#and character analyses

[isekyaaa]

enneagram vibes

heart triad: insecure

head triad: avoidant

gut triad: leave me tf alone

[no-psi-nan]

Teruhashi analysis iceberg meme 🧊

[pythoria]

i don't think you can fully understand astarion until you do an origin run tbh, or at least watch a video of his dream and all the responses you can give. it's hinted at in the final dialogue with cazador with his "you've never forgiven anything", but astarion wasn't some indisciplined brat who "deserved" or "kinda asked for it". He would apologise and beg for forgiveness, he would mind cazador's wishes and schedule and be constantly anxious about it, and the only reason that he got the worst of his wrath wasn't because his personality is just abrasive and it angered cazador, it was purely for entertainment, because he begged the prettiest, he screamed the loudest, etc. You can make the argument that he was the most vulnerable of the spawn, the least powerful, the runt of the pack.

Sure, he wasn't a great person while he was alive what with all his magistrate bs, but he was young and a bit of a dick, not evil. When he was alive and kinda abused some of his privilege as a magistrate that was posturing, underneath it there was always weakness and self-doubt. And when he was stripped of that little power he had, he became his "truest" (or rather basest) self, which was a scared boy who wanted to make it big or impress his superiors. On some level I think he admired Cazador for all the power he had, and we know that at the ritual "he wanted to be just like him". I don't think he would ever purposefully anger someone he looked up to, even with all the shit he was forced to do. For 200 years he was an obedient puppet, and it was his shortcomings, not his defiance that earned him all the torture.

So when you meet him after the nautiloid crash, you aren't seeing a single genuine personality trait of his. Not until the love confession in act 2. All you're seeing for the majority of 2 acts is a mask, a character he created, as well as him in full survival mode. Of course he doesn't want you helping innocents, this might be his only chance to escape, he doesn't want that derailed. Honestly, you don't really see the "real" him until after you've killed cazador. For anyone who finished his quest, y'all know how different he acts in the graveyard scene. He's uncharacteristically soft, even nice, and yes he's angry and he can't undo centuries of suffering, but you've helped him come back to himself. By act 3 he already stops rlly dissaproving of helping people, and when talking to the gurs he's defensive because he doesn't want to get their hopes up and dissapoint them, not because he wouldn't give anything to help. Astarion at his core is sassy, sure, but he is undoubtedly *nice*. He's a good person, he feels so much guilt for what he's done and sympathy for his victims, and he *has* to push it all down lest the psychological pain alone kills him. He likes killing, sure, but more as a sport than a past time. And honestly i could go on and on but let's leave it at that for now.

[bicryptide]

"Rise leo is not canon queer/MLM-"

Be serious.

[rottmnt-background-screenshots]

This entire sequence breaks my heart! He just had a rough day and needed encouragement more than anyone, but he's the only one who didn't get a hype intro and that is probably murder on his self esteem.

[sophitz]

I think the key difference between Fitz and Keefe’s trauma responses is that Fitz is aware and ashamed of how his behavior affects those around him, while Keefe fully believes he is only being self-destructive when in fact his behavior is equally if not more destructive to those around him.

[lilacthebooklover]

what i really like about max's character in npmd is that he fully recognises that he's in his prime at high school ("don't need no one to tell me/ high school will be my peak"), and he's more than willing to "take advantage" of that. he understands that this is as good as it's going to get for him, and that's why he's so reluctant to let go of it. he lets his god complex fester because he has so much power at hatchetfield high, and when he dies, he's able to enforce that even further. he doesn't care that the group "buried and left [him]/ defiled [his] body". like this, he's in his prime forever. he's just angry that his system has been destroyed, that he's clearly lost his power in his death. so he kills richie and ruth to restore that, intimidating them into acting just as they did before his death, even after richie makes new friends and ruth begins to embrace a role as a performer. they've just started to grow further as people and characters, and max puts a stop to it as soon as he can. he goes after pete and steph not beause they killed him, but because they're dating- exactly what he forbid just before his death; by defying him, they take away his power. his goal, as stated, isn't revenge. max views himself as a god, and refuses to let anyone take the little world he's created away from him.

[beef-unknwn]

Forgor to post this here. I guess the headache got a hold on me lol

There's a trend going on of drawing your comfort characters as the Steven Universe meme so I drew my faves from mhg3

[atrophiedemotion]

an interesting ivantill parallel i really enjoy is the way they learn. till through creation and rebellion, ivan through mirroring and mimicking.

ivan is a sponge. he collects information on how to act via observation & deliberate people watching and mirrors it in his own behaviors. he reads classical literature and is at the top of his class. he absorbs all information he encounters and internalizes it to essentially learn how to be human.

till pointedly goes against the grain, against the segyein's wishes and the way his peers act and interact. he creates his own way of thinking and expresses himself via art. he writes his own music from scratch, doodles and draws and especially enjoys floral art. he does not bend his will to others- he paves his own way.

what's funny to me is that when it comes to love, they switch.

till learns his idea of love from observing how mizi acts around sua. he adopts her love as his own, yearns for her exact form of love for himself and creates his entire idea of care around what he sees of her. he wants the love he learns from someone else.

ivan learns what love is when he experiences it. he learns it from watching till, yes, but till doesn't show him that care- the love comes from ivan himself. ivan learns how to love from his own feelings, the ones he creates. it seems to be the one thing he doesn't have a baseline for and acts on it fully according to how he feels instead of how he's learned to act.

[cherbearsz]

when shadow says to nine that "it was all about power", he says it like he's familiar with that motivation, like it was once shadow's goal as well, that he too had been reprimanded with the same accusation. and we know in the games that shadow has sought power! whether it be a "jewel containing the ultimate power", or destroying the earth, or black doom weaponizing his grief, confusion, and rage for conquest.

shadow's insistence on nine's villainy and his eagerness to be the one responsible for nine's defeat - all directed at a character he barely knows - switches from somewhat disproportionate to entirely justified when you realize shadow does in fact know nine, nearly as well as he knows himself. because nine IS shadow - a shadow without support, a shadow alone and discarded by everyone, a shadow whose maria came back only to dash his own hopes and dreams apart.

[sky-scribbles]

There's some kind of connecting thread - and I can't quite articulate what it is - between Laudna's reaction to Bor'dor's betrayal, her reaction to Ashton taking the fire shard, and Orym carrying Otohan's sword.

In all three situations, someone deeply, deeply hurt did something that was grounded in their personal grief. And in all three cases, Laudna's reaction was of extreme, personal betrayal. (This isn't critical of Laudna, btw; she's a fascinating character and I think Marisha is doing an incredible job of leaning into the reality of how trauma can make you act in heightened, messy ways that are very difficult for everyone around you.)

Everyone was hurt and shaken by what happened with Bor'dor and Ashton, and understandably so, but I think it's telling that Laudna phrased both events as, specifically, a betrayal. 'I can't be betrayed again,' as she drains the life from Bor'dor (as opposed to, say, Orym's attitude toward killing Bor'dor, which was less 'we need to kill him because he betrayed us' and more 'this is a grim necessity, because we are at war.') Ashton does something incredibly ill-judged, and Laudna's interepretation of it is 'they betrayed us.'

Orym takes Otohan's sword, and Laudna sees it, again, as a personal affront. She challenges him for having the audacity to carry it. The sword killed her. (It also killed half the people in the room, including Orym.)

Something... something about how Laudna saw Ashton trying to absorb a powerful magical artefact because he'd convinced himself it was the right thing to do, and felt so injured that she ran into the forest for a night. Something about how Laudna tried to absorb a magical artefact because she'd convinced herself that it was the right thing to do, and felt injured by Orym's defiance.

I don't have a clear point here; Laudna isn't a character I've studied as closely as some others (and I would very much appreciate anyone who has been analysing her more deeply offering any input!) But one thought I had is this: Laudna once said that the worst thing that could have happened to her has already happened. And I think maybe Laudna sees what happened to her as the worst thing that could happen to anyone. It seems hard for her to understand how much the actions of those around her - be it Bor'dor being radicalised, Ashton going about their attempt to understand themself in entirely the wrong way, Orym trying to reclaim a painful piece of his past and turn it into a promise - can be rooted in a pain that might be equal to her own.

Of course, it's hard to tell how much of it is Laudna at this point and how much is Delilah, but... honestly, it is such a bold choice for Marisha to do this. Because this is what trauma does. It makes things feel personal that might not be directed at you at all. It makes your grief into an enormous monolith that towers over your life, and can overshadow, in your head, anyone else's. It makes you want to protect yourself in every way possible when a flicker of it occurs again.

And... I think it's another sign of how much Delilah is taking from Laudna. Because who in this story has been fixated on their own grief and loss, to the point of ignoring the pain they cause in their attempt to fix that loss at any cost, than Delilah Briarwood?

[melverie]

Can I just say that I absolutely LOVE how ever since they all found out that MC is human and was brought here against their will, it was Lucifer who kept insisting that they shouldn't be the ones to trap MC in the Devildom. That whether they want to stay or not is a decision MC has to make themself and that the brothers should support them no matter what they end up choosing

And now that the moment is finally here, now that MC has confirmed that they indeed plan on heading home, and now that all of his brothers agreed on helping them get back, having forged a pact and lending their powers to do so—

Now that he knows that he's the final piece needed to send them back; that the lingering idea of the yet to be forged pact between them is what's stopping MC from potentially leaving their side for good, leaving his side for good—

Now that they have finally gotten to this point, he realizes something. And he's unable to live with it

And so, he goes back on his word.

He's taking that choice from them.

"I don't want to."

Lucifer's pride is what keeps his voice leveled and neutral, as if it were just another day. As if he everything was completely fine. As if he didn't feel this pain in his heart, almost as if someone had rammed a dagger through his chest over and over and over again

To most people, he'd appear to be in perfect control of his emotions—if only his gaze wouldn't completely obliterated that frail façade of his. The way his beautiful dark eyes shimmering with a hint of blood red silently plead, beg MC to stay...

Internally, he is breaking apart because he knows what he is doing isn't right. He knows that he shouldn't trap them like a bird in a cage, and yet he can't help himself. Not in this situation. Not when it comes to MC

'No'

He—Lucifer, Avatar of Pride himself—is the last thing trapping the very person that finally made him realize what his sister had meant forever ago

'I won't let you go'

How one day, someone would stumble their way into his life, and how he'd love them so wholeheartedly and so deeply that everything else would become trivial as long as he'd get to hold them in his arms

'I can't let you go'

Someone that he'd happily throw away everything for, not even considering any alternatives if only for the shred of a chance at just one last tomorrow with them

'Please stay with us. Please stay with me'

Everything.

'I cannot lose you, MC'

Even if they'll never forgive him for it.

"I'm not going to forge a pact with MC."

[fandomsnrambles]

When you’re trying a new colouring style…,

ANYWAY, Wu Spinjitzu!!

Rambling & screenshot under cut

I’ve been doodling Wu a lot in general lately, this was a piece from my sketchbook that i digitalised.

I just love him so much, hes so so so so tragic and sad and sweet and and.. i wish i could squish him and study him under a microscope for scientific purposes.

I also wish we had more Wu moments especially with family (like brotherly bonding and uncle-nephew bonding) his powers etc etc, missed opportunities i swear…

Here’s the screenshot i got inspired by btw

[double--blind]

(SPOILERS) Ashley, self-esteem, and starvation

So, I adore Ashley. She's this intensely toxic, vicious, cruel, manipulative girl, and her psychology gives me hella brainworms. Andrew's not the only one whose head I wanna crack open and root around lol. She's thrown away the world just to keep her brother by her side, and she'll continue to do worse and worse for the same reason. She's pretty awful! I've been thinking about why, though. How did things get so bad? How did her soul get so dark?

We don't know everything (I'm waiting for those new eps patiently aND CLAWING AT THE WALLS AND FROTHING AT THE MOUTH but whatevs y'know whatevs I'm normal. I'm fine), yet what information we have been given is bumping around my brain like a DVD screensaver on hyperdrive

It's clear from the start that the roots of Ashley's issues lie in her horrible, neglectful upbringing, but it's hinted that even those outside of her family felt the same abt her. I'm lowkey even betting we'll learn later on that she was ostracized by her peers somehow. However, what's most disconcerting, I believe, is how little she was when the results of this alienation are first made apparent to us (bc kids aren't dumb; they notice this stuff oftentimes instinctively, impossibly young, before they even know what it means to be hated), and how devastating the consequences were.

(There's something decidedly childish abt her dream sequence in the "questionable" route—filled with crayon scribbles and rabbit plushies, the metaphors simplistic yet profound—which really hammers in how these sentiments are things that have made a home in her since childhood. Formative subconscious truths.)

Growing up unloved and noticeably unwanted by virtually everyone around her likely left her with a gaping hole in her heart that she'd spend the rest of her life trying to fill. She'd make friends, but she'd always worry that they'd leave her, that they'd betray her, nothing tangible or weighted enough in their connection to trust in its persistence. Why should she expect otherwise? Not even being bound by familial ties ensures affection if her parents are any indication.

Every lesson she'd ever learned had always taught her this: you are easy to abandon. You cannot love and be loved by virtue of your own worth.

You have to rip their affection from their clenched hands if you want it so bad.

This understanding carries with it an undercurrent of degradation, instilling within Ashley a constant, biting inferiority complex which will never fail to be a source of insecurity. She will always be put last. She was difficult to raise, so her parents gave up on raising her. She was difficult to get along with, so her friends gave up on getting along with her.

It's an odd cycle. She's difficult bc she needs to be to get attention, but bc she's difficult, she can't keep it. Not without having whatever fondness she's managed to cultivate within someone fray at the seams, volatile and prone to collapse, bleeding toxicity.

Hence, her relationship w/Andrew.

By being the only reliable constant in her life, caring for her and keeping her company, Andrew essentially became her only source of happiness, and she's since learned not to bother with anyone else. Still, it's dangerous to keep all your eggs in one basket; since he is all she has, she must protect her place in his life with even greater ferocity, which becomes a torturous ordeal when coupled with her damaged self-esteem.

It's apparent in her quarrels with Andrew that she needs constant reassurance that she is wanted in some capacity or perceived in some positive light (getting pouty when Andrew says he's "stuck with her", needing to hear that she's pretty, needing him to "choose her", wanting him to say he loves her back, etc. etc.), yet her insecurity remains, bc unlike her, he's got options. She doesn't think he needs her like she needs him. He's got a gf, their parents love him, her friends love him. Why would he settle for her? What if someone better comes along? Someone she can't scare away?

Wouldn't he just leave her like everyone else?

Even before getting locked in the coffin of their apartment, starvation's been a constant theme in Ashley's life. She's constantly aching for love, and Andrew's the only one who can feed her. When you're forced to fight for a bite to eat or suffer every moment you hunger, you become ravenous—covetous—when faced with food; you don't want the hunger to return, so you lock down the source of your sustenance, wary of its retreat. Ashley's in a permanent state of intense insecurity, always anxious that the love that gives her life will leave her.

Andrew knows Ashley better than anyone else in the world, and it's obvs to everyone and him how desperate Ashley is for him, but I don’t think Andrew has truly, consciously processed the depth of that desperation. It's there buried in his head somewhere no doubt, but rn, he doesn't operate w/the direct awareness that he is everything. He is brother, mother, friend, and soulmate. He is life and love, air and water, everything that is good in the world—everything that there is to justify existence.

It's heartbreaking, in a way, that it's so difficult for Andrew to convince her of his loyalty. This goes further than his tendency to hide his true feelings, bc when push comes to shove, he's at her beck and call. Objectively, he's hers. She doesn't see that bc all she sees is all the ways she can lose him.

So, she gets bratty. She gets pushy, possessive, territorial. Manipulative. Gets under his skin, guilts him to exhaustion, bc she can't see him staying any other way, bc he doesn't get it, bc it works. He bends to her will, for her sake. For now. It's always "for now", bc he'll start slipping away again, and then it'll get worse. She does worse.

Becomes worse.

[otaku553]

I have an agenda.

Long hair teenage sabo.

[taradactyls]

Something I love about how Pride and Prejudice is told through an omnipresent narrator, aside from the witty remarks and insight into other characters it allows even though it's usually focused on Elizabeth, is how it plays on the audience's own prejudices and assumptions.

The narrator tells us very early on, chapter 4, that Darcy is "haughty, reserved, and fastidious, and his manners, though well-bred, were not inviting." We've already seen that when we meet him the previous chapter, and will see more of it in those following. But it's the readers, along with Elizabeth, who take that observation as not only a list of flaws (despite only the first actually being negative) but presumes even more damaging flaws must be attached to it. Darcy can be off-putting, especially so in the setting we meet him in: he dismissed Elizabeth within earshot of her, didn't engage with people attempting to converse with him, etc. It's easy to assume the worst of him in a world so driven by social niceties, and because we follow Elizabeth, who is so lively and playful amidst the rules which govern society. Elizabeth thinks he's bad tempered? It would make sense - he hasn't shown consideration for others much socially, why would he care when he's angry? He acted from resentment and jealousy and went against his father's will? That's not such a jump after the conclusion of a bad temper, his own acknowledgement of implacable resentment, and evidence of pride. The awareness of one offensive trait so naturally leads to prejudice against it, that we easily assume still worse qualities must exist. We are as mistaken as Elizabeth.

Even the idea that 'No, Darcy was never haughty or rude, he was just shy and misunderstood, the narrator is wrong' is just magnifying that prejudice. Yes, we do find out later that Darcy is not at ease among strangers, and was always intrinsically good; his morals and core values meant he was never as bad as Elizabeth believed. But that doesn't mean he was without flaws, and it's so fascinating that some analysis of his character seek to completely remove the negative traits which he eventually overcame after acknowledging them in himself. The logic seems to be that they feel if he had them in the start that he isn't actually such a good person. It's just another example of being so prejudiced against certain flaws that it's impossible for some people to reconcile that there doesn't have to be more serious failings attached, and someone can still be a good person despite being arrogant and not always nice. It's, ironically, being prejudiced in the exact same way that Elizabeth was at the start of the novel. It's amazing that Jane Austen was able to tap into that aspect of human nature so deftly, and invoke in both in her main character, and readers to this day.

Now, of course, the story is so well known it's rare for anyone to read it blind, so it's less likely anyone will be unaware of Darcy's good qualities despite first seeing his worst. Even if they do, Pride and Prejudice has become so genre defining that new readers who are the slightest bit genre savvy will be more aware than contemporary audiences were. But even if we know the story it's still so understandable why Elizabeth feels the way she does. We see what she sees and feel her conclusions make sense. Just as, even though the narrator tells us Darcy is starting to catch feelings for Elizabeth, we fully comprehend her not noticing and believing there's a mutual dislike. And though that is concrete evidence of Elizabeth not reading Darcy and his motives correctly, we are still so sympathetic of the basis of her prejudice that her continued belief in Darcy's lack of virtues makes sense from her point of view. We can see, as she later will, that she takes it too far, and should have noticed evidence to the contrary, but her prejudice against him based on his early behaviour and her pride at reading people correctly is so understandable.

Basically, in a story about the characters' pride and prejudices, I love, love, LOVE how the narrator's voice brings out those same traits in readers the exact same way we see it presenting in Elizabeth. We're all on that journey with her, and we can likewise learn the same lessons about ourselves as she does. Pride and Prejudice feels timeless, because even though society and thus the nuance changes, the book is about human nature, and that remains essentially the same.