#but I can't see killing her when she still has a desire to live

[catastrophicalcat]

Reasons Valmont Sucks (Catwoman 2018)

Valmont was a terrible character. And I really want to dissect why and how he is terrible - not just to get it off my chest and onto the collective Internet, but also because I think that Howard made some questionable writing choices that doomed him.

A quick intro - Valmont is Selina's love interest from the 1st two arcs of Tini Howard's Catwoman (2018) run. Inspired by some version of the Dangerous Liaisons character, he is a quasi French assassin who appears in Selina's life when she is trying to take on the Five Gotham Crime families, stalks her a bit, gifts her a stolen cat, fucks her, and eventually get murdered by her while he's trying to kill Batman. BatCat are on a poorly defined break during these events (with Bruce clearly thinking that they're somewhat committed to each other). Valmont is a dork. He looks like this:

More stuff under the break since I don't know how to write succinctly...

Valmont is a possessive stalker. It's obvious that Howard wanted to create a character who is different from Batman. Just look at him - Batman wears black, Valmont wears white. Batman strives to be a good person, while Valmont is an unrepentant murder. Bruce tries to be a gentlemen, while Valmont.... Almost immediately, Howard is in a pickle - how can she recreate a 17th century romance about assholes when, at the moment her run begin, Selina has no reason to be into this guy? And, this phony goth poser, by definition, cannot be upfront and just ask Selina out. Bruce would have done that. He's not Bruce. Solution? She gets rescued by him. A lot. Some examples:

While getting rescued frequently may be a way to fall in love, it makes Selina just so incompetent. Like I think that almost every single issue where Valmont appears, she needs to gets saved by him in some fashion. I don't think that Bruce rescued her that often, at least not in her own run! I went from reading about a savvy cat-burglar to an eternal damsel-in-distress.

Maybe I missed it, but I literally just read through all of his issues to find these screencaps, and I can't find any reason for him to be there other than to stalk her....

2. Making sexy French man is hard, OK! Prior to this run, I did not realize just how hard it is to write a sexy man instead of a creepy man. But seriously, this guy is GROSS, and Selina being into him makes her come off as dumb floozy. Who in the world would get turned on by lines like:

Maybe I'm fascinating, Catwoman. (Spoiler - he isn't)

I consider myself a citizen of the world. (Is he "my parents live in Ohio, I live in the moment" Ted Mosby?)

I wanted to help. But I did not want to chase you, or do what those boys had done. So I simply waited, where I knew you could find me. ("Those boys" - Tim & Dick, who tried to offer reasonable assistance and advice).

Fascinating? Interesting? Dangerous? (Describing himself.)

But I won't assume that just because a cat has sat in my lap once, it will do so whenever I call. (He then proceeds to bang her on the roof).

Have you ever had anyone encourage you to chase your desires? Just for your own pleasure? (Yeah, this is like a famous trait of hers...)

The sharp pleasure of waiting until I see you again is enough. (See, normal Selina - or a normal woman - would just never see him again).

Related to the above - their sexy times? Not sexy. First, they try and fail to hijack a cannibal's plane and parachute jump. Maybe adrenaline got their heart rate up, but still - poor planning! Second, and more egregiously: multiple characters comment on how Selina is deliriously tired. Valmont is one of those characters! He then bangs her on the roof. I don't want to kink-shame, but sleeping with someone when they're falling off their feet from exhaustion is like, not great?

3. He's a freaking murderer! This guy kills people and drops their bodies in the harbor. He's friends with Flamingo, a cannibal who tried to eat Robin (Damian, but still!). And yet, this is how Selina feels about him:

What happened? Really, what happened? Selina used to be smart and not boy crazy. Sure, she has a wide variety of unfortunate love interests despite these traits (post forthcoming!). But never has she fallen so fast, so quick, so off the deep end for someone who deserves it so very little.

I have other substantive issues with this run, but wanted to start by dissecting Valmont. A non-Bruce love interest is already an uphill battle in a Catwoman comic. Burdening him with all of these negative traits did not lead to a good story. Instead, Selina came off as stupid and immature for ever liking this guy in the first place.

I know that this post was super negative - these are just my thoughts, and I'm open to critique. If folks feel positive about Valmont, or other things I touched on here, I would be really interested to hear it.

[mycurrentobsessionis]

Something I really appreciate about @gb-patch is the consistency of their character writing. The cast of Our Life changes as the characters get older, but they never lose the core of who they are. This is especially notable in Now and Forever, where both Qiu and Tamarack have pretty dramatic shifts in personality on the surface. Step 2 absolutely smacked me in the face with how different Qiu and Tamarack were the first time I played the demo.

There are, of course, some remnants of who they were in Step 1 (e.g., Qiu's notes and their mischievous response to a request for a hug, Tamarack trying to save a frog and giving the best hugs) but what I think is more impressive is the subtle hints of who they are in Step 2 visible in Step 1.

After another playthrough, I realized that the closed-down, detached teen that is Qiu is present in their 10yo self. I think it's most obvious so far in the prologue when Mrs. Murray calls Franky and Tamarack aside and Franky catches them frowning, or when they pout about being separated from their new friends, before packing it away the moment they notice someone else is watching. I also found it interesting when Mrs. Murray explains that Franky and Tamarack can't sit next to Qiu because there are other students who wanted to sit with them and it's their turn. While I get that she is likely doing this as classroom management and to avoid suggesting favoritism, I still thought it was interesting. It almost places Qiu as a commodity, and perhaps hints that Qiu is under pressure from the adults in their life to perform a certain role.

Tamarack's anxiety is also visible in Step 1. While she appears on the surface to live in a world of whimsy, there is a definite tragedy about her. She has been dumped on her grandparents while her actual parents are God-knows-where, which is not an uncommon dynamic in Appalachia (where I'm from). I have worked with children like Tamarack enough to wonder how much is whimsy and how much is maladaptive coping. She's disinhibited and lacks a certain level of social awareness and understanding of relationships that speaks to her upbringing. Step 2 spells out the instability that is her life, but I have to wonder how often her parents left her with various caregivers and for how long? How can a 10yo be expected to understand and adhere to boundaries (e.g., following Ren, asking invasive questions, making insensitive comments) if she's passed around like a hot potato by her caregivers? We see her reaction of shame and guilt every time she is informed that she's put her foot in her mouth. Repeatedly failing in social interactions would kill anyone's desire to keep trying.

[yugiohz]

there's a massive discrepancy between how shigaraki's death was handled compared to toga's because while both characters desire autonomy & agency, only toga gets to choose to save ochako i.e., to die, and that decision aligns with her desire to do whatever she wants. i'm not the biggest fan of this conclusion, but it does work, so i can't complain too much tbh.

meanwhile, horikoshi reaveals the twist that shigaraki has been groomed and quite literally chained to afo since birth, which reaffirms an utter lack of agency/autonomy as shigaraki's main conflict. imo, "death as salvation" doesn't work for shigaraki's character at all because it is so dissonant to his struggle with autonomy/agency, but it also clashes with rebirth as his leitmotif. shigaraki is barely more than a pitiful sacrifical lamb towards the end of the story and i find that deeply insultinggg21

I find the villain trio's fight for liberation so interesting (and how their bodies represent that struggle ugh much to be said about thattt) and I've really enjoyed the grotesqueness of shigaraki being exploited as his groomer's corporeal vessel, but for him to die still chained to his groomer as a last resort for world peace is underwhelming for a manga that has plus ultra as its motto. nothing about the way horikoshi handled his main villain & victim went beyond an unimaginative cautionary tale

and this is only tangentially related, but i think endeavor overall works as a character because his actions do align with that motto. not really during his final confrontation with dabi because he kinda chooses a suicide pact with his son (helppp), but his fight in kyuushu against the nomu is so good and rlly pushed his character like i can see why he seems to be popular, he does represent an aspect of what makes bnha good when it's GOOD.

my point is that i think this final arc has been criminally unimaginative, it did nottttt live up to its motto. "it's realisitc" "what did you expect" "this is war" idk, i expected for the writer and thus the heroes to go above and beyond one last time.

“I want to save that boy” -> mercy kill

“I want to save my brother and eat Udon with him” -> watches brothers slowly die in a medical tube

the only one who goes plus ultra and accomplishes her goal isochako and I don’t want to see anyone her arc went nowhere just because she didn’t end up with her crush, who GIVES a fuck about her crush on a gay boy!!!

[jedimaesteryoda]

One trend I've noticed a lot lately in the speculation of Tyrion meeting Daenerys is how he'll influence her. The argument often is that Tyrion will encourage her more "fire and blood" destructive tendencies when they get to Westeros. However, this view is often one-sided as it's always about how Tyrion will influence Daenerys but never about how Daenerys will influence Tyrion.

"Daenerys, I am thrice your age," Ser Jorah said. "I have seen how false men are. Very few are worthy of trust, and Daario Naharis is not one of them. Even his beard wears false colors." That angered her. "Whilst you have an honest beard, is that what you are telling me? You are the only man I should ever trust?" He stiffened. "I did not say that." "You say it every day. Pyat Pree's a liar, Xaro's a schemer, Belwas a braggart, Arstan an assassin . . . do you think I'm still some virgin girl, that I cannot hear the words behind the words?" "Your Grace—" She bulled over him. "You have been a better friend to me than any I have known, a better brother than Viserys ever was. You are the first of my Queensguard, the commander of my army, my most valued counselor, my good right hand. I honor and respect and cherish you—but I do not desire you, Jorah Mormont, and I am weary of your trying to push every other man in the world away from me, so I must needs rely on you and you alone. It will not serve, and it will not make me love you any better." -ASOS, Daenerys IV

Daenerys is not the sheltered child Aegon was who Tyrion could easily manipulate as shown when she called out Jorah for trying to isolate her from other men. Even Tyrion admitted to Aegon, having never met Daenerys that "she is strong" and "fierce." Daenerys was more worldly at 14 than Aegon is at 16. Even as a small, frightened girl at age 13 in the beginning of the series, she had more street smarts than her adult brother Viserys and has shown to be a prodigy in the series. Tyrion would not be able to manipulate her easily, especially since would initially be wary of him for being a Lannister.

Tyrion at the end of the day would be serving as her subordinate, him being largely dependent on her. Tyrion largely is the way he is because of the toxic family he grew up in. The Lannister vision has no idea of a Good Society, it's just pure self-aggrandizement by any means necessary. As the adage goes, rot always starts at the head. The monarchs Tyrion served as Hand, Joffrey and Cersei, were both cruel, incompetent tyrants with senses of entitlement that outweighed their actual abilities. They also had no concept of the duties of a monarch to their subjects, and instead just abused their power over others, including sexually. The one who actually ran the show for the Lannister regime, Tywin, was a cold, abusive Machiavellian who brutalized the smallfolk and his children, seeing them as pawns in his schemes. Tyrion could be cunning and brutal, because it was both encouraged and necessary for the winner-take-all, dog-eat-dog world of the Lannister court. It was an environment designed to bring out the darker side of his nature.

However, since the beginning we saw hints of the lighter side of his nature such as when he gave emotional support to Jon and designed a special saddle for Bran. He even helped Catelyn when they were attacked by the mountain clans even though she kidnapped him. In A Clash of Kings, we see hints of Tyrion wanting to be something other than the cold Machiavellian like his father when he stands up for Sansa when Joffrey beats her, and he has Morec killed and Slynt sent to the Wall for killing Barra, wanting to "do justice." In A Dance with Dragons, he risks his life to protect Aegon and even in his lowest he looks out for Penny even though she is a complete stranger to him.

Daenerys is a foil to Cersei, whose ruling philosophy is expressed in the statement "Why do the gods make kings and queens, if not to protect the ones who can't protect themselves?" Daenerys tries to live up to the image of an ideal monarch who protects the weak. She liberates the oppressed from slavery and tries to protect them, even performing acts like tending to those afflicted with the bloody flux herself, marrying someone she doesn't want and putting her plan of going to Westeros on hold to achieve peace. Working as Hand to Queen Daenerys, Tyrion may find himself in a change of pace in a different environment where for once his more positive tendencies are encouraged with his fondness for "cripples, bastards and broken things."

In short, in cutting himself off from his toxic family, Tyrion may actually find a new beginning in service to Daenerys. He's the Machiavellian polymath and court politician she needs, and she's the competent, idealistic monarch he needs.

[deliciousangelfestival]

The Malicious Daughter Is Back! -17

Character : Bucky Barnes x Female!Reader

Summary: It's just a business marriage. Bucky thought it would be easy until he encountered the stepsister of his fiancée. She turned his world upside down.

Warning: Tragedy, Angst, Manipulation, Intimidation

A/N: I know we hate Victoria, but this is the saddest chapter I have ever written. I can't stop typing the angst. 😭

The Malicious Daughter Is Back! Series Masterlist

Main Masterlist || Support : Ko-fi 🙏🏻

Thank you to everyone who has read this chapter. Leave a comment and Reblog, please. I'd love to hear your thoughts. ❤️

Everything changed so quickly. One moment, Jonathan, Genevieve, and Victoria were standing on a cloud, looking down at the people beneath them. Now, they were falling from the sky, landing in the quicksand, ready to trap their feet.

The bankruptcy of Celestial Enterprises happened too fast. Investors and shareholders pulled their money from the company, causing a rapid downfall.

To save the company, many assets were sold, including the house they used as their primary residence. The house built by Ophelia—the one thing you thought would be impossible to get—was now yours. Bucky delivered the great news and handed you the house key.

Without hesitation, you drove to your childhood home. Though you only lived there for a while, it held precious memories of you and your mother.

Standing at the white door, you inserted the key and turned it. The moment you walked in, the emptiness hit you. Looking around the house, you realize there was no trace of your life with Ophelia back then.

Genevieve had obviously changed the house's decoration. You walked around the first and second floors and then to your room. It was apparent your step-mom hated you. The bedroom, once your sanctuary where you could be alone without seeing Genevieve and Victoria’s faces, was now a storage place.

“I hope you're happy now. You have ruined our lives,” Victoria suddenly made her entrance.

You smirked. “Fucking deserved it. You people did it first to me.”

Victoria was taken aback. “You don't even care about your own dad?”

“Care? That man didn't deserve pity from me the moment he married his mistress. He fucking killed my mother,” you retorted.

That was the last straw. Victoria hated it when you called Genevieve a mistress. “I will not let you do this to me!” she yelled, pointing her finger at you.

You saw her frantic, paranoid, and utterly different from the elegant persona she usually maintained. You chuckled, “It must be difficult for you seeing me win.”

“Fuck you,” Victoria spat as she slapped you hard across the face.

You responded by grabbing her hair, yanking it fiercely. “You bitch.”

The two of you erupted into a full-blown fight. Nails scratched at each other's skin, wishing they were sharp like knives. Hair was pulled, kicks were exchanged, and all the pent-up resentment and hatred came pouring out in a chaotic clash.

It was clear from the beginning who would win. You quickly overpowered her. Without any desire to prolong the fight, you landed a solid punch to her stomach, causing her to crumple to the ground.

“Urgh. Fuck you,” Victoria growled, clutching her stomach in pain.

You huffed, sitting down on the floor. Victoria refused to look at you, unable to accept that she had lost.

Both of you sat there, catching your breath. A moment of silence between siblings who had nearly torn each other apart.

“I always hated you,” Victoria said suddenly, covering her eyes with her arm.

“The feeling’s mutual,” you replied, hissing as you touched the fresh scratches on your skin.

“I hate that I always did my best but was still compared to you,” she admitted. “The sin of the daughter from the mistress.”

You stood still, your expression unreadable, but a storm of emotions brewed inside. You crossed your arms, a subconscious gesture to shield yourself from the raw pain in her words.

“Even though I was the smartest at school, it was never enough to satisfy my mother,” Victoria continued, her voice trembling.

Growing up, she always knew she had to be better than you. That's what Genevieve has told her. She wants to make her mother proud of her. And the recognition from Jonathan.

“What made it worse was that you didn’t even try to compete, but all eyes were always on you. They always saw me as the mole in your life,” Victoria said, her voice breaking.

When she left her old school and entered the new one where you studied, she was greeted by judging eyes. The status of being a ‘mistress’s daughter’ haunted her. Everyone saw her as the villain compared to you, the victim.

In truth, you and Victoria were both victims of the adultery. Both of you were innocent.

“As a child, you listened to your mom. But growing up, you could’ve made your own choices,” you said quietly.

“You could’ve realized what you did to me was wrong. But you didn’t stop,” you added.

“And then we’d become good step-siblings?” Victoria scoffed.

You sighed, a hint of sadness in your eyes. “As a teacher, I’ve met stepmothers and stepfathers who worried about a kid not related by blood but saw them as their own. And step-siblings who worked multiple jobs because they wanted their younger siblings to get the best education.”

Victoria stayed quiet, her face a mix of anger and regret.

“Yes. We could’ve,” you said softly.

Another silence fell, but it was broken as Victoria slowly stood up without saying anything. Before she left, you told her, “You could’ve made your own choice. Remember that.”

She didn't reply or look at you. She kept walking until she arrived at the entrance door. Her hand hung in the air before she pulled the handle.

Victoria turned and looked around the grand entrance. She remembered the first time she set foot in this house, feeling like a beggar turned into a princess.

It wasn't a prince who found her glass slipper, but her dad, picking her up in his expensive car and making her a princess.

She thought her life would have a happy ending. But no. It turned out she was the evil step-sister, and her mother was the evil step-mom. Just like the characters in Cinderella.

If only she had never hated you, if only she had never listened to Genevieve’s words. Could you and she have become real sisters who talked to each other, laughed, cried, and went shopping together?

Tears welled up in her eyes. Victoria scoffed, “Idiot,” she whispered to herself.

She looked at the family portrait of Jonathan, Genevieve, and herself. The three of them looked like a perfect family, but it was just an empty smile. Her own father was pushing her into a marriage with a man known for his violence.

Her mother, who she always counted on, couldn't object. She would rather send her daughter to marry a psycho to save face.

Her parents didn't fight for her at all, unlike you, who objected to Jonathan and Genevieve’s wedding. You caused chaos that made Jonathan send you away so you wouldn't ruin his second wedding. But then Cassandra appeared and humiliated the couple.

She had always been jealous of you for not giving up. Everyone, including herself, laughed when you vowed to take down the company.

But who had the last laugh now? It was you. You won. You got what was supposed to be yours.

Looking back, her life was much simpler and happier when they still lived in an apartment.

She removed her heels, climbed on the antique table, raised her hand, and tore down the family portrait. With her heels, she ripped the picture apart.

The perfect family was gone. No more.

After being satisfied with her work, she felt the chains were broken.

Victoria put on her shoes and left the house. After that day, nobody knew where she went. Even Genevieve couldn't contact her.

Without the bride, the wedding wouldn't happen. That meant the only lifeline to save Celestial Enterprises was gone.

It was official. The white flag was raised, and the company was finally sold. The buyer was Patrick.

All of this could have happened because Victoria left. Sometimes, you wondered where she could have gone. Each time you looked out the window or at the sky, you whispered, “Good luck...sister.”

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Author Note: Hey friends,

If you've been enjoying the content, I've set up a Ko-fi account.

Your support through tips would mean the world and help me keep creating.

Only if you feel like it!

Here's the link: Ko-fi

Thanks a bunch for being fabulous followers!

[quitealotofsodapop]

Mentioned in a Post a while back about a Jttw/LMK AU I had regarding the "Yellow Robed Demon" Arc when Tripitaka got turned into a tiger.

Book Summary;

Tripitaka manages to escape his capture (for once) and passes on a message to the King of Baoxiang from his daughter, Baihuaxiu, explaining that she was kidnapped and made the forced bride of a demon (ironically making it a magical version of what befell Tripitaka's mother when he was a baby).

Kui Mulang rolls in with a human glamour and goes: "Nu-Uh! I'm but a humble human hunter. THIS guy is a tiger demon who attacked a girl some time ago. I save her and we've been living a simple life for the last 13 years!" (Lie)

So the dude pulls an Uno-Reverse and transforms Tripitaka into a tiger (or in some versions, glamours him into one). The King and his subjects believe this 100% since Tripitaka and the Pilgrims don't look so great without Wukong there to act as PR (he was exiled at the time for the White Bone Spirit incident).

Tripitaka is apparently aching-beautiful no matter his form though;

Wukong even feels kinda bad for his Master, since the transformation is so good that he can't even see through it with Gold Vision. Also imagine a sad giant kitty, that would bum anyone out.

Of course things are resolved by the end of the arc; the gang reunite with their monkey, Ao Lie gets his own badass chapter, the Princess is saved, Bajie kills the couple's two half-demon wolf children, the Yellow Robed Demon is revealed to be Revatī - the Wood Wolf of Legs after Wukong catches the demon commenting on his performance during the Havoc (Wukong has a few Columbo moments in the book like this), and Tripitaka is transformed back into his squishy monk self.

Bonus - Tripitaka as a tiger from a book illustration + the 1999 cartoon.

The book illustration + description suggests he's a rare Pseudo-melanistic "Black Tiger" seen in India, possibly an Indo-Chinese Tiger, or a South China Tiger with a darker back.

So here's where the timeline shifts...

The Wood Wolf of Legs ain't happy to be dragged away from (what he believed to be mutual) his true love on earth + his two kids, so he curses the Tang Monk to not only retain part of the glamour he imposed upon him, but to transform him fully into a carnivorous feline demon. Also as an extra "F-k you!" to the Jade Court he and his past love fled from, since the Queen Mother is a celestial tigress herself.

The Pilgrims freak out, obviously.

Guanyin is called up and is like;

Guanyin: "Well, you did unjustly punish and exile your best bodyguard because you didn't trust his judgement, seeing him only as a murderous beast... so *your* punishment is to deal with the rest of your Journey as one of the very same creatures you see as mindlessly bloodthirsty." Tripitaka, now cursed to stay a catboy: "Dang it." (≽^╥⩊╥^≼)

He still gets to wear the robes and walk upright -think Master Tigress from Kung Fu Panda but as a wimpy, twink-shaped, monk.

Tripitaka aint' having fun. He's a life-long vegetarian who's suddenly an apex hypercarnivore. He tries his best for the longest time to stay on the veggies (and durian weirdly enough since tigers like those), but eventually he will need to chow down on some bleeding protein.

And his team literally consists of the main diet of a tiger...

Wukong, a monkey: "Master isn't looking too good." Zhu Bajie, a pig: "I don't like the way he's been looking at us. I burnt my finger making the campfire and he looked ready to pounce!" Sha Wujing, a fish: "I'm not surprised. Cats are of few beasts that absolutely require meat protein to survive." Ao Lie, currently a horse: "If he goes feral, I vote we sacrifice the pig first." Wujing & Wukong: "Agreed." Zhu Bajie: "HEY!!" (₍•̀ ⚇•́ ₎) Tripitaka, meditating hard: "Perhaps if I eat a watermelon, it would sustain my desire for flesh?"

What worse?

Tripitaka is still considered smoking hot. Now by demon standards too!

The Trio of Lion Camel Ridge prepare to attack the Pilgrims when;

Azure Lion: (*sees that the Great Monk is actually a beautiful tiger.*) Azure Lion, lowering his sword: "Guys, do not mess this up for me." Peng & Yellow Tusk: (*annoyed groans!*)

[imagine-silk]

I hope you are doing okay. I would really like a rather simple Idea of the Yan Fallout 4 boys whose obsession confesses that they have a crush... on someone else. But that someone else has no Idea.

》Ah, I see you crave violence.

【Codsworth】 "You can do so much better."

As much as he has no desire to date you he sees how great you are and you deserve someone just as lovely, maybe even more than you if someone like that existed. Who you've picked is subpar. Oh, they can make you laugh? Do higher your standards, please. For his non-existent heart.

【Danse】 "What do they have that I don't?"

In his heart he gets it; he is a broken man who isn't even human. But this was the last bit of sanity he could take. You try to explain yourself, whether it be the other person never spat at a ghoul or simply has their life together. He knows he can't change the past and he doesn't want you to leave him. Against his better judgement he goes to that person and fights them. He wins too.

【Deacon】 "How could that happen?!"

Deacon would consider himself lucky man, and he was very lucky you told him while you were on an investigation. This person lived quite comfortably and had a very stable life. Imagine everyone's surprise when someone found a letter on him saying he was going to let the raiders into Diamond City because no one would suspect him to be up to no good. Who told the guard? Don't worry about it.

【Hancock】 "Here's how this is going to go."

The second they set foot in Good Neighbor they are dragged into his office. He talks to them with thinly veiled threats and tells them to back off. When they say 'no' and stand their ground he says, "Whoa, you see that Glory?" with his hands up. She then proceeds to say she did, that they had a gun pointed at him. When they still don't back down and try to deescalate he has her shoot him. Even though everyone in Good Neighbor knows what happens the official story is that they pulled a weapon on the mayor and Glory had to save him. No one betrays that story.

【MacCready】 "Who?"

He plays dumb and asks you to tell him who they are. And you had no reason to think he had any ill intentions. Afterwards he brushes it off with a, 'good luck with that' kind of dismissal. However, now that he knows their name, where they live, and where they work, he kills them from long distance. No one can point the finger his way because he never knew the person.

【Nick】

♤If Platonic "When do I get to meet them?"

He's gonna do an impromptu 'If you want to date my daughter' kind of dinner with them. The entire time he's watching them with great interest, making threats in just the right way to be completely permissible. If and when you excuse yourself for a moment he fully tells them they have one shot to play this out and if they get it wrong no one will find their body. Don't be surprised if they dump you the next day.

♡If Romantic "Stay away from them."

He didn't mean to say it but after he did he had to roll with it. His silver tongue got him in and out of a lot of places so it's not hard to craft a story about how the person in question exhibits strange behaviors, enough that he needed to look into it. Just to make sure his story goes unchecked he pays them a little 'visit' and tells them to never speak to you. Ever.

【Preston】 "Really? That's great!"

He immediately supports you in your endeavor but later when you go to sleep he finds that person. He takes them out of earshot of the town and kills them, throwing their body into the river after. In the morning they are nowhere to be found and you're heartbroken. It's okay, Preston will help you look for them. He'll be right next to you.

【X6-88】 "I see."

He wants to tell you you're too good for them but that would be a waste of time. No, he needs to be smarter than that. Excusing himself and then finding them dead would be too suspicious. He was by your side the entire day and they suddenly collapsed. They died in your arms. Say what you will about that strange tragedy, you can never say you suspected him.

[morgana-ren]

I wanted the full analysis!!! 🙏 Also I can't become a goddess </3 sadness

You wouldn't want to, babe. Sounds like fun, but Godhood is-- well, it's not great in DnD. It attracts exactly who you think it would: The naive, or the power-hungry and unworthy.

Well, let's look at Gale and his ultimate motivations:

When you meet him, he's straight-forward although fully polite, charismatic, and very much a 'wizard' archetype, as in noticeably and actively intelligent but in a strangely awkward way. Charming, talkative, but earnest. As you get to know him, you learn more about his plight and his struggles, his prodigal upbringing, his dalliances with Mystra, his fall from grace, and his inevitable charge with 'ending' this little uprising by the upstart Dead Three-- and ending his own life in the process.

Most people, you would think, would have an ounce of self-preservation upon being told "Hey, you need to kill yourself to end this." Even the rest of the group, up against ridiculous odds, are holding on to the glimmer of hope that they can survive.

Not Gale. Gale just basically goes "Okay. So be it." While he does mourn in a way, he mourns more over his initial mistake than he does the loss of his own life. He thinks of all he did wrong, all the 'pain' he caused. the loss he caused himself, and his rejection at Mystra's hands for which he entirely blames himself.

Gale is a victim of grooming. It is framed in a strange way, since the one doing the grooming is a Goddess, but he is absolutely a victim. He tells you that Mystra has been with him since he was a boy, which yes, you can frame as he is a wizard and she is essentially magic incarnate, but it doesn't stop there. She doesn't encourage him as a pupil-- she takes him as a lover. As a conduit of her own power. Carnally.

She takes him into her bed, and as a lover.

Had Mystra been just an elderly powerful witch, this would have been way more fucking obvious to people. But because she is a God and her whims are unknowable, it's essentially shrugged off-- which I feel like is part of his arc.

Gale did what he did because he was on completely fucking uneven tier with his own lover. The power dynamic was abusive. He could not be on her level and she expected him to be fine with that. She demanded excellence but when he delivered, she spurned him. He was expected to be brilliant and perfect-- but not too much. And when he was perfect? He still could never be enough. She is a goddess and he is expected to bow and scrape. She groomed him to admire and revere and worship her, and then told him to sit down and be happy with what little he was given.

He needed to prove himself her equal. He needed her approval. He needed it because it was a relationship to him, and one he physically could not win at.

Gale is a human. He needs love and connection and fairness. Mystra, by her own nature, cannot give this-- and she doesn't want to.

Gale knows well the callousness of the Gods. Not just with Mystra, but from his tower, he can see injustice and pain and misery. He is extremely empathetic and cares so deeply. His eldest companion, the Tressym Tara, was an accidental summon that stayed with him for life and became intrinsically involved with his family. He knows love. He knows pain. He is a good man.

Gale seeks knowledge, though he does not seek it for power. He seeks it out of genuine and earnest desire to help. To make people's lives better. Yes, he seeks to be seen as intelligent and brilliant because he is, but he is not a selfish being.

For 'good' players, he is one of the easiest approvals to get, because he very much approves of just being a good person. Helping. Being kind and lending a hand. Saving lives. Using your strength and power for good.

But again, Gale is human. And the folly of the clever man is to believe everyone around him is a fool. He, in all his brilliance, found a way he thought he could help. A path that has been tread time and time again with naught but the misery and bewailings of those who came before to show for it as a warning. But he thought he was different. He thought he could pull it off.

He could become a God.

Secretly, he found a way to put himself on even tier with Mystra-- and do what she did not have the compassion, kindness, or even desire to do. To use Godhood for good. To use all that magnificent power to achieve goodness rather than greatness. To be an active God in the lives of mortal men. To make the world better.

He thought that he could maintain his connection with humanity through his apotheosis and ultimately exist with one foot in each world; To straddle mortality and immortality and put reins on them both.

You are warned repeatedly throughout the game that this is bad. That many have tried and all have failed. Humans are not meant to be gods, and you cannot exist as a hybrid. If you are a God, you are a god. If you are a man, you are mortal. The mortal mind cannot tether Godhood. It is not possible. Best case scenario, you lose yourself. Worst case? You are punished eternally for your hubris.

To be a God is to be unknowable. To see the threads of time and the futility of it all. You are ripped from your conscious mind as a man and you can no longer relate. Lives and suffering, they are all fleeting, miniscule things from your mountain on high. All men must die; why is tonight different from any other night? Why is your suffering so great that a god should take interest? What are you to me, little mortal? Your kingdoms shall fall and burn and crumble and be rebuilt and crumble again but my temple shall remain, and when you are but dust in the fickle wind, you too shall know my eternal glory.

The way Mystra looked at Gale.

An instrument. A tool. A temporary amusement and benefactor. He is a mere man and she is a Goddess and when his bones bleach in Selune's unforgiving sun, she shall choose a new apprentice to take unto her bed. And so the wheel of time spins endlessly on.

A large theme of the game is the malevolence of some Gods and the utter indifference of others.

Selune's perceived abandonment of Ketheric that led to his downfall and madness. He lost his wife and daughter after an entire life of servitude, and he did not even receive comfort in return. She is considered a good natured Goddess, and even she is cruel in her neglect and indifference when it does not suit her.

Shar and her utter disregard and even active disdain for her most devout-- and everything else. Viconia, who committed her life to Shar, cast aside for a Selunite orphan on a whim. Her hatred of living creatures and her manipulations. Her outright malevolence and reverence for their suffering. You see her cruelty both from an outside and inside perspective, and her circular doctrine that makes no sense, her faith that demands all and gives nothing in return.

The Gods that are active are only so malevolently. Bane devouring Gortash after his defeat despite how far he'd gotten in his name. Myrkul abandoning Ketheric as well in the end. Bhaal discarding his own children when the do not suit his whims.

"We are but bronze pieces in their pocket to be traded on a whim. You may have beaten me, but the truth is, the Gods beat me first."

It is literally a thematic constant.

Sure, they can do good. They have devout worshipers and can be seen doing some level of good-- Isabelle and her protection of the Last Light, for example. But it's never quite them, is it? It is the humans that utilize their power. The humans who care. Selune did not protect them of her own volition. Her magic was invoked.

Gale's goal was to become both. To have the power and will of a God but the consciousness and mind of a man.

Mark my words, you would go mad.

Gods see eons. The endless tide of eternity drifting endlessly on. Imagine the incessant screams. The pleading. The misery. The death. The horror at the hands of man and your fellow Gods. Even all of your power, all of your prestige could not save them all.

And even if you could-- even if you could-- Ao demands a level of indifference. It is one of the fundamental rules.

Gale must accept this, or he will become that which he sought to rectify. He must learn that to love and care so deeply is to be mortal. That to retain all that made him beautiful and wonderful, he must be humbled and rather do as he can rather than all he feels capable of. He must seek Mystra's forgiveness (disgusting) on a symbolic level and accept that he is a mortal and his hubris would be his downfall. Gods and mortals should not mix.

But if he does not? If he utilizes the Crown of Karsis?

He becomes a god. He gets his wish. And in true Faustian fashion, the price he pays makes the prize worthless.

He becomes an arrogant, disconnected, detached, miserable pile of sectorless divinity.

He becomes callous. Cruel. When asked about all those people he longed to save, he shrugs. He no longer speaks of the mortal realm, he speaks of the beauty and frivolity of Elysium. Of the wonders of Godhood and all he understands-- or has forgotten. He has completely detatched from mortality and only deigns to come down from his fucking halcyon world to bless you-- his former friends-- with his magnanimous presence. To let you know how lucky you are. How blessed.

All that power he has? Useless. Used to prop himself on a pedestal same as every other filthy fucking God.

His deepest, most treasured friend will tell him this, and how does he respond? By basically telling her 'You don't know shit.' He ignores her. Threatens you if you try. A man who was willing to give his life selflessly to save the world will now threaten divine wrath if you even so much as irritate him. He will swing that hammer of power down just to prove a fucking point.

If you loved him and refuse him? Utterly disconnected. No genuine feeling. Just looking down on you like the silly little human you are. When you refuse him, he is disconnected from who he was and what he ever felt for you. Gale, a man who was groomed and just wanted love on an equal playing field; a man desperately lonely in his brilliance; a man so distraught by what he felt that he sought to break the barrier and become a god, not for power, but for benevolence-- he becomes Mystra.

He is no longer Gale. He is the God of Ambition. Another useless god in a pantheon of useless ideas. What good is ambition if it does not serve a purpose? To make him the god of ambition is to spit in his face, because what was his ambition? Where is it now, Gale? What are you?

What is your ambition and where the fuck is it now?

Gale is a kind, caring, compassionate man who went through a horrible, traumatic event that changed who he was fundamentally. Dumped and abandoned by his Goddess, it burned him. It hurt him in such a way that he made it his goal to change this dynamic and to become what she could not.

He was still in love with her. Of course he was. How it must be to love something that you know can never love you back. That you are one of many, and your time is over. You have served your purpose. And if you die, you die. If the realm dies, so be it.

Gale's is a story of hubris born of love. A man gifted with intelligence and power that he only wanted to utilize for the best; to do what he thought was right. He wasn't clawing after the crown for raw power's sake. He wanted to help. That's all he ever wanted.

The bookworm that will talk your ear off about his cat and his studies and his love of books. A man so brilliant that it's painful at times. A man who loved his mother and his cat. A man who loved a goddess and, in a story that could have no happy ending, decided to give everything to make it so. If it meant dying, then so be it. He wasn't clawing for the crown to save his own life. He was doing it to save everyone else's.

He fundamentally misunderstood the nature of the Gods. He touched divinity and it looked at him with a human countenance and so he believed he could grasp it.

The Gods are powerful, and yes, they are unknowable and, in a way, infinite-- but they are callous and cruel and indifferent. They are power with no outlet. Useless. They gaze upon humanity like rats in a cage, uncaring and unfeeling. Separated entirely. Sometimes they deign to make their presence known. But mostly? They sit on their heavenly thrones and revel in their own brand of bullshit.

This is what Gale will become. It is an insult to an incredible man to take away all that made him incredible and make him another b-lister jumpstart God up his own ass. Caring and love are work. They are pain. It is suffering and agony. But that is what separates us from them. We do not, and in some cases, cannot separate. It is our world, and we live in it. We must breathe in the poisons. Smell the blood that soils the earth. It is our world and we cannot separate. We love and we help and we learn--

Gale wanted to help. So he became a God.

But what do Gods do?

They watch. Through the gray window of indifference, they watch. They watch us tear each other open. They watch other Gods tear us open. They watch the wounds. They watch the graves. They watch the fires rage.

They watch and they listen to the screams. And when they are bored of them? They shut them out.

Gale became a god.

And so too shall he watch, removed from it all.

Not an ounce of humanity left in a man that ached so for humanity itself that it damn near drove him mad.

[poisonheiress]

Vivziepop's ability to decay any women and fem-aligned characters she creates has always haunted Helluva Boss, and as a result, limits them to being one dimensional characters that fall into a "with them or against them" mentality when it comes to her male characters; they only exists to prop up other (male) characters or to serve as morally bankrupt villains.

From Verosika to Stella to Loona and Millie, this trend is clear from the beginning of the show and likely will follow it to the end. However, for this post I will discuss the recent victims of this trend: the lovely Glitz and Glam.

To be honest, I adore Glitz and Glam (to the point of writing fan fiction for them) and they have become my favorite characters in the entire show so this discussion will show some bias towards them. While some may say its too early for this call as they will be seen again, but from what I've seen on twitter from fans and even creators of their song alike, I do not have the hope this will occur.

From the beginning, Glitz and Glam are looked down on for their desire to win and for doing anything they can to get that position. When confronted with Fizz's kind words of support, they look down on him and further emphasize how they are going to win against him even gaining the title of "snatches" and "sluts" by Blitzo. From this moment forward, its clear the narrative doesn't want us to look kindly upon the sisters. After all, they are being "bitches" to Fizzarolli and competing against him in a manner that pushes him further and further into a breakdown. The fact that Fizz's relationship with Mammon and self esteem issues are not their fault is shown as irrelevant to both the audience and their creators.

This isn't made better by their song writers' commentary on twitter on how the glam sisters are perverting the true nature of clowning and that their song shows how they are simply wanting to get Mammon's attention by feeding into the financial and sexual exploitation (even saying that they want this to happen). This commentary solidifies the idea that they are not someone we should root for especially since they are allying themselves with Mammon, a horrific, abusive asshole.

While I expect this level of dismissal and honestly misogynistic writing from Helluva boss, I can't help but be extremely agitated by it and the reason why was made clear recently: the narrative acts as if the Glam sisters are doing this for out of selfish desire alone, as if they are terrorizing Fizz for no good reason. But that's simply not true, and even Vivzie's canon supports me here.

The Glam sisters are hellborn demons, only one rank higher than the imps. This means that while they may be treated better, they still are not treated as full citizens like sinners are, and in a dog eat dog world like Hell, kindness is not something they can afford.

Getting this position with Mammon is a life changing deal, something Fizz is proof of. Yes, it is as exploitative as it is lucrative for the individual, but this is Hell (as Vivzie likes to claim) and opportunities like this are something many would die and kill for.

So at the end of the day, I cannot help but be confused why the narrative punishes and looks down on Glitz and Glam for taking some crumb of control back from the system and accepting their objectification with open arms as long as they are rightly compensated for it. Why does even their (albeit catchy) song look down on them for doing whatever it takes to survive in Hell? After all, they would be exploited anyway, right? It's what Hell lives on.

In a class system like Vivzie claims to have, the glam sisters are a prime example of the kind of oppressed vs oppressed the system creates, but instead of trying to understand them or even see them as morally complex, they are simply the slutty female antagonists who are corrupting the sanctity of hell clowns simply because they don't clown for the sake of clowning. Whatever complexity they could have, even if it is beneficial to the entirety of the show, is worthless compared to their narrative propping for Vivzie's favored characters. But it doesn't surprise me. After all, what else is a women is Helluva Boss good for if not to support the main male cast.

[yeen-meteor]

I want to take a moment to try to express why i appreciate Haru's sadism as an actual serious part of her characterization and not just a funny contrast joke and 'yay girl violence!' don't get me wrong i love me some yay girl violence for the sake of it, but like. i think there's a lot to work with there for genuine drama writing, too, not just comic relief and i want to talk about it! (cw sugimura)

for all of haru's backstory and her life with her father, sure she's rich and has a lot of privileges, but the one thing she completely lacks is any sort of control. Everything about her life is being decided for her, her father has decided on the shape of her entire future, and she can't do anything to change it - she's being raised just for the sake of being outright sold as a sex slave trophy wife to a perverted creep who is certainly too rich and powerful to ever face legal trouble for marital rape. She's going through the motions, enjoying what she can of the life she has while she still has it, completely hopeless in the face of this horrifying future that other people are forcing her into. Her will means nothing, what she wants means nothing.

And then the Phantom Thieves come along, and they give her the power to make her will matter, to fight for her own freedom and happiness. And that power comes in the shape of violence, physically fighting images of all the things and people standing in her way.

But more than that, she starts to feel 'shivers of excitement' when she hears shadows begging and pleading beneath her. She feels what it's like to have something absolutely, pathetically desperate to make her stop, to deny her what she wants - and to bask in the feeling that she doesn't have to listen, she's the strong one, she can shut them the fuck up with an axe through the skull because their will, their selfish desire, their plan for her doesn't matter anymore, her will, Haru's will matters. It's catharsis, it's intoxicating, it's a rich and indulgent feeling of real actual control and the freedom that comes with it, something she's been denied all her life, and it's probably an unhealthy way to get that feeling but who cares? these are just shadows!

And that catharsis and relief and self-assured confidence she gets from that just makes her better able to be her sweetest, kindest, purest self around the people she loves! It doesn't undermine the sweet person she is, it helps it!

And then, she makes the choice to try to cure her father's brain-rotting greed and see if there's anything worth salvaging in his heart. It might not be the best choice, it could certainly be argued about, but it's her choice, it's her will, and she finally, finally feels like she's able to make that mean something-

and Akechi takes the choice away from her, and forces her to live in the future he decided for her.

I think when people write the dynamic between Akechi and Haru, they can sometimes miss the forest for the trees - 'you killed my father', without the underlying 'this was the first time i believed i ever had a choice in my own life, and you took it away from me and fucking crushed it before my eyes'. I've also seen it done very well too, and I love it! but i think a lot of writers are sleeping on the potential a bit, of haru & akechi focused stories, or even of haru as a source of drama and an interesting supporting character in shuake stories. In general, haru's potential for anger, frustration, violent desires and just a need to feel in control of her own life has a lot of potential in drama writing!

Atlus certainly dropped the ball on the akechi and haru dynamic, and kept the sadism thing as mostly comic relief, but Persona canons are all half-realized outlines of good ideas just begging for fic writers to come and actually flesh them out, anyway, so ah well!

all i hope for is that if you're a persona writer that doesn't know what to do with haru or how to use her, or doesn't pay her much mind, maybe this might inspire you or give you a clearer idea of how to write her dramatic side!

[kawareo]

Have a ramble about my Durge and his issues with sex because why not

TW for mentions of sexual assault and abuse, attempted incest, grooming and mentions of underage stuff; nothing is graphic but it does get dark so please don't read if you don't feel like you're in the right space for it

Strike is a very sexual guy as I'm sure you've had the chance to notice, but honestly, his relationship with sex and sexuality is complicated to a degree that he completely refuses to even acknowledge.

His Urges and Bhaal-given 'Ectasy of Murder' make it practically impossible for him to seperate between his own desires and those of Bhaal. He was way too young when he first got them, practically when he hit puberty, and then he was immediately encouraged to 'explore' and 'experiment' with either corpses, other Bhaalists, or still living victims. Sceleritas was the one to encourage and 'guide' him and Strike stopped feeling sick about the new need that overcame him whenever he killed well. He had to practically gaslight himself into seeing it as a gift from Father, or he would dislike it, and you can't afford to dislike something your god wants when you're his Chosen.

He also doesn't really know how to say no to sex. The way I try to write him is in a similar way of how society expects a cishet guy to always be down to fuck, except it's cranked up to a thousand - he is Bhaal's seed, scion, his breeder - there is no reason for why he would ever want to say no, is there? If you asked him for any reason he could think of for him not wanting to have sex, he genuinely wouldn't known the answer.

He said no once though, only once - when the temple attempted to match him with Orin once they were in their late teens. Orin would've pushed through with it even though she was obviously less than enthusiastic, but Strike was the one to push her away that time. It wasn't the incest aspect of it that turned him off, tbh; that really isn't a value the temple of Bhaal would consider abnormal, but Strike just... Orin was always the only relationship he's had where he never felt like it could turn sexual at any moment - they've bathed together, they slept cuddled up on the same bed, they straddled eachother when beating the shit out of the other and none of it was ever sexual, for either of them. But that was the first time he refused Bhaal's will and also the first time he lied to Him - he made up that he didn't think Bhaal's blood should get even more diluted and defiled than it was in Orin's veins. After that, Orin never forgave him for thinking he was above her (as she interpreted it) and their relationshio only strained more when Strike met Gortash a few years later.

Gortash is a whole other can of worms that I don't think I have to get into right now, but Strike's religious upbringing makes every sign of weakness, such as signs of softness or affection (for an enemy, especially) a sin and having sex reduces the sinfulness of it. Holding hands, kissing? Unforgivable. Intertwining fingers during sex, or cuddling right after while they're both still chasing their breath? Not ideal, but it can happen. Not the worst thing. It's not like he was doing something intimate just for the sake of intimacy, you know?

He's very hypersexual now as an adult because of all the above mentioned things combined, and when I get to Godsbound (my bg3 timeline fic has a name now btw!) He likes to joke and flirt and fuck literally whoever, that doesn't change end after tadpoling, he still has no idea how to be close to anyone without it being sexual but also he is so horrifically touchstarved that he wakes up screaming if he doesn't have a body next to him to hold onto it. I would like to explore how much of an actual issue that is for him, especially when he has forgotten all of the excuses he told himself through the years and the decades of religious fanaticism. But then again, he does tend to push his problems away to 'deal with later', so who knows.

[paleghostinthecorner02]

Because Gwen is a teenager who was betrayed by her father and taken in by adults who constantly filled her head with the idea that people, including her dad, had to die for millions to be saved. Because despite said adults knowing the bad situation she was in chose to treat her completely like an agent, a warrior, a soldier instead of a child that needed love and compassion. Because despite living in fear of Miguel sending her back home, she still chose to disobey him to see Miles when she had the chance because she loves him that much. Because she was in a lose/lose situation where telling Miles about his dad needing to die would inflict a pain she was experiencing and didn't want him to bear, but not telling him would run the risk of him finding out from someone else and making her look like she was being malicious. Because she was used as a scapegoat by Miguel when he was the main reason Miles was able to escape, and punished by him for it. Because she recognized the hurt she caused and took accountability, unlike any of the adults in her life including PETER B. PARKER. Because she is actively trying to make up for the mistakes she made while she was still under Miguel's influence.

None of you media illiterate dweebs who treat her like she's Judas Iscariot and the Whore of Babylon combined because she made some very understandable mistakes should continue to watch these children's movies because I'm afraid the writing for Gwen is too complicated for you to grasp. Gwen has actual, meaningful flaws than cause actual, meaningful conflict and lead her her having actual, meaningful character development. Even more pertinent, her failings aren't a result of any kind of malice, but rather a desire to not see the people she loves hurt, an understandable character trait that stems from the trauma of her accidentally killing someone close to her OH MY GOD DO YOU NOT WATCH THESE MOVIES?

Honestly Peter B is way more infuriating in this movie since he's an adult who doesn't view Miguel as an authority figure (if their comic relationship is the same in this movie then they're friends and Miguel has a lot of respect for Peter) and has nothing for Miguel to hold over his head like Gwen did. He should have known better, he should have been the one most defending Miles, he should have defended Gwen when Miguel was blaming her for something Peter knew wasn't her fault. He was RIGHT THERE next to Gwen on the train and saw Miguel fail to subdue Miles (despite the fact that he could have, you know, injected him with a powerful, non lethal paralytic that would have made it exceedingly easy to take Miles into custody and instead decided to monologue like a dipshit). Give me a reason other than abject misogyny why you think Gwen deserves to be hated in a way Peter doesn't, I dare you.

Rant over. TL:DR, Gwen doesn't deserve the hate she gets from idiots in the fandom who can't see past "Muh poor Miles got his feelings hurt."

[bibibbon]

Miriko shift from "this dude" to "this thing" brings so many terrible implications. At best, she thinks Tomura is becoming a Nomu.

Speaking about Nomu, having their intelligence evolve was mistake since making them more human makes the heroes seem more murderous.

Like, the USJ Nomu had no intelligence or desires outside following orders, yet he was allowed live. However, Hood actively showed intelligence and desires, yet he was killed.

There also the fact Endeavor did the All Might pose after performing worse on either accountings of saving or winning.

I disagree having the nomu's overall intelligence evolve isnt a mistake. Instead it actually plays with the heroes heads and mortality. Will they still be able to kill something that doesn't look human but very much acts human? Is there really a difference between nomu's and humans? Heck you can even bring in the arguement of mutant discrimination and nomu's!!

I for one believe that the nomu's were severely underused in many ways. What does the public think of Nomu's? How were the people who had their family members turned into nomu feel? (This is explored a bit in fics but not really in canon) @thr0wnawayy has a post on the wasted potential of nomu's.

How about how Nomu's are made? How they're used? Or is them evolving to have more intelligence makes them more human? In a society where being human doesn't have a specific look is intelligence the thing that makes people human? Or is it another criteria?

With miriko it's interesting to see her physical switch go from "this dude" to "this thing" because it could very much show that maybe this is how hero society teaches and produces heroes. Heroes are supposed to do easy take downs relying on violence instead of ethically and properly working out a situation. The heroes whole win to save issue and their instinct to fight first talk later is exactly why the first war arc was so catastrophic and why there are so many deaths. Also miriko's attitudes show one way heroes may think of their opponents as non human effectively dehumanising them so they don't feel bad for inflicting harm on them and subconsciously convincing themselves that this is all for the greater good. "I mean killing a puppet who can't think for themselves or express pain is easier than killing a human someone who is the same as you right?" That's probably the thought process of many heroes and we see it with both miriko and hawks explicitly.

However, the whole dehumanisation of villains and enemies can also apply to other characters like Enji and maybe even ochako in the first war arc when it comes to her conversation with toga.

Enji cannonically has tried to kill koichi (a vigilante) in the manga and has expressed quite the aggressive behaviour towards villains and even objects so he really isn't a good person or hero either.

Nomu's and their increasing intelligence for example kurogiri says a lot and brings a lot of moral dilemmas which would be interesting to see how the series could of dealt with them and how it may even reveal some innate corruptness within hero society.

The hitting of the all might pose is something that three characters have all done aka enji, Izuku and shigaraki have all hit the all might pose yet in all of those scenarios it's had different meanings. Even with that the one meaning that they all share with that pose is one of victory (they all struck the pose after their supposed victories) but it all has a different meaning for example with enji his pose was supposed to show that he can live up to the title and that he can try and keep peace within society. The pose also showed the classic upholding of the status quo and hero societies original corrupted ideologies and ideals that enji will go ahead and uphold.

[classicanalyzer]

Dragon Prince S6 Thoughts

"Sometimes the line between mercy and cruelty can be thin." Aaravos and Startouch Elves

Well holy shit, that opening really went from wholesome Viren (who is alive) hugging Terry and celebrating Aaravos’ supposed “lie” to OH GOD CLAUDIA KILLED A CHILD. God, it's really terrifying seeing Claudia give so much to save her father...it really hits home how Viren felt responsible for leading her down this route. The tragic thing is that I think Viren knows deep inside that as of now, he can't help her...but he hopes he can inspire her to turn back. Despite everything she did, Claudia's actions to save her father were all for nothing. She lost a leg and her soul (it is yet to be seen if her soul can be brought back) and yet by the time she reached home, her father died yet again...this time for good. Claudia's screams were really chilling and sad.

At least, Terry is always there for Claudia...though I'm worried about what will happen to him given Claudia's increasing mental dive into darkness and insanity. He rightfully points out how revenge is different from love and how it drove Aaravos to the deaths of God who knows.

I really love that Viren didn't choose to reveal what he did to heal Soren. It would've just caused Soren more grief and pain. That's one of the most best things Viren could have done before his sacrifice. He carries on the absolute shame (I felt chills when I heard how he obtained the last part of the spell) that he caused rather than “pass it on” so to say to Soren.

Viren’s true death feels fitting for him. All this time everyone close to him ask if he was willing to risk his life for another. Dark Magic has ruined so many lives and yet also saved so man in some cases. There is a price to be paid. But finally, he proved that he was willing to do that rather than find some other way to pay the price or back out. This time he paid the price and did a truly selfless action where nobody had to get hurt...other than him. He lived his whole life choosing what he felt was pragmatic and selfish with only a few moments of his good self showing...he chose to finally die a servant of his home. While Soren will understandably never forgive him for what he did to him and the world, he will remember him for his last act of unselfish genuine goodness and living up to his desires of atonement rather than going back. I also love how his last words are the last words spoken by Harrow to him.

"I am a servant. I am a...servant." Viren's last words

That entire ship episode is so hilarious with the meta-commentary. The Celestial Elves were a really cool sub-ect of Skywing Elves. I also love the parallels between dealing with Ice Behmeath in the present and the Magma Titan in the past. Instead of killing the beast which left people killed, they found what made it so sad and everyone lives.

Also Callum and Rayla are back together! So happy and I wished we didn't have the break-up personally but still finally.

I now understand the Soren and Corvus ship, and I approve.

I'm so happy that Amaya and Janai finally got married at last. Too bad Karim had to ruin all the vibes temporarily, thankfully, the two were able to salvage it. Amaya and Janai truly deserve the world.

The build-up to when Ezran and Corvus realizes the true plan of Karim is really chilling.

S6 really has me lowkey ship Ezran and Aanya haha. Two badass, wise, and compassionate young rulers who lost their parents...speaking off, I can't imagine seeing Ezran in S7 now that he knows his kingdom is destroyed.

Sol Regem really is responsible for the events of the show. While it is dark how he died and it's horrible how he was responsible for his soulmate's death, I can't say he didn't deserve his death at all. He was the one who laid the seeds for humanity's conflict with elves and utterly despises humanity. He literally choked and burned on his own element.

Katolis being destroyed made me sad since it was our primary setting in the human realm for 6 seasons.

The Startouch Elves gave me so many Collector vibes. Aaravos really is the Ardyn of Dragon Prince with a bit of Collector and I'm all here for it. Now all that is needed is for him to get a stylish hat and turn the sky into an eternal darkness. Also, Aaravos was really that big in his natural mortal form...which made S5's horrifying reveal of what he said make a lot of sense.

A major theme of S6 and the show is how revenge won't get you anywhere but further metaphorically drown yourself. Another major theme is love (platonically and romantically), whether familial, platonic, or romantic.

S6 really is an amazing return to form, and it felt like the quality of the first three seasons was consistent. I cannot wait for the final season of this saga. I did hear about them wanting to make three more books and I wonder how they can go from here...but I trust them to do right based on S6.

[runabout-river]

Thoughts on JJK chapter 266 (Spoilers)

I nearly cried...

We start with Megumi reiterating that he doesn't want to be saved. The last time we saw him he was down on the ground completely crushed. Here, Yuji managed to talk with him inside his domain, giving Megumi the opportunity to fully express himself and his feelings.

The "enough now" also has different connotations depending on the specific phrasing used in Japanese. I read a Twitter thread once that talked about it and how Megumi basically told Yuji that he, Yuji, didn't need to expand any more energy towards him, Megumi. That he could stop saving him because it was all right.

It was said right in the beginning that Megumi sees Yuji and Tsumiki as the same type of person he wants to protect. That was why he selfishly asked Gojo to help Yuji after he swallowed Sukuna's finger.

Megumi's thoughts on the life he wanted to give his sister are so bittersweet. He isn't centered in them so it's natural that without Tsumiki he doesn't know where he could go on his own.

And let's not forget, Tsumiki was the only true family Megumi had left and for one and a half years he tried to save her from her curse only to fail twice. His teenage years were dedicated to her so his mental descend is understandable.

Maki lived through the same loss and compared with her we explicitly see the differences in them. Maki had always wanted to live her life on her own with her own strength which meant that she had to leave Mai behind. When Mai died Maki was mentally able to go on with living without problems but unlike with Megumi's and Tsumiki's situation, Maki and Mai also had a deep conversation and understanding with each other in the end. Maki got to hear Mai's last thoughts and her last wish to destroy them all.

Megumi doesn't have any last conversation with Tsumiki so Yuji has to step in on that front. And he does so with fully acknowledging Megumi's pain and outlook on his continued life.

Sukuna uses Hollow Wicker Basket to counter Yuji's sure-hit and be able to fight him. He compensates the weaker CE output of HWB by keeping his handsign with his extra arms.

I checked, that hand sign is basically the same as Megumi's DE hand sign but with the left thumb up. Its interesting to think about the implications of that.

Sukuna also says the he can't use Gojo's version of getting his CT back up again after a DE because other parts of his brain are still damaged by UV.

We get an extended fight scene next but truth be told I did NOT care about the fight at that moment. Only Sukuna showing how angry he got with Yuji's "pity" was interesting. Other than that I wanted to get back to Megumi.

Bringing back that absolutely iconic panel of Megumi and replacing Gojo with Yuji 😭

That was the part where I stared at my giant monitor and got misty eyed. Especially with Yuji being so honest about how much he would miss Megumi even though he understands and would support him with ending his life.

Its interesting again how Gege chose to leave Yuji's scars for his close up panel. It's probably to show how Mahito's trauma he inflicted on him and everything else he went through didn't measure into his deepest desire to get his friend back.

Until now we also didn't see Megumi's eyes. Even in this panel we get a small Megumi from a memory he had with someone else. But...

Megumi immediately uses his shadows, those we haven't seen since Sukuna got his original body back.

But I also wonder about the implication here: was Sukuna's 10ST rendered non-functional because... he was in his original body? Or because the death of Mahoraga automatically deactivates the technique?

If it's the latter, than that means that with Megumi using his shadows here, he has his own version of his technique, one with his own shikigami who haven't been killed in the fight against Gojo.

The last part of this fight is about how Sukuna went against what he just thought a few minutes ago. He does use Gojo's technique of restarting his CT again. His nose is bleeding because of it though.

Then comes another part of the good guy's long thought out plan to bring Sukuna down. His finger strung up in an unknown location, ready to do... what? We'll see when the Shinjuku Showdown actually finishes soon.

We'll definitely get the merger arc next but there'll most likely be a few chapters of talk and plot in between as well.

But wait!

What is going on with Yuji missing 2 fingers now? We know that one Sukuna finger is still missing and we know that Rika ate at least part of either Sukuna or Yuji to get Sukuna's CT.

But is this finger in the last panel a new finger maybe? One made with Yuji's ring finger?

We'll find out eventually but for now, this was such a deeply emotional chapter...

[supahstarrr]

rambling.

Hu's case is interesting to me because the objects associated with her (butterflies) seem to imply that her character revolves around changing & rebirth due to its symbolism, and she herself finally has the strength to speak about her secret while implying she wanted to put the secret "behind her."

This along with the chapter's themes around change/regression could hint to her "change" already happening before the killing game, similarly to Levi. Although at first I thought it would be least satisfying thing for her to be the murderer due to the symbolism and potential of her character, this "change" of hers already happening before the series taking place mean there's a more likely chance that her being the culprit can be executed in a satisfying way since the murder could act as her arc due to it being the "regression" to her "change."

This is more of an interpretation of mines, but I feel like the this regression arc of hers is more likely to happen because the series has been deconstructing that this "change" Hu implies is partially or even entirely false and struggling to occur. Her emphasis on life being fulfilling if she has a purpose (or feel useful) fuels her constant need to repress her emotions to reduce her humanity into a person who lives only to serve for others.

Thus in the process she reduces other people's humanity, speaks over them and is the negative fuel to her dynamics (Hu/Nico) & (Hu/Ace) [this example is more complex as of course Ace also the one who negativity fuels their dynamic, she surely does add to it by simplifying him as a villain than a human]. These are things that increase the unlikeness of getting outside support she needs, helping her become stuck in her chambers even more.

Her pushing aside the secret with a "putting it behind me" is although understandable due to the nature of it and her depression, the wording could be interpreted as not truly addressing her issues and the severity of her depression. I could see if she wanted to brush aside her secret if she acknowledges that it could trigger regression to recovery. Problem is that her actions so far has shown poor attempts, or hardly any attempts at all, at addressing her mental health, especially with her fixation on being useful and repressing her humanity. It doesn't seem as if she focus on recovery but more on superficial change. In a way, she constantly isolates herself from others and even herself. In way she's just developed another way to harm herself.

We genuinely cant forget that what makes her even more isolated is her preferably getting emotional connections through her idealizations of people, instead of deconstructing those standards herself. She approaches herself and others in such a shallow way. She only see people (including herself) as ideas more than genuine people, and her ideals being broken constantly isn't helping either.

There can be depth to her being the culprit other than her suicidal tendencies. She could risk being the culprit if it meant to she would go out in "glory" because she was "useful" when it came to taking Arei out. I can't pinpoint why she specifically would want to kill Arei, other than Hu desire to target her being rooted in a negative interpretation of Arei (her being the "trouble of the group"), because she wasn't there when Arei blatantly said she wanted to change.

Maybe Arei came during the wrong place wrong time, thus the murder at first was accidental before the culprit and possible accomplices decided to take the steps to make the murder seemed "planned" or "suicide." Or maybe Arei was the planned target yet the murder and planned still managed to fuck up somehow. I don't know man Okay lol. I can't explain how I feel about the murder scene, but it feels unusually sloppy yet planned at once, as if there was a sudden transition to motivates or plans or something.

The main point of this post is to see how her being a culprit could make sense for the story and her story, not really as an attempt to entirely decide that she's the culprit. I'm trying to keep my options open. Problem with deciding that she's immediately the culprit is that her words during the trial (episode 12) specifically gave an emphasis on living. Which could still mean she's involved in the murder case, but more of a planner than the one doing the killing.

Can I just go back to the symbolism for a minute. Why does she cover herself in butterflies, other than their association with femininity that she embraces in? Perhaps she admires the idea of change, but can't find the true methods to change. Maybe her covering herself in butterflies is an attempt to "force" the association with her, as a shallow attempt to say she's change without actually doing the recovery behind the change. With this "change" actually happening before the killing game, the symbolism could really be seen in a different perspective...

Semi-related but another post out there admitted that they were scared for the story, and to be honest I do too. I'm feeling too conflicted about how the story is going so far although I'm not willing to say there are writing issues yet.. im just conflicted about stuff. Okay. Okay. Okay bye im done talking.

Also, I am a little disappointed that most of the predictions of Hu being the culprit doesn't really come out of concern for her character and story, but because they don't like her. I really do feel like she's so severely misunderstood, it sucks imo.