of context on the world of Jujutsu Kaisen, it takes place in an urban fantasy version of Japan where the jungian collective unconscious and the negative emotions of humanity create curses that kill and eat people. These curses need to be exorcised by a few special humans who are given superpowers known as jujutsu sorcerers.

There is an institution of sorcerers known as Jujutsu High, which raises sorcerers from a young age gifted with these powers to exorcise sorcerers. THese teenagers are often sent out on msisions. This is different from most stories of teenage heroes with superpower, because fighting curses is brutal and dangerous and most of these kids are going to die young. There's also no end in sight to the fight against curses, because no matter how many curses are exorcised humans will just keep making more.

Not only do they live in a cynical, and brutal world but most sorcerers are insanely selfish. Just to give an example of how immoral sorcerers are, one of the allies of the main characters is implied to molest her brother, and if she's not she still uses her like 12 year old brother as a child soldier. Nobody ever bothers to question this because the institution of sorcerers are inherently corrupt, it's an instituion that continually sends children off to their deaths and uses people as nothing more than cogs.

Caught within this unfair system and trapped in a cycle of exorcising curses that are just going to come back anyway is Geto Suguru, who is not only a model sorcerer he's presented as much more selfless than your average sorcerer. He's directly contrasted against Gojo Satoru who is kind of just a petty kid with a god complex.

Gojo uses his powers selfishly, he only fights because he's really powerful and killing curses is a way to test and use his abilities. (This is literally stated as canon by Nanami don't fight me on this I'm simplifying his motivations because this is not a Gojo meta look at the entire fight with Sukuna saving Megumi was a secondary concern he wanted to fight a strong opponent). Whether people are saved by his actions are a secondary concern.

Geto on the other hand goes against the grain for most of Jujutsu Society, and believes that they as stronger people have a duty to use their strength to protect the weak. This idea of noblesse oblige is way way different from the attitudes of most sorcerers, who as I said usually turn into petty little people with god complexes.

Not to say Geto doesn't have a god complex, but we'll get to that later. Geto is explicitly contrasted against Gojo who's the only other powerful sorcerer and his best friend, but doesn't think they have an obligation to use their powers to help anyone.

Right away we have two things in common with Morgan le Fay, number one they hold themselves to a higher minded ideal that of using their powers to act as a hero and protect the people underneath them. Number two, this is a choice they make to be better than the people around them. Morgan's destiny is to destroy the faeries and she tries to save them. Sorcerers usually just keep their heads down and do their jobs, they're not heroes, they don't save people they kill curses. In fact, the sorcerers who are selfish assholes (Mei Mei) are wildly succesful, the ones who try to help other people like Nanami die young.

They sacrifice themselves for others. Geto pursuing his higher minded ideal is faced with the same kind of tragedy that Morgan is, where his attempts to save a teenage girl named Riko not only blatantly fail, they fail because of Toji a person who cannot use cursed energy. Everyone they tried to protect died, and they're shown first hand not only does the world not really care about their idealism, but they're not really powerful enough to change this world in any way.

Morgan's lover Uther and all of her allies is ruthlessly slaughtered, by the same faeries she was trying to save after she brokered peace. Geto tries to save a little girl, and he not only watches her die, but he sees an entire crowd of normal people, the people he is fighting to save applause for her death. They all applaud her death because they're a part of a cult that believes that the girl was an affront to their god, but she was mostly just a normal teenager. He witnesses first hand that normal people do not care for the fate of Jujutsu Sorcerers whatsoever.

If Geto were more selfish he would be rewarded. If he didn't attempt to save people, if he just only cared about exorcising curses like Gojo did he'd probably become more powerful and he wouldn't succumb to despair the way he had. Geto exists in a narrative where selfishness is rewarded, and his selfless, heroic traits are continually punished.

This traumatic event makes him aware similarly to the brutal cycle he is caught up in. Morgan le Fay can't save the faeries, because faeries are jerks who can't change. Geto will just continually exorcise curses over and over again. Not only is humanity just going to keep producing more curses, but humans are vastly indifferent to the sacrifices that sorcerers (who are mostly children) keep making to try and save them.

Geto's choice to protect people is the cause of his suffering, because sacrifice is inherently taking on suffering for the sake of someone else - therefore sacrifice is suffering.

This too, leads to Geto's eventual breaking point where he lets his resentment for the same people he's trying to save corrupt him. An incident where just after seeing his dear friend die because of a curse, he's brought to a village of people. The whole village put two little girls in a cage, who were capable of seeing curses and blamed them as the scapegoat for a curse reflecting his village. Geto sees a flash of what happened to Riko again, a crowd full of normal people who don't have to fight curses applauding for the sacrifice of a little girl who was innocent. It's the macrocosm, all of society forcing a few sorcerers to die exorcising curses for them, shown on the microcosm, one village scapegoating two little girls who did nothing wrong.

That's what leads Geto to snap and massacre the whole village. He's now turned against the masses he wants to protect. He then decides that instead of protecting the masses, he's going to kill them and build a world of only sorcerers. He's no longer trying to save them, like Morgan le Fay he's turned to the hero and the Tyrant.

They both even utter similiar words.

I will never save the faeries! I will never forgive the faeries! I don't like monkeys. That's the truth I chose.

Monkeys is by the way, the word Geto uses to refer to normal people who cannot fight curses or even see them. People who don't have superpowers.

One more time I want to emphasize Geto did not come out of the womb wanting genocide. Hamlet didn't start out the play stabbing people. He does have his flaws, just like Morgan by assuming the role of the hero he sees himself in a separate, superior category to the people he wants to protect. There's a line I like in a youtube analysis for for Yuji that applies to Geto as well.

(Other people exist to be saved, which gives Yuji a role in the world) In a way Yuji thinks other people exist to validate his own existence.

Geto begins the story not seeing other people as people. They exist in a category separate from himself. Part of the reason that his failures hit him so hard, is because they disprove this idea of superiority he has for himself. He's shown his god complex is just a complex and he's as flawed and capable of failure as any mortal.

It's an inability to recognize that failure, learn from it, and reconcile it with themselves that causes both Morgan le Fay and Geto to spiral. They are the hero, they are trying to be just, they should reap the just rewards for being a hero. Geto even says as such in a moment of rare jealousy for Gojo, that Gojo is someone who also has godlike power and if Geto had that same power he could change the world the way he wants. He could create his more just world.

Morgan and Geto are characters who begin their narratives with superior complexes and senses of entitlement, selfishly selfess heroes and those negative qualities eventually lead them to fail. Geto thought being a sorcerer made him superior, he just also thought that with that superiority came a responsibility to protect others. Morgan le Fay thought she was the rightful king of Britain, she also thought that divine right to be king also came with an obligation to protect Britain. However, they're not meant to be seen as people who all along wanted to oppress and hurt others.

The key word with tragedy is catharsis, we are supposed to feel for the protagonists of tragedies. We're supposed to see our own traits reflected in them. It's their human qualities to drive them to tragedy.

After all, you reader on tumblr would probably not be able to be a perfectly selfless hero. If you saved someone and then they immediately tried to kill you, you would probably just be a little bitter about it. If you were like Geto and you were working tirelessly to exorcise curses, and all you got was your friends dying, I don't think you'd be like "This is okay :D". If anything, going mad in their extreme circumstances seems like a reasonable response, because could we as the audience do any better in their situations?

Of course the last similarity between Geto and Morgan (besides the fact they both adopt daughters they raise up to be little psychos but this post is getting too long already) is the fact that they both heavily foil the heroes of the story they occupy. They see themselves as villain, they play the role of villain, but they're really just heroes of another story.

Paradise or god or fate or whatever in Faerie britain eventually conjures up another chosen one. This chosen one Altria or as the fandom calls her Castoria is far less heroic. IN fact unlike Morgan who embraces the role of savior she would rather do anything she could to avoid Britain.

This is because for similiar reasons as Morgan, the faeries have basically abused her and tormented her all her life. Yet they still expect her to selflessly step up as their chosen one and save the day from the evil oppressive tyrant Morgan.

You have one protagonist who embraces their heroic quest, and even goes above and beyond by ignoring her destiny to wipe out the faeries and saving them instead. You have another who continually runs away from the heroic quest, and honestly doesn't seem to care that much about saving faeries.

Morgan is actually openly sympathetic to Castoria, and even offers to ally with her a couple of times because she bears the same burden as chosen one. This is another example of how Morgan doesn't quite fit the role of either hero or villain, the ambiguity who makes tragedy.

However, while Morgan does everything to defy fate, Castoria just kind of keeps marching along every step of Joseph Campbell's the heroes journey until she ends up defeating Morgan. Well she doesn't truly defeat her, but Morgan meets her tragic end and gets stabbed a whole bunch of times.

There's a similiar foiling between Geto, and the series protagonist Yuji who both start out the story believing that as sorcerers they have a duty to save others. There are several in story comparisons and direct parallels between the two.

Yuji attempts to save others with his power as a sorcerer over and over again, and is met with the same continual failure that Geto has. Yuji is the only real sorcerer in his generation that cares about saving strangers with his powers. Nobara wants money to live in Tokyo, Megumi only cares about protecting Yuji and his sister, Yuta only cares about his friends, Maki only wants revenge against her clan. Like Maki blatantly says whether people get saved or not by her actions is none of her business.

His own attempts to save people not only fail badly, but he watches people die. He watches a lot of people die in a situation where he is powerless to stop them.

He's met with the same tragedy of Geto but he doesn't succumb to it. The same for Castoria she doesn't decide to be a Tyrant the way that Morgan le Fay did. I would argue this isn't because of any inherent goodness that Castoria or Yuji have but rather because both of them are able to let go of their egoes. Yuji kind of believes the same thing Geto does, that other people exist to be saved by him. He's broken when he realizes that he's not a savior after all...but he's able to continue in a way that Geto isn't.

Yuji lets go of his ego entirely and believes that he's just a cog in the machine and he doesn't need to be some big hero or be rewarded at the end of his hero's journey.

Geto and Morgan le Fay both long for a role in the grand scheme of things. They are still employing narrative thinking, they need to play a story role to validate their existences. It's just that they flipped their role, they tried being the heroes but it didn't work so they're the villains now.

Geto is similiarly rebuffed by Yuta who is his eventual killer by saying that he doesn't actually care about saving the world or if Geto is right that sorcerers are superior to humans, he's only fighting for his friends.

I would say for both castoria and yuji it's not a matter of being inherently good people, but rather of being better at enduring than their counterparts are. Morgan le Fay and Geto try to take the world's suffering on their shoulders, and it breaks them because they're not heroes they're just normal people. Yuji, Castoria and to the same extent Yuta kind of learn to let go of their great heroic aspirations but because of that they're able to take on suffering better. They're trying to live in reality not a grand heroic fantasy.

To bring the example back to FGO, for Castoria and for Morgan the light of hope that led them down their heroic journeys mean two different things. For Morgan that light is an insect trap. Her flying towards that light just causes her to keep suffering through her sisyphian task. Castoria has a much more realistic point of view, she's not trying to get a happy ending or even save people, that light is the hope that at the end of her journey her actions will have meant something. It's more about the journey itself and the people she met along the way, then some big grand reward at the end.

Morgan le Fay and Geto both fail because they are fragile, because they are human. That's the most important takeaway of this long rambling post. They may be selfish, they may be entitled but they're flawed in human ways. After all, who doesn't want a happy ending?

[melomelomuskmelon]

anyone else think about how melon's whole.. monolouge to legoshi about how he thought melon was a "poowr innocwent babey falling down the wrong path due to a tragic life =((" was all a delusional fantasy has less to do with how melon's a shitty person [though he is] and more to do with him crashing out over some random dude who's 6 years younger than him viewing him as his "unborn child" and fixating on his species. this isn't a legoshi hate zone btw this is a melon analysis zone. But like.. ehh i dunno if my mom raped me because i look like my father whos a different race and whom i assume my mother murdered while being bullied at school to the point of my bullies trying to...actually drive me to suicide and some kid took a huge interest in me because i'm gasp! biracial and he wants to have a biracial child in the future i'd like....tweak too

like i did not. endure such horrible fucking trauma for you to treat me like something to stare at in awe because of the very thing that IS why the world treated me so horribly. and like.. ok this is my npd talking but genuinley if i was sympathized with like that by somebody i dislike and don't want to sympathize me,,i'd ALSO play up my negative traits to make them see me as a product of my traumas. like SHUT UP! i control the narritive not you. not to mention melon's whole...thriving in cruelty thing. he activley gets off on being a horrible fucking person, trying to convince him he's not bad or attempt to understand him goes against his persona,,,,i don't BLAME him for tweaking. [disclaimer! i don't endorce shooting people to death because your ego was threatened..murder bad melon is just.. crazy evil because shonen antagonist , but like. when you strip it all away his motives and emotions do.. have merit]

[incorrect-green-lantern-quotes]

So I was rambling in the discord server a while back about this but if the base concept of the DemiHero!AU is that this is basically a Percy Jackson AU where instead of Zeus, Poseidon, Hades etc. the Olympic pantheon is made up of DC superheroes like Superman, Batman, and Wonder Woman, how does it make sense for those champions of justice and defenders of the innocent to be bad parents and irresponsible gods?

Before I can explain my answer, a quick tangent. There's a concept from PJO fanon (at least this is where I first heard of it) where the gods in the modern day are different from the original myths because they draw power from human ideas and thus change along with humanity's perception of them and their domains. Like Poseidon used to be a cruel and unpredictable sea god, but Percy's Dad is way more chill because centuries of exploration and advances in maritime technology have made the ocean much less terrifying than it was for the Ancient Greeks and Romans.

So the idea I have is this: in the DemiHero!AU, all the "gods" were originally just DC's superheroes, but all their iconic origins and adventures took place during Ancient Greek times. So like Kal-El arriving as a baby or the Waynes getting murdered, just imagine those events but everyone's wearing togas and chitons. Superman grew up on an olive farm, Batman was the tragically orphaned son of wealthy citizens in some gloomy city-state, and Wonder Woman... is still Hippolyta's clay baby no changes needed there lmaooo

Anyways, despite this change in setting, the heroes of the Justice League are pretty much the exact same people they are in canon- heroic, kind, good people. But as centuries pass and the original details become blurred into myths and legends, they become gods that are different from the people they used to be. It's further compounded by storytellers who change the stories to suit their needs (like Ovid with The Metamorphoses), and as those versions become solidified alongside the older myths, the gods drift further and further from who they once were.

For example, the original Batman was just a mortal warrior who was skilled and cunning enough to stand as an equal amongst more superpowered heroes. His strength came from his meticulous preparation before battles and careful strategies, and while he occasionally clashed with his fellow heroes and even made plans and weapons to defeat them if necessary, he was always a staunch ally to those who protect the innocent.

But gods of ancient pantheons are not known for their kindness toward mortals, and without this trait, Batman the god is a different being entirely. The ancients interpret his affinity for shadows and secrecy as a tendency toward darkness and deceit, so these become his primary domains. His contingency plans and hidden underground lair became indicators that he is a paranoid outcast who views the other gods as foolish, while they in turn view him as an untrustworthy schemer. The various proteges he trains as heroes become his many children who inherit his dark reputation and disdain for the rest of the pantheon.

In this AU, the gods are often horribly out of character when compared to the heroes they were based on. But that's the point. They're literal caricatures of themselves, because core aspects of who they are have been buried beneath millennia of myth. This is the justification for how they've become the godly pantheon whose drama causes problems for everyone else, much like how the Olympians are in Percy Jackson

[notbillyshears]

I'm rereading THE OUTSIDERS so I can catch the stuff I missed and annotate stuff :) I will be updating my thoughts as I go, spoilers under the cut

BTW, please don't fight me!!! These are just my thoughts and opinions!! There is some minor hating on Dally, like about how rude he can be! And mentions of Sodapop's worse traits! I still love both of them as characters!!!

You can look in the reblogs for the next part

I feel a lot of people downplay just how rude and disrespectful Dally is. He's my favorite character but I've now realized just how horrible he is. The movie def made him a better person. Like jumping children??? What joy is found there??? He has good traits though, that's just not really shown to strangers. He's still my favorite character though, he's tragic. Just pointing out his negatives.

I feel kinda bad for Sandy because Soda was constantly flirting with other girls or saying dirty things abt them. Like I understand "They're greasers, it's what they do!" and "it didn't mean anything to him!" But like, people hate so much on Sandy, I'm not justifying her cheating that was not good, but I understand if she was insecure

Cherry should have punched Dally hard enough to knock him out. Though she would prob be jumped later, if that wouldn't happen she should've decked him

...THIS LINE THOUGH

"He would kill the next person who jumped him. Nobody was ever going to beat him like that again. Not over his dead body..." p.34 abt Johnny

THAT IS SOME OF THE BEST FORESHADOWING IN SUCH A SUBTLE WAY!!!!!

I like Cherry's character a bit more, she's a little more interesting. I didn't pay attention much the first read to all the details and the movie kind of made her boring. Like it's missing several of her good lines.

Steve was really beefing with Pony, and it was real one-sided. Pony was really like "I thought he was pretty ok since he's sodas bestie, but he sure don't like me." Probably a case of unreliable narrator

I like Sodapop a lot more because the book really showcases both his good and bad traits. A lot of posts on here have turned him into a sort of, he's a perfect little innocent man. I understand some people are joking but it can be a little ooc.

I like that Darry goes skiing, glad he has some sort of activity he can enjoy :)

Random thing, but first time I read the book I imagined Darry with glasses. I might draw him later with them

WILL BE UPDATED AS I GO THROUGH MY REREAD

Please don't attack me because you disagree with my opinions!!! These are just my thoughts and stuff, not trying to call anyone out!

[pessimisticpigeonsworld]

"aegon is an interesting and complex character" imagine finding a character who is an abuser/rapist " interesting" what is your morality to find a character like that complex? "all the characters are bad people" yes but I don't see anyone calling Ramsay Bolton interesting or complex. TG stans are so weird, they keep making these stupid excuses for aegon just because Tom is a good looking guy i think....Like Aegon all you want but accept that he is a horrible person, don't make excuses just to not feel wrong for liking a character like that

A character having an abusive mother (yes, Alicent abused him, even before he was raping women) and negligent father isn't exactly an original backstory. Because of this the characters/antagonists with it need to be well written or at least have more to them to make them be actually complex. There are interesting characters with the same backstory traits as Aegon, but they have more substance to their characters; their more than just "my mom doesn't like me and my dad doesn't care :(".

That is a tragic childhood, but if someone never grows past this and uses it constantly excuse their shitty actions (like rape), they loose any sympathy, for good reason. Aegon isn't a complex character, he's a bland trope played by an attractive man. The only deviation from the trope is Aegon's whole "I don't want it :(" thing, which is basically just him not wanting responsibility. Yeah, someone can like that trope, everyone has favorites, for antagonists and protagonists alike. However, people calling him "complex" or sympathizing with him are blatantly wrong.

Aegon is perpetually infantilized by the show and the fans and it's just so frustrating. Aegon isn't a child, he's a grown ass man, who rapes servant girls, rapes his wife, hates his family, and doesn't want any responsibility. Honestly, Ramsay is a better antagonist than him, because at least Ramsay is fully committed. D&D weren't interested in trying to make him "sympathetic" (probably one of the only good things I'll ever say about them).

Aegon is a rapist, a negligent father, his brother's bully, and an awful ruler. There's nothing redeeming in his character, the only thing close to that is his reluctance to take the throne, something he quickly lost once he got a taste of the power. Anyone who sympathizes with him or likes him needs to help, Condal and Hess included.

[mdhwrites]

Since you watched Hazbin hotel, you maybe have watched Helluva Boss too. I have a question, cause im curious.

Do you think that Stolas's marriage was retconned to victimize him?

So I'm going to swerve this at first to just talk about the fact that what they did with Stolas is nothing new, it's just essentially twin tropes smashing together at the same time. Both are ways people use family to humanize someone, and in a broader context two ways in general used to humanize someone. His daughter is essentially "Save the Cat" where by showing a gentler, warmer, more caring side of himself, we know there's nobility in him which can paint some of his better actions in a kinder light. Meanwhile, his wife shows the pressure and cruelty upon him, the way life crushes him, that makes his crueler actions seem perhaps more like coping mechanisms. It's like giving an alcoholic a tragic backstory so you understand that he doesn't drink himself to oblivion because it's fun for him and he doesn't care about the harm it does to others but because he needs it to survive and function at all, at least in his eyes.

Neither of these tropes are bad either. Done with less awful character traits, you get stuff like the silly person who covers their trauma by being over the top and maybe ignoring reality more than they should. I myself literally used saving a cat as a way to humanize my noble main character in Little Miss Rich Witch because while she was dismissive of others and seem annoyed at many people's actions, now she was willing to hurt herself by reaching into a bush of brambles and help a kitten find safety. It theoretically can help assure the reader that a better person is under there and going to emerge eventually.

...Which brings us back to Stolas. Now the first thing I have to mention is that you're actually incorrect. I have not watched Hazbin but I mention a lot of shows that I've seen enough analysis, discussion, etc. for and feel comfortable enough mentioning some broadstroke elements that resonate with what I'm discussing. I HAVE seen some of Helluva Boss but ended it on the episode where Blitzo and Moxxie get kidnapped so I'm not ignorant on these subjects but I didn't really see when life went to complete shit for Stolas...

And I do not give a fuck because neither of these tropes function when there is no better man to speak of. I mentioned Rich Witch not just as self promotion but because of a REALLY important element that fails with his daughter: Follow through. Azu, the noble girl, puts herself in danger of breaking the rules because her busy schedule means that in order to bring the kitten to a shelter, she first has to bring it to school the next day. Then we find out that while she's tsundere about the reasons for working there and doesn't think animals like her, she actually volunteers at that same shelter so this is hardly the first animal she's saved in some way. This makes what is essentially virtue signalling an actual part of the fucking character. Stolas on the other hand, in the SAME EPISODE that we introduced to Octavia, has seemingly neglected his daughter's interests and the fact that she's been growing up for roughly a decade. Hell, even then, he still hires his boytoy to guard them so he can focus on being horny than his daughter and on other childish pleasures that he enjoys. So... Yeah, he gets a really sweet song with her but it's hardly like that's some small nugget smoldering at the core of his character as that fire burned out long ago.

Which brings us to his wife. Hey, why does the alcoholic have a tragic backstory instead of saying, "I beat my wife because she's a bitch and that's why I drink"? It's because the latter doesn't feel like a justified response. At that point, you are a horrible human being with little care for others, you're just bitching and moaning so that you can justify your terrible behavior. This is what Stolas is doing to his wife. "You're a bitch so I openly, confidently, CONSTANTLY cheat on you with someone I do not actually act like I give a fuck about except for his dick because otherwise show him basic human decency." At that point, the only reason the show manages to frame Stolas' wife as worse than him is because she never gets a song with Octavia so it comes across like only one tried to be a good parent before things went to hell and... That's just narrative bias, not strict fact. Not from what I saw.

These tropes only work when there is a better man underneath it all. There is no better man to Stolas. It's akin to how Blitzo has this tragic backstory, life has clearly dealt him a terrible hand... And he's just a complete horrid monster when it comes to those around him. Moxxie despises him for what he does to his privacy, his boundaries and his own personal life and for what? Because Blitzo gets off on it? Luna is a trying too hard goth chick and she isn't actually that mean or cruel or the like. Not even the fucking succubi that act as an antagonist for an episode are as bad to their people as Blitzo is to his and that's without getting into how that episode's proper antagonist is actually Blitzo, both because of past actions and present.

There is at no point, besides shallow backstory (which as always, backstory does not actually a character make because their present actions matter WAY MORE), where we really have a reason to think there's good people in there anymore. That's also why I dropped the show. I wanted to continue but it clearly was going to focus on its worst characters rather than anyone with an ounce of likability. Or, better yet, anything actually compelling about them several episodes into the series besides "Uwu, look at my tragedy while I harass the people around me."

I'm sorry, that just makes you the asshole. See you next tale.

======+++++======

I had initially considering answering this privately since I don't know all the nuances about Blitzo's marriage... But also I watched 7 episodes (including the pilot), more than twice as many as most people tell you is a fair shake, and these were my impressions. At that point... Sorry, you have an uphill battle to prove your sexual harassment in story is somehow justified. The CONSTANT sexual harassment that is not just because they're in hell since Moxxie and Millie prove you don't have to be like this. It's still a choice.

I have a public Discord for any and all who want to join!

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