#what even IS the point of having a villain who's just evil for the sake of evil

[seyaryminamoto]

Here's a simple art of Zhao turning his back to Ozai scene.

https://www.pixiv.net/en/artworks/108411738

This was meant to be posted together with it's parallel scene because *insert "poetic cinema" meme* but due to reasons I don't believe I'd be able to finish the other piece any time soon.

Also revisiting the chapter made me realize Ozai's hair should look more disbehaved than that. 😂

OOOOOOH, DANG!

That's one hell of a portrayal of that scene, love the way you worked with the lighting, makes it feel very dramatic (and it was indeed very dramatic, haha). And maybe Ozai's hair could be messier, but that it's messy altogether is VERY rare in Diva Lord x'D so I think his chaotic state of mind at this stage is conveyed perfectly here!

I'm really loving your Ozai art <3 his character arc in Part 3 is a rollercoaster that evokes sooo many fucked up emotions in me every single time I have to write him, as it should be when writing a guy like him, I'd dare say. He's complicated, he's messy, and I really thrive in portraying that because of how much work you can get done with a character like this. Seeing you making so much art about him really makes me think he's hitting the right spot as a complicated & complex character for more people than just myself, and nothing makes a writer happier than evoking other people's creations with their work! Thank you very much!!! <3

[bugslaststraw]

See it's funny because in the games, and in any other assorted media before the movies came out, everyone low-key just hates Robotnik. And not even in the fun dedicated way like they all seem to think he's a bit of a failure. Which sounds weird if you don't know anything about Sonic (and certainly sounded weird to me three weeks ago when I was one of those people) but it really is just genuinely the case. I think?

Obviously his family all hate him. Movie-only fans will have an idea about this one; we've got good old Geralt Robotnik who didn't give a rats ass about him in favour of his long-dead cousin Maria, whom he wants revenge for. Geralt manipulated him and used him and said "oh Ivo you're no Maria" even though Ivo probably doesn't even know who the fuck Maria is in the movie universe and so on, et cetera. Geralt sucks just as much in the games and did approximately the same thing there.

What you may or may not know is that in one of the games, Eggman runs into a descendant of his from generations into the future. That guy's name is Eggman Nega, and he absolutely hates his ancestor. He thinks he's cramping his style? He's trying to go back in time and kill him to restore his reputation as far as I remember. Not to mention he has other family and cousins, none of whom give a flying fuck what happens to him. I distinctly remember someone who's name was Collin but who's nickname was Snively and who also worked with Eggman at some point, but hated him, and then later betrayed him. I can't remember a single family member of Eggman's that actually seemed to like or even tolerate him.

He's had a lot of henchpeople too. Most of them were robots. A lot of them, like Omega, and Gamma, and Sage to an extent (although she was more like a robot daughter he built for himself) betrayed him and joined the good guys too (Sage is another outlier, she isn't exactly switching over I mean she definitely likes him but she definitely isn't loyal either so.??) I mean, Eggman isn't even surprised by the fourth time. Smaller minions like Orbot (and Cubot? another outlier) and their predecessors weren't able to betray Eggman, but definitely would've if they could've because they all disliked him because he's allegedly a shit boss. (Who says he isn't. He's evil after all.)

He "contracts" a lot of spies and stuff too. Animal characters. They all hate him as well, but he tends to hate them in return, so at least those are entirely fair game.

Not to mention all the villains he's conveniently happened to need the same thing as at the start of the game, but become inconvenient to towards the end, so they betray him as quickly as possible to get ready for their final boss fight with Sonic towards the conclusion of the story. There's more of those than I can count or care to remember. He meets his alternative universe self once and they hate each other. There's even a moment in I think the comics where Eggman loses all his memories and temporarily becomes nice, and hangs out in a village and builds things for the furry people who live there. He makes a wooden puppet style robot that also becomes like a daughter to him. She's good at engineering, just like him. Of course when he gets his memories back and becomes evil again she leaves as quickly as possible and later helps Sonic & co. She's very resentful about it all, I've heard.

None of that is surprising, of course. Eggman is an evil villain to the heroes and a loser to the villains. It's funny! It's a joke. They need to introduce scarier villains in the games to ramp up tension but they can't exactly just drop Sonic's nemesis down a hole somewhere, being as iconic as he is... So he sticks around. But as a joke, rather than an actual threat. And it's a little sad, yeah. But he deserves it! He's trying to create some sort of totalitarian egg-state and he bullies Sonic for having friends, for Christ's sake. Why should anyone want to stay loyal to a guy like that- and why should anyone do it at all? Joining the heroes is the cool thing to do! Shadow does it, Knuckles does it, Omega kinda sorta does it, Sage is toeing the damn line from what I've heard, it's...

Okay, it's kind of a lot? I mean I understand having nobody that's a good guy like the villain, but like... Not even his damn henchpeople robots? In a lot of the animated shows and comics he keeps building robot wives for himself that are explicitly created just to like him, by him. That or he's into someone who's into one of the animals, or similar. I mean, it's that bad. And it's like... Nobody? Not even once in like thirty years did anyone come up with the idea to give Eggman?? This behemoth among famous pop culture characters? A loyal henchman?

And- well, okay, nowadays this isn't true anymore. I'm sure we all know why. And that's kind of fun; in 2020, Doctor Robotnik gained his first and only loyal henchperson. Great! But...

Jeff Fowler is a Sonic fan, isn't he. Would he know..?

Would anyone involved in making the movies know that Eggman famously... Doesn't have any friends? That nobody seems to like him? That he's apparently infinitely betrayable? Do they know? Do they know? Is that why the third movie is written like that? Is it not just a character complex pulled out of someone's- I mean, when movie Eggman says that there's only ever been one person who actually liked him and one person who actually cared about him... He's quite literally right, isn't he. As in... Since 1991... Like 34 years since conception as a handful of red pixels in the hottest new platformer game there's actually, literally only been one character..? ooh I think I need to lie down for a bit

[amnestria-the-elf]

So we're all just supposed to be fucking grateful that Larian gave us "new Wyll content" (evil ending for a man who is canonically incorruptible, what the fuck) and simultaneously broke him again (giving low approval greetings to a romanced PC, what the fuck).

I... I just... the simultaneous feelings of rage and utter hopelessness are overwhelming.

Listen, if you've read any of my posts you know I have a pretty clear "Don't yuck anyone's yum" policy. If you think an evil Wyll ending is interesting, fine. But here's why it falls flat for me.

First, like I said above, Wyll is canonically incorruptible. It's literally the entire basis of his character. He is a man who was coerced into making an infernal contract to save a city and had to pay a horrible price for doing so, then spent seven fucking years alone in the wilderness doing his damned best to protect the people of the Sword Coast, while all along telling his horrible, abusive patron to just fuck off already.

Now, could you argue that during the events of the game, Wyll develops a taste for evil? Sure. There are plenty of opportunities for his villain origin story to unfold. But they never do. His moral compass never wavers. Turned into a devil? He feels shame, because it's an outward sign that he was doing things for Mizora that were morally wrong, and he didn't see it before. His approval rating for the PC shoots through the roof if you save Karlach, a sure indicator of his true moral compass. His father kidnapped? Fuck that noise, we're gonna save him. Rescue Zariel's "asset"? Ugh, fine, but don't get distracted from the real reason we're here. His father gets tadpoled? Oh hells no, we're gonna take down these assholes and save the godsdamned world. His father accuses him of being an agent of a devil and is super pissy about it? "Everything I did, I did for the people of the Sword Coast."

For fuck's sake, he will leave the party if the PC gets too evil, even knowing it means he'll probably turn into a mindflayer immediately. Even if he's romancing the PC. Unwavering moral compass. So giving him an evil ending without also going back and changing everything about his character just feels like lazy writing to me.

Which brings me to the second reason all of this rubs the wrong way. Wyll deserves so much more content. More romanced greetings, more reactions to other characters' choices, a final boss battle that is actually about him, a default ending that actually makes fucking sense (I have another post cooking about the Avernus ending, so I will leave it for now.)

And please, spare me your "But Wyll was rewritten after early access" bullshit. That's Larian's problem. They chose to listen to feedback and do a late-stage rewrite. They then chose to implement it poorly and never fucking fix it. Other characters, who already have far more content than Wyll, have had even more added over the course of the seven released patches. Wyll, on the other hand, has been sitting around completely ignored until now when we get this evil ending.

Many have rightfully pointed out the inherent racism steeped in all of this. I want Larian to be better. But as Maya Angelou said, "When someone shows you who they are, believe them." I already didn't have much hope about Patch 7 for Wyll, but this... honestly, this is worse than him just being ignored again.

The thing that kills me the most is that this is just going to be more fodder for the fandom to completely mischaracterize Wyll, for those who already haven't bothered to think critically about his character at all to just be like, oh, cool, Wyll is evil now. Nope. You've completely missed the point.

I'm just... so tired. I've worked very hard to put this little bubble of Wyll enthusiasts around me (hi friends I love you all!) so that I can hold on to some shred of sanity in this fandom. The world needs heroes of color. Just let Wyll be the hero in peace.

[sepublic]

Manny Noceda Haunting the Narrative

We all speak of Caleb haunting the narrative, but what of Manny? Perhaps haunting isn’t the exact right word here, for its foreboding connotations; But he’s ultimately an unseen, unheard ghost whose influence can be felt. Whose absence is there, more clearly than others to be honest because we know that Luz had to have a father, it’s not ambiguous for witches like it is for humans.

From the very first scene, we have to wonder where Manny is if he’s not present during Luz’s conference but Camila is; He’s not even present for Luz to be sent off. He’s not mentioned or acknowledged.

But we have the book he gave Luz, the one that Luz is drawn back towards, and it’s what leads her to the Boiling Isles, and motivates her to stay there for her own sake. It’s what motivates Luz to think of herself, when by the second half of the show she begins to refuse that option as inherently selfish.

If Homesick had aired during S1B, we’d have gotten a glimpse of Manny, but specifically, curiously faceless; Until then, Luz sees a parental figure deteriorating from an incurable illness and is obsessed with handling it, offering medical advice to Eda at one point.

And in Yesterday’s Lie, there’s still no Manny or mention of him, but we see glimpses of his body without the face. And then finally, finally we get Reaching Out and realize; He died. There was no divorce, it’s not that Manny is dead to mother and daughter, only literally. He’s still very much alive to them, Luz is worried about paying tribute to him in that episode.

Camila mourns the loss of Manny, someone who was always better at her about being a weirdo, and without him she feels lost, falls back into what society demands of her, and in doing so hurts their daughter. She mourns that she misses him, but Camila can’t depend on Manny to be what Luz needs her to be; She’ll be Manny, for Luz but also herself too. And Luz herself struggles to be the unapologetic Manny as well, and must do it for herself especially.

It’s the way Manny recontextualizes everything about the Nocedas. It’s the way he haunts the narrative himself, because we noticed, we had to, we had to ask where he was. Why is he not there for Luz or Camila, would he support her, is Camila also struggling from his absence? We don’t need his face or voice or an outright flashback to feel and appreciate Manny’s influence (Though I would’ve loved one).

And in a way, it’s like Dana’s own father Thomas Terrace is doing the same; With it being confirmed that Dana’s dad gave her a copy of Pokémon Red before he died, you understand perfectly that Luz is Dana, Manny is her father. Dana still likes Pokémon to this day, she’s done crossover art with Pokémon and her own show.

When it came out, Pokemon was targeted by Evangelicals as evil, it was absurd; And we see the Conformatorium perform similar absurdities in the same first episode where Luz is shown to hold onto her father’s last gift, and her fight with the Conformatorium is her fight with the system that made Luz feel ashamed of Manny’s gift and the profound impact it had on her.

The villain of the show manipulates Luz and makes her think she’s just like him, something Luz acknowledges means being a selfish, destructive force; Unsurprisingly, the villain is a Puritan, the ancestor of evangelicals, who agrees on the similarities but not on these things being evil.

Manny is the invisible ghost unseen, for the same reason as Caleb; And between the two, perhaps Caleb is defined incorrectly when it comes to how he influences things. Because Caleb does not really motivate Belos, Belos always wanted to be a witch hunter before he could claim to be betrayed by Caleb, he did it for himself. He made Grimwalkers but still continues the harm unto and through them that Caleb stood against. Caleb failed to do anything with Belos, tbh, and all that is passed on are empty genes that a racist would obsess over, but never the spirit as Luz did with Manny.

But what about Caleb’s child? Manny is defined as a father to Luz. What about someone Caleb was a father to as well? His unborn child, the ancestor of Eda. Caleb was a wood carver who loved Flapjack, and the Clawthornes had a tradition of carving Palismen. Could it not be implied that Evelyn carried on his unseen and unheard, yet felt love to their child, born after the death? And this love for the isles and magic and Palismen was passed all the way down to Dell, and then Eda.

And it’s Eda who helps Luz, another human, embrace her love for the isles and magic and Palismen. Evelyn’s descendant helps another human. Luz sees Eda in Manny, she’s his successor as someone who’s present for Luz when Camila can’t always be. Eda loves wild magic and her Palisman, gives Owlbert more autonomy than other witches, and helps the Bat Queen arrange Palismen to find new partners. And what goes around comes around when Caleb’s contribution to Palismen, started by Flapjack, helps Flapjack find a new friend and set in motion events that would lead to the Clawthornes’ injustice being rectified.

I’ve seen people argue that Hunter being with Willow makes him a copy of Caleb, but in addition to Hunter’s arc being him not caring what he does or doesn’t resemble… I think maybe the true parallel to Caleb and Evelyn is Manny and Camila; Both came to Gravesfield, the father was a weirdo with an open mind. He died, the mother mourned, but he passed on something to a child, who would eventually pass it on to Luz herself as both stories and families converge.

So Evelyn and Caleb’s child haunts the narrative; They’re Luz in a sense. Manny haunts the narrative too, since the start. He is Caleb, and so he is Eda who carries that spirit. And he is Eda because she carries the spirit for Luz. Manny is Dana Terrace’s own father, who inspired her to keep being a weirdo, which led to this show. So not only is Manny more important to the narrative’s framing and focus as the main character’s father, whose absence motivates both a disconnect between mother and daughter that leads Luz to the isles, but also motivates Luz to stay?

In a way, Manny represents the father of the series, the father of the show that reflects Dana’s own experiences and beliefs. One could say he haunts Dana’s own life, except… Perhaps the word ‘haunt’ is incorrect. Because it has a negative connotation. Perhaps the word is Inspire; Manny may be dead, we may know little of Mr. Terrace or Manny himself. But we can say that Manny lived, because of his impact, his life had meaning and it always will. Something is in motion, so we all know and understand ask what, or who set it that way.

[fantasywater]

Catradora and Stolitz: Same Toxic Ship just Different Genders

This series has always felt like the Catra Show, and so much so that even Hordak never felt like the main villain. And nothing drove that point home more than season five proving once and for all that this series' moral line(or lack thereof) is really about a Villain Protagonist when the character that increasingly became a monster for four seasons still got everything she wanted in the end.   

Catra is the poster child for the moral bankruptcy of this series. 

I can't buy her ''redemption,'' or her relationship with Adora, because she went too far. 

Therefore nor can I buy the mental gymnastics that arise when she is the topic of discussion in the fandom. 

For four seasons I watched this character willingly and gleefully jump rope with the moral event horizon. Then she finally broke it to the pieces when she genocides the planet, and everyone on it, because of her sick, evil, obsession with being better than Adora.

Loved all this time my behind.

Catra was a vile person from her introduction, and just got increasingly more poisonous as the show went on. 

Season Five wants us to treat Catra like she was just a bad friend.

She just said a few mean words here and there, and therefore all she has to do is sincerely apologize then friendship can begin again.  

Here's the thing Catra wasn't just a bad friend she was an abuser and a fascist. 

She had multiple opportunities to leave the horde, and had no reason to stay in the first place, gleefully attacks the resistance, is the reason Angela died, tried straight up multiple times to end Adora’s and her friends lives, and was just an abomination to even the ones on her side etc..   

On the flip side we have Adora who doesn’t give a damn about Catra for four seasons. She’s too busy enjoying life with her real friends.

Try and recall, was there ever a moment where Adora was...concerned for Catra’s safety? Pining for her in any way romantically? Ever? Even once during the first four seasons? Because I don’t.

Honestly, Catra wasn’t important to Adora until Catra showed up on screen. And then they both wanted to kill each other. Any moments of Adora thinking about Catra it was in the context of Catra being her enemy.

But I'm supposed to believe in their romance based on what? Catra's toxicity? Adora's nonexistent romantic feelings for pretty much the entire series?   

It seems in season 5 all Catra had to do was one act of atonement and out of nowhere, like Adora has been possessed by the ghost of Queer Rep, she suddenly can’t get Catra out of her head.

Also, note that Catra didn't save Glimmer because she realized her past actions were evil; no it was all for Adora's sake i.e. the person she is toxically obsessed with. 

Furthermore, the redemption in question is handled with the most condescending of kid gloves.

It seems like she was replaced by a clone for season five. She’s just accepted.

It's like seasons 1-4 didn't happen. The forgiveness was excessive and forced so we could be okay with this abuser/war criminal being chummy and romantic with her victims.

For example, Glimmer cries over her, kisses her cheek, etc... Yet Catra is responsible for her mother's death, the world ending, trying to kill her, war crimes against Bright Moon, etc. 

Then Entrapta also forgives Catra like it’s nothing even though she sent her to die, and apparently, she was in this hell space for a year.

But everything is supposed to be wonderful because an abuser ends the series romantically involved with her victim?   

When Adora said you made your choice and now live with it that should have been the end of any reconciliation either platonic or romantic. 

Even her flashbacks are of her being abusive.

You see her in one of them( in her so-called redemption season at that) scratching Adora's face to the point it left blood, and jumping on her stomach just because Adora dared to be friends with other people.

This was pretty much every childhood flashback they showed.

She would emotionally and physically abuse Adora, and then Adora would take her back.

This would continue even as young adults. It was a pattern(red flag) that Adora unfortunately didn't escape. 

But.....I always loved you,says Catra. 

For Adora's own mental health/closure, she could forgive, but only if she also makes it clear that she doesn't want her abuser/ex-friend back in her life.   

I could have tolerated that ending instead of Adora becoming a couple with her abuser. 

Basically, this Villain Sue ends the show getting everything she wants even after manipulation of several characters, genocide, war crimes against her own people, physical and mental abuse(especially toward Adora), repeated attempts at murder, and just being a complete psychopath to anyone within spitting distance of her toxicity. 

She gets to be pretty much abusive scum for four seasons, on top of actually doing the same thing Prime wanted to do, yet whiplash forgiveness and Lesbians 4 Evah is her ending.   

"So we're all just okay with this?", says Mermista incredulously of the war criminal Hordak. Good question, but then I remember you all seem to be okay with war criminal Catra sooo.....

Her mirror Hordak, according to the showrunner, is sentenced to Beast Island for his war crimes. However, my question then becomes where is Catra's sentence? Oh, that's right if you're Catra you get to be a war criminal in peace, and especially if you're dating the protagonist.   

It's also convenient that Mermista's was chipped, and therefore didn't get to say anything to the girl who helped bring down her kingdom with a smile on her face.

Funny how that worked out. 

It's even more convenient that her victims gave their lighting fast forgiveness.  

Can't have icky things like abuse and war crimes get in the way of that ending smooch you know.

I suppose we also just need to look at Angella as collateral damage while we smile as her daughter hugs and kisses her killer I guess.   

I also find it odd(since we're loving abusers) that Shadow Weaver point blank doesn't get forgiveness from Adora, and she even ends the series dead.

However, she defected to the hero's side in season two(regardless of any impure motivation), and stayed there and helped the protagonists until her season five death.

But Catra, who not only stayed with the conquering organization the Horde for almost the entire series while also eventually becoming their leader, was not only forgiven but also rewarded with a romance with her victim. Curious. 

The only way I can stomach her season five 'redemption', and lighting quick forgiveness, is if I forget the monster of four seasons didn't exist.

Problem is I can't do that. 

Why should I get any catharsis that the protagonists prevailed over Horde Prime when Catra is pretty much him with a sob story attached.

So it seems this show's message is no matter how much emotional and physical pain a person does to you it's okay to not only let them back in your life(damn your mental health I guess), but also enter a romantic relationship with them too.

It’s also hilarious that some of her fans say she’s Zuko.

No.

She’s what would happen if Azula and Kylo Ren were made into one character.

Titles the show should I have had:

She-Ra: The Story of a Villain Sue Antagonist That Gets a Happily Ever After With Her Victim

Another alternate: She-Ra: The Story of Lesbian Reylo or more current Lesbian Stolitz.

[winterzxsoldierz]

Well You Know Me...

Avenger!Bucky Barnes X Goofy!Villain

Part two

Warnings: Reader being an idiot and a flirt, no mentions of Y/N, Reader is a Female and a demigoddess who loves to cause chaos.

"Frosty the Bucky was a grumpy grumpy soul...and his arm was made of black and gold." Your voice rings through the loud speaker of the intercoms of your lair as Bucky walks in. "Hey James, looking fine per usual." You say with a chuckle and Bucky could just hear the smirk in your voice, he rolls his eyes, "Where are you?" he scoffs, already fed up with you, "Ah ah ah, you gotta find me, with those white wolf senses." You tease, and again he rolls his eyes. "Oh, hey there." You smile as Bucky approaches from behind, you spin in your throne chair for the evil effect and you grin.

"You're being an insufferable nuisance." Bucky tells you simply, while glaring at you, the chair you're in, it's ridiculous, he can only describe it to be unicorn vomit, if that's even a thing.

"More like an irresistible nuisance because you just keep visiting me, what's this like now...your third time i believe. you know what they say, third times a charm." A cheeky smirk grows on the curve of your lips and you laugh. "How much charm will it take for me to get that shirt off?" You slip in and tilt your head, the smirk on your lips grows seeing the pink tint Bucky's cheeks.

"Enough of the games, where is he?" Bucky demands, his tone taking on some sternness, as he eyes you wanting to see if you slip.

"Where's who James? gonna have to be more specific." You say, your tone mocking innocence. "Are you assuming i kidnapped someone because i most definitely did." you smirk wickedly. "He's alive, i think." Bucky blinks, "You think?" he stares at you. You smirk and nod. "Yes i think, i hadn't checked on him after i hit him with that." You point over to the long clown fist sitting on your desk, Bucky is about to speak but you raise you hand to silence him. "In my defense he was trying to rob me, i ain't rich, so i had to do something to protect my McDonald's money." Bucky face palms and nods, "Just show me where he is."

When you get to were your hostage is you grin wickedly and chuckle, Bucky isn't amused, as usual but you don't care, you walk slowly and speak animatedly "Ladies and Gentlemen, prepare yourself for my hostage and clutch your man bags and purses tightly, because he will try to steal your gas money or-" Bucky cuts you off "For Christ sake open the damn door." You bow and smirk "I love it when you're mean." Bucky's eyes roll "Why do i deal with this." he whispers but you hear him and laugh. Opening up the large purple door that has a large sign up with the words danger on it, it reveals a boy tied to a chair with a paper bag over his head that says punch me in big bold letters, but the bag isn't what Bucky was looking at, it was the suit the boy was wearing, a specific spider suit and Bucky loudly curses "What the fuck" You snicker "LANGUAGE." you snip in and toss the key to the chains in the air, Bucky catches it, "Good to see you're not dead bug boy." you watch as Bucy removes the chains from Peter

Bucky looks at you with a glare "He wasn't trying to rob you, just so you know." Bucky shakes his head "And his name is spider-boy."

"Bug boy." you retort.

"Spider-boy." Bucky says back."

"Bug boy." You roll, your eyes.

"Spider-boy." Bucky says again, a little frown on his face.

"Bug boy." You say again, determined to win this argument.

Peter just stares at you both, his eyes going back and forth to both of you as you both argue about his superhero name, he raises his finger "Actually it's, Spider-Man."

"No." You and Bucky say at the same time looking Peter's way." you look back at Bucky, now with a plan to trick him.

"Spider-boy." You say a knowing grin coming to your lips.

"Bug boy." Bucky argues and the pauses." "No wait- how." Bucky stammers and you laugh." "I win." You sing as Bucky grumbles and walks with Peter to the exit."

2 months later

Back in the compound Bucky sits, a bored expression on his face, no missions were happening at the moment, he looks down at his phone and sees about 5 text messages from you, how you manged to get his phone and put you number in it he'll never know. "I see you're texting your girlfriend." Sam teases, making Bucky jump a bit, he wasn't even sure when Sam came in but he glares at Sam grumpily and scoffs "She is not my girlfriend Sam." Bucky grumpily replies but to Sam it sounded defensive to defensive. "Sure sure, not your girlfriend, but you always visit her." Sam smiles, it's smug and Bucky hates it. "Whatever." Bucky shoves his phone into his pocket and gets up. "Where are you going Buck? i was only messing with you." Sam says, with a teasing smirk watching Bucky walk off. Sam is 100% sure it's to go see you.

Tag list: @hisredheadedgoddess28

i'll make a part three, stay tuned😉 part one here <-

[rawliverandgoronspice]

re: sympathetic ganondorf vs evil for evil’s sake ganondorf, i think this is misrepresenting and underselling what’s actually offputting to people

“i’m evil because i’m evil” or “i’m evil because demise is evil” and the associated lust for power simply for its own sake has always been lame and low effort. there’s a reason it’s “shit tier” on the classic “villain motive tiers” thing

“i’m evil but there’s enough nuance to make the player at least somewhat sympathetic to me even if i’m still ultimately a bad guy” is a good thing that people like? i’ve never personally interacted with a zelda player who thinks windwaker ganondorf ruined the character or anything - he’s generally regarded as the gold standard of villain writing both in and out of zelda. this is roughly “high tier” on the tier chart

“actually TWIST i’m not evil at all, it’s the good guys who were evil all along, i’ve done nothing wrong and i’m completely justified in my righteous quest against the status quo, you’re the real secret true villain for being complicit in preserving it” is technically regarded as “elder god tier” on the motive tier chart but i would personally label it as “oscar bait tier”. these things *can* be compelling in conversation with the existing landscape, but often it comes across as a deliberate effort to subvert the audience’s expectations for the sake of being unpredictable (or worse, for the sake of proving you’re the smartest one in the room). in separate works where this conversation/critique is the entire point (eg. Watchmen or The Boys), that’s not necessarily a bad thing, and the audience sets their expectations accordingly. in an established, long-running franchise, however, this almost always reads as dripping with contempt for the audience, like walking into a room and going “you morons like this shit? let me, a person much smarter than you, explain what it’s Actually about, because you’re an idiot if you’ve been a fan of this series before now”

on top of that, in the context of a series like zelda, this type of story feels myopic and disrespectful to the future of the series. “welp i burned down the 20+ years of lore behind this character so i could do a deconstruction, good luck using them in any capacity in the future, sounds like a you problem”

all this is to say, i think it’s a bit disingenuous/strawman-y to suggest that people put off by this want ganondorf to have 0 depth at all. there’s a lot of room for different kinds of depth, it’s just that the trend of the last decade has been for “depth” to mean “condescending deconstruction”

Hey!

Thanks for taking the time to write this ask, I think it warrants an interesting conversation. To me, there's like, a lot of things about what you're saying, and tbh I do see where you're coming from --in part.

First thing first... No yeah unfortunately some people Are hostile to even WW Ganondorf. It's been a rising trend in the fandom since TotK was released --people being very against the concept of any additional complexity to the character, either not getting it or considering anything he says pure manipulation that doesn't even warrant a conversation, literally making fun of people who were intrigued by this and wanting more out of this particular thread. This position not only absolutely exists within the fandom --less so on tumblr, I'll agree there-- but it's not even hard to stumble upon as a pretty regular opinion that gets tossed around. I had some interesting asks thrown my way, let's say. The idea that Ganondorf is a remotely interesting character that deserves more thought than what he gets is very much Extremely not the norm, and the very fact that you, as a fan, likes him as a guy is perceived as weird and missing the point by a lot of people. Like a lot a lot of people.

So I'll just... I guess I haven't clarified my position in a while, so I will reclarify my position on our favorite evil dude: I do like him perfectly fine as a villain, I do not want him to be "redeemed" by the narrative, I think he works fantastically as an ongoing threat, I think they could make him even scarier and more offputting and that would be super fun and thrilling... and I also think he already is complex. Like, inherently. Everything Nintendo has been putting into him since his first appearance is complicated --even their attempts at flattening him back in TotK do not fully work because they can't scrub him of the extremely loaded ideas they injected into him from the get-go. Nobody forced Nintendo to do a Mega Orientalism when inventing him, nobody made them write the NPCs to have this super weird antagonistic relationship to the gerudos in OoT, nobody made them have all this lore of the one man born every hundred years, raised by twin witches --and then nobody made them press on that tension point in Wind Waker explicitely, and then, in a more subtle fashion, in TP too. Nobody forced their hand when it came to having the strange "round ear" situation, suggesting (confirmed even, in additional canon) gerudos are born unblessed. The fact of the matter is: everything to make the relationship between Hyrule and the gerudos complicated has been there since 1998. There's no need for a Switcharoo to prove that anyone is smarter than the audience: everything messy has always been baked within the worldbuilding itself. It's in the cartridges already!!

Perspective on it is what could change, though --because, except in Wind Waker, we never get even a hint of a sense that we should think, as an audience, that Hyrule's super weird relationship to the gerudos is maybe questionable. Worth thinking about at least. Which, given the optics, is wild to me that to bring this particular can of worms up is still very largely considered crazy talk within the fandom (that, or the Sheikah situation across the series, also insane in many ways). And yes, it would perhaps lead to themes that are a bit heavier than what Zelda has been overtly dealing with (though, again, Majora's Mask exists --and I do find a lot of unpacked ideas in the Wild Era, like the very unquestionned gerudo bridal pipeline, very uhhh unfortunate already if I'm being honest --even moreso because it is unquestioned). But Zelda, when well handled narratively, can do wonderful things with evocative subtext, open doors never fully crossed, a lynchian pressure on what should feel offputting. We don't even need a sad monologue about it. It doesn't even need to be handled explicitely. But I think the pressure point is just better when understood and incorporated in some form, instead of being denied so hard the world itself start to feel incomplete and unlived.

I do want to say... I get what you mean with the whole "oscar bait" thing. There has been, historically and in recent years, a tendency to be driven by an external, almost panicked sense of morality rather than by the internal drive of a story, its internal thematic logic. I also do think it can feel very corporate, very "Disney looking back at its own movies and scrubbing off everything Buzzfeed deemed problematic in 2014 while making everything glossy and lifeless and awful" and it's not that great!!! and tbh I can't say I would trust Nintendo to handle any appreciation for the fact that the story of an eternal golden kingdom cheering on beating the evil outsiders who want to corrupt everything good and pure and blonde about that perfect inherently good place, is like, extremely not neutral. It absolutely is a delicate thread to weave, and I agree that putting a definitive end to Hyrule is probably not the smartest IP move to do. But, Hyrule doesn't have to be condemned as Bad, it can be merely complicated. And ongoing, regardless. To keep on with the Disney parallel: The Lion King would feel weird if we started to peel off the internal politics of the hyenas, it's just not the right place for it, when everything about this story revolves around the Righteousness of the Divine Right to Rule. But if the Lion King was an ongoing series that had been looping on itself for a while... wouldn't it make sense to figure out how to achieve majesty by studying other angles too, eventually? Is it that strange to suggest the exercise is like, possible? That it can be handled with artistry and soul?

I feel like... Yes, to acknowledge Ganondorf's humanity --not even to coddle it, just to acknowledge it-- implies taking in everything that makes him who he is, and that might rattle some foundational ideas about why this ancestral fight is even happening in the first place. I also do not think it means that he must be Good now. He can still punch a child and cackle maniacally, he can still be unredeemable --he can still destroy himself and others out of the most unconstructive spite ever, and we can still see the purpose in defeating him while basking in the "yea....." left in his wake (Wind Waker did that!!! Wind Waker did that and then we had more Zelda games!! crazy how that happened). This is hardly undoable. It does take some narrative skill, and some commitment to taking a bit of a risk, but Ganondorf is genuinely unmanageable as a character if you insist on your refusal to acknowledge his foundations --and I think it's partially why TotK's story is such a mess. He sells a TON, but you can't have him breathe slightly too loud without risking the entire world falling apart. They did try in TotK, so very hard, and to me they still failed--as insane as he behaves, Hyrule still doesn't come out of this looking good or particularly justified, because the very central core of Ganondorf's character is to be subjugated, and then rebelling in a destructive and brutally selfish, uncompromising manner that ends up robbing him of humanity --and the discomfort of that premise will therefore always haunt the conversation. Nintendo dug themselves into that mess. I feel like a lot of the Ganondorf fans I know merely... point at that. At the mess. And I feel like the longer the games avoid this mess, the more coats of spinach green they slather ontop of his skin, and the more nonsensical characterization they pile up, and the more Ganondorf will become a parody of who he once was, and what made him compelling to begin with.

And to top it all off, as if he wasn't contentious and complicated enough to handle already, they leaned into the internet turning him into a sex symbol for some fucking reason??? Yeah I genuinely have no idea how Nintendo will manage this dude moving forward, because to me, he is, at best, an endless source of (very lucrative) headaches, and at worst a ticking time bomb. I'm not sure how long they can get away with that TotKification strategy, is what I mean.

(Also: I tried to not overdwell on all the incredibly complicated conversation re: race and orientalism, but it's borderline impossible to have this conversation without acknowledging that I have never seen a major pop culture villain receive more pushback against "woobification" than him, and I don't think it's a complete coincidence let's say :) )

[soulfulazrael]

Stella being Beatrice of Helluva Boss is pure idiocy at this point in the show.

Hello there. I am posting something. That's a new. Reminded myself "Oh yeah this site exists" and decided to post some shait about HB. Why not?

Drawn by wholetthemonst1

There was something I came across some time ago in Helluva Boss community and that is the idea that Viv wants to make Stella into a character reminiscent of Beatrice Horseman from Bojack Horseman. And as someone who loves Bojack and respects Bojack and I can probably say now HB is my Becker (wink, wink, nudge nudge WATCH BOJACK IF YOU HAVEN'T) I have to say my piece about it.

But first let's start with Beatrice Horseman herself (careful, there will be spoilers for the 4th and 5th season of Bojack Horseman if you are still going through it). So... Beatrice Horseman. Who was she? What was her deal? Well she was a horse born in 193- okay, okay I am not doing that whole bit. Sorry. Let's get into it. Beatrice Horseman. She is probably one of the most despicable and yet complex characters in the whole of Bojack Horseman. A show known for complex characters and stories. It's a show that many people would say is unfair to compare to Helluva Boss, but given that apparently Viv wants to compare one of her characters to the ones from that then it's free game, wild west baby so let's get on with it already.

Again. Beatrice. Despicable, abusive, terrible, terrible person that is contributor to the kind of man Bojack is in the show. There is no beating around the bush that she was a horrid person that one could say at first glance is not too disimilar to the Stella we know and boy isn't that just the perfect test for who watched that show and who didn't. Because I did and I can say for certain if they were doing that from the start, it's already a complete failure for two reasons.

First off. The photo from The Circus. If there is something Beatrice wasn't, it was being terrible from the start. She was not, everyone who watched the show will tell you with 100% certainty that she never begun as this terrible person. She went through a lot, doesn't excuse the abuse she put her own child through, but we know for certain she did not start like that and this is a big problem with the photo shown in the Circus.

Because nothing speaks sweet and nice than a complete psycho strangling puppies. Yeah I am not going to sugar coat. This photo single handedly made me about 90% done with Helluva Boss. I could see everything that was going to happen the moment I saw and so far I was not too far off. And this is a major failure on HB's part. Making Stella a psychopath who strangles puppies from early childhood. And I get that it's supposed to be funny, but Bojack itself never sacrificed narrative coherency for some dumb unfunny comedy. Especially did not sacrifice depth of the character that Beatrice was.

And one may say "Well the first times we saw Beatrice she was a despicable one note villain as well" and to that I say... no. First time we see her is where she is clearly dissatisfied with her marriage with Butterstoch who seems to be even more terrible than she is at that point and nothing points towards her being some terrible Satan like figure. We do see pieces of abuse she put Bojack through, but she never enters the realm of being so horrid that it becomes too cartoony. Aside from some obvious things like the argument of hers with Butterstoch (I still have I'M EXITATING live rent free in my head). But those moments never made Beatrice into someone who is just evil for the sake of being so. At least there was always this lingering feeling that she is the way she is not just because this is simply how she is. There were already reasons for it given to us in the very first season.

And you know what. They actually started it okay. In first season we saw Stella being more passively dismissive if not just uncaring about Octavia's crying, but it was not something that got across her being some terrible monster, just someone very tired and someone who probably is not there of their own volition. Makes her still terrible, but you can work up from there, but HB never did. I say what they gave her in Season 1 while cartoony in many ways like her screaming so much and hiring hitman did not kill the potential for her to be complex as much as that photo of hers did in Season 2 which again, I think already sank any potential for her to be complex.

But some other people will say "Well we do not know the context of that photo". What context? You want to add context to a girl strangling and beating puppies? Really? Because let me tell you no matter what you do, it will NEVER work. Adding any sort of context to make this kind of photo feel like it makes sense for any sort of complex character will result in laughable at best results that will make it feel like this show doesn't know what the hell it's doing.

Because you do not make this kind of photo for a character you want to be perceived as complex. It just doesn't work.

And there is a second issue beyond that photo. Her motivations, big part of which we saw in Western Energy. Because as far as we see she only wants to bring torment to Stolas, she keeps saying that, she keeps being shown to be too dumb to think of any other reason or how that can screw her over and that also destroys any semblance of chance that this character could be complex. Because Beatrice while terrible had a very good reason for why she was like this. Having your lobotomized mother at such young age telling you to not love anyone will definitely screw you in the head and even then what we see in the show despite such morbid origins is nowhere near as stupidly 1 dimensional as Stella was for 2 seasons already and in Season 2 of Bojack we already saw her being more complex too. Something this show only destroyed further with Stella. Kind of going in the opposite direction of starting in more complex manner and gradually destroying those illusions of depth Stella could have had.

And honestly I do not know if I have to add anything beyond those two reasons. No matter how you look at it Stella doesn't feel remotely as a character designed to be complex. And just so you all know before you start typing essays comparable in length to this horse shait. No, complex doesn't mean redeemable, doesn't mean a character is good or worthy of redemption. It means they can feel like actual PEOPLE! Not some caricatures. Because so far Stella is just that, a caricature. A hate sink. And NO, it is NOT challenging at all to make a character like that and her being so easy to hate is not sign of good writing, it is LAZY.

And this makes me really feel like Stella was NOT planned to be this complex Beatrice like character and in fact I feel like what is going on now is a response of Viv (one of many) to the criticism (at least she listens to them this time I guess... progress?). Basically I think she saw people dunk on Stella's character for being pretty much equivalent of a wall with some mean things sprayed on it, she now starts to go in completely different direction without any semblance of idea of how to make this work. Purely reactionary action.

And to me that reflects another issue I see when compared to Bojack. Here is the clip from it that I think describes this issue I have. This one being from Free Churro. My favorite Bojack episode.

This I think is what ticks me off about the writing of HB as a whole. They think big gestures in writing like giving this one character a le sad backstory will make them sympathetic and complex and oh so well written. That this one act of non douchebaggery makes that POS already well on the path of being better despite them doing the same garbage all over again. That one moment of complexity that you repeat over and over again is enough to make the show complex. That this small piece of text or scene makes a relationship great or make sense. No. Writing doesn't work like that. Stories don't work like that. You need to be consistent, you cannot just throw one scene and immediately expect that people will eat up that this character or this story is more than it is. You need to put in the effort for more than one minute or one episode. You need to try your damn hardest to make your story complex if you want it to be so. It is not something you get participation trophy for. It is something you need to commit to. Or hire a better writer. That helps as well.

Okay. That got a bit derailed. Sorry for that. It was pretty long rant and yet somehow I feel like it wasn't long enough. Stella Goetia. Who is she? What is her deal? She is a victim of terrible writing that made her into a hate sink when she had so much more potential and now that this ship is well on it's way to Davy Jones's locker only NOW this crew of misfits and not very good writers try to salvage what I will say is already unsalvageable. Stella is not Beatrice, she will never be Beatrice. She could have been. She really could have been, but the direction they went with in Season 2 was equivalent of dropping a bomb on a baby and trying to see if it's alive... The best you will find is ashes. But I guess they will be of some reminder of what could have been.

Honestly I don't know why I wrote so much for it. I don't even want to watch this show anymore. I watch shorts, but... they are short. I write my own version of this universe as well, but it's something I do now because like Bojack once said in this clip

And I feel the same thing. This show had all the right pieces right there, but it can never put them together and it bums me out to see and leaves me only with passion for what it could have been. It really depresses me. Because I want to love this show and I already spent around 5 years watching it and pouring my heart into work about it, but now... Now I feel empty. And it feels bad.

I don't like Helluva Boss and everything is worse now.

[geshu-lin]

In Defense of Geshu Lin’s “Villainy”: A Modest Criticism & Analysis

Being a character that has only ever been mentioned by others and hallucinated a couple of times by a severely traumatized Doctor-turned-General, it’s no surprise that Geshu Lin has become victim of a number of (admittedly, very extreme) inferences about his character being villainous or downright evil.

This post seeks to argue against these inferences, taking the stance that they were made with limited information or not supported by canon/refuted by canon.

Staring Through A Filtered Lens

There is an unfortunate phenomenon in the Wuthering Waves fanbase where people assume that the Geshu Lin that has been presented to them is the purest, most accurate representation of him, though in reality all instances we have seen of his personality are either:

A. Distorted hallucinations, of which were altered due to Jiyan’s emotional state (ie. The Retroact Rain quest)

B. Metaphorical representations of Jiyan’s insecurities and almost a form of self punishment/a representation of his self doubt (ie. Jiyan’s character trailer)

C. A story from a storyteller, who is… a storyteller. Details, of course, are embellished for stories, and the tale mentioned does not go into Geshu Lin’s personality whatsoever; it only demonstrates his actions.

The Consequences and So On…

I have noticed that many fans believe Geshu Lin hates Jiyan, or detests him to a degree wherein he would exercise genuine cruelty upon him. I oppose this idea immensely—even in Jiyan’s hallucinations (seen in the Retroact Rain quest), Geshu Lin demonstrates some form of respect for him. He would not have asked for Jiyan’s opinion, even in Jiyan’s hallucinations, if he did not care for his opinion or input. I recommend rewatching this for a refresher:

I also fear a common subtext forgotten in this scene is that Geshu Lin had good reason to be upset at the idea that Jiyan wanted to stop him back during the Battle Beneath the Crescent. At that point, Geshu Lin had directed and watched countless numbers of his men die in war. It’s simply sunk-cost fallacy—if Geshu Lin retreated at that point, he wouldn’t be able to live with the shame of having not been able to avenge his men or, at the very least, proven that their efforts were not in vain.

Even the words of someone he respected enough to ask the opinion of (Jiyan) was not able to shake him from it—this is a human flaw, something I believe would be unfair to treat as downright villainous or cruel.

Oversimplification Taken as Truth

Geshu Lin did not outright step on his soldiers in order for glory or fame—not once is some ulterior motive of avarice ever implied, except for possibly “I will pave the way to victory with my Forte;” but that can be read as either pride or confidence for the sake of bolstering already low morale. Of course, he was stubborn and arrogant—but to provide him a benefit of the doubt, no one knew what the Retroact Rain was when he was around.

Who would give up the once in a lifetime (quite literally) chance to avenge hundreds, if not thousands of lives, just because of—as far as Geshu Lin was aware—some bad weather and ghosts? Especially knowing the weight and expectation of being able to make sure countless soldiers’ sacrifices were “worth it” in the end?

Even taking Jiyan’s hallucinations with a grain of salt, it’s evident that the sacrifices of his men absolutely haunts Geshu Lin. He cannot move on from it. Maybe that grief from the real Geshu Lin in the past is what stuck with Jiyan the most.

If Geshu Lin ended up retreating, I don’t doubt that he was also the type of person to think that these efforts and sacrifices would have all been for naught, and he would have failed his men. He would never be able to live down that shame.

So What’s His Deal, Really?

I don’t believe a “prideful, greedy, evil man” throws himself alone into the heart of a Threnodian, likely Overclocks, and then banishes said Threnodian out of sheer want to defend his country and its people. If anything, I can only assume his slightly more morally grey stance on war—a much less ideal and somewhat realistic vision of war, that is endless amounts of sacrifice and a series of “terrible but best in the moment with what we have” decisions—makes people uncomfortable and thus, it is insisted that Geshu Lin is somehow inherently evil and it is his personal fault for… well, making the best choices he could during an incredibly terrible circumstance.

People forget that if Geshu Lin ordered a retreat amidst Ovathrax’s rise, Jinzhou would be no more. Jiyan could only order a retreat because Geshulin sacrificed himself to banish Ovathrax, albeit temporarily enough for the Midnight Rangers to get some breathing room.

Conclusion

Geshu Lin is not a cruel, Jiyan-hating, evil man. He did what he could in the circumstances he was given. The “evil” Geshu Lin we see fighting Jiyan (such as in Jiyan’s character trailer) is almost always a representation of Jiyan’s inner self doubt and shame—never once have we actually directly met or even seen the man in reality, even in flashbacks.

Overall, it seems a bit disservicing to boil down an entire character to a small pinpoint of traits (“hates Jiyan, sacrifices soldiers for his own benefit, evil”), which in itself is due to the distorted perspective of an unstable Jiyan and complicated circumstances. Geshu Lin is a lot more than that.

For all we know, he might even be proud of Jiyan for being able to step up and protect the nation he (assumedly) died for so fervently, and quell Ovathrax (albeit with the help of Rover and Abby) a second time.

[bethanydelleman]

Writing Villains (Advice from Jane Austen)

One of the reasons that I find Jane Austen's novels so wonderful is that they have amazingly realistic villains, some that are fully fleshed out characters. Austen's biggest strength is that she gives her villains clear, logical motives. In fact, for many of her villainous characters you can turn the entire story around and see a rational story from the other side.

For example, Lucy Steele. She doesn't attack Elinor out of mindless evil, but because Edward Ferrars is her golden ticket to wealth and she knows that Edward loves Elinor. Lucy might twist the knife a little on Elinor out of sadism, but generally she attacks Elinor in an attempt to secure Edward. When it comes to other characters, Lucy is overly sweet if she wants something from them, otherwise she acts normally. As an example, she leaves Marianne alone because Marianne is not competing for Edward and also can't do anything for Lucy. Anne, Lucy's sister, likes her. Lucy has friends and family she stays with, she's a fairly well-rounded person.

You can put yourself in Lucy's shoes, you can turn the entire narrative on it's head and play it out from her perspective and it would make complete sense. You could even make Lucy sympathetic! She probably sees herself as a hardworking underdog, trying to wrest her one chance at prosperity away from the conniving Elinor Dashwood. I'm sure she thinks the pain she causes Elinor is justified.

If you can't do that with your villains, then there is a good chance they are just evil for evil's sake. I picked Lucy Steele on purpose because I hate when the entire motivation for a antagonist female character is "bitches be crazy". Bitches may be mean, but almost always for a good reason.

Even Mrs. Norris, who is probably the most cruel of Austen's female villains, can be perspective switched. Her life is about being useful to the Bertram family so she can feel important because her married status/wealth is lower than she wished. As she must always be deferential towards the Bertrams, she takes out her negative emotions on those below her, the servants and Fanny, while also showing off how good she is at "managing" those people. (And yes, she is your childhood bully)

We often hear her perspective and she clearly sees herself as a useful part of the family and a defender of Sir Thomas's wealth. She thinks she's a good person! Which is also an important point: most people doing wrong do not believe that they are doing wrong. That is what really makes a villain scary. Mrs. Norris thinks she's helping Fanny in a very twisted way by teaching Fanny her station in life. If you asked her, she'd give you a self-justified answer and she'd probably actually believe it.

Another way to do a good villain is to just make a person very selfish. Henry Crawford doesn't sit around all day laughing about how much pain he causes women, he doesn't think about it. He only thinks about the fun of flirting for himself, not the harm to others. The glimpses we get into his perspective are not cruel at all. It's the same with Willougby, he thinks only of his own pleasure and tries very hard to ignore that he has crushed Marianne and destroyed Eliza Williams. When he is forced to accept that people were hurt, he blames everyone but himself.

Wickham thinks that he's a victim, Caroline Bingley is ambitious and doesn't care who she steps on to get to the top, Mr. Elton is insulted that Emma could even dream he's a match with Harriet but he can't touch Emma so he punches down at Harriet. They all make sense, they all probably believe that their actions are justified.

Also, imagine taking the heroine/hero right out of the story, would the villain still act the same way? If Anne didn't exist, Mr. Elliot would still try to bring himself into the Elliot family because he was afraid of losing the title. If Elizabeth didn't exist, Wickham would have had another favourite in Meryton. If Fanny didn't exist, Mrs. Norris would have found some other puppy to kick. The villains don't just appear for the plot of the main characters, they have their own reasons for moving around and messing shit up.

Lastly, explaining but not excusing (though unfortunately some people will excuse anyway but that's not your fault). Mary Crawford is mercenary and doesn't seem to believe that love is even a real thing. It's pointed out several times in the novel that her defects have to do with being raised in an immoral environment and a broken home. She was taught by her aunt to marry for wealth and disregard love. Austen doesn't excuse Mary, she doesn't give her a happy ending, but she does explain how she came to be. She's not just greedy, she has been taught that wealth is the best recipe for happiness. As an adult now, it is her responsibility to question that maxim or remain a villain.

Austen wrote amazing morally grey characters and "villains" (a term I used a little liberally here, some of them probably only count as antagonists, not full blown villains). I love how real and human she made her characters, it's something I aspire to myself!

Linking my Caroline rant because it's related, people remove her motives so often and flatten her into a "bitches be crazy".

[xyywrites]

Writing ✨Villains ✨

Villains aren’t just bad guys to be defeated—they’re individuals with desires, insecurities, and emotions that shape their actions. So how do you write a villain that draws empathy, admiration, or even love from your audience?

Let’s break it down.

1. Give Them a Relatable Motivation

Villains often have personal stakes in their actions, which makes their goals more understandable. Even if their methods are extreme, the why behind them should make sense. Take Magneto from Marvel—he’s fighting for mutant rights because of the trauma he endured in the Holocaust. His hatred of humanity isn’t just for the sake of being evil; it’s rooted in a deep fear of oppression. Readers don’t just see a villain—they see someone who has been hurt and is trying to prevent others from experiencing that same pain.

2. Give Them Depth and Complexity

One-dimensional villains are hard to relate to, so give them layers. Kylo Ren from Star Wars also falls into this category—he's torn between the dark side and the light, haunted by his family and the shadow of Darth Vader. His internal struggle makes him more sympathetic, and while his actions are dark, you can’t help but wonder if he’ll ever turn things around.

3. Make Them Charming or Charismatic

Loki from the Marvel universe is a prime example of this. He's witty, clever, and has a tragic backstory that makes him compelling, even when he’s causing chaos. The charm helps balance out his darker actions, and there are moments where the audience wonders if they should root for him.

In The Dark Knight, The Joker is a complete anarchist, but his unsettling charisma and unpredictable nature make him compelling to watch, even if you hate his methods. He challenges the status quo, which in turn makes readers consider if maybe some of his ideas have merit.

4. Let Them Be Vulnerable

Villains don’t exist in a vacuum. Show their weaknesses, fears, and internal struggles to make them more human. Scar from The Lion King may be an intimidating figure, but his jealousy and bitterness stem from being overshadowed by his brother Mufasa. His vulnerability in wanting to be noticed and loved gives readers a glimpse into why he acts the way he does.

Darth Vader in Star Wars is another example. His descent into darkness is rooted in love and loss—the desire to save his wife from death led him to make tragic choices. As the audience sees him struggle with these emotions, they can understand why he fell to the dark side, even if they don’t agree with his actions.

5. Make Their Actions Justifiable (From Their Point of View)

Thanos from the Marvel Cinematic Universe sees himself as a savior, even though his plans involve wiping out half of all life in the universe. To him, it's a necessary evil. While the audience may not agree, they can see how someone could come to this conclusion, and that complexity is what makes him so compelling.

6. Use Their Relationships to Humanize Them

Villains often have relationships with others that show a more tender side. Raven from Teen Titans has a complicated relationship with her father, Trigon. His manipulation and the psychological toll he puts on her create empathy for Raven, as we see her fight against the very darkness she is born from. Similarly, Hela from Thor: Ragnarok has a complicated relationship with Thor and Loki, adding layers to her villainy.

Azula from Avatar: The Last Airbender is another example. While she’s ruthlessly ambitious and terrifying, her relationship with her family—especially her father, Fire Lord Ozai—provides a glimpse into the motivations that drive her cruelty. Her vulnerability shows when she struggles with her identity, especially when she loses the one person who ever fully supported her.

7. Let Them Be 'The Antihero'

Sometimes villains are antiheroes, and their actions, though extreme, may align with the reader's personal values. Deadpool is a great example of a character who straddles the line between hero and villain. His sense of humor, emotional trauma, and self-preservation make him easy to root for, even if his methods are chaotic and unorthodox.

Harley Quinn : Her backstory with the Joker and her eventual break from him makes her a villain-turned-antihero. She’s a product of her abusive relationship, and as she seeks redemption, readers can’t help but want her to succeed—even if she’s still a bit off the rails.

8. Make Their Death (or Potential Redemption) Impactful

When a villain’s arc concludes—whether through death, redemption, or failure—it needs to feel earned. Severus Snape in Harry Potter is a perfect example of this. He’s a villain for most of the series, but by the end, readers learn the truth about his motivations and sacrifice. His redemption arc is poignant, and while he’s a morally grey character, his death is deeply impactful.

Zuko from Avatar: The Last Airbender also starts as a villain but grows into an antihero as his relationship with his father, his sister, and his country evolves. His redemption is gradual and earned, making his eventual turn toward good feel earned and satisfying.

TL;DR: Villains who make you almost root for them have depth, vulnerability, and charisma. They're not just "evil"—they’re complicated. And that's why we keep coming back for more.

[bowserbowser29]

The ol' noggin is in a sudden Rough and Tumble kick, and in doing so it made me realize how much of a breath of fresh air they are compared to all the other Sonic villains.

To explain what I mean, let's first take a look at what are some of the most deplorable actions by all the other major villains present in the IDW comics: (also this is kinda long, so bear with me)

Dr. Eggman

Started a plague that turned people in mindless, shuffling zombies and completely coated the planet in metal gunk just because he was petty about being good for a few weeks.

Dr. Starline

On top of helping the previous doctor in his disease spreading efforts, he (presumably) kidnapped two people and forcibly implanted cybernetics while also brainwashing them and irreversibly ruined their lives, just because he wanted to prove a point he was wrong about.

Zavok (and the Deadly Six)

Say what you will about these guys in the games, but they not only made Eggman's Metal Virus plague WORSE and more infectious, but once the Faceship was destroyed Zavok went on a mad rampage to try and finish what he started and turned into a freaking kaiju in the process. That's also not to mention that one time he found a doctor to heal him after the events of Bad Guys and flat out killed him.

Clutch

Held several Chao in a small cage just for the sake of racing them, has been confirmed to have caused damage to the environment, forced a ship to crash land either in a city or on top of the heavily populated Restoration HQ, and has literally shot at children.

Mimic

Has betrayed every single team and/or person he has ever worked with simply to save his own skin. Worst case is obviously the Diamond Cutters where he sent them to their deaths directly. Then after all of that he still wants to go after Whisper and kill her even when it's easier for him to just lay low and forget the whole thing.

Rough and Tumble

Stepped on a roast.

Rough and Tumble are a different breed to every other villain in Sonic. Whereas everyone else is a monstrously evil psychopath or a sadly accurate depiction of some real people in power, they're just dunderheads. And that's what makes them so great!

Of course, those more serious and crafty kind of villains are what make Sonic stories so good. They are genuinely competent threats for the heroes to overcome and drive more than their fair share of conflicts. Plus, the likes of Eggman and Clutch are kinda key in Sonic's messaging of environmentalism and standing up to authority. But if every villain was like that, it'd get dull quickly.

So, it's nice, every once in a while, to see these bumbling idiot skunk brothers make a fool of themselves and just be there mostly for laughs. Even better though is that they're not some pushover, throwaway dorks. They can hold their own in a fight, even taking over a town for a short while after the war.

Still, they're the epidemy of the Wario and Waluigi of Sonic. Just these two jerks who could never come up with a competent plan to save their lives, but you enjoy following them anyway to see what hijinks they get up to. It's great, and really ought to make them stand out amongst Sonic's rogue's gallery for their uniqueness.

Also, just a quick little aside, this is one of my favorite bits in the entirety of IDW:

Tumble's fucking silent lean upwards. You can hear the inhale he does there. It's fucking amazing. I love these skunk dweebs.

Sorry if this was a big long post where I just ramble incoherently about two Sonic characters no one gives a shit about lol. I just wanted to get this off of my chest. I bet I'm not even the first one to say any of this stuff.

[mephojixx]

hey guys little thing about the dogman fandom that has been pissing me off ❤❤ most of this wasn't on this app but I'm saying it here anyways.

it feels as if so many of you guys are clawing desperately at sand, attempting so hard to make content of a good, proper villain but failing so hard. because what the fuck. you guys misunderstand petey SO bad. obviously he was and to some minor extent still is a bad guy. but it feels as if you guys aren't portraying that correctly?? no he wouldn't try and convince greg to hang himself what are some of you guys ON?? WHY WOULD HE DO THAT???

even when he was an evil villain he didn't go for anything mental or anything psychologically torturing cause you know he still has MORALITY. like what the hell are some of you guys smoking to come up with these and think that it actually makes sense for the character to do that.

i KNOW that it's nice to have a pure, actual cruel villain. but im not sorry to tell you that petey is not who you're looking for. you're just missing the entire point of his arc and character. people can change for the better and people can redeem themselves!!! it's possible guys!!! and dogman isn't the only peice of media in the universe, and if you're so terribly desperate for an evil villain to make content of within the dogman fandom you still don't have to look that far. grampa, piggy or even just try and make something of a side character like the fair fairy if you want it so bad.

like honestly idc which other villain you choose. but for goodness sake stop mischaracterizing petey i thought that you guys would have critical thinking

[doriansquest]

dragon prince season 7 refuses to be good and I'm so disappointed

i've been putting off finishing the season since it came out and i watched the first three episodes and absolutely hated it, but i finally decided to pull off the bandaid and wow was it so much more worse than i expected. like, i didn't really expect it to be good or anything, since everything has just been going downhill since season 4, but at the very least expected a proper conclusion, but nope, they couldn't even end the show in the finale.

this show just refuses to take the least logical path to the conclusion all the fucking time. like did there need to be so much subversion? follow through on your obvious foreshadowing. let callum be possessed by aaravos after he uses dark magic. that was set up all the way back in season 4. is he good? is he any different than as viren and claudia now, if he's willing to do the wrong thing for the greater good ("however dangerous, however vile")? hell, force rayla to reckon with that difficult choice. put her in the same situation she was in the pilot; is she willing to kill for the greater good, especially now when the stakes are so much higher and the victim is the love of her life?

let claudia kill terry and/or soren. that was bound to happen, she's far past the point of redemption now, she revived aaravos. stop tiptoeing around it. ("i'm still nice! i'm still me" what the fuck, no you're not. you made that decision ages ago, hell when you chose viren over soren all the way back in season 3). arguably, terry, as much as i love him, should have died all the way back in season 5, when viren was revived. it would have cemented claudia's conversion completed to aaravos if there was absolutely no one who loved her around anymore.

and for god's sake, don't try to make your main villain with absolutely no redeeming qualities sympathetic. don't give him a fucking daughter. not every villain is made to be redeemable, they can be just be evil! that's what i loved about aaravos. viren was morally grey from the start, but aaravos was always the dark voice whispering in his ear. he was conniving, manipulative, a force of pure evil! there was absolutely no reason to reduce him to this stupid thing that's so easy to defeat. why was it the dragons that killed him? why not the protagonists of the series instead of some side characters who haven't been in the story for multiple seasons?

like, there is no reason to constantly be adding new plot points? you can take a predictable solution. hell, it should be done in a final season. a story can still be interesting even if it's not the most twisty turvy thing in the world. it would have been so satisfying if the finale went exactly as expected: callum uses dark magic, gets possessed by aaravos and has to fight him out of his head while the other characters have to decide whether to hurt callum or risk aaravos escaping or whatever. we did not need the unicorns, nor the new archdragons, nor the fucking godforsaken sun elf plotline that never connected back to the main plot (and absolutely wasted amaya as a character). and we did not need evyrkind, nor bird harrow who never bothered to contact his sons, nor the seven fucking years. it was so easy to make a satisfying conclusion. why the fuck did the writers decide to take this route?

i don't know, i feel like i've put so much of my investment into this show for the past six years and somehow they manage to fumble it over and over again since season 4, and i keep telling myself that it's going to improve, that they're setting up something good, and they just don't, over and over for seasons. if you somehow enjoyed this season, please explain to me why. i want something good out of the time i spent.

[rabarbarzcukrem]

The eternal opposing relationship between the two sides of a mirror

or: In defense of Shiori

I feel like Shiori is one of the most controversial characters in Utena. Some love her, others despise her. And I don't have a problem with people having strong opinions on her character. What bothers me is the tendency to exaggerate her most negative traits, focus on her most harmful actions, completely ignore any redeeming qualities she might have and then paint her as a one dimensional villainous caricature, a mean straight girl who plays with the lesbian's feelings for the sake of it, without anything deeper going on.

I'm aware of the fact that some people refer to her like that in endearment or in a satirical fashion, and I'm not saying that you can't consider her your favorite problematic evil girl representation. I'm only trying to make people realize that it's her complexity that actually makes her such a compelling character.

I've seen people call Shiori all sorts of names, some of which were baffling enough to make me wonder if they even remembered what happens in the show, and weren't just judging a version of the character that they made up in their head.

So, let's look at the things Shiori actually does, throughout the course of the story.

Disclaimer: I'm only going to take the series into the account here, because I think we can all agree that everyone's characterization and personality differs at least slightly in the movie. Background characters also get a lot less screen time to explain their motivations in order to fully focus on Anthy's journey and struggles, which is understandable.

1. She "steals" the boy from Juri.

This is her biggest crime, which seems to define her from the very beginning. Even though Juri didn't actually have any romantic feelings for him, this action is detrimental to their relationship - it breaks the trio apart, isolates Juri from the pair, is an act of betrayal against her and proves it was done with full awareness that it would hurt Juri emotionally.

Shiori is a deeply insecure person, who constantly feels inadequate and beneath other people. The only reason why Juri seemed to actually like her that Shiori could think of was pity, and even when she found out she was the object of her romantic affection all along, she still struggled to comprehend it. Her self loathing and constant perceived inferiority make her desperate to gain any sort of control over her life and relationships, but they're also the exact reason she feels that the only way she could ever do that is by hurting others. She's always one step below and incapable of crossing that distance, therefore the only way to become equal to people is to bring them down to her level, by humiliation.

When she "steals" the boy from Juri, she achieves that. For a moment, she feels good about herself and leaves Ohtori thinking that she has found the answer, the solution. But she's wrong. From that moment on, it becomes more and more apparent to her that what she did was never out of love for the boy, even though she doesn't let herself acknowledge it fully. Because the truth is, Shiori actually regrets hurting Juri, which she admits herself during her elevator confession.

When the guilt starts getting to her, her confidence high wears off, and she ends up feeling ever worse.

That's why she breaks up with him and comes back. She's not ready to leave yet, not ready to progress. There's still something binding her to Ohtori - Juri, and Shiori's unresolved feelings for her.

2. She tries to set things right with Juri and to fix their relationship.

Even though at this point Shiori still thinks that Juri only ever associated herself with her out of pity, she still makes several attempts to get closer to Juri, who understandably (albeit coldly) turns her down ever time. This is a very clear sign of conflicting feelings Shiori has for Juri - jealousy and admiration, resentment and longing, hate and love. After all, Shiori admits that the two practically grew up together. Their friendship may have always felt fake to Shiori, but she clearly cherished it deeply.

3. The Black Rose Arc.

First of all, we should establish what is the purpose of this arc and how it functions. It explores the motivations of background characters and shows their worst side to the audience. The characters that end up in the elevator are the most unstable, vulnerable ones, with the least power in the system, in unequal and/or exploitive relationships with the duelists and their agency under threat. Mikage offers them a way to gain that power by making them follow their most toxic, negative emotions. And despite all other characters doing exactly that, from what I've seen Shiori is the one that gets the most hate for it. I don't think she should be judged any harsher for what she did under the influence of the black rose than, let's say, Wakaba or Kozue. Especially because the reason all of them ended up in that elevator is because they recognized that these urges were harmful and were seeking help and counseling.

What this arc does do is reveal how Shiori's inferiority complex drives her to act against her own desires. Even though she longs for things to be different, even though she is not happy at all with how her relationship with Juri looks like, she is unable to fix it, because that would require her to consider her own affection for Juri. And she can't do that, because it would mean admitting that she's not stronger than Juri, that she hasn't beaten her, that she's doesn't have control and an advantage over her. Although she tries to keep up this smug, self-assured facade, the reality shines through.

They key to understanding Shiori is noticing that she specifically doesn't want to acknowledge that Juri's feelings are reciprocated, and the obsession is mutual. If you paint their relationship as one sided, you're actually falling for her act.

4. She enters a relationship with Ruka.

Ruka is a handsome (arguable), respected boy who appears out of nowhere and starts showing interest in Shiori. It's obvious that for an insecure girl, who in addition struggles with confusing repressed feelings, this would be something unthinkably wonderful. The affection and praise she gets from him is exactly what her low self-esteem craves. You might be wondering why she didn't perceive Juri's feelings for her in the same way. And a part of the answer might be that, post nameless-boy-incident, Juri was nothing but cold to her. She might have been pining after Shiori from afar, but in the end she's distant and untouchable, and they're divided by their messy past. Meanwhile Ruka is a clean slate, seems openly affectionate, engaged in their relationship and he pays attention to her. But I think the main thing that makes Ruka so different from Juri is the fact that...he's a boy. Because, as Revolutionary Girl Utena establishes, gender plays a crucial role in interpersonal dynamics. Attention from a boy is fundamentally coded as romantic, desirable, necessary and most importantly: increases the girl's worth in society's eyes. It makes one a princess. Meanwhile Juri's advances could only be seen as an invitation to friendship, at best. But Juri's status and beauty make her special, while Shiori is not. Therefore, it can only be pity and mockery.

Of course, Ruka only uses Shiori to influence Juri and dumps her as soon as he achieves his goals. It's true that Shiori could have listened to Juri's warnings, but then again... why should she? From her perspective, Juri's her ex-friend that doesn't want anything to do with her, who only suddenly comes to Shiori when she's finally happy and fulfilled, and encourages her to end it. She doesn't know the wider context of the situation, nor does she remember the Black Rose arc. Juri's warnings don't sound sincere to her.

And so, Ruka gets rid of her in the coldest, most indifferent way, not explaining anything or showing even the slightest sign of compassion. Before that though, he makes an interesting remark, about Shiori putting on an act and polishing somebody else's sword.

Honestly, I don't really know how to interpret it in any other way than Shiori actually having feelings for someone else, despite trying her hardest to conceal it. Are my shipping lenses not allowing me to see any different possibilities? Am I going crazy? I don't know.

Nevertheless, Shiori begs him to stay, devastated. Her life got turned around so suddenly, she found appreciation, status, comfort and stability, and now all that's been taken away from her as abruptly as it was given. It's a public humiliation.

I once heard someone say that this would be the perfect moment for Juri to step in and defend her. And to be honest, although it may be true, I'm not completely sure. It may have been the one display of open care that Shiori needed from her, but it might as well have been interpreted by Shiori as Juri affirming her superiority over her and feeling sorry for her again. We will never know. In my opinion, so much of their relationship is going on in their own heads that the only thing that could ever cause positive progress is communication (which neither of them seem to be a fan of).

Instead, Juri only tries to console her after the fact, when Shiori's at her absolute lowest. In the context of all the assumptions Shiori holds and Juri's previous indifference, it quite understandably comes off as a sneering attempt to gloat.

That's about it. You may have noticed that I've summarized all Shiori's appearances into 4 points, and only one of them includes an instance of Shiori hurting Juri voluntarily, out of her own free will, not influenced by anyone. I'm not saying that she was forced to taunt Juri during the Black Rose Arc, I'm not trying to diminish the suffering she's caused or trying to paint her as a perfectly good person. I am trying to make it clear that she is not some cunning plotter, dedicating every minute of her life to finding ways to make Juri suffer that some people seem to take her for. I am trying to humanize people's perception of her a little bit. Especially considering the fact that last scenes of her include those when she waits for Juri and follows her so that they can go home together, and then joins the fencing club. If this doesn't show that she's capable of change, I don't know what does.

She's not an innocent princess, that's true, but she's not just an egoistical, manipulative liar either. She's a bit of both. After all, if Revolutionary Girl Utena is supposed to teach you anything, then I think it's that we're all just people, and the complexities of human experience make it impossible to fit anyone into a box, assigning them definite labels like "princess" or "witch".

And if you look at a teenage girl who, like all people in Ohtori, struggle under the system of patriarchy and heterosexuality, and all you see is a wicked, sinister witch, then you may have just fallen into the trap that the narrative had set for you.

[nami-treasure-trove]

I was rewatching Fishman Island arc through the remaster. Points for Nami and Jinbei who predicted Luffy's reaction to Hody's acts on Fishman Island. Although I know the other Straw Hats would also reach the same thoughts if they were present to see Hody and connected the dots, this is also a smart setup from Oda in order for Nami and Jinbe to meet and talk about Arlong later.

Also, it's great that later when they start talking about Arlong, Sanji is present. Being one of the East Blue gang who have fought against Arlong's crew and supported Nami back then, his presence added to the seriousness of the discussion. Luffy's a no-go. He didn't even remember Yosaku mentioning Jinbe.

How that would bring Jinbe to really bow his head down in apology.

But for Nami to then rise above her past and relieve Jinbe of his heavy burden because she understood the layers behind it all. She will not forgive Arlong. But his crew's actions is not a reason to hate other fishmen. Nami is but one example of what Otohime wanted to pass on to the future of fishmen. To go above their hate and racism towards humans, and get along.

I like to think that the reason he says this is because he used to not believe Otohime's way of thinking about humans. He had prejudice against humans. He went on a journey for the sake of the fishmen, but also to see for himself what the human world is really like after meeting Koala and after Fisher Tiger's death.

Jinbe having witnessed it time and time again (Ace and Whitebeard), and even more personal here with Nami, it really just proved that there is hope and goodness in the world if we embrace that. It was a genuinely powerful scene that I hope nobody glossed over. Nami's kindness is different from Whitebeard's or Ace's, since neither of them had a reason to hate fishmen. Nami, however, was tortured by fishmen. She could have chosen to hate their race, but instead, she only blames it on Arlong and his crew. And she's not even that unfriendly towards Hachi.

Also, let's not forget the fact that Shirahoshi was listening the entire time, AND KNEW HODY KILLED HER MOTHER, and all this was happening near Otohime's grave!

Oh, you sneaky, sneaky, Odacchi! This was definitely foreshadowing Shirahoshi's similar trait with Nami. Back then, I just thought she feels a little close Nami because I thought they shared losing a mother by the hands of the opposite race. But it's actually deeper than that. It's because Shirahoshi heard Nami not hating her race despite her experiences! BECAUSE SHIRAHOSHI'S MOTHER WAS KILLED BY HER OWN RACE AND SHE STILL DOES NOT FALL TO HATRED! Holy shiiiiit! I mean, I know Nami hates Arlong, but as far as Shirahoshi understood the conversation she heard, Nami is not a person who harbors hate herself.

THE LAYERS OF THIS SCENE. God, I hope Otohime heard them talking here fr.

Meanwhile, at this exact moment, Hody's crew were forcing fishmen and merfolk to step on Otohime's picture. The audacity. God they're the worst villains in the series. Hody and his crew are pure evil. EVIL. At least Doflamingo has a desire to have a family of his own, even if it twisted. Blackbeard, at worst, is just a greedy, ambitious mofo.

This is an incredible arc. I genuinely think it's up there with Enies Lobby, Marineford, Wano, and Egghead. The symbolism and setup is just crazy good. (We don't talk about the anime pacing. Only story-wise.)

Bonus: It's so wholesome every time Nami hugs Jinbe. I cry a little inside whenever I see it. Happy tears, ofc.