#villains are meant to be.. well

[yippee-kay-yo]

Yeah, I am guilty probably of the whole weeabo thing but I am trying to get better at characterizing him in my artwork. His character is so much more than that and it’s much more interesting to explore it rather than simplify it. And this goes for any character, really!

Spamton’s Personality and Complex Morality

Incoming autistic tl;dr ramble post while drunk concerning Spamton being woobified to the point of lacking any semblance to the original character.  

For some reason, many people forget or ignore Spamton's more of an “asshole victim” or “evil victim” by the time Kris and the gang met him. It’s interesting how frequent this is too. 

Of course, Spamton is not a woobie. He's not some innocent man caught in circumstance through no action or fault of his own. Neither is he someone who does things for "teh evulz". Spamton's more layered and complex than that imo, even with the limited information.

With that in mind, my interpretation of Spamton's entire being and arc through time has been inspired by several fictional characters I love. Those characters are: Kevin Lomax, Walter White, Seymour Krelborn, and Shou Tucker.

( I swear to god all of them wearing glasses and having themes associated with green was not initially intentional in my selection lmao. )

Currently, there's little to go on concerning Spamton's prior lore and who he was as a person through his actions. All we know is he was determined. He was anxious and desperate concerning the circumstances of this life. Of the lack of success in what it is an addison's meant to do. Those traits are expressed to varying degrees with each referenced character throughout all of Spamton's eras.

Kevin Lomax is a successful small-town lawyer whose innate pride makes it easy for John Milton, Kevin's future benefactor from NY, to exploit through tempting offers. Walter White's a brilliant and prideful chemist humbled by and chained to a more moderate and financially troubled life until given the choice to rejoin his former company or go his own way making meth. Seymour Krelborn's a meek, socially neglected / abused, and impoverished florist longing for a better life whose dreams turn to greed with the influence of Audrey ii. Shou Tucker’s a timid and desperate man who succumbs to harming those he loves to feed into his desperation and pride.

My take on Spamton encompasses all these traits into one little white fluffball. He's neurotic. Forever fearful of his misfortune and how others perceive him. This even extends to his big shot era where, despite his success, Spamton's aware of his incompetence and that the admiration's surface level is thanks to his benefactor. This is a trait and aspect of his arc he shares with Seymour in the 1986 LSoH film. He's a failure at what he does before his benefactor similar to Shou. No matter his attempts, he just can't cut it on his own. Like Walter, Spamton lives in obscurity compared to his peers with financial troubles far beyond his capacity to properly cope. And like Kevin, and later Seymour to some extent, when Spamton does obtain success through his benefactor, he pushes people away and causes strife through his hyper-focus on work and maintaining success.

All four men share aspects of greed and pride alongside Spamton. Kevin is successful on his own. Yet his wife Mary Ann, ironically a car salesman, and Milton both feed into his pride unintentionally ( via Mary Ann ) and intentionally ( via Milton ). Kevin, wanting more and knowing his capacity as a lawyer, accepts. While in NY, Kevin excuses his actions to explain and justify the consequences of them to continue the upward climb. It goes so far at the expense of his wife's life, though entirely unintentional on Kevin's part. Walter's similar, so I won't get into his arc.

Seymour's interesting in that he's also woobified by fans when in reality, he's a greedy and envious person, even if it's subtle. Greed allows Seymour to reluctantly excuse his actions to gain fame. His greed, envy of Orin, and resentment of Mushnik motivate Seymour to do horrible things. And of course, Shou needs little to no explanation. Greed tied with desperation fueled his actions...

I think Spamton's aspects of greed, envy, and pride were more subtle like Seymour's in the beginning. His personality and desperation more akin to Shou's. And honestly, a pinch of pride is good concerning self-esteem, determination, and motivation. It's when it's detrimental to one's self and others that it becomes a disorder.

Once Spamton gains a benefactor and becomes a big shot, his pride and greed metastasize to that of Kevin and Walter.

The other interesting thing of note is Seymour and Kevin both had benefactors giving them free will concerning choice laced with temptation.

Both Seymour and Kevin blame their benefactors for their inevitable misfortunes. When this happens, both benefactors correctly state they, Seymour and Kevin respectfully, made their choices with either clear knowledge of what could happen or knew their prior action's consequences and ignored them anyways.

"You blamin' me for Mary Ann? Oh I hope you're kidding… Mary Ann - you could've saved her any time you liked. All she wanted was love. ... Stop deluding yourself! I told you to take care of your wife! What did I say? 'The world would understand.' Didn't I say that? What did you do? 'You know what scares me, John? I leave the case, she gets better, and then I hate her for it.' Remember?" - John Milton

I think something similar occurred with Spamton and his benefactor. Despite his complaints and awareness of restrained free will, he still had some level of it. Even if he was controlled in a manner akin to Seymour, Spamton chose things that caused him and others harm along with his success. During this time, he also began rubbing his success in the faces of colleagues and friends who doubted or mocked him. Eventually, it got to the point that it caused his closest loved one, Blue, to disengage.

I think Spamton, despite the limited lore, has the potential for rich complexity concerning his more sour traits as a person. Like both games, there are many realities and routes. What you do decides what innate traits grow.

Spamton, to me, is in all paths of the game, corrupt on some level. None of them show a reality in which he is, by all accounts, a good man. And this is to not dismiss the reality that he is a victim of society, best explained here. We don't know much about his big shot era beyond him becoming a bit pompous. But... Wouldn't the best addison be that? A braggart of their wares and a confidence man? But he's also a culprit of his own demise while being potentially exploited by other entities.

With this in mind, Spamton best mirrors Seymour in the totality of his arc.

Both Spamton and Seymour are pathetic men by societal standards. While Seymour has a talent as a self-taught botanist of sorts, he's relegated to a basement at a struggling florist shop. His meekness and apathy are mirrored by his living conditions.

Spamton's similar in a different way. Unlike Seymour, he's determined, but like Seymour, is likely too meek and neurotic to be effective in his goals. Spamton can't keep a clear head nor direct himself convincingly.

Both men are forced into societal roles with limited choice. Seymour by Mushnik is pushed around and then later so by Audrey ii. Spamton, despite his passion to be a salesman, is seemingly limited to that alone based on what he is, an addison. It is likely taboo for an addison to have any passion outside of that. In one of my fics, Spamton was a mailman before attempting to work in sales and admits to loving that job.

Seymour and Spamton have benefactors. Seymour's is Audrey ii. Spamton's the person on the phone.

Both operate under the commands, suggestions, and temptations their benefactors provide. And both find success with their benefactors.

Seymour clearly loses aspects of free will with his due to his meekness and their relationship. I imagine Spamton, on some level, endured something similar. Especially with his theme being the loss of autonomy the more he pursues it.

Both are seen as tools by society and exploited as such; living in poverty in some regard with Spamton becoming homeless.

I think what makes Spamton woobie fodder is the state we find him in. The fact that by all accounts, he did what he was expected to do as an addison. That when he needed help the most, he was neglected and worse still, everyone knew and did nothing.

His friends and colleagues knew where he was as they show up at the end of the battle. They did nothing for years.

And it's this I think that blinds people to the fact that Spamton knowingly sold harmful and useless wares at his shop. That he tried convincing Kris to commit to his delusional murder-suicide pact so they'd both be free. That, in the Snowgrave run, he takes over Cyber City like a virus to the harm of its citizens. That the thorn ring "might sting" instead of "it literally takes away your life" when selling to Kris for Noelle to use.

At the end of the day as a said before, Spamton's more akin to an "asshole victim" than a full-on woobie. But maybe we can get the best of both. He can be the "asshole woobie".

Thanks for coming to my autistic Ted Talk.

[teh-inggris]

pvp civ nation...... this aint much but pls take my contribution for this series bc im going insane i love hate this man so much get him out of my head

[poorly-drawn-mdzs]

The girls are plottinggggg

[First] Prev <–-> Next

[lord-squiggletits]

I think the key component to my personal reading of post-Delphi Pharma is that he's trying to be a horrible person on purpose. Not "on purpose" in the way that people have free will to exercise their own choices, but in that Pharma's "mad doctor" persona is a performance he puts on to deliberately embrace how much everyone else hates him. Basically, if people already think you're a "bad Autobot" and a horrible doctor who just kills his patients for fun, why try to prove otherwise to people who have already made up their minds about you? Just fully embrace the fact that people see you as an asshole. Don't try to change their minds. Don't plead for their forgiveness or understanding. Just stop caring. If you're going to be remembered as a monster, you might as well be a memorable monster, and eke as much pleasure and hedonism as you can out of it before karma catches up to you and you inevitably crash and burn.

I mean, I guess you could just go the route of "Oh, Pharma was always a fucked up creepy guy and Delphi was just him taking the mask off," but I really don't like that interpretation because, for one, it feels really wrong to take a character like Pharma becoming evil under duress and going, "Oh well clearly he did the things he did because he was evil all along," as if somehow Pharma breaking under blackmail/torture/threat of horrible death was a sign of him having poor moral character. As opposed to, you know, suffering under the very real threat of horrible death for himself and everyone he cares about while being manipulated by a guy who specializes in psychological torture.

The second reason is that it just doesn't make sense to write Pharma as having been evil all along. I mean...

Occam's Razor says that the best argument is the one with the simplest explanation. Doesn't it make way more sense to take Pharma's appearances in flashbacks, his friendship with Ratchet, his stunning medical accomplishments, and the few we see of him speaking kindly/sympathetically (or in the least charitable interpretation, at least professionally) towards his patients and conclude "This guy was just a normal person, if exceptionally talented." Taking all of these flashback appearances at face value and assuming Pharma was being genuine/honest is a way simpler and more logical explanation than trying to argue that Pharma for the past 4 million years was just faking being a good doctor/person. I mean, it's possible within the realm of headcanon, but the fact is Pharma's appearances in the story are so brief that there simply wasn't room in the story for there to be some sort of secret conspiracy/hidden manipulation behind why Pharma acted the way he did in the past.

I just can't help but look at things like Pharma's friendship with Ratchet (himself a good person and usually a fine judge of character) and the fact that even post-Delphi, pretty much every single mention of Pharma comes with some mention of "He was a good doctor for most of his life" or "He was making major headways in research [before he started killing patients]" which implies that even the Autobots themselves see Pharma's villainy as a recent turn in his life compared to how for "most of his life" he "used to be" a good doctor.

And although Pharma doesn't know this, we as the readers (and even other characters like Rung) know about Aequitas technology and the fact that it actually works, so... if Pharma really was an unrepentant murderer, why couldn't he get through the forcefield too? The Aequitas forcefield doesn't require that a person be completely morally pure and free of wrongdoing or else how could Tyrest get through, just that they feel a sense of inner peace and lack feelings of guilt. Pharma has murdered and tortured people by this point, and put on quite a campy and theatrical show of how much he sees it as a fun game, so why then can he not get through?

It circles back to my headcanon at the start of this post that the "mad doctor" persona is just that-- a persona. Delphi/post-Delphi Pharma's laughing madman personality is just so far removed from every flashback we saw of him and everything we can infer based on how other people see/saw him before that, to me, the mad doctor act is (at least in large part, if not fully) a persona that Pharma puts on to put his villainy in the forefront.

To avoid an overly simplistic/ableist take, I don't think Tarn tortured Pharma into turning crazy. To me, it's more like the constant pressure of death by horrific torture, the feeling of martyrdom as Pharma kept secret that he was the only one standing between Delphi and annihilation, the physical isolation of Messatine as well as the emotional separation from Ratchet, being forced to violate his medical oaths (pretty much the only thing Pharma's entire life has been about), etc. All of that combined traumatized Pharma to the point that the only way he could avoid cracking was to just stop caring about all of it. Because at least then, even if he's still murdering patients to save Delphi from a group of sadistic freaks, Pharma doesn't have to feel guilty and sick about doing it. As opposed to the alternatives, which were probably either going off the deep end and killing himself to escape, or confessing to what he did and getting jailed for it.

In that light, Pharma becoming a mad doctor makes sense. It avoids the bad writing tropes of "oh this character who was good his entire life was actually just evil and really good at hiding it" as well as "oh he got tortured and went crazy that's why he's so random and silly and killing people, he's crazy" and instead frames Pharma's evil as something he was forced into, to the point where in order to avoid a full psychological breakdown and keep defending Delphi, he just had to stop caring about the sanctity of life or about what other people might think of him.

Then, of course, the actual Delphi episode happens, and Pharma's own lifelong best friend Ratchet basically spits in his face and sees him as nothing more than a crazy murderer who went rogue from being a good Autobot. Then Pharma gets his hands cut off and left to die on Messatine. At that point, Pharma has not only been mentally/emotionally broken into losing his feelings of compassion, he's received the message loud and clear: He is alone. Everyone hates him. Not even his own best friend likes him any more. No one even cared enough about him to check if he actually died or not. He will only ever be remembered as a doctor who went insane and killed his patients.

So in the light of 1. Having all of your redeeming qualities be squeezed out of you one by one for the sake of survival and 2. Having your reputation and all of your positive relationships be destroyed and 3. People only know/care about you as "that doctor who became evil and killed his patients" rather than the millions of years of good service that came before.

What else is there to do but internalize the fact that you'll forever be seen as a monster and a freak, and embrace it? People already see you as a murderer for that blackmail deal you did, so why not become an actual murderer and just start killing people on a whim? People already see you as an irredeemable monster who puts a stain on the Autobot name, so why beg for their forgiveness when you could just shun them back? You've already become a murderer, a traitor, and a horrible doctor, so what's a few more evil acts added to the pile? It's not like anyone will ever forgive you or love you ever again.

Why care? Why try to hold on to your principles of compassion, kindness, medical ethics, when an entire lifetime of being a good person did nothing to save you from blackmail and then abandonment? Why put yourself through the emotional agony of feeling lonely, guilty, miserable, when you could just... stop caring, and not hurt any more?

[arrowheadedbitch]

Imagining Denki being casted as the villain in a training exercise and after plenty of confirmation that he should be acting like a villain would 100 percent and he doesn't need to play nice and for the love of GOD Kaminari just do the fucking exercise already, he takes one of his classmates hostage during the fight to get away from the heroes (his other classmates)

Holding his fingers up to the classmates head, threatening to electrocute their brain into mush, even shocking them a teeny bit to show he's "serious", he actually manages to get his classmates to lower their weapons and shoots a truly harmless amount of electricity into his hostage's back to stun them as he pushes them at the heroes and makes a run for it

At the end of the exercise, he gets a really good grade for his skills in undercover work

Because if I can't give him my theatrics what even is the point

[vaguelyaperson]

as much as i understand shigaraki's death, narratively speaking, i'm also so goddamn tired of society needing martyrs.

what made me fall in love with shigaraki is that he's an excellent villain. all his character development built towards him becoming a more competent, driven, effective villain. he became an incredible symbol of fear just as deku became an incredible symbol of peace. this is who he was, in entirety. there is nothing else shigaraki could be.

when shigaraki told izuku, in his final moments, to pass on the message to spinner that "shigaraki fought to destroy until the very end," it really emphasized how it would have dishonored him to be vegeta'd, as it were.

shigaraki made it his mission to tear down hero society. this was his noble mission. this is what made him a hero to the league of villains. because he saw the systemic evils, he saw the evils that hurt his friends, and sought to destroy it all.

there's something to be said about trying to change someone who doesn't want to change, but for shigaraki, it was more than just trying to rehabilitate him from mass murdering. because to him, and the league of villains, what he was doing WAS the right thing. to tell shigaraki not to destroy would be akin to telling deku not to save. "you may not understand, but that's what makes me the villain."

there was a binary choice here: either he'd be left free to complete his mission and destroy everything, or he'd be stopped, permanently.

Izuku, by reaching tenko's heart, but ultimately stopping shigaraki, was choosing the only third option he had: declaring that he would not let all of society be destroyed, but not without promising that he'd do everything he can to reform it here on out.

shigaraki destroys. deku saves.

that's it. that's the bnha narrative in its most basic foundation. horikoshi did not fail to tell that story.

I think what ultimately fucking sucks about this ending is that it's too realistic. society often DOES need a martyr - or often martyrs - to realize that they fucked up, that they let an evil persist too long. they need a shocking enough tragedy to point to and swear they'll never let it happen again. society needs to be rocked to its very core before people can be motivated to get their heads out of their asses and work together towards reforms.

and that in itself is an evil, that people can't see how much harm they're causing or condoning without some horrific tragedy.

i think we're all mad at horikoshi for failing to follow through on the story because we didn't WANT the realistic ending. we wanted the hopeful one. the against all odds one. we didn't want another story about society using the image of martyrs to get its shit together. because we already know that story. and we're so so so tired of it.

especially when we know it only leads to a temporary peace.

because people forget. they put in enough reforms to feel good, and then get comfortable and ignorant again. when does that cycle end? when can we finally notice the evil in time to PREVENT it? so that everyone, 'heroes and villains,' get a happy ending?

I think our anger with the bnha ending is good. we want different - not just in fiction, but in real life. we're willing to hope for different. we should hold onto hope and fight for different.

[hoofpeet]

I'd probably have to read the printed version and web version back to back at some point to note all the differences but... ough

[princess-ibri]

King Magnifico Backstory : Part One

Ok! Here goes part one for my ideas for Magnifico’s backstory with the DisneyVerse! I based it on the fairytale “The Carnation/ The Pink” as recorded by the Brothers Grimm, the tale of a young man who’s every wish comes true…

Link to the fairytale I’ve based this on here

Once upon a time, a lonely, childless queen wished upon a star, and the star answered. The Fairy of the star said that for the Queen’s great kindness and pure heart, the child would be blessed with beauty, charm and that he would have the power to grant the wishes of his people, in order to bless the kingdom he would one day inherit.

(This is me justifying that “Mirrors love my face/got these genes from outer space” line xD)

The queen was overjoyed with her son, and marveled at the magic he already displayed. She intended to keep his gift secret from the kingdom until he was older, in order to protect him, but it was too late. Word of his gift had leaked out, and one day the child was kidnapped.

He grew up under the watchful eye of his “parents”, granting them whatever they desired, wish after wish, day after day. Gowns and jewels, a manor house on the kingdom’s border, a fleet of fine hunting hounds to tear up the countryside. A covering of protection from any who might try and discover their whereabouts.

The child gave it all to them, for he felt the power of Love inside him when he used the gift that was meant to bless, and thought the love came from them.

They told him to never be selfish and wish for himself, though this was only to keep him from one day wishing in anyway that might undermine them. They lived in luxury and he in loneliness, for they of course allowed none to get to close to their prize lest another steal their good fortune.

Finally though, when the boy had become a youth, his loneliness became too great, and he wished deep in his heart for companionship. And the wish was granted. A beautiful young woman stood before him, shocked to be suddenly in a strange place before a strange man. But the youth was so comely, and spoke to her kindly and with assurances she would be safe with him, that soon she lost her fear. She still wished to return home, but the youth persuaded her to remain with him a while longer.

(He’s not evil yet obviously, but he’s always been a smooth guy and now he’s got a taste of having something he wants he’s loath to let it go. Which is understandable but can and will of course turn darker…)

For a time the youth hide the girl within the hallow of the pink rose bush in the center of the garden, and their loved bloomed with the roses they both found sanctuary in.

But eventually they were discovered by the youth’s “Father”. The boy confessed he had wished for a companion, and the man feigned acceptance. He asked the girl her name and origin, and she told him she was called Amaya, and that she hailed from the Kingdom of Córdoba. Upon further questioning, the man realized his stolen ‘son’s wish had pulled a woman to him from a completely different world.

Realizing the youth’s power would soon grow out of any control they could exact over him, the man and his wife determined to cut their losses and finally do away with him, lest their treachery be uncovered. Unbeknownst to them, the youth had overheard their plot, and began to plot his vengeance against the people he had believed to have been his parents.

Meanwhile, the leacherous man had taken a fancy to the girl, Amaya. He told her that if she aided him in getting rid of the youth he would aide her in returning back to her own world. Amaya had no interest in either the foul man nor in betraying the youth she had come to love, but she knew if she did not do as the man asked both she and her lover would be killed. So she took the heart of one of the man’s beloved hounds and brought it to him, claiming it to be the heart of the youth.

She rejected the man’s advances though, refusing him vehemently and reminding him their bargain was for him to help her to return home. Pretending to accept her rejection, the man waited until night to steal into her rooms within the manor, with a dagger drawn to plunge into the sleeping girl.

But he was met with the livid face of his erstwhile ‘son’ instead.

“So, ‘Father’, at last you show your true face. Your heart is a coal of envy, your wishes are cruel and selfish, you would take and kill with no more thought then your beloved hunting dogs do. So I wish that your outward self might reflect the beast within you!”

And with those words, the man’s bones shook and snapped, his hair darkened and spread, and soon enough a great beast spawns tearing around the manner, fire pouring from its insides as it burned all the ill gotten gains in the manor, and itself along with it.

The youth attempted to return to his true mother, but tragedy has struck while he grew up ignorant of his heritage. The King, furious that the son he had waited so long for had been stolen, blamed the Queen for the tragedy, and locked her within a doorless tower. A bird came twice a day to bring her food, but her heart was broken, and she eventually wasted away. The people, who had loved the kind queen, rose up against the cruel king, and the kingdom was left broken and destroyed.

The youth had no wish to stay in this place, full of the memories of all the good that had been destroyed by two greedy thieves. The youth, a man now, innocence scorched from him, kept a part of the banner that once hung in the grand hall to remind himself the folly of granting the wishes of the undeserving

He was ready however to grant the wish of the one who had not betrayed him, his beloved Amaya. Her wish brought them a ship that would carry them across the waves of sea and space, and together they sailed off into another world…

Edit: Part 2

[necrotic-nephilim]

au for the ask game: omegaverse where omega dick grooms ealry-presented alpha tim in "prodigal son"

dick is going through one of the worst periods of his life after breaking up his wedding with kory (maybe she, like a tamaran, couldn't understand the secondary gender of humans and during the breakup said something bad about dick as an omega) and then tim appears with stars in his eyes and believes that dick is the best human being on earth.

bonus points if the society has progressed enough and mating with children is strictly prohibited, even if they present early.

for the ask game!

gdfdsfdgbf anon i'm kissing you on the mouth. this is my favorite flavor of Omegaverse, especially for DickTim. i'm a proud believer in the dominant omega!Dick/submissive alpha!Tim propaganda. also a big fan of how terrible Dick's life is during Batman: Prodigal. and i just. man i love the Omegaverse concepts of alien characters like Kory not understanding secondary gender and it causing rifts.

what's fun about the Prodigal era is just how isolated Tim and Dick are during it. Bruce is off.. being fucking Bruce, and Alfred is also away, so it's really just Dick and Tim for a bit. they've always worked with each other and have a repertoire, but a lot of the conversations they have about each other's pasts are happening for the first time. so it's such a fun time for Tim to present as an alpha. and of course, his hero worship for Dick (especially after having to deal with Jean-Paul) makes it so *easily* for Dick to just. slip his fingers into. Dick's isolated from the Titans, he's lost Kory, he's on the rocks with Bruce, and so there's just something so nice about this kid who still holds utter faith in him. he doesn't see any of the societal stereotypes about omegas in Dick, he just sees Dick. and then, he presents and he trusts *Dick* with that information, lets Dick guide him through the most awkward parts of presenting. how can Dick not want to take advantage of that? a young, fresh alpha who he's currently in charge of mentoring, with no one to stop Dick or notice what he's doing.

it's still tricky, of course. Dick not only has to make sure he's not breaking the law, but he also has to keep Tim from noticing, immediately. Tim's hero worship crush is the most obvious thing about him, but that doesn't mean Dick can jump on him. it needs careful time and planning. Bruce might not be around, but Tim still has his dad who could notice the scent of an omega on Tim. so instead of marking Tim, Dick starts marking himself with Tim's scent. it starts small, using the same blanket Tim has used in the Batcave, grabbing a couple of Tim's oversized hoodies and wearing them. things with plausible enough deniability, but enough that Tim starts to subconsciously associate his scent with Dick. when he can't smell himself on Dick he feels like something is wrong. and when he's finally brave enough to bring it up to Dick, Dick is able to spin it on Tim. make it seem like Tim is the one coming onto Dick, assuming things. Dick plays it cool, pretending to be shocked by the idea of it. he gently explains to Tim what he could be implying about their relationship and Tim is *mortified*, apologizing and tripping over himself to try and fix it. but Dick just calms him down, promises Tim he isn't mad bc hey, Tim is a fresh alpha and he presented so *young*, it's difficult to navigate.

so you have Dick offering to help navigate this with Tim and using it to get closer and closer to Tim. grooming him into the type of alpha that Dick wants in a relationship. anytime there's behavior in Tim that Dick doesn't like, Dick can pretty easily redirect by dropping comments about how Tim just "can't help" acting like this because of his alpha nature, which instantly makes Tim scramble to fix it. Dick likes Tim for who he is, this cute, sweet kid who's such a handsome little alpha. but he's rough around the edges and Dick puts it on himself to smooth those edges over. he's playing the long game with this, and he doesn't mind waiting it out. and Tim can't complain when Dick pushes the boundaries, making him uncomfortable, because he doesn't want Dick to think he's a *pervert* for thinking that way. it's one big mind game.

i do think, Dick would cave and sleep with Tim before Tim's an adult. he's smart enough not to mate Tim, and he's definitely smart enough not to sleep with Tim enough for Bruce, a beta, to notice what's going on. but when some sort of sex pollen incident triggers a simultaneous heat and rut for Dick and Tim respectively, it's the most convenient in that Dick needs. Dick acts like they're doing this out of necessity, that he's giving in even though he doesn't want to, just because of how Tim's acting under the aphrodisiac. it gives him complete control over the sex because Tim is so desperate to not give in to his "alpha ways" and hurt Dick by being violent or animalistic. Dick gets to pin Tim down, possibly even tie him down "for his own safety" and ride him until Tim is a crying mess under Dick. after the first time, if Dick orchestrates more scenarios where they end up in "fuck or die" situations well, it's not like anyone's noticing. at the height, he even manages to have sex with Tim without that sort of pretense, he just has to act like he can tell how needy Tim is and sigh, pretending he's the one doing Tim a favor "just this once" by letting Tim fuck him.

in the end, it's a long con that pays off. it takes until Battle for the Cowl but Tim's a legal adult. and Dick is Batman again, which really does feel like everything coming full circle. part of the reason Dick makes Damian Robin is to remove the pretense of Tim and Dick being sidekick and mentor. it makes it easier for Dick to insist he really does see Tim as a full adult (even if he doesn't, deep down. Tim is still a fresh teenager, just because it's legal doesn't make it any less morally questionable) and something more than Robin. Dick makes a comment about them being mates so offhandedly it makes Tim stop in his tracks. Tim, who's about to go on his Red Robin arc and isolate himself, now has a chance at being mates with his hero. a chance to smooth over their differences and be actual equal partners. of course, Tim jumps on it. maybe deep down, after they mate and Dick is all too pleased with himself, it clicks for Tim that this was all a set-up. he puts the pieces together while they're cuddling in bed. he knows deep down that Dick will never *actually* see him as an equal. but, the deed is done and if Tim is going to give himself over to anyone, of course it's going to be Dick Grayson.

[jaymei]

doodles

[caeslxys]

here's the thing. laudna would have stopped it. if she knew delilah was about to fracture the gnarlrock. if she could parse her own feelings from hers.

and here's the thing. imogen has been plagued by nightmares for a decade. and this rock is the first bit of solace outside of her trust in laudna that she has ever had.

and laudna was just involved in shattering it. this tiny bit of solace.

and. here's the thing: laudna would've stopped it.

and. here's the thing. imogen would've stopped it. the only reason imogen didn't go is because she was specifically afraid that she would attempt to intervene and ruin their relationship with the volition before it ever began.

and here's the thing. liliana set out 25+ years ago specifically to spare her daughter. and that seemingly has not ever wavered as her core motivation. but people keep being drawn to the moon. kids keep being drawn towards the moon. and liliana is a mother. she was a mother before she ever knew she was an exaltant.

for 25+ years she has worked to "cure" imogen. the only solace she probably ever received was in at least attempting to console the kids who found themselves lured in by her same pull.

liliana begs imogen not say that they may have to kill each other. she breaks at hearing imogen's resolve. but there's kids, imogen. there's kids here. imogen. she can't leave. she's a mom.

and, here's the thing: imogen's her daughter. the daughter liliana left. or tried to leave. the daughter she only had through dreams. and imogen is working with the volition. and imogen has been her sole drive for 25+ years.

and imogen might have just been involved in shattering the little solace she might have ever had.

and, here's the thing: imogen would've stopped them.

[atopvisenyashill]

i just feel like rhaegar is the weakest version of george’s “light and dark both” types, i don’t find any light in him, and the darkness that’s there is not compelling it’s just dumb.

[crowley-exploder]

You don't get it, that morally grey slimy old man CAN('T) fix me ♥

[lucky-clover-gazette]

tbh i think volo would have been significantly more normal and fine if he hadn’t been hiding so much of his true feelings and personality. like when you deny yourself genuine human connection to that degree you’re probably going to come off as a machiavellian monster who wants to make the world and the lives of others worse, but looking at his actual stated motivations and intentions it’s clear to me at least that the guy is deeply empathetic and idealistic and more than anything disappointed that the world can’t be better

[autumnwoodsdreamer]

*deep breath in for courage*

Shrek the Third handled a reluctant leader finding someone else to take the throne storyline better than Mandalorian season 3

[crowzirawho]

Buk sending Aziraphale Upstairs the quick way.

The ending scene of Chapter 61 of "Are We Meant to Read the Footnotes?" by @riathedreamer .