#dynamics analysis

[residentescapee]

related/addon to last rb

they’re not close but it’s not like they don’t get along, think post crisis tim and selina.

the thing is that both of their moral compasses are essential to their own characters; both being driven by compassion and devotion.

they definitely wouldn’t hate each other or probably anything close to that. whats important to note is that jason doesn’t hate those who aren’t willing to kill, and that cass is against senseless deaths. Jason’s whole thing is that there are those not willing to change or even see the fault in their ways, so it would be better to just get rid of them than risk them getting out and reestablishing their past MOs. While Cass was never given the choice when she was younger to do anything else but, her entire journey was existing outside of that image of having to kill others and being the one to take away their future choices herself.

One is about taking the options away from those who have refuse to change them, and the other lives to save all and give them a chance at it. They may be at odds but they could still reside among eachother.

in the end, they’re still both in the same family. both similar enough to understand but keep their own distances to stay true to themselves.

[shyjusticewarrior]

When Bruce said he was proud of Jason for stepping away from guns, Jason immediately clarified that he wasn't doing it for him.

When Dick said he was proud of Jason for stepping away from guns, Jason didn't feel the need to clarify this.

Interesting contrast I noticed.

[annunews]

Hyper Automation Market size was valued at US$ 8.24 Bn. in 2021 and the total revenue is expected to grow at 18.2% from 2022 to 2029, reaching nearly US$ 31.4 Bn.

[cornmagnate]

I've been rotating this scene in my head for a very long time and I think very few people talked about it not just in terms of “look Copia’s so cute here” but in the context of character analysis. Because right up to this point, Copia behaves like an arrogant bitch and demands attention and validation from Sister, while considering himself as her equal.

But AS SOON as she hints that Copia is not doing what he should be doing (isn’t thinking about the show), he turns into a closed child who is afraid of being scolded by his mother. He immediately closes in on himself (eyes down, nervously fixing his hair to look like a professional, voice much less imposing, he os almost whispering) and shamefully tries to justify himself and I think this says a lot about how traumatized he is and how afraid he actually is of his possibly imminent demise

[rose-tries-to-write]

Thinking about how, when Scar turns red in Third Life, his first actions are collecting flowers to beg to stay with Grian.

That, when faced with being a red life—the first and only red life—his first actions aren’t bloodthirst and anger but desperation to keep the relationship he’s made.

That, in a game where alliances are kept through deeds, debts, and doubt—he offered flowers. He didn’t sell the idea of staying teammates, he didn’t even try. He offered the flowers and begged to stay by Grians side, but was fully prepared to walk away without another word. Was prepared to forget his scamming nature, to lay down flowers and nothing more.

Also, in the image of the flowers being a bouquet, imagine him being gone for hours after his death.

Grian is waiting and Scar is holed up in the forest somewhere meticulously crafting this arrangement despite having no idea what he’s doing. He could only find two flowers, and the mess he puts together isn’t anything anyone would ever sell, but he made it from scratch. He put in the effort, spent hours on it until he deemed it perfect and only then did he bring it to Grian.

It’s ugly, and there is no twine holding it together nor a sheet, but the flowers aren’t wilted. All of them are the most vibrant, healthy flowers he could find and not one is missing a petal due to his hands.

His hands—used to scam, maim, and betray—made gentle for the effort of making something worthy of someone like Grian.

[necrotic-nephilim]

as much as I love the common "Tim worships/stalks Jason" trope in TimJay fanfiction because it's Good and making Tim a weird little freak is Fun, I think the underutilized dynamic is where Jason is the one weirdly obsessed with Tim and makes it Tim's problem.

Like, the moment Jason is confronted with the information that a third Robin exists, the first thing he does is cover his wall with pictures of Tim so he can just obsess and torture himself over it. That is the behavior of a man who is Unwell over Tim's existence and I love it.

red hood: lost days #4

And as much as a shitshow as The Titans Tower Incident™ is characterization-wise (though I think it has far more merit in depicting Jason's character than people give it credit for but I digress-) there's something very fun about the fact that even after kicking his ass, Jason respects Tim and is impressed by him.

teen titans (2003) #29

And on top of that, Jason can't seem to stop trying to ask Jason to Tim to work with him in some capacity.

robin (1993) #177

batman: battle for the cowl #2

While Battle for the Cowl is an exceptionally bad comic, especially for its characterization of Jason and the "be my Robin" bit is taken deeply out of context, I do think it's interesting how obsessed Jason is with believing that Tim is extremely competent, only held back by being "brainwashed by Bruce". (hence him leaving Tim for dead later on in the comic.) Jason seeing a darker side of Tim and wanting to bring that out of Tim, wanting to see what Tim could be if he let go of his loyalty to Bruce is so fun to me, tbh.

And in Robin #177, Jason seems genuinely upset Tim doesn't want to work with him. Jason sees such a raw potential in Tim and is obsessed with it, constantly wanting Tim to work for him and see Tim be the type of person Jason is. And despite Tim rejecting him, Jason doesn't shoot to kill Tim. I just cannot get over the fanfic potential of Jason obsessing over Tim, tracking him and seeing what he's capable of and what he could be capable of. Wanting to make Tim see things the way he does. To Tim it's corruption, to Jason it's freedom. Tim trying to 'save' Jason is fun and all, but Jason trying to corrupt Tim? That's even more fun to me. Watching that power struggle between them, Tim unable to get Jason off his heels as Jason gets more and more possessive and bold with each attempt.

And when Jason sees Tim successfully get Gotham back under control after a gang war, he's impressed. He praises Tim, even. And then Tim just. Breaks him out of prison.

robin (1993) #182

The way they're constantly trying to see something in the other that isn't there, hoping the other will come around? That is the most fucked up hate/love dynamic ever. Jason keeps coming back to Tim, keeps trying to find ways to get Tim onto his side. They're always chasing each other. And I think Jason would be the one to confess love first, the one to do anything to make Tim his. And when you consider after all of this, Tim has his Red Robin arc and is at his lowest, getting the closest he ever gets to considering murder? I think it'd be so fun to see Jason take advantage of that and worm his way back into Tim's life and finally push Tim over the edge.

[shaylogic]

Cat King: I know my kingdom better than you. I'm proud of my duties towards my citizens. I hold responsibilities that are very impressive.

Edwin: You've forgotten yourself in your own lack of self-awareness and self-worth -- exactly proving my point.

[oakgreenoak]

Something I've always found kinda interesting about Red and Green in gameverse is how they turn some of the Stock Shōnen Protagonist/Rival tropes on their heads.

This is really long character analysis of these two and various media counterparts of theirs, so I'm gonna stick it under a cut.

In some ways they fit their roles quite well - aside from the obvious colour associations, you have Red as the hero whose sense of justice is stronger than his sense of self-preservation, and you have Green as the privileged rival who cares about beating Red above all else.

But, if you look at it another way - Green's got the light spiky hair, the hot-headed and boisterous personality, the drive to Get Better And Win. He's designed to read as really open and chipper, yet snarky. Sure, he isn't dumb, but he's arrogant, and he's got something of a one-track mind; the guy finds himself in the middle of a hostage situation because he's just that hellbent on fighting his rival, and does not seem to be thinking about anything else. He's also got a motivation - given how the Professor talks to him in the championship room and supplementary material like his Generations appearance, it's not a stretch to think the reason he's so driven to Get Better And Win is to prove himself to his grandfather. It's shown in later games and supplementary works that he's become somewhat of a mentor as he got older and wiser.

Red, on the other hand, is a quiet loner whose only motivation seems to be to get stronger for the sake of getting stronger. He's level-headed and dark haired, his cap rounding off his edges and obscuring his face. He's heroic, but not really sociable, as evidenced by the fact he spends the Johto games alone on a mountain without having told anyone where he went. He seems isolated in a way that later games' protagonists really don't. He may have always been a step behind Green, but he's always better.

Equally fascinating to me is how other adaptations have changed the base designs around and rewritten personalities to suit different purposes, while still being visually recognisable as counterparts to their game-selves.

For example: Red and Green's counterparts in Special slot WAY more neatly into their stock shōnen roles, with Red as the boisterous hero and Green as the broody rival, and it's reflected in their new designs.

Red's hair becomes spiky to reflect his more excitable nature. His hat, in turn, never obscures his face; it's always either tilted back to accommodate his fringe or turned backwards. Green's hair, on the other hand, is not quite as spiked upwards and instead falls into his face, frequently obscuring his far eye in the same way game!Red's hat does.

And then, of course, the anime balanced them in a totally different direction.

Instead of scrapping Green's personality wholecloth, it's become exaggerated in Gary. He's not the broody antihero rival, he's the arrogant, privileged, better-than-you rival. He's always ten steps ahead of Ash, always pisses him off, and is ALWAYS better until the end of his run. The anime also emphasises his intelligence far more, with him doing things like rattling off dex info and the speed of light in mph off the top of his head, to further contrast him with Ash.

Ash, who is of course THE shōnen protagonist. He's dumb, but determined, and always ready to help people in need. Unlike game!Red, the power of friendship (with more than just pokémon) is central to him; any given season of the show is defined as much if not moreso by his travelling companions and interpersonal relationships as it is by whatever he's actually doing.

It's funny to me, though, how most adaptations seem to find the fact that gameverse Red and Green have swapped some stock roles as something to fix. Even Origins, which is probably the closest a high-profile adaption has come to game-accurate, made its version of Red louder and more standard-hero-esque.

I'm not knocking any of these things, of course, just observing. I adore both Special and anipoke. I just think that the way the game characters are written could lead to some interesting dynamics were it to be explored more.

[aroaceleovaldez]

i have suddenly become obsessed with a theme that HoO established but never proceeded to extrapolate on, which is:

You are Percy Jackson, and you have been swapped with a boy who was allegedly everyone's favorite person, but they have decided to replace him with you. They just met you. You stand next to his best friend and the people he's known his entire life. In his home. In his cloak. In his place. They stopped looking for him.

You are Jason Grace, and you have just found out you have a long lost sister who completely replaced you in her life with this girl you just met. Your lives and personalities are mirrors. She is you, living the life you were robbed of.

You are Annabeth Chase, and you have just become starkly aware that you have been inhabiting the void left behind by your best friend's long lost brother. You and Luke were just replacements for him. Now you have to look him in the eyes when he has nothing and know you took that life from him.

You are Piper McLean, and you have just found out your relationship is fake and built entirely on the memories of Annabeth Chase. You have been given a boyfriend when hers has been taken away. You have no idea how much of it is real or not but regardless you feel like if your relationship isn't exactly in their image that you have failed.

You are Leo Valdez, and you have just learned that you are the echo of your great-grandfather. You are not your own person. You just exist to be a mirror of him. A doppelganger. An actor and stunt double facing all the danger he never had to but wearing his face. To be there for his best friend decades later simply because he couldn't. You are playing a role. A seventh wheel and a pawn for a goddess who carefully sculpted your entire life for her own purposes.

You are Hazel Levesque, and the only reason you are alive is because your brother couldn't save your his sister. You are a consolation prize. An apology. Your existence here is misplaced in every way but you inhabit it anyways.

You are Frank Zhang, and you are a shapeshifter. Inhabiting your own body feels strange and clumsy when you could be literally anything at any time. You are anything and everything and live your life with the simple certainty of knowing exactly how you will die.

[creantzy]

Defying God - a parallel between Fyolai and Stavrovensky

The Demons brainrot is taking over, and you know what happens when I acquire a new interest: my brain WILL find a way to connect it to my other interests, whether I like it or not!! And this is essentially what it's about xD I've come here to present a parallel I found between Fyolai (Fyodor & Nikolai from BSD) and Stavrovensky (Verkhovensky & Stavrogin from "Demons" by Dostoevsky). Before I start I want to clarify a few things:

• I don't think these two pairings are similar, I just love picking up any crumbs of connections I can find between my interests, even if it'd count as reaching.

• This interpretation (in either character's case) is in no way "the only true way of looking at it". It's merely one interpretation out of many and I chose to focus on just a few aspects out of the many others there are to explore in these complex characters. 

• Feel free to add onto or disagree with anything I say! I'm interested in your thoughts :D

WARNING: There will be spoilers for Bungou Stray Dogs and Demons.

The reason Nikolai wants to kill Fyodor is because he feels affection for him. Emotions are a prison to him, and he basically seeks the opposite of what his emotions make him want to do. Thus, in the face of affection, which makes you want to be closer and wish the best for your friend, he does the opposite and decides to kill said friend, going directly against his feelings in an attempt to prove free will. But here I want to focus more on the "You want to defy God in order to lose sight of yourself" part, specifically the bit about God.

One part of my interpretation is that Nikolai associates God with control. If there is a God who controls all, how can there be a free will? He wants to go against Him and His creations (the human mind, morality, etc.) to prove that it's possible. But God is very abstract - the idea of God is influential but varies depending on cultures, etc. For this point, I'll use the example of the biblical God, or, more specifically, some attributes commonly assigned to the idea of God:

• omnipotence (all-powerful)

• omnipresence (all-present)

• omniscience (all-knowing)

What I am leading up to is the fact that these traits can, in one way or another, be applied to Fyodor. Fyodor's character represents everything Nikolai wants to defy. Nikolai hates control; he wants to fight the idea of God and prove the possibility of complete independence. Fyodor (though not in a "direct" way) could be seen as a symbol for God. He knows everything, he is always present (metaphorically and sometimes literally, the way he spawns sometimes I swear-), and he seems to control everything. Only few people actually see him, but he pulls the strings behind the scenes, and his power is felt everywhere. For Nikolai, to kill Fyodor is not just a protest against his feelings of affection, but can also be a symbolic act of defying "God", of killing "God", by killing Fyodor.

This is supposed to be very symbolic and not taken literally. I feel the need to repeat this because I personally dislike the notion of Fyodor as a literal God (and disagree with the idea of him having a God-complex), so this is merely about the God-like traits he possesses, like a "substitute" for the idea of God, and how it interacts with Nikolai's philosophy. (I've also exaggerated some points for the sake of simplification - for example, I don't actually believe Fyodor is in control of absolutely everything, etc.)

Moving onto Demons:

Pyotr Verkhovensky grew up religious and (assuming based on Stepan's description) with a fear of God.

Now he's an atheist and very anti-religious. He plans to overthrow society, and destroying religion + everything it preaches is part of that plan. But interestingly enough, he picks not himself as the official future "ruler", but someone else: Nikolai Stavrogin. He chooses Stavrogin to be the role of the leader in Verkhovensky's ideal society. But not exactly the "leader" in the traditional sense, because he wouldn't necessarily give Stavrogin all the power. He would simply use him as a "pawn" (for lack of a better word) while himself pulling the strings behind said society. With that, Verkhovensky puts someone else above himself, in a God-like position, but he wants to do it while still keeping full control over Stavrogin. By doing so, he would overcome his childhood fear of God because instead of being controlled by God, *he* will control God.

(Same case here, not the literal God, but the character who he assigns God-like traits to.)

I am undecided (with both Nikolai's and Verkhovensky's character) whether this could be read as a solely subconscious intention or if it would make sense as a conscious one as well. Given that both have a different "main" goal (Nikolai focuses on emotions and Verkhovensky on the revolution) I lean more towards thinking it's subconscious (if present at all - like I said, just interpretations!)

It doesn't help that Verkhovensky describes his vision of Stavrogin's leadership as "hidden": Everyone believes in him and his power, but only very few people are said to actually have laid their eyes upon him. When I first read this part, I was honestly reminded of Big Brother from Orwell's 1984, but eventually realised that similar things can be said about God as well.

While these are parallels, they don't come without differences. Nikolai needs Fyodor dead, Verkhovensky needs Stavrogin alive. Nikolai wants to kill Fyodor for a sense of freedom, Verkhovensky wants to keep Stavrogin for a sense of control. Yet both symbolic goals are bound to fail:

Fyodor turns out to be unkillable, and Stavrogin ends up dead.

At the end, "God" stays untouchable.

[ot3]

I'm not the kind of person who thinks there is only one correct interpretation of a character or dynamics because seeing how much you can do within the established parameters of these things is one of the best parts of fandom. But some people don't actually have anything I could meaningfully call an interpretation of a character, they just pick one to three of the characters established traits and then puppet them around based on how they think that particular character archetype should behave. And it's infuriating to watch. It's not even "he would not say this" it's "nobody would ever say this, you have created something that is so derivative and generic that it fails to even crudely mimic human behavior." And yes believe me I understand that this literally doesn't matter at all but this is where my peak autism lies, and bitching on Tumblr is the most socially acceptable way to channel those feelings.

[shyjusticewarrior]

Jason is an "I'd kill for you" person stuck in a "live for me" family.

[microsofttothemax]

the resentment leo would have with splinter post-krang. i genuinely think they would take a bit for them to recover and be comfortable around each other

why do i think that? here’s some reasons. this is gonna be a HELLA long analysis so be prepared. sit down, grab some popcorn, and let’s dive in

in the movie, after raph was taken, leo goes on a whole rant about how he got the key, he gets the answers, and he will get raph back. yes this is irrational and brash, but not in leo’s eyes. in his eyes, this is a foolproof plan that will work

splinter attempts to intervene, and tell him like it is. “it’s not your plan, you need to work with your team.” however, it comes out as a sharp sting to leo’s previous attitude

“My son, listen to your team. This is not about you.”

it’s meant to be sensible and wise, but to leo, it’s a jab at him. it’s a stab at his cockiness and self-centered attitude, and it reminds leo of why they’re even in this position in the first place. which he hates

most of all, it’s splinter saying it. it’s his father telling him that it’s not about him. because to leo, he’s always been last place to splinter’s affection, and it’s like splinter’s confirming it here

don’t believe me? here:

splinter talks to leo, and it seems that for a minute, he listens to his father’s words. that maybe he should really stop and listen. maybe he should stop and think of a plan, listen to his brothers’ input.

but the second splinter says it’s not about him? leo shuts down. he pulls away from splinter, and refuses to listen to him. and while splinter may be right, it was something leo never wanted to hear

it’s obvious that he has a somewhat testy relationship with his father, and splinter is trying to make up for it by giving leadership advice. but to leo? this is the guy who made him leader to seemingly mess with him, never bothered to give him attention or praise on his accomplishments, and never truly knew leo beyond his “acting as the best to save face” charade

which brings me to another reason. no, i do not think splinter was ever abusive or purposely neglectful to leo, or any of the boys for that matter. but its clear theres a bit of a rift between him and leo. i think that he kind of resents leo a bit (without meaning to) because he sees himself in him. he sees the irrational movie star who never thought ahead, and made too many mistakes to count

an example would be when leo got punched by lou jitsu two times. none of his brothers got punched, why just him? and sure it could be a running gag, but i find it also to be intentional

maybe deep down, splinter still resents leo for being so much like his irrational, unreasonable younger self. that every time he sees leo, he sees his stupid past self, and without meaning to, he at times hates leo because of it. and if he doesn’t hate him, he seems to resent him to some extent

splinter also has plainly stated that donnie was the funniest one to him, (s1ep 1, mystic mayhem) and outright laughed when leo asked if he was the favorite son (rottmnt wake-up alarms on youtube, timestamp 1:59) leo also staight-up said that he was splinter’s least favorite (s1ep 4b, down with the sickness)

so yeah, i can see the resentment leo may have for his father deep down. it could be pretty apparent post-krang, hidden behind his jokes and teases

now don’t get me wrong, they have their moments of bonding, and i do love to read little drabbles and fics where they hug and heal. however… realistically speaking, it would take a while for them to get to that stage of father-son bonding post-krang. with splinter naming him leader out of the blue, to the missing lou jitsu posters on the walls of leo’s room in the movie — and we’re definitely talking about that in a later post, trust — i would bet their relationship as father-son pre and post-movie would be extremely rocky.

another reasoning for this could be that splinter often underestimates and undermines leo’s abilities and accomplishments. far as i’ve seen, the most reaction splinter’s given to leo’s accomplishments is an eyebrow raise

for example, when outsmarting big mama, leo was genuinely proud of spending time w his dad and showing him his abilities. he genuinely thought they were working together. however, splinter didn’t say he was proud or anything, just complained he wished he’d brought donnie (s2ep 2, many unhappy returns)

“I knew I should have brought Purple.”

ouch. that mustve hurt a bit

and yes, i will admit, leo was being a bit of a little shit in this scene, and yes, he could’ve told splinter of the plan before starting to yap and blab to big mama about the plan he cooked up. however, the response splinter gives is not much better. essentially, he’s saying, “i don’t like this kid or his plan, so therefore i think i should’ve brought one of my favored children to solve the problem better.”

and before you go and tell me donnie could’ve outsmarted big mama the way leo did, think for a moment. leo fully admitted to manipulating and lying in an episode before

“I don’t lie, I just… change the truth.”

whereas donnie cannot tell a lie to save his life. i love him, but the guy is a shit liar. he has failed multiple times at it

“We are just typical normal humans.. who got lost in the middle of our normal… everyday human lives— nailed it.”

“Uh… nothing. Just having a typical, normal, mystic-free day.” “What? I said mystic-free.”

“Why aren’t you guys more upset?”

“Oh. This… hurts me. Uh… I’m very sad…?”

raph & mikey aren’t much better. mikey straight-up started sweating when he had to lie to splinter about piebald, and raph has so many different stinks/scents to him that it’d be easy for others to tell he was lying

also, mikey has doctor delicate touch. who does not know what lying or “don’t be blunt” means

and donnie’s really only being extremely straightforward with what he thinks or about what’s going on around him. so it makes no sense as to why splinter would want to bring donnie along to outsmart big mama, unless he genuinely doesn’t enjoy leo’s presence, which seems to be the case

now all of this is evidence to point towards a very unsteady father-son relationship with these two. yes, splinter seems to be a very lenient father, and i genuinely think he wants to be a good dad. however, oftentimes that leads to miscommunication and misread moments, empty promises, and overall neglecting behavior on his part, all without meaning to

so while he does try harder to be there for his sons later in the show, it’s pretty obvious that one brother — who thrived off any attention possible — probably stopped caring about that validation after all that he went through. splinter gives, but leo doesn’t take. he doesn’t bother to, because he thinks it’s either a prank of some kind, or because he just genuinely doesn’t care for his father’s input anymore.

(this was based on that one post about splinter & leo by @midwesternvibes, i just figure i revisit that bc i’m thinkin about it again)

[lastflowerofyourhouse]

something i like about nona's family is that they're so like, almost a perfect little nuclear family, and then just. not.

like. pyrrha is "the person who works for her" but also the one who makes breakfast and does the dishes. she's a woman quite literally posessing the body of a cis man and really leaning into the look, honorarily trans in both directions, working construction and shaving in the mornings and braiding nona's hair before school.

and then there's camilla, her...nagging wife? troublemaking older child? roomate who she barely gets along with? the fact that palamedes shares this role is doubly weird. he's a man literally posessing the body of a cis woman, and they're both pyrrha's nagging wife/problem child/roomate. i don't personally believe that anything explicitly or overtly sexual was happening between her and either of them, but i completely understand where people who think that are coming from. and it's fucking weird (affetionate?).

even nona occupies a weird place in this dynamic. like. pyrrha is definitely a parent to her but camilla, who takes a much more active role in her daily life, is...idk. nona has a crush on her and wants to marry her and adopt dogs. camilla's feelings for nona are more parental or older-sisterly, in that she cares for her and wants to protect her, and if her feelings are more complicated than that, it's because of the obvious aspects of the situation which make her extremely sad and apprehensive of the future. her affection for nona seems relatively simple.

and then there's palamedes, who is in theory another parental figure (see: camilla's "i'll talk to your mother later" face, or pyrrha's "you're going to make someone a really irritating wife one day, sextus"), but in nona's view of things he seems like something more along the lines of an older sibling, or perhaps a cool uncle, which is funny because pyrrha arguably treats him more like a spouse than she does camilla.

it's all just so fucking weird and jumbled up on itself. pyrrha will kiss camilla on the head and say "i'll be home for dinner, dear," and then turn around and call both her and nona "daddy's own treasures" (don't get me started). she'll kiss palamedes and camilla both on the mouth and tell them she loves them. she'll tell them she didn't love them well, or even wholesomely, and she won't explain what she means by wholesome.

alecto calls her "mother and father." alecto tells her she should've given into her urges and eaten them.

palamedes and camilla are second cousins and queerplatonic and married and the same person and by the start of the book the lines between them are already dissolving.

nona is so so young and she's so so old and she's not so much younger than camilla and she's older than pyrrha can even comprehend and some days she needs help getting her shirt over her head.

and most importantly they all love each other. it's a weird and confused and unhealthy love. it's a love full of tension and annoyance and fear. it's a love that wants very badly to fit a category and can't. but it's love it's love it's love and even when it's over even when it has nowhere left to go it's not gone it can't be gone. it's over it's done you can't take loved away.

[destiel-wings]

Dean Winchester & hug dynamic analysis

I was thinking about how whenever Dean hugs someone he's almost always the one hugging the other and how this links to his psychological trauma of always being the caretaker of people, making himself bigger to protect them.

Because that's how Dean sees himself, as a shield for others, and then I thought about how Cas actually is the shield, and he's HIS SHIELD, specifically, the only one who's really there to protect HIM, which is why it hits so much when we see this:

The way Cas wraps his arms around him, trying to protect him with his whole body--that he'd use as a shield and give up in a second if he could spare him from any pain and save him.

(for context: Dean was about to go use the soul bomb on Amara there, it was a suicide mission)

Bobby is another one that hits, he hugs him as the big hugger because he's his father, he loves him and he's actually here to protect him (and Dean LETS him -barely, but he lets him *and Cas* - in a way that he doesn't let Sam)

I watched a compilation of Sam & Dean hugs to check if i was right about it, but it's almost always Dean the big hugger with Sam, except when he's about to die or Sam sees him alive again after losing him.

Even then, Dean mostly tries to hug Sam as the big hugger anyway, with at least one arm, like a way to comfort him, making him feel protected, like his body language is saying "I'm here, I'm okay, I'm still strong, i can still protect you" (because their real father failed and Dean thinks it's his job).

He rarely lets himself be the little one hugged with Sam, unless he's barely conscious. Which is why it kills me so much more now that in this moment (s14, when Dean was going to lock himself in the Ma'lak box cause he was possessed by Michael) and Sam has a desperate breakdown and punches him (to stop him) he forcefully hugs him as the little hugger, the way Dean always kept him, like a way of saying "I still need you to protect me, please don't do this to yourself".

In the scene below he gives Sam his blessing to do a dangerous (possibly suicidal) mission, and one of his arms is down, but the other one tries to stay up--he's forcing himself to do it and he struggles because he still wants to protect him, but (as the seasons progress) he slowly becomes more prone to let go.

So in this view the hug dynamic becomes an indicator of how Dean sees Sam (and himself) and his protector role, how adult and self sufficient he considers Sam, and how much he lets people around him take care of him, lowering his walls and letting himself be hugged.

This is also why i think hugs from characters like Garth or Charlie are so special, because they're just like us: they see Dean and they just know that he needs to be hugged a lot, and that he's not used to it, so they just go for it-- and it's so normal and kind and spontaneous that Dean's just not used to it-- he doesn't know how to respond (especially with Garth, at the beginning, but as the seasons progress, he learns to, and he even initiates the hug eventually).

I love the hugs where they're 50/50 (one arm up, one arm down both), feels like they're equals, both taking care of each other. I feel like with Sam and Dean, this indicates a healthier dynamic, because Dean lets go a little of the role that was imposed to him and manages to see Sam as the strong individual that he is. But the same applies to 50/50 hugs with other characters, like with Cas, where I feel like it testifies how equals they feel in terms of being fighters, there's a show of respect of each other's strength that transpires by the gesture (which is even more astounding considering that Cas is literally a powerful angel).

And just to end on a destiel note, I'd like to note the possessiveness and protectiveness of Dean (rightfully so) whenever he finds Cas after he thought he had lost him, and how that translates into his body/hug language:

[chronurgy]

Gortash designs and builds mechanisms so I imagine he has to be able to sketch fairly decently in order to sketch his projects and designs. And I'm imagining a pile of charcoal sketches of Durge, done over their entire acquaintance, starting out with sketches of them in battle and then slowly becoming more detailed and intimate and as they do, the titles changing from things like "The Bhaalspawn" and "Bhaal's Chosen at Their Bloody Work" to "The Chosen in Contemplation" and finally just Durge's name