#video game protagonists who are the villains of their story..

[l0verseyes]

Dependence✅ Loss of empathy✅ Lust for violence✅ Insanity✅ Endless death✅

[iceunhie]

— out of this world (and into another) : genshin impact

premise: you could've sworn the transmigration curse didn't have an effect on you... so what exactly are you doing here?! (alternatively, you tumble straight into your favorite video game; and you're kinda fucked)

...or, a genshin manhwa otome game inspired au.

act i: scaramouche, alhaitham, wriothesley.

↳ act ii: lyney, neuvilette, kazuha, kaeya. (next)

warnings. fem!reader but can be imagined as genderless if u'd like hehe, a shit ton of manhwa tropes in one, this is a hot mess aka not proofread all that much, half clunky half decent writing

a/n: as promised via the poll heh,, while i do plan to make this an actual au, im not that sure ^^; just the tip of the iceberg here tho!!

MAIN MASTERLIST | AU MASTERLIST (coming soon)

YOU — unsuspecting civilian turnt transmigrator

you've always been too attached to fictional characters for your own good.

yes, even the ones that are remarkably irredeemable (the power of a backstory is very formidable) and complex (complexity is a virtue!)

villains have always been destined to die, be cursed, or destined to curse others. it was heartbreaking, really. you've wished for a chance to rewrite their fates for them to find even a sliver of happiness, even when the fate of their plot says otherwise.

which is why when you find yourself awake into the game of your dreams, “Teyvat's Seven Stars”, like any lover of cliche novel and manhwa tropes, this is the time you think that maybe life wasn't so shitty on you.

....there's only one tiny, teensy, itty bitty problem here, actually.

you're not the protagonist. you're not even one of the protagonist's faithful friends and underlings that light protagonist's road to conquering the world and its men (and as of the 4.0 update, it's women); no, you're none of those.

you're a no name extra, and not to mention, a character involved with the game's main villain characters who are coincidentally the love interests of the game's black route!

[ unlock transmigration package: ultimate transmigrator's route ( ????? MODE ) ]

[ no ] [ yes ]

( 国崩 ) SCARAMOUCHE — the tyrant

“as of today, you will be engaged to crown prince kunikuzushi, who is her grace the shogun's rightful heir to the throne.”

when given approval to stare at your so-called soon to be husband, you expect the worst, mostly. the multitudes of character dialogue you've played through detailing his rather discourteous personality (which basically meant he was a huge asshole) don't exactly paint a pretty picture.

however...

who was this tender hearted looking scaramouche that ‘obliterated armies in the blink of an eye?’ the t in tyrant stands for tyrannical, not timid!

eyes like lighting framed by the longest eyelashes you've ever seen and an unfairly pretty face, comparable to a fair lotus. after fawning over his otherworldly countenance, a sinking realization of dread pools in your stomach.

oh, you are so screwed.

essentially tied to the indigo-haired ticking time bomb of a future tyrant due to the strong standing of your family for a period of until the main story starts, you're destined to never get crown prince scaramouche's affection, being his fiancée who scaramouche is arranged to for political means only.

not to mention, you're in an even more deadly position; of all the characters you switched souls with, it's the one that essentially dies by their own fiancé's hand because they were horrible to him! what atrocious luck!

frantic, you wrack up about three ways to survive.

plan a) win over the shogun's favor by being an appropriate partner unlike the original flavor of this body, who resorted to bullying the innocent prince and unknowingly digging their own grave or b) be a guiding friend to scaramouche as he learns the ways of the world and c) make sure you don't end up giving the protagonist a bad ending via his twisted personality.

weighing all these options, you decide to do all three in hopes to cement a life instead of a deathflag. prevention is better than the cure (aka: the protagonist) after all!

(you may also just want to spend time with your favorite character. having a time limit and a sign that says ‘i'll die in the future!’ should at least warrant you extra time to show some affection to scaramouche, at least.)

so, you do what anyone in your position would do: give affection! lots of it.

admittedly, it wasn't all flowers and rainbows. scaramouche—ahem, kunikuzushi—was very shy and reserved indeed, with his mother ei even worse off! (besides, who trains and studies all day and has to stop crying every time they were injured?! that was just too much!)

it was rather hard at first, the frigid atmosphere of the usually silent Tenshukaku Palace almost impossible to permeate. but with your amazing charm (read: deathflag radar) and social skills, you manage to let the members of the Royal family open up to you.

speaking words of praise in ei's cooking (a very difficult feat to accomplish), spending afternoons with your fiancé and teaching him ‘how to be a shoujo worthy male lead, name-version’ (very confusing to explain), and the cherry on top, driving away that vile teacher of his—the Doctor—once word got out that he'd been taking advantage of scaramouche as a political puppet king in the future. trauma enabler destroyed! look at your immeasurable powers!

(“you're not a failure.” clasping kunikuzushi's hands in yours as he reels back from you. damn that doctor.

his tears shot a wave of heartache through you. you can't bear to see your favorite in such suffering. “whatever happens in the future, i won't abandon you.

no matter what, i'll always be on your side, okay?”

kunikuzushi looks at you with something in his eyes—something like adoration. “do you promise that?”

“yeah.” you say without hesitation, the glow of the sunlight hitting your face so dazzlingly that kunikuzushi's eyes widen that his mouth hangs agape in awe. “i promise, kuni.”)

to your greatest delight, your efforts worked in your favor.

ei now spends time with her son, and though it's almost always just a tad bit awkward, you and the guuji yae miko get the two to strike up conversation, and overtime, kunikuzushi becomes more open to you.

(“[name], what kind of man is your type?”

“huh? well...” you think for a while. this was a great opportunity to say it, right? that life changing protagonist quote!

“to me, the only person i'll ever like the most is you, kunikuzushi.”

“do you really, really mean that?” and oh, he looks so cute—flustered and red from your words. worth it.

“yup! now, i made some shimi chazuke, try some—”)

(admittedly, lots of favoritism is involved.)

—and while you reap the fruits of your hard work, you spend warm, sunlit afternoons with ei at tea, even learning about other nations from scaramouche's aunt nahida and even befriended a few of his future affiliates—childe (though for some reason, kunikuzushi always pulls you away from him whenever he spots the two of you together), signora (she tolerates you, you think) and etcetera.

(“then, if i do well, can you kiss me on the cheek, [name]?”

you agree, much to his delight. scaramouche avoids the gaze of a certain pink haired fox eyeing him questionably. unbeknownst to you, he glares at the woman's scrutiny.)

unprecedented things unrelated to the plot happen too; like how your family, which basically only saw you as a political bargaining chip and an unwanted child they could get rid of easily—no longer sent you any demeaning letters demanding money once scaramouche found out....

(“they've been leeching off of you for how long?” so scary... is this was kunikuzushi is like when he's worried?)

(“...kunikuzushi, how long will you keep up that weak-hearted facade of yours? if they find out how.... dishonest you are....”

“i don't need the reminders of a foxy old hag that doesn't know her place. this is fine as it is.”)

(you don't need to know.)

but, you're nothing compared to the inevitable flow of the plot. inazuma is wracked with war, and it just so happened that you'd been unceremoniously kidnapped by a certain resistance leader's trusted general, used as a hostage bargain for approximately the majority of your life. in the worst moments in your dreary cell, there's only one thought in your mind.

....kunikuzushi's face, devastated when he tries to reach for you, before slipping away from him like sand— face morphing into an unbridled state of rage that's too natural, too familiar. when did he learn to make a face like that?

(they say the kingdom was wracked with thunderstorms all night that day.)

afterwards, fate doesn't make it kind for you.

years go by in the blink of an eye, with your capture fervently forgotten in the midst of the growing animosity of the two conflicting forces.

although you did hear that yae sent out a search party for you while at the resistance's base, the shogun's forces never reached you.

eventually, you got released secretly by sympathy of kokomi, the leader of the resistance, who felt pity for you getting caught in the crossfire. letting you go under the condition that you'd likely never meet any of the precious characters you've gotten to know and change was a heavy price to pay, but you didn't have any choice.

indeed, no matter how much you tried to divert the plot, your duty as an extra has ended, and you were even lucky to even be alive. you could only hope that your fiancé—ex-fiancé—took note of your lessons well, bidding farewell to inazuma as you hop on the boat to mondsdat.

by now, you at least hoped that scaramouche and the protagonist met, his true chance at happiness starting now that you were basically dead.

(even if your heart felt like breaking into a million pieces.)

....is what you thought would happen, but why is it that after three years from your supposed capture, inazuma was still at war?

“that crazy prince... he's still working to find his former fiancée... and he's razing almost every village apart looking for them!”

“—didn't the shogunate say that whoever finds her would receive almost 3 million mora?”

“the entire lot of them are lunatics, i tell you. all because of a missing person, too!”

what's more, why was it still going because of you?!

( 艾尔海森 ) AL-HAITHAM: the information guild master

to be fair, normal people don't really run into one of their favorite characters often after transmigrating.

but to be fair, again, you certainly didn't think you'd actually be in your favorite video game franchise caged in bed with essentially one of its main love interests.

eyes wide and unceremoniously looking—definitely not ogling— at the toned body that's currently enveloping you in its arms, the soft tuft of ashy gray hair caressing the crook of your neck, murmuring incoherent mumbles of—is that another language?

???????

you blink, looking down at the bare body currently embracing you. oh. oh.

you're an extra.

you're just an extra, but why are you in bed, currently being served breakfast by the most gorgeous man you've ever laid your eyes on, with a pretty view of the rainforests' canopy?

“you should lie down. if i recall, sufficient sleep is required in order for the human body to perform its basic bodily functions. although our partnership is temporary, to let you fall to harm is a situation i'd like to avoid as much as possible.”

“....what?”

“...?”

the guild master, al-haitham, is a character in Teyvat's Seven Stars that is heavily debated on whether he's technically a villain or not. in the game, he's the right hand of sumeru's leader, nahida, working as the overseer of the AKASHA, a guild that gathers information to the nation's leader. he's a pretty shady character—always working behind the scenes and very unfalteringly blunt—and a ‘villain’ for crown prince scaramouche's route, helping the protagonist escape his clutches.

he's often the subject of comedic ire, his banters with a certain broke architect always the highlight of any bonafide al-haitham fan.

“we're expected to work together by lord kusanali's decree in the duration of investigating the hivemind project the lord suspects the baron siraj is partaking in.”

right, that one scene in the game where al-haitham needed to go undercover to infiltrate a coup de etat staged by one of the factions against nahida... right... what.

you were that extra! the one that fell in love with him and pined for his affection!

(“well, i get that part, but does sleeping together really have to play a part in this...?”

al-haitham gives you a mere quirk of the lip, tilting his head. “we do have to play the part of a married couple in dire straights, do we not? this cover is more efficient.

...besides, i don't have anything to complain about. you're certainly better company than kaveh.” )

in truth, al-haitham wasn't bad company. far from it. aside from the internal giggling and fangirling (you) and the incredible stack of books (alhaitham) that you have to see more than the grey haired man on a daily basis, the two of you work out a rapport that stems from memories of the body you transmigrated in.

he's nice to be around, surprisingly considerate when he wants to be—he tells you about the books he always reads....

(who even reads ‘20 Tongues Language Memorization Guidebook: A Basic Overview of Vocabulary and Terms’ for enjoyment?

the content makes your head run in circles because of how complicated it is; but who wouldn't like to listen to an extremely attractive man overexplain to you with a calm and pretty voice?)

...is generous enough to provide meals and cook dinners that have you crying tears of gratitude because you know how awful yours compares (it was either too bland or too seasoned; al-haitham is surprisingly picky when he wants to be)

(you assigned al-haitham the title of “absolute s-tier husband material”— his capabilities are out of this world!)

by chance, you once gave al-haitham a little tidbit of information that proved to be valuable later in the investigation—courtesy of your avid game knowledge—when you two had been lost to the psychological illusion magic cast by siraj when you two finally broke in his estate.

(“whatever happens, if siraj messes with your mind, just make sure to think of me instead of anything else.” al-haitham lets his hand find yours.

“you once asked me if i trusted you, [name].”

“....” you're treated to one of al-haitham's rare smiles, one that warms you up from within. “i do. so don't let yourself get hurt.”)

however, your temporary partner had faltered for once, flinching when siraj took the form of his old grandmother who'd passed to exploit al-haitham's mind, hesitating and frozen in place while siraj inched ever closer to finding out his weakness.

and you couldn't stand it, the character you cared for—the al-haitham that always had a plan, always knew how to stay calm, had looked so unsure and hopeless.

(“wake up, al-haitham!”

with you cradling his face, al-haitham stares back at the only constant in the memories of his grief, eyes meeting yours. “you don't have to do it all alone. i'm right here, aren't i? believe in me.”)

your (fake) husband snaps back to reality, finally allowing enough time to apprehend siraj and put a stop to his malicious project.

(“thank you.” al-haitham tells you solemnly. it hits you that this may be the last time you may ever see him. “i'm grateful that you brought me back to y— to my senses.”

there's a sincerity in your voice that rings from your heart. “anytime, al-haitham.”)

you thought that was the end of it.

defeating siraj meant you two no longer had to associate with each other, but somehow, to your great surprise, al-haitham doesn't stick to the plot at all. you were sure you didn't interfere with the game, though?

for some reason, al-haitham doesn't erase himself from your life, unlike the original route's flow.

in fact, he's become... easy to run into, a constant in your otherwise mundane life. he takes you out to lambad's tavern for an occasional drink, says he's lending you his headphones when you find yourself overwhelmed by the city (you were never good with noises) and even helps you out as you vent your problems to him.

(the day after, said problem conveniently disappears. how strange....)

and most of all, allowing you to enter his personal space... leaving kaveh's jaw dropping when he accuses al-haitham of having a lover.

“you're always going who knows where with them! what else is there to figure out?”

“...we are merely friends.”

“a friend that you let into your personal library? do they know that you still keep the ‘fake’ ring in a box inside the closet?” kaveh laughs. “nice try, al-haitham.”

(after all, kaveh could never unsee the way al-haitham's eyes softened at the feeling of the head on his shoulder lean onto him, with you no doubt asleep. he even took his headphones off! kaveh has never seen him actually take them off in order to keep the person who's sleeping on his shoulder as undisturbed as possible.

in fact, kaveh doesn't think he's ever seen al-haitham be this touchy or considerate with anyone this much before.

.....and most importantly, kaveh would never forget the way al-haitham, a man who found no merit in politeness and preferred bluntness, a man who preferred solitude rather than company—deliberately getting close to someone—pressing a fleeting kiss on the crown of your head.

kaveh blinks. it seems even the throes of love can reach even the most unconquerable of peaks....)

( 莱欧斯利 ) WRIOTHESLEY — the monster duke of the north

“—i need you to gather information on duke wriothesley. serve him undercover as one of the prisoners of the fortress.”

the duke of meropide—a man swamped with terrible rumors. they say he was exiled from the nation due to murdering his entire family. they say he possessed a face worthy of the title of a beast— grotesque, littered in scars. they say that any who end up in his estate, the iron prison of the north, meropide, never saw the light of day again.

(“only criminals of the worst kind are fated to be sentenced there. nobody returns, so we've stopped questioning it...” )

so to say you're not fearing for your life that bad right now is a massive understatement.

“now, mind telling me how you were able to sneak into the most impenetrable prison in all the land, miss prisoner?”

how did it end up like this?

so you wake up and find yourself in jail. lovely.

seriously, of all the places you can transmigrate into, why did it have to be fontaine?! Teyvat's Seven Stars chapter 4's main starting point, the nation of justice is littered with dark themes and high difficulty capture targets.

.... such is the case with the man in front of you. unlike what the rumors of him say, duke wriothesley paints a rugged yet dashing picture of a nobleman, even if he was —if you recall— one of the hardest capture targets to conquer in the game.

a villain character who you played once during one game route, acting as the driving force during one of the love events of one of the protagonist's other love interest, lyney. duke wriothesley almost assassinates lyney's younger brother, freminent, leading lyney to rally up a certain group to bring the nobleman down.... a typical side character villain, who's existence was added as late as 3 patches away from lyney's.

(even inazuma would be better than this! at least the tyrant route could be avoided, and let's not mention the easy sumeru route as well...)

“well, miss prisoner, cat got your tongue?”

in summary: fortunately for you, the body you transmigrated is in the position to spy on the current affairs of the fortress of meropide, with courtesy and with permission of one of Fontaine's leaders, neuvillette. unfortunately for you, it seems our dear monsieur wasn't able to inform wriothesley beforehand, leading to the current situation.

aka, you're pressed dangerously close to wriothesley's chest, with a knife at his throat and his hands pinning you against the wall, noses almost touching. you're not sure if this is even the kind of tension that two people who are trying to kill each other are supposed to have...

(“i'm an ally!” you sputter out. wriothesley raises an eyebrow at you. “monsieur neuvillette sent me.”

“how am i supposed to trust you after i saw you slinking around here, knife at my throat?” he replies, eyes narrowing. “i know that i'm labelled as a beast, but i don't really know what came over that pretty little head of yours when trying to sneak into my chambers.”

what does he take you for?! “...are you accusing me of something indecent?!”

“just saying — i've met lots of prisoners with your excuse, my lady.”

“i'm prepared to use this knife, you know.”

“hah.” wriothesley grins. “how aggressive. more aggressive than most. do you want me that bad?”

“stop twisting my words!”)

in any case, you hate wriothesley. you know he's one of the characters in Teyvat's Seven Stars and is a villain for one of the easy love interest routes in the game, but his personality is... a real piece of work.

you'd rather the protective and kind kazuha, or even the charming and elusive lyney! why did it have to be him?

not only did he not believe you, he even told you to prove your authenticity! you're just glad that his assistant sigewinne had been there to vouch for you — you're not sure if you'd even be on your two feet right now if she didn't.

so now you're stuck constantly on your feet, running to and fro — helping the dark-haired man record new prisoners, establishing trading routes to the main city of Fontaine, and treating other prisoners of the fortress with sigewinne.

your biggest surprise by far, though, is just how... different the duke is from the rumors. his scars were merely battle scars of honor (to which sigewinne rolls her eyes, “your grace, please stop trying to look cool”) he got from various succession fights, not scars to show how he was cursed to turn into a beast. he has a love for tea, but always seems to have a cup of your favorite blend with him when you feel tired after a long day of working (laboring) for him and the estate.

(“your daily report of new convicts, your grace.”

“-this is the tea you like, your grace. i've prepared it in advance.”

“you're very adamant on proving yourself. aren't you sick of such tasks by now, miss prisoner?”

“no.” wriothesley's expression screams 'why not?' on it. “ it's because of my own misjudgement of you.”

“...elaborate.”

“i may have had unnecessary prejudices on your conduct thus far. but you're... not like what the rumors paint you out to be.” you say sincerely. “you're more amazing and incredible than anyone else. i truly do admire you.”

wriothesley's expression; you couldn't decipher it. “i see.”)

he's battered, but caring. sigewinne makes you watch (in horror) as she doodles cartoonish looking characters on his face when he's asleep — wriothesley never fusses, only an exasperated sigh to his assistant. he's harsh with his tasks and duties, but is the first to rush you into sigewinne's infirmary to tend to you after you pass out from overwork.

(“don't worry, [name]. the duke may not look it, but he's very gentle!” sigewinne giggles. humoring the little girl who was the first to show you actual decency in this place, you try to nod. sigewinne doesn't seem convinced.

“i'm serious! after all, compared to other people who've snuck into the fortress, you're the first he's treated this way.” she says cheerily.

“what does that mean?” you can't help but scoff at that. “so he just works someone to the bone from the get go?” you shudder. damn production zone...

sigewinne blinks. “ oh no, not like that. it's just that he's never been so lenient before. in fact, when you fainted, he even gave me the order to prioritize treating you over anything else.”)

well, this wasn't exactly what you thought you would be doing when you transmigrated into your favorite game, but you suppose you can take it.

besides, you'd miss a certain duke otherwise. life truly is full of strange twists....

a/n: thank you for making it this far! if anyone asks why wriothesley's was short, listen, this was completely impulsive and i was out of inspiration LOL, but i do hope you enjoy! look forward to new parts though hehe :3

@ ICEUNHIE: do not repost translate or plagiarize my works.

[stardustizuku]

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

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

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

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

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

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

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

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

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

Sebastian is the protagonist

Ciel and Sebastian’s relationship IS the story.

And that relationship is, fundamentally, a positive one.

A quicker version of it would be:

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

- but that’s not entirely true.

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

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

Now, having all that ground work:

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

Okay so, first,

1. Sebastian is the Main Character. The protagonist.

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

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

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

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

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

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

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

In this case though, it’s revenge.

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

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

Ciel’s answer is to kill them.

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

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

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

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

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

He knows he wants revenge.

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

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

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

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

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

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

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

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

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

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

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

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

Do you believe me?

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

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

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

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

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

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

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

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

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

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

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

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

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

This is where point 2 gets intertwined.

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

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

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

Just that, to him, they're footnotes.

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

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

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

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

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

Particularly, conflict.

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

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

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

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

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

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

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

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

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

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

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

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

And I think that originally, Yana had this problem.

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

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

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

So you’re stuck in conundrum.

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

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

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

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

THATS the dialogue.

THATS the conversation we’re having in Black Butler.

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

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

Which is…

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

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

And that’s his character arc.

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

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

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

This is why I also said

3.- Their relationship is fundamentally a positive one.

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

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

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

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

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

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

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

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

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

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

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

Everything is a parallel.

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

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

That’s not the point.

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

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

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

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

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

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

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

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

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

Which is the exact opposite of what BB is about.

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

[inbarfink]

Okay, so I already wrote a bunch of stuff about how that scene, although it is really sweet, is also kind of a Bad Sign for Simon - how he refuses to learn the Obvious Lesson from the Winterworld adventure (that being the Ice King again is probably a really really bad idea). But I want to talk about it also a little more about what it means for Fionna’s character as well. 

Because while sitting around and wallowing in self-loathing is probably bad for Fionna, especially after being told that she shouldn't be allowed to exist, and Simon is right to try and get her out of her funk. It's also still worthwhile for Fionna to have some introspection about the Consequences of Her Actions. Because she and Cake really did not consider them at all at first. They have a sense of morality and an instinct towards heroism, but they also tend to kinda forget the fantastical worlds they visit don’t exist entirely for their fantasy and have kind of a Protagonist-Centered-Morality fallacy. 

Most obviously you can see it in the market in Ooo. How Cake, in her excitement, damaged and hurt and even killed

A bunch of innocent marketgoers without even noticing. And then Fionna immediately jumped to Cake’s defense against these ‘weirdos’, who were actually just normal kinda-righteously-angry Oooian citizens.

It’s actually very similar to the whole Winterworld situation. Fionna’s assumption that she’s automatically the hero and protagonist of the story and black-and-white view of the situation and her tendency to kick ass first and ask questions later meant that she just recklessly injured a lot of innocent people.

(It might’ve been worse actually cause at least in Winterworld she was at least manipulated by an evil Wizard)

Fionna and Cake clearly have a great potential for heroism, but they do need to be a bit more considerate of the situation and people around them. And it does make sense considering that from their perspective - they’ve been living a very ordinary life up until now (and Cake was literally an animal. A very clever animal, but still not bound by the same standards of morality as the talking animals in Ooo). Action and adventure and fantasy stuff has been purely the realm of daydream and video games for them - and Fionna literally speaks about it in these terms.

(also, Fionna's Main Character Syndrome was undoubtedly validated when God literally told her that she was created to be the main character of her universe)

So yeah, it takes them some time to really process how to be heroes - they need to grapple with questions that Finn and Jake already kinda dealt with seventeen years ago. And actually a lot of those; how to resolve a situation without necessarily using violence, when does a 'villain' actually deserve sympathy and kindness, the importance of the larger context of any given conflict... their confrontations with Ice King all played a big part in that. It was never just him, but he was still a very major part.

And for Fionna and Cake right now, learning these lessons require some amount of personal introspection. So while it was a sweet attempt at comforting, I dunno if Simon’s little ‘the only problem with that universe is that this Alternative Me was terrible because he didn’t even acknowledge or remember Betty as the love of our life and the light of my entire universe’ thing is actually Good. 

I’m not quite sure Simon is the best person to teach Fionna and Cake heroism 101, because he is so focused on the Crown Quest as the thing that brings back Meaning to his life, and because his fatherly instincts just kinda go “Sad Young Person???? MUST GIVE COMFORT!” and also on account of the kidnapping.

I’m sure Fionna is going to become the heroine she dreams about eventually, it’s just going to be a bumpy ride. The best we can hope for is that they accept Simon’s comfort, that she doesn't start believing that she is nothing but an Error for the entire universe like the Scarab claims, but don’t necessarily listen to all of Simon's his words either.

[sunderwight]

crack scum villain theory: there is no "original" Shang Qinghua

how this works is, neither the world of SV nor the world of PIDW actually existed in any tangible sense before Airplane died. Airplane dying was actually the catalyst for the system, and whatever unfathomable cosmic entities are behind it, to recreate the world from the novel. that's why Airplane transmigrates into an infant, and also why the world mostly follows canon up until Airplane interacts too much with actual plot-relevant characters, and accidentally butterfly effects Shen Jiu into a fatal qi deviation. At which point the system determines that a dead Shen Qingqiu makes fulfilling the basic story requirements impossible or at least dangerously low in terms of odds, and brings in the second play (User 002, Shen Yuan).

SY is able to earn more points from the system than Airplane, but that's mostly thanks to his proximity to the protagonist not actual preferential treatment, and he seems to have more concrete restrictions on his behavior and limits on his mobility (OOC lock, entering into an already-established character, and of course being forced to ensure that Luo Binghe goes into the Endless Abyss) (this does make it ironic that he ultimately changes the most things). whereas Airplane seems to have more freedom to do as he pleases. the system doesn't even seem to dock him points for accidentally contributing to the death of a vitally plot-relevant character.

so the SV world was originally supposed to more or less just be the same as the PIDW world. it didn't change to any significant degree until Shen Jiu died.

I suspect, then, that the PIDW world which followed canon didn't exist as any kind of separate reality until Shen Jiu died of a fatal qi deviation and had to be replaced. at which point the system -- perhaps hedging its bets -- created two splintered timelines. one being the original sandbox for Airplane to play in and continue to alter, the other being a manufactured reflection of the story's original outcome, possibly to serve as some kind of emergency back-up character bank or reference outline.

which means that the PIDW version of this reality isn't a full and cohesive world. though of course the people there don't know that. it's mostly just a tool for the system, which is why we first encounter Bingge being utilized as an enforcer. Bingge and everyone else who exists in the PIDW reality, they all remember their past as the story and are at the end point of what Airplane had written, but none of it actually happened. they instead sprang into existence at their narrative end point.

since the Shang Qinghua of Airplane's novel died well before the end of the story, characters in the PIDW have various recollections of a "Shang Qinghua" and his death, but they are vague and ultimately do not reflect the tangible events of a world the way that the SV timeline does. they are artificial memories based on a story. PIDW Shen Jiu likewise never really existed, although SV Shen Jiu did. similarly, all the history of the SV world that supposedly happened before Shang Qinghua was born never actually happened either. that's all constructed as well, which means that in a weird kind of a way, no one in the world can actually be older than Shang Qinghua either. they can only have manufactured memories that give them that impression. which means Airplane is the oldest being in that entire universe. he'd even be older than his own parents, because they were created to be his parents the moment he was born.

so there's no other Shang Qinghua. everything prior to Airplane's transmigration in the SV world and prior to the last PIDW chapter in the PIDW world is like when a video game designer seeds a dungeon with a skeleton and a bunch of notes about how some lone adventurer got lost and died there. at no point in the game was there ever actually a live adventurer in place of that skeleton.

that's "original" Shang Qinghua. he doesn't exist, because in one reality he's only ever been a version of Airplane, and in another he's a skeleton in a video game dungeon.

[writing-with-sophia]

Common character archetypes in literature

Character archetypes are universal patterns of behavior, personality traits, and motivations that are commonly found in literature, mythology, and other forms of storytelling. They are often used as a shorthand to help readers quickly understand and relate to a character's role and purpose in the story.

Here are some common character archetypes:

The Hero: The hero is a brave and noble character who goes on a quest or journey to achieve a goal or overcome a challenge. Examples of heroes include Odysseus in Homer's "The Odyssey" and Frodo in J.R.R. Tolkien's "The Lord of the Rings."

The Villain: The villain is an evil character who opposes the hero and tries to prevent them from achieving their goal. Examples of villains include Darth Vader in "Star Wars" and Iago in Shakespeare's "Othello."

The Mentor: The mentor is a knowledgeable and seasoned figure who directs and encourages the protagonist throughout their adventure. Examples of mentors include Gandalf in "The Lord of the Rings" and Obi-Wan Kenobi in "Star Wars."

The Trickster: The trickster is a mischievous character who uses their wit and cunning to achieve their goals. Examples of tricksters include Loki in Norse mythology and Hermes in Greek mythology.

The Damsel in Distress: The damsel in distress is a female character who requires saving from a hero. Examples of damsels in distress include Princess Peach in the Mario video game series and Sleeping Beauty in the fairy tale of the same name.

The Wise Old Man/ Woman: The wise old man or woman is commonly portrayed as having immense wisdom and expertise, and often acts as a mentor or guide to the protagonist. Examples of wise old men and women include Dumbledore in the Harry Potter series and the Oracle in Greek mythology. Such archetypes have been frequently employed in literature over time to communicate universal themes and concepts about human existence.

The Innocent: The innocent is a pure and uncorrupted character who often serves as a symbol of hope and goodness. Examples of innocents include Dorothy in "The Wizard of Oz" and Boo Radley in "To Kill a Mockingbird."

The Outcast: The outcast is a character who is rejected by society and often feels a sense of alienation or isolation. Examples of outcasts include Frankenstein's monster in Mary Shelley's "Frankenstein" and Hester Prynne in Nathaniel Hawthorne's "The Scarlet Letter."

The Temptress: The temptress is a seductive female character who lures men into danger or temptation. Examples of temptresses include Circe in Greek mythology and the character of Delilah in the Bible.

The Scapegoat: The scapegoat is a character who is blamed for the problems or issues of others. Examples of scapegoats include Tom Robinson in "To Kill a Mockingbird" and Piggy in "Lord of the Flies."

The Rebel: The rebel is a character who challenges authority and often advocates for change. Examples of rebels include Winston Smith in George Orwell's "1984" and Holden Caulfield in J.D. Salinger's "The Catcher in the Rye."

The Everyman: The everyman is a relatable character who represents the average person and often serves as the protagonist in a story. Examples of everymen include Bilbo Baggins in "The Hobbit" and Winston Smith in "1984."

The Wise Fool: The wise fool is often portrayed as someone who appears to be simple-minded, foolish, or even insane, but who possesses insights and wisdom that are not immediately apparent to others. Examples of the wise fools include the protagonist in "Diary of a Madman" and Yorick in "Tristram Shandy".

The preceding list outlines the typical character archetypes found in literature. Can you determine which archetype best fits your characters?

If you want to read more about The Wise Fool archetype, click here: The Wise Fool - Who is that?

[naloilavellan]

I wish I could get past this because there’s a lot to enjoy in this game but I really keeping going back to it. The Veil was an unnatural magical ritual that separated part of the world from itself. Both material and spiritual beings suffered because they were cut off from a part of their world. The core purposes of Solas' mission in tearing down the Veil was to rectify this. And Veilguard just… decided to basically ignore all of this. Which I'm still trying to get my head around.

This being ommited is beyond disappointing for me for two reasons. First the lost potential. I was so excited for this storyline. A choice-based RPG where the villain has an ethical reason for bringing on the apocalypse. It puts the DA4 protagonist in such an interesting position. I've always remained undecided as to whether the Veil should come down and was expecting this game to let me explore that? But no not even a little? I can understand wanting to take it into a simpler direction of good vs evil (this is a video game after all) but removing this element from the story? That's just such a wasted opportunity.

The second reason is ommiting this completely changes who Solas is. From my reading of Inquisition/Trespasser- he viewed the Veil as his mistake- it was causing suffering by remaining in place and it was his duty to undo the wound he inflicted on the world. He is still leading a rebellion to free the people- only the oppressive agent is the veil. And he has a point- which is what was going to make him such a brillitant antagonist. But without that point- by changing the fact that the Veil causes harm- honestly his entire character falls apart for me. Or rather he just seems a different character entirely- I still enjoyed moments from that character but he’s just not same Solas from Inquisition.

[riacte]

Re: popularity and clout gap, this thought has been lurking at the back of my mind but it didn’t hit me until a friend pointed out it was like how some parts of the audience used to treat hermits in MCC. As in: the hermits could achieve something technically amazing but were ignored simply because they weren’t popular (see False’s back to back win being ignored post MCC12) when the exact same achievement would cause them to lose their minds if it was done by someone who was more “popular”.

Post Demise 2, I joked this was like Blue Bats over again in which False (and Ren) won with the power of friendship in a wholesome storyline yet some parts of the audience chose to be salty their fave didn’t win instead. Sometimes you can see such a severe cognitive dissonance because people watch different hermits. Like that post on Reddit innocuously asking about Perry when I’d seen him around for weeks now and people pointed out Perry had been featured in the Neighbourhood’s videos for a while. (Nothing wrong with the post but it shows how vastly different the viewing experience is.)

It’s kind of like we’re back to 2020/21 era esque “hermit erasure” but it’s (unintentionally) done by some hermit fans. Okay, actually I’ll erase the unintentionally. Plenty of people only watch a few hermits and I emphasise that is fine and you can do anything you want forever. Enjoy HC in any way you like. Be free. The problem only surfaces when people pretend their corner is the only corner that exists and everyone else are the side characters. Like, it’s really fine to admit you don’t know everything. Someone on the MCC Reddit tried making teams and admitted they didn’t know the hermits well but somehow their teams ended up being more hermit accurate than most teams I’ve seen.

This situating done by some parts of the audience of some hermits as “main” and some hermits as “side” to the whole production of Hermitcraft makes me think of 2020/21 MCC again. In which people were discussing protagonists and villains and cannon fodder. Which was why I wrote Battle Scars, a parody / satire / sincere piece of work / whatever, to show that my faves (Blue Bats) could be the protagonists too. And it feels like I’m back. Scrambling to script my faves as characters worthy to have their stories told. Why are we back again.

And why does it lowkey feel worse because this is happening within the same fandom.

… And now I realise that’s also part of why I wrote Feel It Still, another crack treated seriously fic. Because it’s a Superhero AU proudly situating my faves in the lead roles based on canon stuff, while the typical protagonists of Superhero AUs in this fandom are delegated to side characters and are the trainees under a main hero. It’s this sort of twisting of canon that I keep on (subconsciously) doing, attempting to give some sort of spotlight to my faves by mimicking / parodying fandom trends and tropes, trying to make them more palatable and spread propaganda or whatever.

Tldr: it feels like we’re back to “hermit erasure” era and there’s a lot of fanon attention on a few. And you just know certain events would receive significant more attention if they were done by the popular hermits instead of the less popular ones. But it’s mostly crickets outside my circle and the people that I know of. Like hey yeah this is someone I know from chat and someone I know from Twitter. And I know about “being the change you want to see” and “make stuff you want to see” and “promote your faves”. I know. We all know.

It just gets tiring sometimes.

In the end, a number’s game is a number’s game.

[juniorfor2]

I will always find it interesting that for all that people constantly complain about "likable" or "nuanced" villians, wanting "the good old days, where a villain was just a villain and there was nothing more to them," the moment that you open any Youtube video centered on a "nothing but a villain" character, it has at least a few comments making them far more likable and nuanced than they really are. Which wouldn't be of much interest, except for one fact - they all have at least 10-20 thousand likes.

People complain that Disney and other corporations are ruining movies, making characters far too palatable and relatable, but in truth, the same people who complain about such things will also end up liking and encouraging any thinking that characterizes the villains as such. Corporations mostly follow what their viewers want, even if slow or in a bad direction, not the other way around.

Tywin Lannister was an unmistakable bad guy in ASOIAF and Game of Thrones. He was horrible to Tyrion, cared nothing for his family beyond what they could offer to his legacy, and was willing to commit horrific deeds to climb to power. In fact, he demonstrated almost every reason for why "feudalism is bad!" as some people constantly write about. And yet, there are dozens of videos, comments, and social media posts about how Tywin Lannister was misunderstood the whole time and was really a good guy.

He should have been "the good old days where a villain was just a villain!" Isn't that what people wanted? He was an obvious antagonist to Tyrion, one of the main protagonists - perfect, right? Yet instead of grabbing onto this, people turned him into the very thing they claimed not to like.

They could have simply done this with the protagonist. Why not make the protagonist a bit more likable? It doesn't mean much to the story when done, even if it does miss the point occasionally.

But that's not what happens. In fact, the opposite does. The protagonist, the character that's supposed to be likable or nuanced according to them, is turned into the "nothing but a villain" character.

Daenerys Targaryen is one such character. She is very, very obviously one of the biggest protagonists. The first book ends with her, with "for first time in hundreds of years, the night came alive with the music of dragons." She is a bridal slave turned Breaker of Chains. She makes mistakes, as every protagonist does, but still progresses forward.

What's not to like about her? While her circumstances and the hard choices she must make do take her into the shades of grey, she is still so compassionate for those suffering that she never comes anywhere close to the darkness that Jon Snow or Tyrion have demonstrated and progressed to. Making her more likable is easy. That's not what happens though.

Instead, she is villainized. She is determined by others to become the darkest character of all, with no nuance or likability whatsoever. They make her the villain in place of the one they've made palatable.

Some of this, I think, can be summed up to people being somewhat idiots and thinking that their idea of hot means good. I remember watching the first 4 seasons back with a sort-of-friend, and she had a huge crush on Charles Dance playing Tywin (she was 16 at the time and he was in his 60s - no, I didn't understand her, and yes, I took great pleasure in showing her Tywin's death). She was so convinced that he wasn't that bad, and the only reason she thought that was because she found him hot. So obviously that does take up a part of it. But it's definitely not the main reason.

The main reason, seeming fairly obvious, is because the idea that movies/shows/books have social or political ideas is no longer something they can ignore. They'll rave about wokeness, saying that it's in every movie now, and why can't we all go back to the good old days of Star Trek and Star Wars and the Lord of the Rings books that of course had absolutely no themes. Despite them having some incredibly heavy or obvious ideas, people somehow managed to ignore them. But now they can't.

Said people do not want to go back to the good old days of "nothing but a villain." They want to back to the "good old days" where they didn't have to examine why a villain was so terrible. They don't want to see themselves in the antagonist - so they make it so villain is no longer one.

In their desperation to get rid of political themes and ideas, and to cover up their own views that could make them look at themselves as the "villain" of our real life "story," they switch the antagonist and the protagonist, the villain and the hero, to make themselves the hero.

After all, why examine your own faults when you can just make them the correct, non-woke perspective?

[tossawary]

Daud in "Dishonored" has been confirmed by word of god (writer's commentary) to be asexual and, honestly, I really like it. It's not relevant to the story, really, except as an accent to his character, a complement to his lonely career as a brutal assassin and to his complicated mentorship of Billie Lurk being his closest relationship.

He's such a shipwreck of a man. A bitter villain of so many stories, with his one claim to heroism done largely in secret out of guilt. He has so much power and skill, and yet his lot in life is on a precipice; as The Knife of Dunwall, his main mark in history is as a weapon in other people's hands. At least until he takes it upon himself to kill a god rather than take full responsibility for the blood on his hands and fails, leaving Billie Lurk to crawl out of the wreckage of Daud's tragic life and finish the job. He raised people up to drag them down with him. So much of his history is a mystery we don't get to know. I find him deliciously "problematic" and horribly compelling.

(I also really like his voice. It's like seawater on metal for years on end. Every time that I let playthroughs of "Dishonored" go on in the background, when I get to the part where Corvo meets Daud, I rewind in order to appreciate Daud peculiar form of poetic, personal bullshit.)

It's all very funny to me. I usually prefer that sexualities be stated in text in some way, like the way Billie Lurk's attraction to men and women is voiced aloud very explicitly in "Death of the Outsider", but with asexuality I think it's generally harder for characters to casually voice hard proof in an in-universe style, with the "prove a negative" angle on things. And I think there's an argument to be made that maybe Daud being on the aro-ace spectrum contributed to his refusal to form many close connections and to his eventual downfall, which sounds terrible. And he's such a terrible, complicated person that positioning him as "positive asexual representation" in any way is automatically amusing. And still, I love it.

Like, this is Daud, the Knife of Dunwall, and he sucks (affectionate)! He's also ace! Cool, right? (I do honestly think that he's fun ace representation, actually. No "innocence", no "obliviousness", but rather "scarred beyond belief" and "just doesn't give a shit". I like having queer characters, especially playable video game protagonists with cool powers, who are tragic and awful.)

[toh-aus-coven]

Philip's Story is an Adoption Story... Here's Why That Matters

A few disclaimers before we dive in...

Binary thinking is discouraged here; adoption and its themes are complicated and nuanced. Multiple truths can exist.

This is one perspective and this analysis comes from being in community with adopted/orphan people, research, and misc experience

"Adoption adjacent" includes adoptees/orphans/foster kids (these three groups often overlap in various ways that will be elaborated on)

Please engage with this post in good faith. I know non-adoptees can experience things listed in this post however, there is a different context that underlies the experience of those adopted/adjacent. And of course, I'm not trying to make generalizations either... It's just that the narrative is more complicated than a lot of people want to admit.

Sound good? Let's proceed. THIS POST IS GOING TO BE A BIT LONG!

At the core of Belos/Philip's story is an 'adoption' story. And it's all because of this particular line:

I know what you're thinking "But isn't being an orphan different from being adopted?" Yes, and within the media in particular, adoptee and orphan stories overlap heavily-- in fact, it's almost a circle (although due to his background and his time-period, he'd probably be taken in by someone given the boys' age of their arrival). It’s about the experience of parental separation which is what connects adoptee and adjacent people. So while Philip is not adopted, he is adoptee adjacent and that still matters. Concerning media and the way adopted/orphaned characters are portrayed, it's often presented in a very binary manner. Most people's knowledge of the subject comes from other people's perception of it rather than adopted/orphaned people themselves. And to a degree that makes sense... These stories are often ABOUT [adoptees/adjacent people ] without INCLUDING them. Adoption themes are incredibly pervasive throughout literature, TV/movies, video games, and other media. It's not inherently wrong to have an adoption-related storyline, plot, or character but most people don't do it in a way that is humanizing and avoids common pitfalls within the storytelling.

There's a quick impulse to call Philip 'evil' and 'irredeemable' without actually understanding his character... and when you view him through an 'adoptee-centered' lens his behavior makes a lot of sense. The fact the show treats this specific fact about the character as a plot device rather than something that could be explored is a tiny bit insulting. They only mention it in the exposition which kind of implies that this detail is meant to explain Philip's deep attachment to his brother. Which yes, it does and TOH leaves us hanging -- or actually they just tell us that this man is evil and call it a day.

Which leads me into one of the biggest pitfalls that the show uses for Philip-- he's framed as just evil. The trope of good/bad adoptee/adjacent character is a pretty common see -- even within the same piece of media. If we're going to use TOH we can look at King's character -- King, a young main protagonist who is the last living son of a god. King is young, cute, 'exceptional', has special abilities, etc (there are issues with King's portrayal as well but this post isn't about him). This is an issue because adoptees/adjacent people are more than a reductive good/bad label. Same with concepts such as 'gratitude' -- being grateful or not grateful when the real answer can be a lot more complex than that. It's a binary question that can be a complicated answer. We're the picture-perfect heroes or the irredeemable villains-- nothing in-between.

Taking this into consideration, when we look at Philip you start to see someone who's not 'evil'; you begin to see a man who is coping with separation trauma and abandonment issues. This is unfortunate to hear but research tells us that adoptees are 4x more at risk to 'self-exit', 2x at risk to have substance abuse issues, and generally more likely to be diagnosed with mental health disorders (obviously every individual is different but when talking about adoption many people tend to ignore these types of statistics in favor of more 'positive' ones). 'Negative' aspects that many adoptees/adjacent people experience or try to talk about are often dismissed or worse, they are gaslighted. When you look at Philip and his characterization you see these behaviors in a different light such as:

His attachment/abandonment issues (Caleb, this one doesn't need any elaboration; EDIT- gonna elaborate anyways lol). To be honest Philip shows a lot of symptoms of Borderline Personality Disorder. The hallmark of the disorder is a fear of abandonment — and BPD often stems from childhood trauma. Interestingly enough it’s not uncommon for adoptees (in particular women; there is a misogynistic component to this but i digress) to get a BPD diagnosis. And given that the show portrays Philip in a very stigmatizing way… you can see why this isn’t great…

Difficulty regulating his emotions ('the curse' seems to come out when he's emotionally escalated)

'Substance' use (the palismen; he seems physically reliant on them and they don't benefit him in any way besides sustaining his life. also, he looks like he's huffing something when he consumes one Side note: Some people think that Philip deserved to 'be cursed' (which is a side effect[?] of the consumption) since he “cursed himself”... super not great for adoptees/adjacent people we’re already a misunderstood group of people and it's not uncommon to get insulted or blamed when trying to have a nuanced discussion or share experiences.

His sense of self seems unstable... Most of his identity hinges on his brother, not himself (ex. being a witch hunter, the use of the gravesfield coat of arms for the emperor's sigil, the coat he wears, his name-- Philip Wittebane, etc)

There's a bunch of emotional stuff I would have to guess would be true but they'd more fall under theory or headcanon

It's not that he is 'evil' he is in pain and he is blamed for that. Obviously, he doesn't make productive choices and he does bear responsibility for the harm he caused and he is a creation of his environment. He had to hate to survive. This is where 'this and' can come into play... For many adoptees, we have feelings of not belonging -- even more so for transracial adoptees (those adopted/fostered into homes of a different race than their own). Many transracial adoptees are raised in environments that are racially / ethnically homogeneous (from their own race) so it can be harder to 'fit in' and it can also cause someone to have a complex relationship with their racial/ethnic background when one is essentially assimilated into a community that they stick out of.

edit: In mainstream society being adopted or 'orphans' is deemed to be a shameful thing, used as a comedy device, or through very rosed colored glasses... and there's a problem to highlight here: because adoptee/adjacent are often seen as source material for STORIES we often view their experiences through the lens of A STORY rather than someone's lived experience. It is easier to view a particular thing as a story for entertainment when for someone else it is reality. While Philip is a fictional character many aspects of his behavior are very real and deserve understanding and empathy for real adoptees/adjacent people. We deserve to be more than stories with black-and-white roles and deserve to be seen in color. As full complex people.

Here are some resources if you're interested in learning more about adoptee-centered adoption perspectives:

https://adoptionmosaic.com/resources

https://sidebysideproject.com/11-short-films

http://adopteereading.com/overview/

https://harlows-monkey.com/

https://adopteeconsciousness.com/

this tedtalk is good too: https://youtu.be/jL4lnvQ1wVU?si=HpYASjvvOXnY2faX

Edit: https://youtu.be/Rz3ME8K_zW4?si=CpEQarRbe8VAUqAR (this documentary just came out and you may hear a certain basilisk/gem featured!)

[gentrychild]

Gentry, if its alright to ask, what is your otome game au about?

This was thought when I had finished plotting RAADSC. RAADSC is a deconstruction of the BNHA tropes but it started for my love of "reincarnated into another world as the villain in a novel" stories and deconstructions so I really wanted something that played those tropes straighter.

Izuku dies (duh) and is reincarnated in a fantasy world where he is a villain of a week, a demon, and the son of the Demon Lord, who hates him (because most dads within those stories hate their kid until said kid proves that they are awesome.)

Izuku's life in his old world kinda suck so he isn't traumatized like RAADSC. He has magic now, he can fly, he is extremely rich, and unlike OG Demon Izuku, he is more than happy to never interact with his dad.

Now, unto the fun part. Izuku was not reincarnated into a novel or anytthing like it. He was actually reincarnated into a trashy yaoi video game where Yoichi is the protagonist who has to deal with a crowd of awful red-flagged love interests, with all the clichés.

[audioroleplayconfessions]

Media literacy applies to audios. Say it with me! MEDIA LITERACY APPLIES TO AUDIOS! Depicting something in audios isn't "glorifying" it. Enjoying a morally grey or morally bad character doesn't mean you condone their actions or would like them if they were real. Exploring dark topics in audios is just as valid and important to creative free expression as in novels and films. A person doesn't have to be perfect or even good at all to be a protagonist either. You can enjoy exploring topics in fiction that you wouldn't enjoy experiencing in real life.

People need to get this. Some people commenting on audios sound like boomers who think video games cause violence, except now we have young people participating in the pearl-clutching and moral panic. It's exhausting. I don't want to hear any more "yandere audios promote toxic relationships". I don't want to hear anyone saying that drawing fanart of a villain they love is problematic because of some bad thing the villain did in the story. It's not the groundbreaking progressive take you think it is. It's authoritarian bullshit that serves only as a blunt weapon for people who want creative censorship.

.

[thewebcomicsreview]

The Webcomic Reviews Mini Reviews Masterpost, Part 1

People always ask me what I think of various webcomics, so I decided to start collecting my thoughts in one place! Click the images to go to the comic! Comic titles with a ⭐ after them are recommended, but even if I don't give a comic a star, that doesn't mean you won't like it.

[un]Divine ⭐

What is it: A highschooler sells his soul for a big titty demon gf, and now has to have anime battles against angels who keep trying to eat him.

The Good: Excellent art and monster designs, some of the better fights in webcomics.

The Bad: Danny is kind of a bland protagonist. The comic keeps threatening to veer into femdom porn, which may be a good thing for some of you. Comic is on permanent semi-hiatus and updates very infrequently

You should read it if: You wanna read a comic with big fights, big angels, and big titties.

Ava’s Demon

What is it: A bunch of kids possessed by demons have space adventures and are sad

The Good: Extremely good art. Occasional "high production value" moments with music and limited animation. The single-panel page format really highlights the art.

The Bad: Bland writing, weak characters. The single-panel page format really slows the flow of reading it.

You should read it if: Learning that the Wrath demon is named “Wrathia” doesn’t strike you as comically dumb

Awkward Zombie ⭐

What is it: It’s a comic that makes jokes about video games

The Good: It’s the best comic that makes jokes about video games

The Bad: If you haven’t played the game in question, you might not get the jokes. Awkward lack of zombies.

You should read it if: You like jokes about video games. I don't....it's not a complex premise.

Camp Weedonwantcha ⭐

What is it: A bunch of kids are left at summer camp forever by parents who’ve abandoned them to die. Wacky comedy and feel-good moments ensue.

The Good: Cute adventures with kids, reminiscent of some of the better Nicktoons from the 90s. Surprisingly emotionally effective when it wants to be.

The Bad: While the ending is satisfying in its own way, many plot threads go unresolved

The Terrible: Nickelodeon bought the rights and is sitting on them.

You should read it if: You like slice of life adventures with blasts of dark humor and feels

Cloudscratcher

What is it: Ducktales, with Genocide!

The Good: Cute and generally likable characters. Decently paced

The Bad: Doesn’t really excel at anything. Weirdly insistent about totally not being a furry comic even though it obviously is.

The Terrible: The author is a white nationalist, and the lack of link is intentional.

You should read it if: You like 80s cartoons and hate minorities

Cornucopia ⭐

What is it: A ninja is sent on a mission to literally steal candy from a nation of morons, fails.

The Good: Good art and well-paced storytelling. Clever use of different types of word balloons. High joke-per-page ratio

The Bad: Doofy tone may not be your cup of tea. Seems to have died young, though the first chapter is still a complete story

You should read it if: You like JelloApocalypse’s videos on YouTube, or his series Epithet Erased, since he made this

Dresden Codak

What is it: A genius inventor has wacky adventurers, then goes to a flying city and spends most of the comic’s run embroiled in a conspiracy run by evil anime villains.

The Good: The drawings are pretty. The early comedy adventures are quirky and charming.

The Bad: Panel layout and composition, especially early in Dark Science, is atrocious. Presents the comic as a feminist power fantasy, but the main character usually has her tits out and has had her clothes burnt off on multiple occasions.

The Terrible: The author is a notorious jerk. As of this writing, The Dark Science storyline has been running for eight years and has yet to reach a triple-digit number of pages, even though it’s a full-time job for which Diaz earns $4,000+/mo on Patreon.

You should read it if: You thought the best part of Ghost in the Shell was the lesbian orgy boat.

Drop Out (NSFW) ⭐

What is it: Two girlfriends go on a road trip to kill themselves in style

The Good: Short enough to be read in one sitting. Surprisingly good visual storytelling for a first comic. Realistic dialogue and high tension keeps you engaged even when not much is happening. Subtle details that don’t become apparent until a second read reward paying attention.

The Bad: Heavy subject matter. Lettering can be tough to read in early pages.

Content Warnings: Drug Abuse, Suicide, Mental Health Issues, Detransitioning….a list of all the difficult content in this comic would be so long it’d look like I’m making a joke. This is a heavy comic.

You should read it if: You like arty dramatic comics that deal with uncomfortable topics

Dumbing of Age

What is it: College students obsessed with late 80s-early 90s pop culture have relationship troubles

The Good: Of all the popular comics it’s trendy to shit on, this is by far the best. Solid gag-a-day strip with plots that move at a decent pace.

The Bad: Realistic depictions of abusive parents co-exists in the same comic as a literal superhero, leading to some jarring tonal confusion.

You should read it if: You like newspaper-style drama comics.

Everything Is Fine

What is it: Maggie and Sam are a normal married couple in a very strange world where proving your loyalty is the key to winning, and the best way to prove your loyalty is to show someone else is disloyal. And also everyone wears mascot suit cat heads all the time.

The Good: Well-written characters, a novel premise, and excellent pacing. I’m not the biggest fan of the webtoon “really tall page” format, but it’s taken advantage of at times for nice transitions

The Bad: The webtoon format can be irritating, and the worldbuilding is toeing the line between “compelling mystery” and “If there were two astronauts on the moon and one shot the other wouldn’t that be fucked up?”-ism.

Content Warning: Gore, Suicide themes. Every page with such content has a warning on it (which works better in Webtoon format, actually)

You should read it if: You liked the dystopian fiction fiction books you had to read in high school.

Gunnerkrigg Court ⭐

What is it: A girl attends a scientific school in a magical world that’s honestly not even slightly like Harry Potter but people say it is because they think J. K. Rowling invented British schools

The Good: Good art and fantastic panel composition. Slow-burning dark fantasy mystery.

The Bad: Takes a little while to find its groove. Starts feeling rushed and confusing near the end.

The Terrible: Boxbot

You should read it if: You like dark fantasy stories, or stories in general.

Homestuck ⭐?

What is it: A kid wants to play a video game but it’s downstairs and he doesn’t feel like talking to his dad yadda yadda yadda the universe explodes. Was briefly ungodly popular.

The Good: High production values, many updates are music videos with excellent music. Great character writing, especially in Act 5. Toby Fox, the creator of Undertale, did a lot of the music, and arguably isn’t even the best musician featured.

The Bad:The early part of the comic is brutally slow-paced, and is an impossible hurdle for some.

The Terrible: The ending is widely considered a major disappointment, and attempts to turn the comic into a franchise have been met with mixed reviews. The prose epilogues are deeply divisive.

Content Warning: A lot gorier than you might expect, mitigated by the cartoony art style, abusive relationships, the epilogue is just generally gross.

You should read it if: You want to see what the hell all those kids in grey face-paint at anime conventions were about

You should also consider: Just getting the music off the bandcamp, it’s really good.

Homestuck 2

What is it: A “dubiously canon” sequel to Homestuck, following from The Homestuck Epilogues, made by a different creative team. Follows two intersecting future timelines

The Good: The art is quite nice, and the new characters are fun and likable. Very bold in its ideas, for better or for worse it’s rarely boring. One of the few webcomics to be able to integrate trigger warnings clearly while remaining non-obtrusive with them. Faster-paced than the original Homestuck (low bar!) and has a few clever presentation ideas. Willing to be its own thing. If you’re worried it’s just “Homestuck 1 but more of it”, this is not that.

The Bad: Not at all a stand-alone comic, Homestuck 2 is completely incoherent if you’re not familiar with Homestuck 1 and the Homestuck Epilogues. Does not have the big multimedia productions Homestuck 1 was known for. Beloved characters from Homestuck 1 can come off really badly, which upsets a lot of people. If you’re looking for “Homestuck 1 but more of it”, this is not that.

The Terrible: At times, this comic is actively trying to piss off the readership by dragging out unpopular plot revelations. I actually like this about it, but unsurprisingly a lot of people don’t.

You should read it if: If you have to ask “Should I read Homestuck 2?”, the answer is probably “No”. This is a comic for people who are riding the Homestuck train to the bitter end.

You should also consider: Reading my Liveblog of it 

Kiwi Blitz ⭐

What is it: A precocious young girl gets a Kiwi-shaped robot and decides to become a superhero ridding the world of nefarious furries. More of a cute character drama than a superhero comic, and more of a superhero comic than a mecha one.

The Good: Cute artstyle. Not without dramatic stakes, but fairly light and fun throughout minus a few people getting shot. The android 42 is stand-out great character.

The Bad: Prone to long hiatuses as the author's main comic is now Sleepless Domain.

You should read it if: You liked Sleepless Domain, and are looking for a somewhat lighter comic by the same author.

Latchkey Kingdom ⭐

What is it: A girl goes on adventures in a magical land of idiots

The Good: Good but not overbearing comedy. Tight chapters. Strong side characters

The Bad: Thanks in part to Patron-backed stories in between the “main” chapters, can feel like an episodic series with no main character or driving plot

The Neutral: Willa is a semi-silent protagonist, and often gets overshadowed by the wacky people she meets. Cerberus Syndrome, executed well

You should read it if: You like adventure, silly characters, and jokes about Dark Souls.

Leasebound

What is it: Two lesbians are contrived into sharing an apartment, then the comic becomes a polemic about how trans people are evil. The second-best TERF webcomic on this list

The Good: This comic has no redeeming qualities

The Bad: It’s hella transphobic, and not even particularly interesting about it the way Sinfest can be. Everything that’s not hateful is boring, and the comic is practically going “Go on, be offended, blog about me, give me atteeeennnnttttiiiiiooooonnn!”

You should read it if: You really shouldn’t, and I’m not linking to it

Least I Could Do

What is it: Rayne Summers is the best at everything and you should listen to him

The Good: This comic updates on time regularly. Sometimes it updates without word balloons by accident, making it surreally funny

The Bad: Poorly thought-out political rants; few jokes, severe overuse of beat panels, copy-pasted art.

The Terrible: Designed to go viral, not to be entertaining; makes panels wordless just so they can be used as preview images

You should read it if: You have committed horrible sins and wish to atone

Legend of the Hare

What is it: I wrote this! A white trash loser girl is peer pressured into becoming a magical girl by a pair of pushy rabbits. A spinoff of the print comic Blade Bunny, written and drawn by the current creative team of Saffron and Sage.

The Good: Bouncy and cartoony art. Strong and memorable characters. Very weird and freewheeling.

The Bad: The plot is an absolute mess, stalling out and even going backwards at times, though it mostly comes together at the end. The tone is wildly inconsistent.

The Terrible: Kind of South-Parky in its humor sometimes

You should read it if: You like Saffron and Sage and want to see a comic by the same team when they were less experienced.

Nan Quest ⭐

What is it: In this spiritual sequel to Ruby Quest, a goat girl electrician sets out to fix a broken fuzebox and ends up ensnared in a psychological horror conspiracy.

The Good: Much more effective use of the simple MS Paint art style, with more color and some simple animations (animated panels being marked [A], a convention Homestuck would later adopt for its [S] sound panels). The characters are better fleshed out than in Ruby Quest, and the horror is more effective as well, with less gore and more tension.

The Bad: Though used effectively, the art is still MS Paint doodles. The story mechanics behind the mystery are much more ambiguous, which can be a plus.

Content Warning: Gore, threatened sexual violence.

You should read it if: You like Ruby Quest and/or psychological horror comics that can be read in a few hours.

Moby: Back from the Deep

What is it: A zombie killer whale attacks a small town.

The Good: The art is nice

The Bad: Egregious overuse of narration.

The Terrible: It’s a beat for beat ripoff of the movie Jaws, down to some characters having their names only marginally changed from their Jaws counterpart (e.g. “Alex Gardener” is the name of the Alex Kintner analogue)

You should read it if: You can’t find a Jaws torrent.

Mokepon ⭐

What is it: A dickhead teenager is forced on a Pokemon adventure, and learns a valuable lesson about friendship while being dragged into a criminal conspiracy. A Pokemon fanfic that’s somewhat darker than the source material (though not really “grimdark”)

The Good: Good action scenes, nice manga-style art. Notable improvement in art and storytelling over time. Atticus’ slow-burn character growth is satisfying.

The Bad: The early chapters are almost a completely different comic, and it takes a little while to find its groove.

You should read it if: You liked Pokemon Special

Monster Pulse ⭐

What is it: Kids’ internal organs become sentient external organs, and they have to keep it a secret from an evil orginization.

The Good: Cool twist on the surprisingly rare monster pet genre. Not afraid to upend the status quo

The Bad: No real obvious flaws, but if you don’t find the premise interesting, you probably won’t like it.

You should read it if: You were a fan of monster-pet stories like Digimon Tamers

The Monster Under The Bed

What is it: A teenager finds a demon girl under his bed, rom-com ensues

The Good: Cute anime-esque premise

The Bad: Gets progressively hornier to to point where I'm not sure if I should even leave it on this list. Egregious use of photos instead of drawing backgrounds, making outdoor scenes look awful

You should read it if: You like trashy Japanese animes

Narbonic ⭐

What is it: A shlubby loser gets a job working for a mad scientist. Mad sciencey things occur, and the comic experiences an incredible jump in quality in the back half

The Good: Short comic, comfy and easy to read. The best and most satisfying ending arc of any webcomic ever.

The Bad: Some “LOLRANDOM” humor, especially early on.

The Terrible: The first few comics are almost literally unreadable due to messy handwritten lettering and low quality scans.

You should read it if: You love seeing a story build to a proper conclusion, and you don’t mind a rough start.

Octopus Pie ⭐

What is it: Slice-of-life dramedy where twenty-somethings try to become adults and/or get laid while navigating New York life. Completed comic.

The Good: If you direct your attention above, you will see the incredible coloring. There are other comics that have better plots and even better characters, but Octopus Pie is uniquely good at hitting a mood. Occasionally does some infinite canvas stuff that’s neat.

The Bad: This is a comic about exploring ideas and kind of drifting around through life, and isn’t a big plot-focused comic with a lot of big dramatic reveals. Which I don’t think is bad, but it might not be your thing.

You should read it if: You liked stories about adults trying to figure out how to grow up, and like seeing characters age.

Out-of-Placers ⭐

What is it: A human man is turned into a female rat creature, and has to navigate a low-fantasy world while learning their incredibly stupid ways and trying to get himself back to normal.

The Good: Really good worldbuilding, with interesting, fleshed out, and unique fantasy races. There are licensed Dungeons and Dragons books with less cool ideas for a campaign in them.

The Bad: Can get kind of edgy in ways that don’t always work, and occasionally gets a bit gross. If the premise made you think it was a furry fetish comic, it’s not, but it keeps threatening to become one if you don’t whap it with a newspaper and say “No” very firmly every now and then.

You should read it if: Your favorite DnD race is kobolds.

Paranatural ⭐

What is it: Kids bust ghosts in a parody of shounen anime tropes

The Good: Good banter, creative panel layouts, and characters you want to root for.

The Bad: The story rapidly increases in scale, causing the pacing to slow down somewhat. The story later transitions to an illustrated prose format, which some people can't really get into.

You should read it if: You liked Bleach before it became Dragonball

Prequel -or- Making A Cat Cry: The Adventure ⭐

What is it: An Elder Scrolls fanfiction, in which an alcoholic catgirl heads to a new land to try to make a better life, and generally fails.

The Good: Inventive use of the web as a storytelling medium. Great character writing. Lovable protagonist. Excellent payoff to years or life kicking the protagonist in the face.

The Bad: Years of life kicking the protagonist in the face. Can thus be depressing, especially early on, sometimes to the point of being offensive (see Content Warnings)

The Terrible: Very slow and irratic update schedule

Content Warnings: Alcoholism, Depression, the protagonist gets blackout drunk and wakes up in bed next to strange men several times, which is played for comedy.

You should read it if: You like slow burn character development. You like stories where the protagonist has a hard time

Problem Sleuth

What is it: A detective tries to leave his office using user-submitted commands, and gets in a few tangents along the way. Mostly known now as “The thing Andrew Hussie did before Homestuck”, but it was a popular comic in its own right.

The Good: Much better art than most reader-driven comics, bizarre and clever, with a dramatic finish.

The Bad: Holy shit, you thought Homestuck meandered? Problem Sleuth will do nearly anything and everything readers asked him to do, and this is a veeeeeery convoluted comic that has thus aged somewhat poorly.

You should read it if: You thought Homestuck was best before the Trolls got involved.

Questionable Content

What is it: Humanity achieves a technological utopia in the background while hipsters in Massachusetts complain about their dating lives. Later begins focusing much more heavily on all the robots.

The Good: A rotating menagerie of quirky cute girls. Had a major trans character before it was cool.

The Bad: The comic kind of transitions from being about one thing to being about another thing several times, to the point where onetime protagonists show up less and less or even get dropped altogether in favor of the New Thing the comic is.

You should read it if: You want a comfy and diverse slice-of-life comic.

[inbarfink]

I already talked about, like, the Obvious Symbolism of Simon reaching his lowest point literally dressed like the Ice King and then gradually gets back to his old outfit as he starts climbing out of his depressive spiral, at least somewhat.

But it’s also really interesting, maybe even more interesting, how Fionna’s outfit has been gradually shifting and changing with basically every adventure.

My first thought was that it really shows Fionna coming into her own as a character. The more she grows and also the more character development she gets - the more the audience learns to see her as more than just Girl Finn - the more her outfit moves away from just being a slightly girlier version of Finn’s classic look and into being its own thing. 

Because Fionna is her own character. 

But my second thought was more about the first time Fionna’s classic outfit got an update in this series.

This wouldn’t really relate to my first reading, since it just kinda makes her outfit closer to Finn. But it does relate to the most important Theme that her character arc revolves around - Fantasy versus Reality.

Fionna starts out the story interacting with the idea of magical adventure and heroism via the lens of fantasy. She compares everything to video games and just thinks about everything in terms of it being cool and fun and she literally tries to chase down a person from her dreams.

And her mindset was probably only reinforced by discovering she was literally created to be the Main Character in God’s little fantasy universe literally created out of self-indulgence for his silly little stories.

And because of that, she starts out the story with a huge Protagonist-Centered-Morality blind spot where she can’t recognize when she and Cake are in the wrong

And she rushes into action and violence just thinking it’s ‘cool’

And, like, in general acting without thinking of the consequences.

And at basically every step of this adventure, these kinda actions clashed against the reality of her situation. And it all started when she pointed out to her own creator that the outfit he designed for her is cute - but extremely unrealistic for an adventurer like herself

And from there we move to Fionna experiencing more and more of the harsh consequences of assuming everything should fit into her fantasies of heroes and villains 

And that she should punch first and ask questions later 

And in general that it’s always better to trust her guts over her head. 

And with every one of her experiences, the bright and adorable outfit that is a reminder of her origin as God’s Most Self-Indulgent OC gets tweaked in more way - turning it into something that looks a lot more, for the lack of a better word, gritty. And also turning it further and further away from the outfit of her own literal fantasies.

And all of these horrible traumatic experiences and the general dangers of the magical and very different world she’s in have all weathered down Fionna’s original optimism and eagerness and brashness that originally defined her and turned her terribly overprotective and scared instead. And it really reminds of how Simon’s own trauma weathered him down. 

Turning him from a kind man with a passion for adventure and the fantastical and a powerful parental instinct to a miserable jerk who aches for mundanity and made a little girl cry

Until he got to his very lowest point.

So I’m guessing next up for Fionna is getting to see her regain some of her old identity that the Trauma has been tearing away at - getting back some of that cheerfulness and brash attitude and adventurous spirit. Because while it has put herself and her teammates and others in serious troubles - it’s also been a huge help at other times (especially as she's a good counterbalance to Simon ‘slow but dependable’ Petrikov)

She needs to find the balance, learning the lessons from her multiverse adventure without losing all the things that made her Fionna Campbell in the first place.

And I wonder if this development is gonna be paralleled with a return of some of the more ‘classic’ elements of her look - or if her outfit is instead going to diverge farther?

[thetwilightroadtonightfall]

RIGHT like it is kinda wild now that you mentioned it. our customizable avatar IS a canon character now but with the weirdest role in the story possible. we exist and are real… for the purpose of. mentoring the main villain. that’s who we are. not something i would’ve ever expected nomura to do for us

like there has to be some insane meta thing behind it what is he trying to say. that all of us in the audience are capable of goodness and nurturing others? and we’re also all capable of mistakes? that sometimes we put love into something and it doesn’t work out? or rather that no act of love is ever wasted no matter how small and seemingly insignificant it is. the love mattered. is it to say we really don’t know as much as we think we know and no one can be certain of the future, the way player2’s predictions at the end there were wrong? that no matter the situation or what you believe you have to be kind and it’s not on you if things don’t work out? literally an insane writing decision. who are we, the audience, in the narrative of kingdom hearts. we’re part of the story. that’s been established in a few ways. but what exactly are we doing in there

yEAH yeah yeah yeahYEAH they’re flawed!! Like how we’re flawed!! We can’t control their choices like other video game protagonists. They weren’t even fully silent! You are them, but they’re also a character you made, and are forced to watch break free from your grip and perceptions. Player2 is freer than ever in ML, clearly straddling the line between avatar and character, but is still confined to the medium and narrative constraints because of what we know from DR. There are so many layers to their existence and it’s insane.

And you know what’s even crazier…if you believe in the idea that Player was Eph’s waypoint, that means they/we indirectly had a hand in the creation of Scala. In the establishment of the foundation of the KH universe/series as we know it.

Bear with me with the metaphors but I see them as like. A domino. A single piece that’s ultimately insignificant on its own with little to no unique features to distinguish them from the rest of the set. But when pushed to action, when they fall…they have an impact on everything, be it positive or negative. The little thing that didn’t matter suddenly mattered so much, and I feel like that’s exactly what you were saying…the love was there. The single domino. The marble in a Rube Goldberg machine. The single drop in the water that was small but still caused ripples. What an insanely poetic way to turn a self-insert/avatar/empty shell into a character, by giving them the power to act based on what’s inside their heart, and having that be the catalyst for so so many things.